DVD Recent Picks
November 2009
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The grocer's son.
A warm, bittersweet comedy, The Grocer's Son marks the feature debut of acclaimed documentary filmmaker Eric Guirado, and new acting talent Nicolas Cazale. Thirty-year-old Antoine leaves Paris and reluctantly returns to the south of France to look after the family mobile grocery van while his father recovers from a heart attack. He gradually warms to his experience in the hills and his encounters with the villagers and love for the countryside. Evocatively capturing the bucolic beauty of provincial France, this gentle feel-good charmer sparkles with quirky humour and joie de vivre and guarantees to warm hearts with its classic story of a man finally coming of age. (Amazon.co.uk)
The boy in the striped pyjamas.
Based on the book by John Boyne, The Boy In The Striped Pyjamas didn't really get the box office recognition it deserves on its theatrical release, struggling to find a foothold amidst a stampede of blockbusters. But this is a film that, surely, is ripe for discovery on DVD. Directed with care and diligence by Mark Herman, whose CV includes the excellent Brassed Off! and Little Voice, The Boy In The Striped Pyjamas is set during the Second World War, in and around a Nazi concentration camp. It tells its tale through the eyes of two young boys. One is the son of the camp's commandant, while the other is wearing the striped pyjamas of the title.The two boys meet and ultimately befriend one another, and The Boy In The Striped Pyjamas tells the difficult story of their companionship. It does it extremely well, too, careful to understate proceedings and demonstrate a restraint that serves the subject matter well. It's also quite a lean film, and one boasting excellent performances, including David Thewlis as the aforementioned commandant. If The Boy In The Striped Pyjamas has a problem or two, they pale in comparison to its strengths. For this is a tightly directed, moving film, that does real justice to the terrific book it's derived from. It's not always an easy watch, but it's very memorable. (Amazon.co.uk)
Defiance.
Three ferociously committed actors fill the roles of the Bielski brothers, Jewish partisans who escaped into the forests of Eastern Europe during the Second World War. Daniel Craig (taking a break from 007 duty) is Tuvia, the leader of a group of refugees who eventually number over a thousand; Liev Schreiber is Zus, the antagonistic warrior; and Jamie Bell is Asael, a peacemaker no less devoted to the survival of the community. The three performers give life to director Edward Zwick's account of this little-known chapter of Jewish resistance to the Holocaust, which otherwise plays more like a history lesson than a full-blooded movie. The film's best achievement is its strong location work, in Lithuania - as the community makes its home in the forest, the landscape becomes an important player in the drama at hand, and the changing of the seasons is charted with bone-chilling detail. Schreiber manages to get a little wry humor into this otherwise sober enterprise, and Daniel Craig creates an unusual character: a sort of anti-Bond, a hero whose body is all too fallible and whose decision-making is sometimes hesitant or morally compromised. It's a rare hero in a World War II movie that tends to withdraw from scenes rather than stride into them, but that's what Craig does. More than likely, the movie's main achievement will be sending the curious to read the histories of the Bielski brothers and why they matter in the chronicles of the Holocaust. (Amazon.com)
Last chance Harvey.
Anyone who’s seen the trailer for Last Chance Harvey can easily guess how it ends. In fact, the title alone is a clue. But the destination is hardly the point with movies like this; it’s the journey that counts, and this one is pretty entertaining. You could call director-writer Joel Hopkins’ film a romantic comedy, but it’s not especially robust in either of those departments. This is more of a character study, and veteran lead actors Dustin Hoffman and Emma Thompson are well up to the task of bringing theirs to life. Both are awkward, lonely, social misfits. Hoffman’s Harvey Shine is a bit of a schlub; his gig as a jingle composer in jeopardy, estranged from his ex-wife (Kathy Baker) and daughter (Liane Balaban), he flies to London for the latter’s wedding, only to have her tell him that she has chosen her step-father (James Brolin) rather than him to give her away. Meanwhile, Kate Walker (Thompson) spends her days trying to survey harried travelers at Heathrow Airport, answering her meddling mother’s constant stream of cell phone calls, and awaiting the all-to-inevitable onset of spinsterhood. Harvey has already brushed her off once when, having put in a humiliating appearance at the wedding and missed his return flight to America, he runs into her in an airport bar. What ensues--the initial repartee and sarcastic snarking, the gradual breaking of the ice, the burgeoning attraction, the complications and misunderstandings--is entirely predictable. But it’s also well done. These are people one might actually identify with; when Kate tells him, "I’m more comfortable with being disappointed. I’m angry with you for trying to take that away," one senses a real person in there, which helps raise Last Chance Harvey above its conventions. (Amazon.com)
Outrageous fortune. Series five.
