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Wednesday, 1 February 2012

DVD Playhouse--February 2012

Posted on 17:59 by Ratan






DVD PLAYHOUSE—FEBRUARY 2012
By Allen Gardner


TO KILL A MOCKINGBIRD 50th ANNIVERSARY EDITION (Universal) Robert Mulligan’s film of Harper Lee’s landmark novel pits a liberal-minded lawyer (Gregory Peck) against a small Southern town’s racism when defending a black man (Brock Peters) on trumped-up rape charges. One of the 1960s’ first landmark films, a truly stirring human drama that hits all the right notes and isn’t dated a bit. Robert Duvall makes his screen debut (sans dialogue) as the enigmatic Boo Radley. DVD and Blu-ray double edition. Bonuses: Two feature-length documentaries: Fearful Symmetry and A Conversation with Gregory Peck; Featurettes; Excerpts and film clips from Gregory Peck’s Oscar acceptance speech and AFI Lifetime Achievement Award; Commentary by Mulligan and producer Alan J. Pakula; Trailer. Widescreen. Dolby and DTS 2.0 mono.
OUTRAGE: WAY OF THE YAKUZA (Magnolia) After a brief hiatus from his signature oeuvre of Japanese gangster flicks, auteur/star Beat Takeshi Kitano returns to form with this full-blooded, full-throttle, double-barreled crime drama about rival Yakuza clans battling for power in contemporary Japan. Carnage galore splatters the screen, along with Kitano’s deadpan humor, to create a forceful, if unexceptional shoot ‘em up. Fans will not be disappointed. Also available on Blu-ray disc. Bonuses: Featurettes; Documentary; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
THERE BE DRAGONS (20th Century Fox) Director Roland Joffe, once at the top of his game with films like The Killing Fields and The Mission, misfires with this historical drama about a present-day journalist (Dougray Scott)’s exploration into the life and times of Josemaria Escrivia (Charlie Cox), the founder of Opus Dei during the Spanish Civil War. Stilted drama from start to finish is gorgeously shot, but lacking in any immediacy. Film didn’t get a theatrical release in the U.S., and for good reason. Wes Bentley, Geraldine Chaplin and Olga Kurylenko co-star. Also available on Blu-ray disc. Bonuses: Featurette; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
REAL STEEL (DreamWorks/Touchstone) Hugh Jackman stars in this tale of the not-so-distant future as Charlie Kenton, a washed-up ex-boxer who now “manages” robot fighters, as fights between humans are now outlawed. Attempting to reconnect with his estranged son (Dakota Goyo), the two hit the road with a battered ‘bot whom they whip back into shape, determined to make him world champ. Extremely well-done, but also formulaic to the n’th degree. Sure to please the under-12 crowd, but most adults will find themselves cheering in spite of predicting the paint-by-numbers story. Jackman oozes movie star charisma in every frame. Evangeline Lily provides an attractive love interest, and Kevin Durand a suitably slimy villain. Also available on Blu-ray disc. Bonuses: Deleted and extended scenes; Featurettes; Bloopers; Commentary by director Shawn Levy. Widescreen. Dolby 5.1 and DTS-HD 7.1 surround.
THE WHISTLEBLOWER (20th Century Fox) Rachel Weisz stars in this true story of a U.N. peacekeeper in post-war Bosnia who uncovers a human trafficking operation, the roots of which leads straight to her own colleagues and higher-ups. Solid, if unremarkable drama is buoyed greatly by its cast, which also includes David Strathairn, Monica Bellucci and Vanessa Redgrave. Also available on Blu-ray disc. Bonuses: Featurette. Widescreen. Dolby and DTS-HD 5.1 surround.
TOKYO DRIFTER (Criterion) Seijun Suzuki’s 1966 gangster drama is a classic of Asian cinema pastiche. A reformed killer attempts to go straight, but is thwarted at every turn when his former comrades call him back to Tokyo to help battle a rival gang. Eye-popping color, stylized violence and pure cinematic genius make this one of the best films of the genre. Often compared to the divergent works of Russ Meyer, Samuel Fuller and Nagisa Oshima! Cineastes are sure to love this orgy of excess. Also available on Blu-ray disc. Bonuses: Interviews with Suzuki and crew members; Trailer. Widescreen. Dolby 1.0 mono.
BRANDED TO KILL (Criterion) Seijun Suzuki’s follow-up to Tokyo Drifter got him promptly fired by the studio’s bosses. This hilariously twisted story of a Yakuza assassin (Japanese film icon Joe Shishido, whose cheeks were surgically enhanced with bulbous implants) with a penchant for sniffing steamed rice and botches the job of his life, making him a target himself. Almost indescribable blend of ‘60s pop art, B-movie aesthetic and cinematic genius. Also available on Blu-ray disc. Bonuses: Interviews with Suzuki and crew; Interview with Shishido; Trailer. Widescreen. Dolby 1.0 mono.
CONTAGION (Warner Bros.) Steven Soderbergh’s tale of a global pandemic and how it spreads is suspenseful and sobering, but ultimately forgettable, in spite of a who’s-who cast that brings it to life. Matt Damon, Gwyneth Paltrow, Kate Winslet, Laurence Fishburne, Jude Law, Marion Cottilard and Bryan Cranston are but a few of the A-listers who fight for life as a deadly virus tears through the world’s population. A less-predictable script would have helped immeasurably. Still worth a look in spite of its flaws. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
BRIGHTON ROCK (IFC Films) Graham Greene’s post-war classic is re-set in 1965 Brighton, telling the story of small time (and dim-witted) hood Pinkie (Sam Riley) who attempts to claw his way up the rickety ladder of organized crime in Britain’s sleaziest seaside town. After a simple girl (Andrea Riseborough) witnesses Pinkie commit a gangland execution, Pinkie attempts to seduce the girl and outwit the town boss (Andy Serkis) with grim results. John Hurt and Helen Mirren also star in director Rowan Joffe’s great-looking period piece that holds up beautifully next to the 1947 original, although we miss Richard Attenborough’s Pinkie! Bonuses: Featurettes; Trailer. Widescreen. Dolby 5.1 surround.
1911 (Well Go USA) Jackie Chan stars in this stirring epic that tells the true story of China at the turn of the 20th century, when it was split into warring factions of military force and peasant citizens who are starving and want better lives. Chan plays a former soldier who has returned from Japan, where he studied modern warfare and feels obligated to lead his fellow citizens in a rebellion to a better life. Eye-popping battle scenes and set pieces make this a worthy companion to some of the greatest historical epics ever produced. Not to be missed. Also available on Blu-ray disc. Bonuses: Deleted scenes; Featurettes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
HIGHER GROUND (Sony) Vera Farmiga directed and stars in this adaptation of Carolyn S. Briggs’ autobiographical memoir about a woman whose experience with extreme Christianity begins to fray as she starts to question the values of the sect to which she and her family belong. Strong performances from a terrific cast (including Farmiga’s younger sister Taissa Farmiga playing her character as a teen) can’t raise this tepid tale above movie-of-the-week status. Some strong moments, but overall it’s one to skip. Also available on Blu-ray disc. Bonuses: Deleted scenes; Commentary by Farmiga, cast members; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
THE GUARD (Sony) Brendan Gleeson stars as a bent Irish cop who stumbles onto a cache of drugs at a bloody crime scene, which he proceeds to procure for himself. When an intrepid FBI agent (Don Cheadle) arrives on the scene, Gleeson must try to cover his tracks while “aiding” the agent in his investigation, as well as staying one step ahead of the ruthless gangsters who want their drugs back. Blackest of black comedies written and directed by John Michael McDonagh is mostly successful, but will elicit smiles more than guffaws. Also available on Blu-ray disc. Bonuses: Outtakes; Deleted and extended scenes; Short film; Commentary by McDonagh, Cheadle, Gleeson and cast; Trailers; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
BLACKTHORN (Sony) Sam Shepard plays legendary outlaw Butch Cassidy in this tale of “what if?” that hypothesizes Cassidy survived that final shootout in Bolivia that climaxed Butch Cassidy and the Sundance Kid and remained in the country under an alias, with plans to return to the States and his family. These plans are thrown into disarray when a young outlaw (Eduardo Noriega) foolishly tries to rob Cassidy, setting a series of events in motion that carry the rest of this elegiac, albeit far-fetched story to its conclusion. Gorgeously shot on location, and featuring fine support from Stephen Rea and the lovely Dominique McElligott, Blackthorn is a thoroughly watchable journey that you will soon forget. Also available on Blu-ray disc. Bonuses; Deleted scenes; Featurettes; Short films; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.
COLD SWEAT (Dark Sky Films) Fun, inventive horror film about a young hero who finds his girlfriend has been kidnapped by a group of aging political radicals armed with a cache of equally-aged dynamite and nitro, providing them security as they conduct illicit experiments on unwitting subjects. Balls-out, unhinged and old-school in every respect, Cold Sweat is an homage to the best no-frills horror films of the ‘70s, in addition to having a very unique voice all its own. Enthusiasts of the genre are sure to be pleased. Bonuses: Commentary by director Adrian Garcia Bogliano; Deleted/extended scenes; Featurettes; Easter eggs; Poster gallery; Trailers, teasers, TV and radio spots. Widescreen. Dolby 5.1 surround,
HAPPY, HAPPY (Magnolia) Frustrated housewife Kaja finds her husband is more interested in going hunting with his pals than making love to her. Settling into complacence, Kaja finds her resolve renewed when a seemingly perfect couple move in next door and open an entirely new world to her. Cringe-inducing comedy of manners (and otherwise) is chock full of awkwardness, anger and longing. Winner of a Jury Prize at Sundance and Norway’s entry as the Best Foreign Film of 2011. Also available on Blu-ray disc. Bonuses: Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.
LA JETEE/SANS SOLEIL (Criterion) French filmmaker Chris Marker seemed to create a new cinematic language in 1963 with his 27 minute short La Jetee, a black & white sci-fi tale dealing with time travel, true love and political assassination told entirely with still photos and a single narrator. Hugely influential to this day, most notably as the primary inspiration for Terry Gilliam’s 12 Monkeys, although the original is far superior. Sans Soleil, made in 1983, is a documentary (sort of) journey to Japan and Africa and has more in common with La Jetee than initially meets the eye. Bonuses: Interviews with Jean-Pierre Gorin; Video piece by Marker on filmmaker and artist Chris Drake; Featurettes; Short films by Marker. Also available on Blu-ray disc. Widescreen. Dolby 1.0 mono.
THE BIG YEAR (20th Century Fox) Three amateur bird watchers (Steve Martin, Owen Wilson, Jack Black) in different phases of life come together to watch their feathered friends’ migration across the country over the course of a calendar year. Those expecting big yucks from this trifecta of broad comedy are sure to be disappointed by this genial, but low-key offering that’s almost sleepy in its glacial pace and comedic sensibility. The three leads are serviceable, but almost seem to cancel each other out in every scene they share. Lovely Rosamund Pike comes off best as Wilson’s frustrated wife. A real oddity, not without its good points, but it sure could have used more. Also available on Blu-ray disc. Bonuses: Theatrical and extended cut; Featurettes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
UNDOCUMENTED (IFC Films) An amateur filmmaker (Scott Mechlowitz) and his crew decide to chronicle the plight of illegal immigrants who cross the U.S. border from Mexico. When they make the journey, they find themselves captures by a group of right wing fanatics who are determined to carry out their own brand of vigilante justice. Tough, uncompromising horror film offers a blend of unflinching violence, pointed social commentary and black humor that makes it a first cousin to Kevin Smith’s excellent Red State. Bonuses: Commentary by cast and crew; Alternate opening; Teaser and trailer. Widescreen. Dolby 5.1 surround.
WHAT DO YOU SAY TO A NAKED LADY? (MGM/Fox) TV icon Allen Funt, who became a household staple with his long-running series “Candid Camera,” took his hidden lens antics to another level with this film, shot in 1969 and released in ’70, in which unsuspecting people are put in a variety of embarrassing situations with people in states of undress. Rated X upon its initial release, this is a fascinating time capsule and social document about changing manners and morays when the U.S. was at the peak of its social upheaval. Fascinating, hilarious and still provocative forty years later! Widescreen. Dolby 1.0 mono.
A SMALL TOWN IN TEXAS (MGM/Fox) Timothy Bottoms stars as a numbskull twenty-something who is released from a prison stint for marijuana possession, and returns to his tiny hamlet to retrieve his girlfriend (Susan George) and their small town, unwittingly discovering that she has taken up with the very cop (Bo Hopkins) who arrested him. B-movie auteur Jack Starrett helmed this melodrama, which is really an excuse for a series of car chases and crashes, de rigeur for this kind of fare in 1976. Film is just OK, due largely to Bottoms’ character being so unlikable and the lack of chemistry between him and George. Hopkins is terrific, as always. Widescreen. Dolby 1.0 mono.
OPPOSING FORCE aka HELL CAMP (MGM/Fox) A military experiment designed to simulate POW torture conditions goes horribly awry when the commanding officer (Anthony Zerbe) starts taking the simulation seriously, focusing his attention on a comely female soldier (Lisa Eichorn) in particular. God-awful micro-budget exercise wastes a fine cast (Tom Skerritt, Eichorn, Zerbe, Richard Roundtree), although the sight of lovely Eichorn in the buff is sure to stir some interest in male viewers. Widescreen. Dolby 2.0 mono.
SOMETHING WILD (MGM/Fox) Carroll Baker stars as a young woman who is raped after moving out on her own, who finds what might be redemption with a kind-hearted mechanic (Ralph Meeker). Tough piece of social realism from 1961 was quite frank for its time and only suffers from feeling overly earnest at points today. Meeker and Baker are both excellent, as are Jean Stapleton, Mildred Dunnock and Clifton James in early turns. Co-written and directed by Baker’s then-husband Jack Garfein. Widescreen. Dolby 1.0 mono.
GETTING IT RIGHT (MGM/Fox) Randal Kleiser directed this adaptation of Elizabeth Jane Howard’s novel about a 31 year-old virgin (Jesse Birdsall) who suddenly finds himself pursued by three very attractive women, each offering a very different relationship and future in the process. Endearing comedy of manners features a terrific cast of British legends, including Helena Bonham Carter, Peter Cook, John Gielgud, Jane Horrocks and Lynn Redgrave. Widescreen. Dolby 2.0 mono.
THE MANCHU EAGLE MURDER CAPER MYSTERY (MGM/Fox) Utterly bizarre little camp outing from 1975 where a trailer park denizen (Gabriel Dell), who moonlights as a private eye, attempts to solve the murder by bow and arrow of a local milkman, who was also a philanderer and animal fetishist. Sound strange? It only gets weirder…Truly an artifact of its time, this must have generated some big guffaws between bong hits back in the day. Today, it lives on as a supremely curious oddity, which some may find a hidden gem. Also stars Will Geer, Anjanette Comer, Joyce Van Patten, Vincent Gardenia and Barbara Harris. Widescreen. Dolby 2.0 mono.
THE BED SITTING ROOM (MGM/Fox) After making three seminal films of the sixties: A Hard Day’s Night, Help! and Petulia, director Richard Lester directed this adaptation of Spike Milligan and John Antrobus’ satirical play about varied denizens of post-nuclear London. Series of comic sketches are held together by a remarkable cast, including Peter Cook, Dudley Moore, Rita Tushingham, and Ralph Richardson among others. Terrific production design by Assheton Gorton and cinematography by David Watkin, give this film a terrific, dystopian look. Very funny, underrated film won’t be to all tastes, but fans of the absurd should find it a treat. Widescreen. Dolby 2.0 mono.
BELLE DE JOUR (Criterion) Catherine Deneuve became an indelible sexual and cinematic icon in Luis Bunuel’s deft satire about a bored Parisian housewife who moonlights as a prostitute in an upscale brothel. Surreal, erotic and bitingly funny, one of the sixties’ greatest films, and certainly Bunuel’s finest hour behind the camera. Fine support from Jean Sorel, Macha Meril, Michel Piccoli and Francisco Rabal. Also available on Blu-ray disc. Bonuses: Commentary by author Michael Wood; Featurettes; Interview with screenwriter Jean-Claude Carriere; Archival interviews with Carrier and Deneuve; Trailers. Widescreen. Dolby 1.0 mono.
THE COAST GUARD (Palisades Tartan) Dynamite action epic from Korea tells the story of Private Kang (Jang Dong-kun) who monitors a stretch of Korean coast lined with barbed wire, cutting of the south from their sworn enemies in the north. When he accidentally shoots a couple he mistakes for spies, he is hailed as a hero, but finds his sanity slipping as he realizes his mistake. Tough and uncompromising, more evidence of the great work that Korean filmmakers have been producing over the last decade. Also available on Blu-ray disc. Bonuses: Commentary by filmmakers; Featurettes and interviews; Music video; Photo gallery; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
TEXAS KILLING FIELDS (Anchor Bay) Two detectives (Sam Worthington and Jeffrey Dean Morgan) track a vicious serial killer who dumps his victims’ bodies in a boggy marshland nicknamed “the killing fields” by locals. Written and directed by Ami Canaan Mann (daughter of producer Michael Mann), the film features some great action set pieces, but also suffers from A.D.D. in its lack of focus. A superb cast (Jessica Chastain, Chloe Grace Moretz, Sheryl Lee, Stephen Graham) is scattered amongst this scattershot production, but even they can’t seem to give it the glue it needs. Too bad, as there is a great movie lost in the mess. Also available on Blu-ray disc. Bonuses: Commentary by Mann and writer Donald F. Ferrarone. Widescreen. Dolby 5.1 and TrueHD 7.1 surround.
DEAD HOOKER IN A TRUNK (IFC Films) Initially produced as a fake trailer for Robert Rodriguez’s Grindhouse Festival, this micro-budget effort from Canadian sisters Jen and Sylvia Soska is a tongue-in-cheek homage to the grimiest of grindhouse fare. Homages to filmmakers like Rodriguez and Quentin Tarantino abound in this tale of four friends who, in the course of a normal day, find a dead hooker in the trunk of their car. Don’t think too hard as you watch, just enjoy the gleeful mayhem. Bonuses: Deleted and alternate scenes; Featurettes; Trailer. Widescreen. Dolby 5.1 surround.
THE MOMENT OF TRUTH (Criterion) Director Francesco Rosi’s neo-realist drama from 1965 takes a first-person POV of a bullfighter (played by real toreador Miguel Mateo)’s rise and fall in and out of the ring. You can practically smell the blood, sweat and tears as Rosi’s camera plunges you into the visceral world (and peasant struggles under the iron thumb of Spain’s Gen. Francisco Franco) of the bullfighter known as Miguelin. A true masterpiece. Also available on Blu-ray disc. Bonuses: Interview with Rosi from 2004. Widescreen. Dolby 1.0 mono.
GODZILLA (Criterion) The granddaddy of all sci-fi monster movies, this effort from Japan’s venerable Toho Studios . A giant lizard, the product of nuclear radiation and able to melt cityscapes with his radioactive breath, terrorizes post-war Tokyo and its denizens. Made by director Ishiro Honda in 1954, just nine years after two atomic bombs were dropped on Japanese soil, the original version of Godzilla is a sobering picture indeed, full of dark, melancholy subtext that is mostly missing from the Americanized 1956 release, featuring new footage starring Raymond Burr (both versions are included here). Watch both for a fascinating lesson in history and cultural sociology. Also available on Blu-ray disc. Bonuses: Commentary by film historian David Kalat; Interviews with surviving cast and crew members; Featurettes; Illustrated audio essay; Trailers. Widescreen. Dolby 1.0 mono.
OCEAN HEAVEN (Well Go USA) Jet Li stars in this tale of an aquarium worker who leads a contended life with his adult autistic son. When Li learns that he suffers from a terminal illness, his character must embark on a quest that will insure his son will be cared for after his death. Rare non-action/martial arts role for Li proves that he holds his own very well as a straight dramatic actor in this touching drama. Bonuses: Featurette; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
YAKUZA WEAPON (Well Go USA) This insane, over-the-top, crank it up to 11 action thriller can be summed up by summarizing one scene in which a long-suffering girlfriend asks our hero “Don’t you ever die?” Film bears greater resemblance to a video game than actual cinema, with a micro-thin plot to match, but fans of this type of A.D.D./H.D. genre should find themselves pleased. Others, beware…Also available on Blu-ray disc. Bonuses: Featurettes; Deleted scenes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
A VERY HAROLD & KUMAR CHRISTMAS (Warner Bros.) Everyone’s favorite stoner duo (John Cho and Kal Penn) return in the third (and hopefully not final) chapter of their pot-fueled shenanigans, in which the pals have a scant few hours to replace the beautiful Christmas tree supplied by Harold’s fearsome father-in-law (Danny Trejo, hilarious) , which they burn down with their holiday weed stash. The following frenetic odyssey would make Homer’s head explode in the best possible way as the boys encounter the most hallucinatory holiday images in recent memory. Neil Patrick Harris reprises his role as…Neil Patrick Harris. Great fun. Also available on Blu-ray disc. Bonuses: R-rated and unrated extended cut; Featurettes; Deleted scenes; Trailers. Widescreen. Dolby and DTS-HD 5.1 surround.
AGE OF HEROES (eOne) Sean Bean stars in this WW II action pic about a group of newly-formed commandoes who parachute into occupied Norway to steal radar technology vital to the Allies, with the Third Reich’s notorious Alpine Division standing in their way. Dead on arrival from start-to-finish, what should have been a rousing, Alistair MacLean-style blood and thunder adventure is instead a stilted waste of two hours. Even Bean’s formidable charisma can’t save this one. Also available on Blu-ray disc. Bonuses: Featurettes; Bloopers; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
THE SCARLET WORM (Unearthed Films/MVD) A hired gun named Print (Aaron Stielstra) is contracted to kill a sadistic brothel owner (Dan van Husen) who performs sadistic abortions on his girls, and must train his latest protégée at the same time. Micro-budgeted but skillfully-made film pays homage to the grit and violence of Sam Peckinpah and the elegiac westerns of Anthony Mann. A must-see for western fans, particularly of the revisionist variety. Bonuses: Commentary by cast and crew; Featurettes; Trailers. Widescreen. Dolby 2.0 mono.
IN TIME (20th Century Fox) Writer/director Andrew Niccol, a modern auteur of sorts whose intelligent sci-fi efforts have included The Truman Show, Gattaca and S1m0ne, offers this latest tale of a future society where the monetary system has been replaced with time, as opposed to hard currency. Justin Timberlake stars as a lad from the wrong side of the tracks who suddenly finds himself bequeathed with a century of extra life when a he saves the life of a “wealthy” man, and is summarily hunted down by various forces who want the extra time for themselves. Intriguing premise is brimming with cleverness throughout, and loaded with subtext referring to contemporary issues. All that’s missing is a coherent story to hold all the great ideas together. Timberlake is fine, as are Cillian Murphy, Amanda Seyfried, Olivia Wilde and “Mad Men” star Vincent Kartheiser. One nice touch Niccol uses is shooting the entire film on found locations in and around L.A. and Century City, giving the film an authentic feel. Also available on Blu-ray disc. Bonuses: Deleted/extended scenes; Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.
THREE OUTLAW SAMURAI (Criterion) Director Hideo Gosha’s debut film is a classic of the chanbara (sword-fighting) genre. An origin-story offshoot of a popular television series of the same name, this 1964 release tells the story of a wandering, world-weary samurai (Tetsuro Tamba) who gets mixed up in the bloody business of two fellow ronin hired to execute a group of bandits that have kidnapped the daughter of a corrupt magistrate. Thrilling action sequences and expert direction. Also available on Blu-ray disc. Bonuses: Trailer. Widescreen. Dolby 1.0 mono.
TINY FURNITURE (Criterion) Director Lena Dunham’s tale, in which she also stars, of a 24 year-old film school grad who returns to her Greenwich Village home where her mother and sister live, and tries to figure out her future. This darling of the indie film scene made a big splash upon its 2010 release and your opinion of it will depend on your tolerance of, and relation to, the Mumblecore/Slacker subculture. Yours truly wanted to claw his eyes out after spending twenty minutes with these aimless hipster douchebags. Then again, watch and judge for yourself…Also available on Blu-ray disc. Bonuses: Interview with Dunham; Interview with writer/director Paul Schrader; Creative Nonfiction, Dunham’s first film; Four shorts by Dunham; Trailer. Widescreen. Dolby and DTS-HD 5.1 surround.