The Wests are back... for a fifth series of New Zealand’s best loved comedy drama. The West family’s relationship with the dodgy Greegan siblings continues to raise eyebrows: Pascalle is engaged to Nicky while Van has shacked up with a pregnant Sheree. There’s a new cop in town threatening everything Van holds dear and forcing him to do what a West should never do. Jethro, Loretta and Hayden form an unlikely business alliance while Pascalle follows her dreams of becoming a successful bag lady. Ted and Ngaire prove old is the new young and Munter and Kasey prove that there’s more than one way to make a baby. Judd fights for his family, old and new, as Cheryl might be about to lose everything she loves most. Can the West family survive the biggest crisis yet? (Real Groovy)
Angels & demons.
If the devil is in the details, there's a lot of wicked fun in Angels & Demons, the sequel (originally a prequel) to The Da Vinci Code. Director Ron Howard delivers edge-of-your-pew thrills all over the Vatican, the City of Rome, and the deepest, dankest catacombs. Tom Hanks is dependably watchable in his reprised role as Professor Robert Langdon, summoned urgently to Rome on a matter of utmost urgency - which happens to coincide with the death of the Pope, meaning the Vatican is teeming with cardinals and Rome is teeming with the faithful. A religious offshoot group, calling themselves the Illuminati, which protested the Catholic Church's prosecution of scientists 400 years ago, has resurfaced and is making extreme, and gruesome, terrorist demands. The film zooms around the city, as Langdon follows clues embedded in art, architecture, and the very bone structure of the Vatican. The cast is terrific, including Ewan McGregor, who is memorable as a young protégé of the late pontiff, and who seems to challenge the common wisdom of the Conclave just by being 40 years younger than his fellows when he lectures for church reform. Stellan Skarsgard is excellent as a gruff commander of the Swiss Guard, who may or may not have thrown in with the Illuminati. But the real star of the film is Rome, and its High Church gorgeousness, with lush cinematography by Salvatore Totino, who renders the real sky above the Vatican, in a cataclysmic event, with the detail and majesty of the ceiling of the Sistine Chapel. (Amazon.com)
Blindness.
Based on José Saramago's allegorical novel, Blindness is a haunting film that works like an unusual fusion of fable and gritty suspense. Julianne Moore and Mark Ruffalo star as an unnamed, married couple living in an unidentified city where a mass epidemic of blindness hits. Ruffalo's character, a doctor, is affected, but Moore's is not. When the two are transferred to a government-run quarantine facility complete with armed guards, they soon find themselves in a rapidly deteriorating situation. Criminals take over food distribution and extort possessions and sex from the innocent. Sanitation becomes a thing of the past. More subtly, rules that might govern one's judgement and behavior on an everyday basis simply vanish, and personal and collective values rewrite themselves. Moore's character hides the fact that she can see (except from her spouse), and thus becomes the audience's surrogate in the thick of so much misery. She also becomes an avenging angel at exactly the right time, and then a matriarch when the action shifts from the quarantine hell to the city's streets. The latter part of Blindness finds a handful of the inmates (played by Danny Glover and Alice Braga, among others) joining Moore and Ruffalo in a kind of post-apocalypse oasis, a chapter as touching as the previous chapters were nightmarish. Director Fernando Meirelles deftly captures the film's spirit of mixed parable and horror, grounding the action but at the same time encouraging a viewer not to take it too literally. (Amazon.com)
X-Men origins. Wolverine.
Wolverine, fan favorite of the X-Men universe in both comic books and film, gets his own movie vehicle with X-Men Origins: Wolverine, a tale that reaches way, way back into the hairy mutant's story. Somewhere in the wilds of northwest Canada in the early 1800s, two boys grow up amid violence: half-brothers with very special powers. Eventually they will become the near-indestructible warriors (and victims of a super-secret government program) known as Wolverine and Sabretooth, played respectively by Hugh Jackman (returning to his role) and Liev Schreiber (new to the scene). It helps enormously to have Schreiber, an actor of brawny skills, as the showiest villain; the guy can put genuine menace into a vocal inflection or a shift of the eyes. Danny Huston is the sinister government operative whose experiments keep pullin' Wolverine back in, Lynn Collins is the woman who shares a peaceful Canadian co-existence with our hero when he tries to drop out of the program, and Ryan Reynolds adds needed humor, at least for a while. The fast-paced early reels give an entertaining kick-off to the Wolverine saga, only to slow down when a proper plot must be put together--but isn't that perpetually the problem with origin stories? And despite a cool setting, the grand finale is a little hemmed in by certain plot essentials that must be in place for the sequels, which may be why characters do nonsensical things. So, this one is fun while it lasts, if you're not looking for a masterpiece, or an explanation for Wolverine's facial grooming. (Amazon.com)
Fast and Furious.