BLU BAYOU

MGM/Fox leads the pack this month with a slew of classic arriving on Blu. First, are two Woody Allen classics: ANNIE HALL is Allen’s Oscar-winning tale of true love between two neurotics (Allen and Diane Keaton) who can’t keep their romance alive between two coasts and their own deep-seeded narcissism. One of the greatest comic love stories ever filmed, winner of four Oscars, including Best Picture of 1977. Fine support from Tony Roberts, Paul Simon and watch for Sigourney Weaver in long shot at the film’s end. Nearly in the same league is Allen’s 1979 MANHATTAN, in which Allen’s tortured neurotic writer must choose between unconditional love with a precocious teenager (Mariel Hemingway) and a nasty harridan (Keaton). Gorgeously shot by Gordon Willis in black & white, scored with the evocative music of George Gershwin. Terrific supporting cast includes Michael Murphy, Meryl Streep, and Anne Byrne. There are scant bonus features on these discs, save for theatrical trailers, but seeing these classics in Hi-Def for the first time is bonus enough. Both are widescreen, DTS-HD 2.0 mono.
Billy Wilder’s THE APARTMENT won five 1960 Oscars, including Best Picture. Jack Lemmon stars C.C. Baxter, a corporate flunky whose only means of rising up the ladder is to lend his apartment out to his superiors for extra-marital flings. When the president of the company (Fred MacMurray) unceremoniously dumps his mistress (Shirley MacLaine), Baxter finds himself falling hard for her, and questioning his own lifestyle. One of the greatest satires ever made, beautifully shot, with great support from Ray Walston and Edie Adams. Bonuses: Commentary from film historian and producer Bruce Block; Featurettes; Trailer. Widescreen. DTS-HD 2.0 mono.

Three of Alfred Hitchcock’s early classics arrive on BD: NOTORIOUS stars Cary Grant as an American intelligence agents who recruits a woman (Ingrid Bergman) to infiltrate a Nazi spy ring in Rio, led by an oily playboy (Claude Rains, brilliant). One of Hitchcock’s best, and one of the screen’s great romantic pairings. Bonuses: Commentary with USC film professors Rick Jewell and Drew Casper; Isolated Music and Effects Track; 1948 Radio Play Starring Joseph Cotten and Ingrid Bergman; Featurettes; Hitchcock Audio Interviews; Restoration Comparison; Original Theatrical Trailer. REBECCA is an adaptation of Daphne Du Maurier’s classic novel, starring Laurence Olivier as widower Maxim de Winter, who brings his shy, young bride (Joan Fontaine) home to his imposing estate, Manderley. But the new Mrs. de Winter finds her married life dominated by the sinister, almost spectral influence of Maxim’s late wife: the brilliant, ravishingly beautiful Rebecca, who, she suspects, still rules both Manderley and Maxim from beyond the grave. Bonuses: Commentary with Film Critic Richard Schickel; Isolated Music and Effects Track; Featurettes; Screen Tests; Radio Plays; Hitchcock Audio Interviews; Original Theatrical Trailer. SPELLBOUND again stars Bergman, here playing a brilliant, but repressed psychiatrist who finds herself falling for a fellow doctor (Gregory Peck). When she realizes that her new beau is actually an amnesiac imposter, and possibly a cold-blooded killer, she attempts to unlock the dark secrets of his mind. Another masterpiece, featuring a brief color sequence that is still breathtaking. Bonuses: Commentary with Author and Film Professor Thomas Schatz & Film Professor Charles Ramirez Berg; Featurettes; 1948 Radio Play; Hitchcock Audio Interview; Original Theatrical Trailer. All are full screen, DTS-HD 1.0 mono.

SID & NANCY is director Alex Cox’s bleak and brutal tale of the doomed love affair between Sex Pistols bassist Sid Vicious (Gary Oldman, in his star-making turn) and junkie groupie Nancy Spungen (Chloe Webb, brilliant as one of the most repellent characters in film history). Both a flawless portrait of late ‘70s Britain the punk era and a riveting portrait of self-destruction, one of the 1980s’ best films. Beautifully-shot by Roger Deakins. Bonuses: Featurettes; Trailer Widescreen. DTS-HD 5.1 surround.

Blue Underground releases two new classic horror titles. BABA YAGA is a surrealistic, erotic oddity from director Corrado Farina from 1973, based on the adult comic book Valentia, by Guido Crepax. Carroll Baker stars as a mysterious sorceress who casts a spell over a young fashion photographer (Isabelle De Funes) and draws Milan’s most beautiful models into a nightmarish world. Exploitative to be sure, but also done with artful skill, not to mention the scantily-clad presence of Europe’s most beautiful models of the day. Bonuses: Interviews with Farnia; Featurettes; Deleted and censored scenes; Trailer; Poster and still gallery; Comic book to film comparison. Widescreen. DTS-HD 2.0 mono. NIGHT TRAIN MURDERS is a rip-off, of sorts, of Wes Craven’s Last House on the Left (itself a rip-off of Ingmar Bergman’s The Virgin Spring), in which two young girls (Irene Miracle and Marina Berti) are savaged on a train by two thugs, acting under the behest of a depraved society woman (the grossly underrated Macha Meril). Not a good movie by any means, but beautifully filmed and quite atmospheric at times, thanks to Gabor Pogany’s (Two Women) moody cinematography. Bonuses: Interview with co-writer/director Aldo Lado; Trailers and radio spots; Poster and still gallery. Widescreen. DTS-HD 2.0 mono.

Criterion releases a BD edition of Steven Soderbergh’s Oscar-winning TRAFFIC, from 2000. Less a remake as a reimagining of the British mini-series “Traffik,” which shows how the drug trade proliferates in North America by following four disparate, yet interconnected, storylines: the life of a newly-appointed federal drug czar (Michael Douglas), a West Coast kingpin’s wife (Catherine Zeta Jones), a key informant (Clifton Collins, Jr.) and a Mexican police officer (Benicio Del Toro) with a crisis of conscience. Absolutely riveting from start to finish. Soderbergh’s finest hour as a filmmaker yet. Bonuses: Three audio commentaries from cast and crew; 25 deleted scenes with optional commentary; Featurettes; Trailers and TV spots. Widescreen. DTS-HD 5.1 surround.

Cinema Libre Studio releases Jean-Jacques Beineix’s THE MOON IN THE GUTTER, starring Gerard Depardieu and Nastassja Kinski as lovers caught up in a web of deceit and self-destruction after the rape and suicide of Depardieu’s sister. Moody, erotic and esoteric in the extreme, the film was excoriated by critics upon its release in 1984, but has come to be viewed, correctly, as an unheralded work by a major director. The color palate really pops in Blu! Bonuses: “Mr. Michel’s Dog,” Beineix’s first film; Interview with Beineix; Photo gallery. Widescreen. Dolby 2.0 stereo.

Disney releases their 1992 hit THE ROCKETEER in a 20th anniversary edition. Bill Campbell stars in director Joe Johnston’s tale of a test pilot in pre-WW II L.A. who discovers a top secret jet pack, then finds himself on the run with his best gal (Jennifer Connelly) from a host of villainous scum, led by movie star and Nazi spy Timothy Dalton. Great fun, and beautifully pays homage to the Saturday morning serials of the ‘30s and ‘40s that were the precursor to television. Widescreen. DTS-HD 5.1 surround.

Touchstone releases two Robin Williams hits from the 1980s: GOOD MORNING, VIETNAM features Williams under the guidance of Barry Levinson as a left-of-center disc jockey in wartime Saigon who finds his first amendment rights being quashed by the military brass, particularly after he begins reporting less-than-flattering facts about the American effort in the war. Terrific period soundtrack just enhances the proceedings. Nice support from Forest Whittaker, J.T. Walsh, Bruno Kirby. Bonuses: Featurettes; Raw monologues; Trailer and teaser. DEAD POETS SOCIETY allowed Williams to venture into more dramatic territory under the watchful eye of director Peter Weir. Another period piece, this time set in a 1950s East Coast prep school, with Williams as an unconventional English instructor who encourages his young charges to break from the crowd and think for themselves. Terrific young cast of stars-to-be includes Ethan Hawke, Robert Sean Leonard, Josh Charles, Melora Walters and Alexandra Powers. Bonuses: Interviews with cast and crew; Raw takes; Featurettes; Commentary by Weir, cinematographer John Seale, screenwriter Tom Schulman; Trailer. Widescreen. DTS-HD 5.1 surround.



DON’T TOUCH THAT DIAL!

20th Century Fox unleashes FUTURAMA VOLUME 6 is a two-disc set of the wild and zany animated series’ sixth season, the brainchild of “The Simpsons” creator Matt Groening. This season deals with disparate subjects from time travel, to self-replication, covert missions, alien eggs and lots of robot roughhousing. Great fun and highly inventive. Also available on Blu-ray disc. Bonuses: Commentary by cast and crew; Featurettes; Deleted scenes. Widescreen. Dolby and DTS-HD 5.1 surround.
ARCHER: THE COMPLETE SEASON TWO features more bawdy animated antics from the world’s most debonair, elusive and utterly inept superspy—a sort of “special needs” James Bond, if you will. Watch as Archer and his much smarter, much badder-ass cohorts from ISIS battle evildoers the world over, with hilarious results. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-HD 5.1 surround.

IFC releases PORTLANDIA: SEASON ONE, the hilarious satire starring Fred Armisen and Carrie Brownstein about annoying hipsters populating Portland, OR. Sketch-based show has one hilarious black out segment after the next, from feminist book stores, to militant bike messengers, to organic farmers; no target is too sacred for the barbed brilliance of “Portlandia.” Also available on Blu-ray disc. Bonuses: Blooper reel; Extended and deleted scenes; Season two preview; Featurettes; Commentary by Armisen, Brownstein and Jonathan Krisel. Widescreen. Dolby 5.1 surround.
THE INCREASINGLY POOR DECISIONS OF TODD MARGARET: SERIES ONE stars David Cross as an office temp who lies his way into becoming UK sales director for an energy drink company based in North Korea, despite not knowing the first thing about England, or sales. Hilarious comedy of errors is a perfect vehicle for the earnest, deadpan humor that Cross specializes in. Co-starring Blake Harrison and Sharon Horgan. Bonuses: Commentary by cast and crew; Extended version of premiere episode; Featurettes; Bloopers; Deleted scenes. Widescreen. Dolby 5.1 surround.

History Channel/A&E releases STORAGE WARS: VOLUME TWO, follows the continuing adventures of fast-talking auctioneers Dan and Laura Dotson and the loyal bidders that frequent their storage unit sales. Improbable entertainment concept is actually very addictive, thanks in large part to the show’s canny, fly-on-the-wall study of human nature, particularly the emotion of greed. Full screen. Dolby 2.0 stereo.
FROZEN WORLD: THE STORY OF THE ICE AGE is a collection of four television specials that examines a different aspect of the Ice Age: “Clash of the Cavemen” looks at the Neanderthals versus the Cro-Magnons, “Volcanic Winter” goes back 75,000 years to trace the impact of a volcanic eruption, “Journey to 10,000 BC tells the true story of life on earth during the first environmental crisis known to man, and “Mega Freeze” looks at if an Ice Age could happen again. Full screen. Dolby 2.0 stereo.
ANCIENT ALIENS: SEASON THREE is a four-disc set exploring the Ancient Astronaut Theory that our planet may have been visited, and experimented upon, by otherworldly visitors millions of years ago. Each episode delves into fantastic theories bolstered by science fact and evidence that will likely shock the most jaded viewer. Full screen. Dolby 2.0 stereo.
WWII IN 3D offers the war’s most dramatic moments remastered in hi-def on Blu-ray that were captured in 3D with stereographs and then put away in secret archives and attics, until now! Stunning collection of color 3D photos includes Allied reconnaissance photos, images of the rise and fall of Nazi Germany, and images of occupied France. Also featured is a 3D color film shot by the Nazis in 1943. Amazing stuff, particularly for WWII aficionados. Full screen. Dolby 5.1 surround.
KING ARTHUR AND MEDIEVAL BRITAIN is a two-disc set featuring five episodes dealing with the Arthurian legend: “Quest for King Arthur,” “King Arthur: His Life and Legends,” “Ancient Mysteries: Camelot,” “Knights and Armor,” and “Quest for the Holy Grail.” Sumptuously photographed and a must-see for King Arthur fans. Full screen. Dolby 2.0 stereo.
ELUSIVE JUSTICE: THE SEARCH FOR NAZI WAR CRIMINALS takes a look at the worldwide hunt, spearheaded by Israeli Intelligence, to track down some of the Nazi party’s most powerful members, who fled Europe, finding refuge primarily in Latin America, and how these elusive criminals were hunted down one-by-one and (mostly) brought to justice. Narrated by Candice Bergen. Widescreen. Dolby 2.0 stereo.
DOWNTON ABBEY: SEASON 2 The hits from across the Pond that has taken the colonies by storm returns for a second season, with WW II in full swing with the denizens of grand manor house Downton Abbey each affected differently by the storm sweeping across Europe. The intertwined lives of the Crawley family and their servants make up the drama of this magnificent series, the finest portrait of the British class system since the hit “Upstairs, Downstairs” from the 1970s (and to which this show is most often compared). Dame Maggie Smith, Hugh Bonneville and Elizabeth McGovern head the fine cast, which also features fine work from Maria Doyle Kennedy, Iain Glen and Zoe Boyle. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby 2.0 stereo.
AMERICAN IN PRIMETIME takes an in-depth look at television’s creative process, from the archetypical characters that have populated the airwaves from the early days of the 1950s to the present, featuring interviews with some of the biggest names in the biz, including Norman Lear, David Chase, Shonda Rimes, Bryan Cranston, Alec Baldwin, Felicity Huffman, Mike Judge. Judd Apatow and David Simon. Also available on Blu-ray disc. Widescreen. Dolby 2.0 stereo.
ICEMAN MURDER MYSTERY is a “Nova” special that takes a look at a primitive human, over 5,000 years old, whose mummified corpse was pulled from a glacier in the Italian Alps two decades ago. After a careful examination, it was determined that “Otzi the Iceman” was, in fact, murdered. Fascinating look at the coldest of cold cases and how scientists use modern forensic techniques to solve a prehistoric mystery. Widescreen. Dolby 2.0 stereo.
UNDERGROUND RAILROAD: THE WILLIAM STILL STORY tells the story of the Underground Railroad’s unheralded hero, who helped hundreds of slaves escape into Canada, all of which is backed up with data from the meticulous records Still kept during his time running the Philadelphia “station” of the railroad. Fascinating documentary about a true American hero. Widescreen. Dolby 2.0 stereo.


DOCUMENTARY DAYS

Criterion/Eclipse releases THREE POPULAR FILMS BY JEAN-PIERRE GORIN, one of the seminal figures of the French New Wave, known for his collaborations with Jean-Luc Godard and the Dziga Vertov Group went onto make a name for himself as the helmer of three unconventional documentaries produced between 1980 and 1992. POTO AND CABENGO examines twin sisters born to a working class couple whose unique communication style was thought to have been a private language, and one of the first recorded examples of the “twin speak” phenomenon. ROUTINE PLEASURES takes a look at model train enthusiasts and the work of critic and painter Manny Farber. MY CRASY LIFE blends scripted drama and documentary realism in this study of Samoan street gangs who roam the mean streets of Long Beach, CA. Gorin seems quite intent on making strong sociological statements in his work, particularly in regards to social class and its very real (albeit largely unacknowledged) presence in American life. That said, some of his voice-over narration, particularly in Poto, becomes grating and at times downright contemptuous of his subjects. Once you get past this bump, however, all three films are unique and ultimately rewarding works. All are full screen, Dolby 1.0 mono.

Magnolia releases LIMELIGHT, from the makers of the hit doc Cocaine Cowboys, about the rise and fall of New York’s greatest nightclub empire and the man who ran them—Peter Gatien. Plays like a documentary version of Goodfellas or “The Sopranos” with tales of mob hits, double-crosses and illegal activity on a grand scale. As riveting and dramatic as any fictional crime tale, just dynamite. Bonuses: Deleted scenes; Trailer. Widescreen. Dolby 5.1 surround.

Lionsgate releases PROJECT NIM, from the Oscar-winning team that made Man on Wire, this time examining the life of a chimpanzee named Nim who became the focus of a landmark experiment in the 1970s when he was taken out of his natural primate habitat and raised like a human child. Unflinching and unsentimental look at nature vs. nurture and all the gray areas in between. Bonuses: Commentary by director James Marsh; Featurettes; Trailer. Widescreen. Dolby 5.1 surround.

Cinema Libre Studio releases ETHOS: A TIME FOR CHANGE, a sobering doc hosted by Woody Harrelson that lifts the lid on a host of systemic issues that would seem to almost guarantee failure in every aspect of our lives: from environment, to our democracy, to personal liberty. Interviews with some of the greatest progressive thinkers of the day, including Noam Chomsky, Chalmers Johnson, Michael Moore and Howard Zinn. Full screen. Dolby 2.0 mono.

THE FORGOTTEN BOMB: THE TRUE STORY OF NUCLEAR WEAPONS takes a globe-trotting look at the various perspectives on nuclear weapons, and the impact they have had since the first atomic bomb was dropped on Japan in 1945. Featuring interviews with former U.S. Secretary of State George Schultz, authors Gar Alperovitz and Jonathan Schell, Japanese bomb survivors and many others, the film is a powerful exploration about preconceptions of nuclear weapons and their history. Full screen. Dolby 2.0 mono.

VSC releases COLIN QUINN: LONG STORY SHORT, a record of the verbose comic (best known as the former anchor of “SNL”’s “Weekend Update”)’s Broadway show, directed by none other than Jerry Seinfeld. From his impersonation of Caesar as the original Mafioso to his complaints about ancient Greece and Antigone giving way to Costco and Snooki, Quinn shows himself to be at his satirical best with this gem. Bonuses: Commentary by Quinn and Seinfeld; Featurettes. Widescreen. Dolby 2.0 stereo.

Vivendi releases GREATEST SUPER BOWL MOMENTS featuring all the highlights from Super Bowls I-XLV on one DVD. Relive Joe Namath’s vanquishing of Baltimore, Lynn Swann’s levitating leap, Marcus Allen’s run to daylight, the late-game heroics of Tom Brady and the rise of the 2010 Super Bowl Champion Green Bay Packers. Bonuses: Featurettes. Widescreen. Dolby 2.0 mono.
TWO MINUTES TO GLORY is a compilation of the greatest end-of-game comebacks in the history of the NFL. Relive the drama on the sidelines with the players, coaches and fans and see that sometimes two minutes is all it takes. Bonuses: Featurettes. Widescreen. Dolby 2.0 mono.

MVD releases X: THE UNHEARD MUSIC, a terrific examination of the L.A.-based punk pioneers and their influence on a generation of music lovers and musicians, examining the American punk movement during the Regan era. Correctly hailed as “The Last Waltz of punk music documentaries,” by the Boston Globe, this silver anniversary edition of the landmark documentary has been beautifully remastered in HD and features interviews with band members John Doe, Exene Cervenka, Billy Zoom and DJ Bonebrake. Full screen. Dolby 5.1 surround.
Universal/Focus World releases BOMBAY BEACH, an examination of the decline of the Salton Sea, a California tourist hotspot during the 1950s era of American optimism, which became a victim of environmental decline and now stands mostly abandoned. Director Alma Ha’rel takes a look at Bombay Beach, a place where the American dream has faded, but where the dreams of those who have stayed are alive and well. Dreamlike and quite visionary in its presentation, buoyed by a soundtrack from Bob Dylan and Beirut. Bonuses: Select scene commentary; Deleted scenes; Featurettes. Widescreen. Dolby 5.1 surround.