Fast & Furious is high octane torque-er porn that puts the franchise back on course after drifting in Tokyo. With the original cast once again in the driver's seat, we are good to go with a this-time-it's-personal plot and spectacular race and chase set-pieces that exceed the promise of the stripped-down title, beginning with an awesome highway hijacking of an oil truck led by former street racer Dom Toretto (Vin Diesel, at his glowering and gravel-voiced best). Dom is a fugitive in the Dominican Republic, but after a devastating personal loss, he is driven by revenge to return to Los Angeles to bring down an elusive drug smuggler. He is reunited with Brian O'Connor (Paul Walker), the undercover FBI agent who let him go eight years earlier. Brian, also on the case, must come to terms with Dom and make amends with Dom's sister (Jordana Brewster), whom he betrayed in his original pursuit of Dom. Fast & Furious is just the ticket for putting your mind on cruise control. From a see-what-you've-got racing challenge through the streets of L.A. to the illicit kicks of the street-racing subculture (this is extreme PG-13), there is nothing cheap about these thrills. A record-shattering opening weekend at the box office could mean faster and more furious action to come, but if this is the franchise's last time around the block, it goes out a winner. (Amazon.com)
Watchmen
Everybody's favorite graphic novel comes to the screen (after years of rumors and false starts), less a roaring work of adaptation than a respectful and faithful take on a radical original. Watchmen is set in the mid-1980s, a time of increased nuclear tension between the United States and the Soviet Union, as Richard Nixon is enjoying his fifth term as president and the world's superheroes have been forcibly retired. (As you can probably tell, the mix of authentic history and alternate reality is heady.) Things begin with a bang: the mysterious high-rise murder of the Comedian (Jeffrey Dean Morgan), a masked hero with a checkered past, puts the rest of the retired superhero community on alert. The credits sequence, a series of tableaux that wittily catches us up on crime-fighting backstory, actually turns out to be the high point of the movie. Thereafter we meet the other caped and hooded avengers: the furious Rorschach (Jackie Earle Haley), the inexplicably naked Dr. Manhattan (Billy Crudup), Silk Spectre II (Malin Akerman), Nite Owl II (Patrick Wilson), and Ozymandias (Matthew Goode). The corkscrewing storytelling, which worked well in the comic book, gives the movie the strange sense of never quite getting in gear, even as some of the episodes are arresting. Director Zack Snyder (300) doesn't try to approximate the electric impact of the original (written by Alan Moore--who declined to be credited on the movie--and illustrated by Dave Gibbons) but retains careful fidelity to his source material. That doesn't feel right, even with the generally enjoyable roll-out of anecdotes. Even less forgivable is the blah acting, excepting Jeffrey Dean Morgan (lusty) and Patrick Wilson (mellow). Watchmen certainly fills the eyes, but in the end it feels as though a huge work of transcription has been successfully completed, which isn't the same as making a full-blooded movie experience. (Amazon.com)
Gomorrah
Though no one ever utters the name in Matteo Garrone's powerful and disturbing Gomorrah, the Roman director drags the dark deeds of the Camorra into the cold light of day (the mob is based primarily in Naples and Caserta). Inspired by co-writer Roberto Saviano's explosive exposé, Garrone (The Embalmer) takes an observant, documentary-like approach to the Neapolitan Mafia and their not-so-covert infiltration into Italian society, from waste disposal to high fashion--with the US in their steely-eyed sights. Though the timeline is brief, a large cast creates the impression of an organized-crime epic on par with The Godfather or The Sopranos, but without a similar sense of style or glamour (since the film's release, several of the non-professional actors have even gotten into trouble due to their real-life Camorra connections). Unlike those Italian-American predecessors, it also takes awhile to sort everyone out; once their identities become clear, the narrative picks up speed, with no direction for any of these characters to go but down into no-questions-asked conformity or ignominious death. Three of the five narrative strands revolve around a 13-year-old gangster wannabe (Salvatore Abruzzese), a decent dressmaker (Salvatore Cantalupo), and two delusional thugs (Ciro Petrone and Marco Macor), who look to Al Pacino's Scarface for inspiration. Winner of the Grand Jury Prize at the Cannes Film Festival, Gomorrah arrives in the States with the highest accolade an Italian movie can hope to receive: the imprimatur of Oscar-winning director Martin Scorsese, who knows a thing or two about thugs and wannabes. (Amazon.com)
A complete history of my sexual failures
Luckless filmmaker Chris Waitt embarks upon an odyssey in which he will visit his ex-girlfriends in an attempt to find out the reasons why each of them dumped him. (Amazon.co.uk)
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