RESURRECT DEAD: THE MYSTERY OF THE TOYNBEE TILES is director Jon Foy’s look at the hundreds of cryptic tiled messages that have been appearing on major city streets for over three decades in the U.S. and South America. Seen through the eyes of Justin Duerr, who has made it his life’s work to crack the mystery of these strange messages, film comes up with stunning hypotheses, and possibly answers, to what it all means. A real brain-twister and a compelling true-life mystery. Bonuses: Commentary by Foy; Tile gallery with commentary; Additional footage; Deleted scenes. Widescreen. Dolby 2.0 mono.


FOR THE WEE ONES

Shout Factory releases UNDERDOG: COMPLETE COLLECTOR’S EDITION, a 9-disc deluxe boxed set featuring all three seasons of the 1964-66 hit animated series about the intrepid canine superhero, his ongoing battle with arch-nemeses Simon Bar Sinister and Riff Raff, and his best gal, TV reporter Sweet Polly Purebred. Great fun abounds in this trip down memory lane, with an abundance of very sophisticated humor between the lines that was obviously made with adults in mind. Also features all the original shorts featured on the original shows, including “Go Go Gophers,” “Klondike Kat,” and “Commander McBragg.” Bonuses: Bonus cartoons; Featurettes; Commentary by series creators, voice actors, producers and animation historian Mark Arnold. Full screen. Dolby 2.0 mono.

Disney releases on onslaught of recent hits onto 3D Blu-ray combo packs (3D Blu-ray, Blu-ray, DVD and digital copies) that are also loaded with bonus features. The titles are: CARS 2, John Lasseter and Pixar’s follow-up to the original smash that finds Lightning McQueen (Luke Wilson) and tow truck Mater (Larry the Cable Guy) taking to the road to compete in the first World Grand Prix. Michael Caine is a hoot voicing a super suave British spymobile. PIRATES OF THE CARIBBEAN ON STRANGER TIDES adds another chapter to the ongoing saga of Captain Jack Sparrow (Johnny Depp) in a series that, quite frankly, jumped the cinematic shark after part II. Penelope Cruz adds nice scenery with Geoffrey Rush and Ian McShane chewing the scenery with aplomb. TIM BURTON’S A NIGHTMARE BEFORE CHRISTMAS is the eye-popping animated fable from one of the most unique minds in modern cinema. Relive the story of Pumpkin King Jack Skellington as he tries to spread the message of Christmas, unwittingly putting Santa Claus in danger as he does so. Family classic really pops in BD and 3D! TRON LEGACY takes place twenty years after the original, with Jeff Bridges reprising his role of Flynn, the world’s greatest video game designer, whose son must rescue his father from cyber-oblivion. Some nice eye candy, but we prefer the original (not to mention missing Cindy Morgan). THE LION KING retains its title as one of Disney’s greatest creations, the timeless epic tale of lion cub Simba who cannot wait to assume his mantle as King of the Beasts. Terrific animation is punctuated by the memorable, Oscar-winning score that still endures. BOLT tells the story of the biggest canine star in Hollywood. When he’s accidentally shipped to New York City, separated from his beloved co-star and owner, Penny, Bolt must find a way home. Lots of zany humor and heartfelt moments. GNOMEO & JULIET puts a spin on the William Shakespeare classic and sets the tale of star-crossed lovers in the world of garden gnomes. Funny, inventive and bolstered by a score from Sir Elton John. TANGLED presents a new twist on the Rapunzel fairy tale. Produced originally in 3D, the film features some of the format’s best usage since James Cameron reinvented it with Avatar. Finally, Disney’s classic BEAUTY AND THE BEAST arrives in splendid form, looking absolutely breathtaking in BD and even raises the bar slightly more in 3D. A must-have in every serious cinefile’s collection. Bonuses on all include: Deleted and alternate scenes; Music videos; Featurettes; Games; Sing-along mode; Bloopers and outtakes; Trailers, TV and radio spots. Widescreen. DTS-HD 7.1 and 5.1 surround, Dolby 5.1 surround.
Lionsgate releases SCOUT & FRIENDS NUMBER LAND a fun and informative way for the little ones to learn their numbers and counting skills in another release from LeapFrog learning. Bonuses: Sing-alongs; Curriculum commentary for parents; Music video. Full screen. Dolby 2.0 mono.

Warner Bros. releases two new Sesame Street titles: ELMO’S WORLD: FAVORITE THINGS! featuring Elmo and pals in lessons involving vocabulary, counting and friendship. IRON MONSTER AND SESAME HEROES features superhero-themed adventures starring the Sesame Street gang, where they teach math, problem solving and social skills. Great fun for kids and parents alike! Bonuses: Extra episodes. Full screen. Dolby 2.0 mono.

Scholastic/New Video releases WHY MOSQUITOES BUZZ IN PEOPLE’S EARS…AND MORE AFRICAN FOLK TALES, featuring five stories, from the title tale to “Hot Hippo,” “Not So Fast Songololo,” “The Village of Round and Square Houses,” and “Who’s in Rabbit’s House?” Narrated by James Earl Jones. Bonuses: Read-alongs. Full screen. Dolby 2.0 mono.
Paramount/Nickelodeon release SPONGEBOB’S FROZEN FACE-OFF, featuring seven winter-themed tales starring SpongeBob Squarepants and friends: “Frozen Face-Off,” “Accidents Will Happen,” “The Other Party,” “Drive-Thru,” “The Hot Shot,” “A Friendly Game,” and “Sentimental Game.” Bonuses: Extra episodes. Full screen. Dolby 2.0 stereo. DORA’S EASTER ADVENTURE features Dora the Explorer in an Easter-themed tale where she and Boots wait for a visit from the Easter Bunny and the egg hunt to end all egg hunts! Bonuses: Extra episodes. Full screen. Dolby 2.0 stereo.
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Tuesday, 31 January 2012

SEX AND THE SYMPHONY with Tenor Mario Frangoulis

Posted on 18:03 by Ratan


By Slavica Monczka,  Courtesy of Seductively French (www.SeductivelyFrench.com)

One look at operatic tenor Mario Frangoulis and it will be made perfectly clear to you why he has been referred to as the Sex and the Symphony of concert halls. However, there is so much more to Frangoulis than what meets the eye. First and foremost is his divine voice that has brought him to international stardom. With all this global fame, Frangoulis has also been a whole-hearted contributor to various charities around the world. Handsome, gifted, and compassionate, Frangoulis shares with me some of his passions and experiences. So if you haven’t fallen in love with him at first site (like myself), learn more from my interview with him.




“I loved to loose myself in neighboring areas, climbing trees and spending a lot of time on the rooftops, where I could ‘see the world’ and sing about it,” describes Frangoulis of his childhood in Greece. Raised by his aunt and uncle since the age of four, Frangoulis was exposed to classical music and encouraged to pursue his talents as, “they were the ones who took me to music school at the age of six, which was when I started taking violin lessons.”




Frangoulis has come a long way since that little fiddler on the roof. His talent, education and training has skyrocketed him to performances and experiences a starving artist could only dream of. Fluent in five languages, Frangoulis has performed in Les Miserables in London’s West End, The Phantom of the Opera after an invitation by Sir Andrew Lloyd himself, and trained with acclaimed tenor Alfred Kraus. In recent years, Frangoulis has collaborated with Vanessa Williams, Lara Fabian, Vittorio Grigolo, Placido Domingo, Jose Carreras, and pianist Jim Brickman just to name a few.

Frangoulis with Placido Domingo


“The real ‘calling’ happened when I was sixteen when I decided to be an actor and went to audition at the Guildhall School of Music and Drama in London,” Frangoulis recalls. “Acting is my favorite as it allows me to be all the different things I want to be,” and explaining how he loves the challenges of the metamorphosis of the roles that he plays. “The stage acts like a ‘catharsis,’ the washing out of your soul,” elaborates Frangoulis. “It is where you go to feel vulnerable and to expose yourself to hundreds, maybe thousands, of people. You learn more about yourself being on stage than being at the psychologist.” Much like an actual opera performance, romanticized and dramatic, Frangoulis states, “the stage, the lights, the audience help you ‘transform’ and elevate to another level of understanding of life itself.”

Frangoulis speaks with so much affection; I ask what is it that inspires him in life? “Talent inspires me, when I see it in others, it makes me ‘grow’ myself and makes me feel stronger and even more ambitious to succeed.” The hardworking humanitarian says “it is a great mission in my life to help others in need especially when those groups of people are children,” discloses Frangoulis, “they have a special place in my heart.” Involved in numerous charities, “the ones closest to me are the WCCCI (World Centers of Compassion for Children International) who create Cities of Peace and gives a home to children, and also the Horatio Alger Association of Distinguished Americans who provide need based scholarships.”

God-given talent may be what Frangoulis was born with (and good looks, if I haven’t already mentioned that once or twice), but it is not the end all, be all for Frangoulis. “It’s a good feeling to know that you have touched people’s lives. It makes you feel like your work is worthwhile. I would like people to remember me for my art, my music, and most of all have something to say for me as a human being. In many ways, that’s more important than anything else.”


Frangoulis now resides partially between New York and Athens, Greece. His latest album, Beautiful Things, released last December by Sony International, “gives a great message of love and hope to everyone ansense of understanding of the beauty that surrounds us,” describes Frangoulis. “We have to be able to recognize beauty no matter what the circumstances, whether we are going though difficult times or not.”

First stop on the tour schedule this year for Frangoulis and all of his “beautiful things,” will be Moscow, Russia. “It’s always a pleasure to perform in Russia because the level of artistry is very high and there are many Russian people I can call friends.” The admiration is mutual between Frangoulis and his Russian comrades explaining, “for two of my most important cds, Music of the Night (with the Novaya Opera and chorus conducted by Maestro Samoilov) and Passione – A Tribute to Mario Lanza (with the legendary Balalaika Orchestra ‘Ossipov’ and the exceptional Maestro Ponkin), I chose to work with Russian orchestras because of their high level of musicianship and dedication to their music.”

No need to journey far for you all here in the US as Frangoulis will soon be performing at several concert halls nationwide. Fall in love with Frangoulis and all the Beautiful Things he shares.

“You have to express the hopes of your soul, and that’s what my music is about. That is the number one thing I do. It’s simply about what it means to be human.” –Mario Frangoulis

www.MarioFrangoulis.com
www.wccci.org
www.horatioalger.com





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Saturday, 28 January 2012

Billy Bob Thornton: The Hollywood Interview

Posted on 21:11 by Ratan
Actor/Filmmaker/Musician Billy Bob Thornton.


BILLY BOB'S TRIPLE THREAT
By
Alex Simon


Editor’s Note: This article originally appeared in the November 2001 issue of Venice Magazine.

Few Hollywood insiders have lived the real-life Cinderella stories they often portray on-screen like Billy Bob Thornton has. Born in Hot Springs, Arkansas in 1955, Thornton's years of struggle on the fringes of Hollywood were finally rewarded when his writing/directing/starring labor of love, Sling Blade (1996) became the toast of the indie, and legit, film world, copping the Arkansas native a Best Original Screenplay Oscar for his efforts. From then on, Thornton's spot on Tinseltown's A-list was etched in cement that would have made the denizens of the concrete around Mann's Chinese theater jealous, delivering memorable starring and supporting turns in diverse films such as The Apostle, Primary Colors, A Simple Plan, Armageddon, and Pushing Tin, to name a few.

2000 also saw Thornton direct and produce an elegant, lyrical adaptation of Cormac McCarthy's novel All the Pretty Horses, and pen (with Tom Epperson) the supernatural thriller The Gift. As 2001 comes to a close, Thornton brings his talents to three distinctly different projects: Barry Levinson's Bandits, in which he plays the screen's most neurotic bank robber since Woody Allen bumbled through Take the Money and Run, The Coen Brothers' moody noir thriller The Man Who Wasn't There, as a stoic barber embroiled in a murder plot, and Marc Forster's Monster's Ball, a visceral masterpiece of a film that has Thornton sizzling the screen as a racist prison guard who finds his life coming apart at the seams. As if that weren't enough to have on one's plate, Billy Bob releases his first solo album this month, entitled Private Radio, a unique blend of country, blues and folk sung by Thornton in a voice described by Rolling Stone.com as "a cross between Leonard Cohen and Tom Petty. These preceding reasons alone are testament to Thornton's versatility and evidence that his status should be elevated from writer/actor/director/producer/musician to that of national treasure.

Billy Bob Thornton sat down with Venice recently over a plate of freshly-sliced papaya to discuss his newest films, the greatness of High Noon, and the beauty of keeping it simple.

We have a lot to talk about. Let's start with Barry Levinson, your director on Bandits.
Billy Bob Thornton: Barry is, first of all, just a great guy, probably the funniest human being I've ever met. We could hardly wait for him to say "Cut" so he could tell us another story. Plus, he's very intuitive. You can real feel him with you while you're doing the scene, and that makes all the difference in the world for an actor, especially if you're doing comedy. I've been pretty fortunate in my career to work with, for the most part, some pretty amazing directors.

Even early on, when you were just doing small parts, you worked with some heavyweights.
Oh yeah, I worked with Taylor Hackford (Blood In, Blood Out), Adrian Lyne (Indecent Proposal). I tell you what I really loved about Taylor, is that he's a music guy, like I am. We hit it off right away because of our mutual love of music. Any time someone's musical, we always hit it off. Bruce Willis is very musical and during the Bandits shoot he would play for the crew a lot of times. That was great. Bruce loves music and does a lot of recording in his home studio, just like I do.

Is that where you cut Private Radio?
Yeah, the whole thing. We mixed at A&M on the radar system, which is where you use all the modern technology, but it still sounds stripped-down, like analog.

You mentioned Bruce Willis earlier. You guys had a great chemistry on-screen.
Yeah, we actually already knew each other. We've been friends for several years. He's the sort of guy that's always been there for me, and I've never forgotten that. In terms of hanging out together, I don't really "hang out," so to speak. I have friends and I'll see them over at their house or if they come over to mine. I'm not a partyer. I don't like going to premieres, and haven't even been to the premieres of all the movies I've been in. I don't like going out to big functions just because that atmosphere makes me uncomfortable. Sometimes you have to go, and when I do, once I'm there I'm usually okay. It's like flying. I don't like to fly, but once I'm on the plane I'm fine. But not before.

Did you guys improv a lot? The whole film had a very naturalistic quality.
We did some. Harley Peyton is such a great writer that we didn't really want to stray too far from the script. But Bruce and I have always found it really easy to sort of riff with one another. Cate (Blanchett) is the same way. Cate's my buddy, so we work real well together. We've been friends since Pushing Tin, and Cate's just one of the coolest people on the planet. When you get to make movies with friends like them and work with a director like Barry, it doesn't get too much better than that.

Tell us about The Man Who Wasn't There, and the Coens.
Once again, it was an honor just to work for them. I'd always wanted to and we'd spoken about it before. When I was nominated for A Simple Plan and they were nominated for Fargo, they sat behind me at the awards show and we got to talking, and every time we saw each other after that, we'd always say "You know, this would be a perfect fit." But part of their genius is that they bide their time. They know when it's the right time and the right part. And this was it. It's one of my favorite parts I've ever played. It's one of the hardest parts I've played, because there wasn't a lot of dialogue to work with.

Do the Coens give a lot of direction or do they leave you alone?
They kind of cast the right person for the part and then love it if you come up with something on your own. Again, they're such good writers, you don't want to digress too much from the script. I did come up with little things that we put into my character. For example, if you look closely at (my character) Ed Crane in the movie, you'll see that he's always doing this little nod. We started calling it the "Ed nod." And that became part of their direction. "I think at the end of the scene it might be time for an Ed nod." That kind of thing.

Let's talk about your background. You grew up in Arkansas.
I was born in Hot Springs but grew up in a little town of about 110 people up in the mountains. We lived in my grandmother's house, which is kind of common among poorer southern families. Close-knit families. I remember when we were really little, we didn't have running water or electricity. I tell my friends that and they laugh: "Billy Bob, you're describing the 19th century, that's impossible." But they don't understand that in the rural south, there are areas where when it's night time, it's pitch black because there's no lights! I mean, we weren't like Lil' Abner, or shit like that, (laughs) but we didn't have much.

Your parents sound like a real study in contrasts: your father was a high school basketball coach and your mom was the town psychic.
Yeah, dad was a hot-headed little Irishman and mom is part Italian and part Choctaw Indian. I remember I'd come home from school as a kid and there'd be all these little white-haired ladies from town waiting for their turn to have a reading. The Gift was based on her and an experience we had as kids. It was a strange household. My dad and I were never close and he died when I was eighteen, of cancer.

Do you have siblings?
Two younger brothers, one of whom is now deceased, also. He had a heart condition and passed away when I was going through a real self-destructive period. His death really made me come to terms with that, get out of the self-destruction and into self-preservation.

That must've been tough for an 18 year-old boy, losing his dad.
Tough on a lot of levels. I'd just graduated high school, and now suddenly I had to be the man of the house. It's also made me really terrified of older men. Maybe it's a need to be accepted by them, or something, 'cause my dad and I never really came to any understanding before he died. (pause) And people wonder where I get these stories, right? (laughs)

Did you take to acting and writing early on?
No. First it was rock n' roll, then it was baseball. I thought I'd try to be a professional baseball player because I was pretty good in high school. Then when I went to try out for the pros, I got injured, busted my collarbone, and that was the end of that.

You struggled for more than a decade out here, supporting yourself with some really demeaning, miserable jobs.
Yeah, but I had this catering job that changed my life. I was working this party where all these real powerful Hollywood types were just filling the room, like a who's who of Hollywood, right? Then this little German guy asks me if I'm an actor. So I said 'Yeah,' and we started talking. He said "You'll never make it just being an actor. You're not good-looking or ugly enough to stand out. Can you write?" I said 'Yeah, I can write. My buddy Tom (Epperson) and I have written a couple things.' "That's the ticket," he said. "Stick with the writing and you'll make it." I go back into the kitchen and one of the other waiters says to me "So what were you and Billy Wilder talking about?"

No way!
Can you believe that, man? (laughs) I had no clue who the man was! But that's when I got really serious about writing. And that is what changed everything.

One False Move (co-written with Tom Epperson) really put you on the map in terms of your career as a writer, jump started your career as a character actor, and was a huge indie hit in 1992.
Yeah, I'm very proud of that and a lot of the credit should also go to the director, Carl Franklin (Devil in a Blue Dress) who's really brilliant. It really upset me how controversial it was for its violence though. I mean, here you have these summer action movies where dozens, hundreds of people get killed with squibs going off in every direction, and it's almost sanitized, like a video game or something. We had a couple scenes of violence in that film that showed violence for what it was: ugly, sick, horrifying, with lasting consequences. Which is worse to show to someone with a sick mind? If you're going to show violence on film, you should be honest about it, and not glamorize it. That's when it becomes dangerous, I think.

Then Sling Blade took you up to the next level.
Yeah, it's funny. The way they do movies now with all this test-marketing stuff. Sling Blade tested very average, was made for $900,000 and then made something like $27 million at the box office. I've had other movies I've done that tested through the roof, like A Family Thing (co-written with Tom Epperson), which was made for $15 million and earned something like $13 million. So you never know.

What kind of film did you shoot Sling Blade on?
We shot it on 35mm with Panavision, the whole deal. But because I shot it back home in Arkansas, a lot of folks were real nice and helpful and we got a lot of stuff for free. We had a great time doing that movie, shot it in 24 days.

Sling Blade had a true genesis from one man show, to short film, to feature. Tell us about that.
The short film was done because I'd worked with the director, George Hickenlooper, on another film and he asked if I had any scripts he could look at. I said 'Yeah, I've got this short film,' and he liked it and we took it from there. I like the short very much. It all came from the character, really, and just grew from there, sort of took on a life of its own. I just knew what this guy looked like, talked like, how he walked, how he smelled. I do that when I read a script. When I read A Simple Plan for the first time, I just knew what this guy looked and sounded like. You just know.

Mike Nichols is one of the greats. Tell us about working with him on Primary Colors.
Mike is another director like Barry Levinson. He gets a kick out of the whole process, laughs a lot during the shoot. He gets very immersed in the movie itself, talks with the actors a lot about the story and their characters. He's a very psychological director and our rehearsals consisted of sitting around a table and psychoanalyzing the characters. Another really terrific thing about that movie is that Elaine May, who wrote the screenplay, was there. So we got to hear Nichols and May comedy routines every day! That was a lot of fun.

Your character was based on Clinton campaign manager James Carville. I know that you're friends with President Clinton. Were you initially gun-shy about doing that part?
I actually called him and asked if he'd mind if I did the movie. He said "Are you kidding? It's a great part. Play it." I played a character based on Carville, but I didn't want to imitate him. I tried to imitate his attitude, but that's it. I wanted to make him a more laid-back, smart-ass southern guy, as opposed to a hyperactive one. (laughs)

It was Mike Nichols who turned you on to All the Pretty Horses, right?
Yeah, he was thinking about directing it for a while, but thought I'd be better for it. How can I start this story? Okay, let me start by saying that my favorite movie of all time is High Noon. I watch it probably three times a month. I think it's a perfect movie. Everything is in that movie. Everything you need to know about human beings is in that movie. The poetry of that movie is so beautiful, yet so simple. I believe in simple stories with complex people, about behavior. When I was given the book of "All the Pretty Horses," I didn't want to direct someone else's movie. I didn't want to film a book. It just all seemed to me like way too much. I get over to Sony and they said "Mike Nichols really wants you to do it! We really want you to do it! Which was probably bullshit. I'm sure they really wanted Spielberg or somebody, but they probably went "Well, Mike wants this asshole..." I'm not sure what happened. Anyway, I had a deal with Miramax, so they had to be involved, too. So we all started to hook up and they started to tell me how things should go. At that point I said "Look, I don't have to direct this movie. I don't need to. I kind of don't even want to. But I love the book. I think Cormac McCarthy is a great writer, and this is the kind of book where if I were as good a writer as Cormac McCarthy, I might have written it. So I would like to do it, but I'm using my crew, not the Star Wars crew like you want. They said "We want a big movie." I said 'Yeah, but the desert's already lit. My crew can probably do this better than your crew. They understand me and they understand how I work. What's hard to light is a 12x12 room, and that's what we do best.' I said 'You understand that I see this as a big character story. So when we're inside, I'm going to shoot this movie just like Sling Blade. When we're outside, it's going to be John Ford. You understand that by hiring me, this is what you're going to get. Is that what you want?' "Oh yeah, yeah!" Then they say: "Who's gonna be in it?" I said 'Here's who's gonna be in it.' They said "We don't want those people. We want these people." So I argued with them for several minutes. Finally I said, 'Fine, make the movie your way, I'll walk away with no hard feelings. I've got stacks of stuff at my house that I want to do. I don't have a problem with a choice of movies to direct. But if you want me to do this one, here's what you're going to get. Are you sure it's me that you want to do this? You realize that this is an epic movie that's going to be about three hours long?' "Oh, of course!" So they agreed to all the rest of my terms. We went and shot the movie and I had the best experience I've ever had doing a movie. The minute we were done, it became a nightmare, and they proceeded to change it into a love story with an airbrushed poster aimed at getting 14 year-olds into seats. They cut out any of the edge, and what was meant to be a three hour movie became a less-than-two hour movie and they removed Daniel Lanois' beautiful music score.

Is there any chance you'll do a "Director's Cut" DVD?
Well, it doesn't exist in that form except in a very poor quality VHS version, with the original score. They originally told me I was going to get to do a DVD, but then said it was going to be too expensive to do, and not worth it. I don't want to point any fingers, but no one's ever going to see the film as it was intended, which was about three hours and forty or fifty minutes long. You know, against my better judgment, when that 3 hour, 50 minute assembly was done, I screened it for the executives at my house. They all wept during the movie, clapped at the end, were all patting me on the back, with one guy telling me that not only was it the best movie he'd ever been involved with, but the classic American film of all time. And then they proceeded to re-make it into a two hour movie and took the guts out of it, in my opinion. Now, in spite of what all this must sound and read like, I have no hard feelings against any of those people. I want that to be clear. I understand what they do. They are business people, and always will be, no matter how much they love or hate movies. The bottom line is, they want 14 year-olds to come to their movies. If they give you $50 million to make a movie, you can be damn sure they're going to double that number with 14 year-old butts in seats. The problem was, they took a movie that was about the end of the west, and one kid's journey into manhood and the future which is unknown and realizing that he can't live in the past even though the past is where he thought his future was. And that's what that movie is about.

I always felt that a good companion piece for it would be The Last Picture Show, which explored many of the same themes.
Absolutely! Great comparison, great analogy. And it could have been that kind of film, too.

Well, look at what Coppola just did with Apocalypse Now. It doesn't have to be over yet.
Well, maybe...We'll see.

With that war story in mind, any advice for first-time directors?
Don't pay any attention to anyone's advice. Make your movie about something that's close to you, that's your thing, as opposed to trying to make something that you think "they'll" like. Basically know what it smells like, feels like, tastes like and sounds like, and then go do it. And nobody else has to know what you're doing, except you. That's my advice.
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Posted in Barry Levinson, Billy Bob Thornton, Cormac McCarthy, Fred Zinnemann, High Noon, Mike Nichols, Sling Blade. | No comments

From Coast to Coast: Ryan O'Nan Brings THE BROOKLYN BROTHERS to the Santa Barbara Film Festival

Posted on 19:56 by Ratan


by Terry Keefe

As Sundance draws to a close this week, the Santa Barbara International Film Festival revs up its annual star-studded event, which includes the U.S. premiere of The Brooklyn Brothers Beat the Best, one of the surprise hits of the most recent Toronto Film Festival. Brooklyn Brothers was written and directed by Ryan O’Nan, who also stars in the film and who has been having what could be modestly described as a “breakout year.” O’Nan composed much of the music for Brooklyn Brothers, which centers around a fictional two-man band comprised of O’Nan and Michael Weston (“Six Feet Under”). At Toronto, Rhino Records fell under the spell of the tunes so much that they offered the pair a recording contract, under the fictional Brooklyn Brothers moniker. O’Nan has also just completed starring roles in Freelancers, opposite Robert De Niro and Forest Whitaker; The Frozen Ground, with Nicolas Cage and John Cusack; and The Iceman, which O’Nan is currently shooting in Louisiana with Michael Shannon, James Franco, and Winona Ryder.

O’Nan himself spent a number of years as a struggling musician, after which he opted to focus on acting, so he clearly had more than a little autobiographical material to draw from in creating his role of Alex in Brooklyn Brothers. A broken-down guitar player, Alex only starts to find his groove again when he embarks on an impromptu tour with Weston’s Jim, who specializes in playing children’s musical instruments, such as the plastic ones manufactured by Fischer-Price.

Ryan O'Nan and Michael Weston in BROOKLYN BROTHERS.
 “I really wanted the story to be about two guys who are the opposite halves of what make up an artist,” elaborates O’Nan on how he structured the two lead characters. “One half has a certain amount of talent, but also has a lot of self-doubt. The other half is completely fearless and pushes relentlessly into the unknown, despite whatever factors kind of come up against him. And I split that into two people and made them the Brooklyn Brothers. They’re lost without each other, basically.”

 A character in the film describes the sound of the Brooklyn Brothers as “The Shins meets Sesame Street,” and their use of the children’s instruments also serves as an apt metaphor for the career struggles of O’Nan’s Jim. “This is a story about a guy who’s learning what it means to be a man, and kind of leave the land of childhood,” says O’Nan. “And the question is, ‘Can he bring his childhood dreams into his adult life?’ The actual instruments he uses to do that are these children’s instruments.” O’Nan and Weston just cut the Brooklyn Brothers album for Rhino this past month in Los Angeles, although an actual recording contract wasn’t one of O’Nan’s goals when he started shooting Brooklyn Brothers. “It’s a dream come true that we actually got signed as a band, but totally unexpected. I stopped playing music as a career a long time ago, and focused on the medium of film, but it’s totally come back around in a beautiful way,” he explains.

Ryan O'Nan in THE RED ROBIN. Photo by Meg Urbani.
O’Nan most recently wrapped the lead role in The Red Robin, where he plays the adopted adult son of a famed, dying psychiatrist, portrayed by Judd Hirsch (“Damages, “Taxi”), who did some mysterious work for the U.S. government during the Cold War. At an impromptu family reunion, O’Nan’s character makes the accusation that his father adopted his large family for the purposes of dark mental experimentation. Explains O’Nan about what attracted him to the Michael Z. Wechsler-directed psychological thriller, “I’m the oldest of five kids and we went through a lot together. I’m fascinated by the idea of siblings and how they come together, how they survive together, and that’s what the story was about. And, I’ve also been a huge fan of Judd Hirsch since I was a kid. Working with him was such an amazing experience.”

 As to whether he can attribute his myriad successes of the past year to anything in particular, O’Nan replies, “You know what? My biggest philosophy is that the harder you work, the luckier you get, and I’ve tried to live my entire life by that philosophy. I just love making things. I’m incredibly lucky to be in this industry, where you’re constantly meeting new people, and you’re getting to work with people who you respect. I just feel so, so lucky. I really do.”


 The Brooklyn Brothers Beat the Best screens at the Santa Barbara International Film Festival on January 27th at 2 PM; January 29th at 4:30 PM, and February 2 at 1 PM. More information on the Santa Barbara International Film Festival can be found at www.sbiff.org.
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Wednesday, 25 January 2012

Best Actor Nominee Demian Bichir: The Hollywood Flashback Interview

Posted on 16:46 by Ratan
I sat down with actor Demian Bichir during the final months of 2008, when he was appearing in “The Waters of Babylon” at the Geffen Playhouse. Since then, Bichir has become a recognizable face north of the U.S.-Mexico border following his lauded turn in last year’s indie hit “A Better Life,” for which he was tapped with a Best Actor Oscar nomination yesterday. 


DEMIAN BICHIR DRINKS FROM THE WATERS OF BABYLON, FIGHTS A REVOLUTION WITH CHE AND TAKES A WALK IN THE WEEDS
 By Alex Simon

A native of Mexico City, actor Demian Bichir is currently batting a triple with two high-profile supporting roles on the big and small screen, as well as the male lead (co-starring with Shannon Cochran) in Robert Schenkkan’s play By the Waters of Babylon, which is currently onstage at The Geffen Playhouse. Prior to trotting the boards in Westwood, Demian wrapped Steven Soderbergh’s back-to-back films on Cuban Revolution icon Ernesto “Che” Guevara: Guerilla and The Argentine (later retitled to the simpler Che), playing the pivotal role of Fidel Castro, and debuted on the Showtime hit series "Weeds," playing the wily and charismatic Mayor of Tijuana, Mexico: the new love interest to series star Mary-Louise Parker.

The second of three sons born to renowned theater director Alejandro Bichir and actress Mariacruz Najera, Demian and his brothers Odiseo and Bruno are three of Mexico’s most renowned performers, so much so, in fact, that one year at Mexico’s MTV Movie Awards, there was a special category called “Best Bichir in a Movie,” which Demian won. A veteran of stage, screen and television in Latin America, Demian Bichir’s star has arrived on American shores with a vengeance. He sat down recently at The Geffen to reflect on his life as a performer.


Demian Bichir in A Better Life. 


Let’s start out with Che. You spent five months working on it. 

Demian Bichir: I was lucky enough to get the offer when I had enough time to work on it. I dove into the character, the process and research of it. Plus, growing up in Mexico, we are very close to the event of the Cuban Revolution, because it was planned in Mexico City. I already knew many, many things about it. I read Castro’s spoken-word autobiography, called “One Hundred Hours with Fidel” (U.S. title: “Fidel Castro: My Life”), which is a series of interviews he did with Ignacio Ramonet, who’s a famous journalist. I also got a lot of DVDs, many from Havana, where I was able to study footage of Fidel, which was very helpful.

Tell us about Fidel. What was your take on him?

Well, when I put myself on tape for the audition, I remember thinking that there were so many great characters involved in the Revolution; I knew I just had to play one of them. I didn’t have my heart set on playing Fidel, to be honest, and didn’t even really think of him. Then I got the call at five in the morning that Steven wanted me to play Fidel! I was like ‘What…?’ (laughs) I looked at myself in the mirror and thought ‘What the fuck is wrong with this guy? Me, as Fidel?!’ Then I started to see Fidel in my own face, and I thought ‘My God, Soderbergh is a genius, because he saw Fidel in me before I did!’ Then by the time I’d started working on it, and really getting into the character, people would stop and ask me for pictures! I was having breakfast at the Urth Café one morning, and this guy kept looking at me, and he asked “Do you mind if I take a picture with you? My grandfather is Cuban, and you look a lot like the young Fidel Castro.” There was another time where I was picking up my girlfriend at the airport, and there was an orange alert on, at the time. I had my beard fully-grown out by then, and they pulled me over and asked to look in my trunk. So I said ‘Sure,’ and got out and opened my trunk. And one of the cops said to me “What’s with the Fidel Castro look?” And I said ‘Well, I’m glad you asked.’ He said “Why is that?” And I said ‘Because I am Fidel.’ (laughs) And he gave me his “don’t fuck with me” face, and I said ‘Yeah, I’m doing the film with Steven Soderbergh, and Benicio Del Toro is playing Che…’ Then they were like “Really? Really? Hey Bobby, Richard, come over here! This guy is playing Fidel in the new movie!” (laughs)

Bichir as Fidel Castro in Steven Soderbergh's Che.

You managed to get Fidel’s voice down, his mannerisms, and his Cuban accent. Was all that difficult? 

Yes, that was all a big challenge, which is what drew me to the part to begin with. As soon as I don’t know what to do with a character, that’s when I say ‘yes’ to it. When on paper it’s really difficult, and I have questions, then I know it’s going to be a nice journey, a nice trip, especially if you’re with the right people.

How were Benicio and Soderbergh to work with? 

They both are where they are in their careers because they’re great, just the absolute top in terms of their talent and commitment to their work. They’re both extremely clever and Steven actually held a boot camp for us prior to filming, which helped us all get into character: sleeping outdoors, living like the rebels did in the Sierra Maestra. Benicio is so funny, and such a real human being. So often you meet stars that you admire and they disappoint you, but with Benicio it was just the opposite. He got into character and pretty soon was commanding the whole boot camp.

Men in black: Demian Bichir (center) with brothers Odesio (L) and Bruno (R).

You come from a theatrical family in Mexico City. 

My parents met when they were studying theater in a small town in northern Mexico called Torreon. They traveled to Mexico City without knowing anybody, and my father became a theater director and my mother an actress. Both my brothers are actors, as well. So it was in the blood from day one. (laughs) My parents had a theater company that would perform shows in every plaza in Mexico City. And we were always there, backstage, trying on the fake mustaches and driving everyone crazy! One day, the actors locked us up in a back room because we were such a nuisance. It was a real revelation for us when we figured out that our parents were making a living playing make-believe just like we did. Pretty soon, we all started doing professional theater when we were kids. When I got a little older, I wanted to play soccer professionally, and one night, my soccer coach came to see me in a play when I was about 14. And my coach was very impressed, apparently. At our next soccer practice, my coach took me aside and said “Listen, I had a great time last night. You were really amazing and fantastic. Do you know who Pele was?” And I said of course I knew who he was. My coach said “Do you know how he started playing soccer? He kicked coconuts around barefoot on the beach, because he didn’t have money for a soccer ball. He didn’t have any other choice, and you, you are a great actor.” (laughs) So that was a very nice way of telling me that my talents lay elsewhere than the soccer field! That was it: from then on I was an actor.

It’s interesting that you go from playing Castro to a victim of his regime in By the Waters of Babylon.

(laughs) Yeah, this play is really very poetic, in many ways. That’s why I love it. The characters are really well-written and (my character) Arturo has this duality and ambivalence that most Cubans feel and live with. There are so many Cubans in the world that have these amazing stories to be told, and Arturo’s is just one of them. I have many good friends who are writers that had to leave Cuba, and the story that Arturo tells is so heartbreaking and moving and special, and really hit close to home for me after hearing what so many of my friends went through, so that’s what really drew me to the character.

You and Shannon Cochran had to go to some very intimate emotional and physical places. I’ve always heard that love scenes are very difficult for actors. 
Oh, absolutely, very difficult, especially if you don’t really know the other actor all that well. Most of the films I’ve done have involved some sort of nudity in the love scenes, but I’ve known most of those actresses prior to that time. It was much harder recently with Mary-Louise Parker in Weeds because the scene we did was filmed just a few days after we’d met. It was really intimidating for me because she’s such a great actor and so beautiful that…well, you don’t want to mess it up, you know? (laughs) So yes, it can be very tough, but that’s what they pay you for, is the hard stuff.

Bichir and Mary-Louise Parker in "Weeds."

Your character in "Weeds" is very interesting because he’s morally ambiguous and quite pragmatic: he’s forced to tread in some dark areas in order to get good things done for his people.

Yes, and that’s what I find fascinating about him and the characters on that show: they’re very real. It’s all about the gray, because none of us are black & white. We can all be angels or demons, or both.

What category does your take on Castro fall into?

I think the big difference between a dictator and a leader is what you do or don’t do for your people. All of Fidel’s tasks and goals were always aimed at helping his people. That’s my perception, and when you think about Fidel’s actions and words, they were always aimed at helping his people. He knew that many things had to change in order to make things more equal. It made me think of our own revolution that we had in Mexico a hundred years ago, for the same reasons. It seems that now we need a revolution again in Mexico, because things have not been equal there for far too long.

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Friday, 20 January 2012

SLAMDANCE TURNS 18: Talking with Festival Co-Founder Dan Mirvish on the State of the Indie

Posted on 17:16 by Ratan
David Mirvish, filmmaker and Slamdance Co-Founder 


By Terry Keefe


As the Sundance Film Festival gets underway this week, the neighboring  Slamdance Film Festival also kicks off its 18thedition in Park City as well. This writer was there for the first Slamdance Film Festival in 1995, where a small group of the festival’s founding filmmakers were screening their films in whatever venues were available, including restaurants, and soliciting whatever audiences they could find in the snowy streets, via fliers and posters. Since those early days, Slamdance has grown into a powerful force of the independent film world with its spotlight on first-time filmmakers and has screened first features from the likes of Christopher Nolan (The Dark Knight), whose feature Following screened at Slamdance in 1999. Films are now regularly picked up for distribution at Slamdance, including the debut installment of the Paranormal Activity series, which was purchased by Dreamworks Pictures after its Slamdance screening in 2008.

Dan Mirvish was one of the co-founders of Slamdance in 1995 and has remained one of its guiding forces, while also sustaining a directing career which began in 1994 with his first ultra low-budget feature Omaha (the Movie), and continues today with his just-completed feature Between Us, starring Julia Stiles, Taye Diggs, Melissa George, and David Harbour.  Although the recession certainly cut back on the acquisitions budgets of independent film distributors, Mirvish believes that Park City will see a lot of film-buying activity this year.  “I think it’s going to be a good year, judging from what I know of the films that are going to be there, at both Sundance and Slamdance,” says Mirvish. “The word on the street is that distributors are going to be buying films. There’s a couple of big filmmakers, like Spike Lee, who are coming to Park City, without distribution (with Red Hook Summer), with films which 10 years ago would have been made by a studio.”


The digital revolution in filmmaking has made it possible for anyone with access to a camera and computer to make a feature film now. While that has unquestionably increased the numbers of other filmmakers that a first-time director has to compete with today, the lower costs of shooting on digital, as opposed to film, have sometimes freed up budgets for directors to hire better-known actors on a small project. Eli Perle, Mirvish’s manager at Provocation Entertainment, who also represents a number of other indie filmmakers, including previous Slamdance Grand Jury winners Daniel J. Harris (The Bible and Gun Club) and Kevin DiNovis (Surrender Dorothy), elaborates, “With the whole digital aspect of getting films made, you can make a really good-looking movie for a lot less money than you used to. But more importantly, actors, and, even more importantly than that, their agents, have realized that the big studios are not making adult dramas.” Mirvish nods, adding, “Studios don’t really make Oscar movies, independent films become Oscar movies. Because of that, the agents and the actors are realizing that they need to pay a lot more attention to indie and low-budget filmmakers in a way that they hadn’t so much before. Which is great for the filmmakers, because it means that you don’t have to necessarily raise millions and millions of dollars to get A-list actors. You can raise a few hundred thousand dollars, get great actors, great cameras, and make a really amazing movie.”


Another trend that has dovetailed with the ascent of digital filmmaking has been the use of “crowd-funding” via sites such as Kickstarter and IndieGoGo to raise budget financing. Mirvish says, “This year, I think Kickstarter was involved with around 20 films at Sundance.  And probably half the films at Slamdance did some type of crowdfunding. I think it’s become a lot more acceptable, and mainstream, to just ask friends for money to help make your movie.”


At the same time, Mirvish, whose Between Us received some of its initial funding via a successful Kickstarter campaign, points out that there is a reason the site is called Kickstarter and not KickFINISHER. He elaborates, “You don’t raise all your money through Kickstarter, and one shouldn’t expect to. A lot of people really emphasize the money aspect of these crowd-funding campaigns, but also important is the emotional aspect. You know, the hardest part is convincing yourself that you’re making the film. The second hardest part is convincing others.  What Kickstarter and these other campaigns do is convince you that you’re doing this thing. And even though you don’t necessarily owe those people back the money, you sort of emotionally do. In a very real sense, it sort of forces you to put together business plans and trailer reels and get your act together.”

The 18thSlamdance Film Festival runs January 20-26 in Park City, Utah.

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Thursday, 22 December 2011

Production Designing the Mental Landscape of THE RED ROBIN

Posted on 10:59 by Ratan
Tommy Shellner's bedroom, including childhood sketches from the character, which were done by Stefan Baumann.  Dig the pulp magazine cover on the wall.
By Terry Keefe
Photos by Meg Urbani and Stefan Baumann

We're on the set of THE RED ROBIN feature film and were blown away by the work of production designer Dave Barnes, who transformed a stately Villanova, PA mansion (once owned by NBA legend Dr. J!) into the home of the fictional Shellner Family. 

The story centers around an ill-fated family reunion, in which the patriarch of the family, Dr. Nathaniel Shellner (played by Judd Hirsch), a famed psychiatrist, is on his death bed. Years earlier, Dr. Shellner adopted a number of children, who are now adults. The youngest of those children, Tommy Shellner (played by Ryan O'Nan), makes the stunning accusation that his father adopted the children for the purposes of experimentation for the government.

And those experiments reportedly happened in the Shellner mansion, a house which possibly holds some very deep secrets.



Some of those secrets are hidden in objects and artwork that was done by the young version of the lead character, Tommy Shellner, and the production design had to be very specific.

Of particular importance was the childhood bedroom of Tommy, which has not been changed since he moved out after high school. The room is lined with stacks of comic books (provided by Mike Ferrero of Fat Jack's Comicrypt in Center City, Philadelphia) and childhood artifacts from the years of Tommy's childhood.

The sketches that Tommy did throughout his childhood figure prominently in the plot, and were done by talented sketch artist Stefan Baumann. Art Director Tony Trovarello, Set Decorator Stu Probst, Set Decorator Maggie Ruder, along with Susannah McCarthy, Taryn Jones, Byron Kelly, Meg Urbani, and Cole Price were also part of the design team.

Below are some photos from the set:




The shelves of Tommy Shellner's bedroom.
Numerous sketches done by Stefan Baumann.


Actor Ryan O'Nan, playing Tommy Shellner, DP Adrian Correia, and director Michael Z. Wechsler.




The shelves of Tommy Shellner's room include early models of Apple laptops and desktops, along with comic books galore.

Little touches like a late 80s model video camera, along with spiral notebooks filled with wild drawing and doodles.




Production designer Dave Barnes.
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Posted in Dave Barnes, Dr. J, independent film, Indie Film, production design, Ryan O'Nan, Stefan Baumann, the Red Robin | No comments
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Ratan
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