Baraka (Blu-ray)

Made in 1992 and shot in 24 countries around the world, Baraka is a dialogue free, visual interpretation of man's relationship with nature, technology, spirituality, and each other. Or something like that. Its themes are explored through a series of stunning images, some beautiful and some disturbing, with frequent use of breathtaking time lapse photography. Though difficult to describe in words, it is a truly moving experience.

When people speak of reference quality Blu-ray, this is what they're talking about. I expected Baraka to look spectacular and it does, every single frame of it. From the deeply saturated colour to the ultra fine detail and spot on contrast, Baraka is a visual delight. What I hadn't expected, though, was an audio track this good. The global music and sound effects not only provide a perfect backdrop to the visuals, they are delivered in a very forceful and active surround mix. Also much appreciated is the excellent 75 min. documentary on the making of Baraka. They are no overlays on the film itself to indicate the location of each shot (though it's easy to make educated guesses), so it's nice to find out where many were taken and to get some insight into the subjects as well.

Quite simply, I cannot recommend Baraka highly enough. It is one of a small handful of films that belongs in every Blu-ray collection.

The Last Temptation of Christ (Criterion Collection DVD)

It's been years since I've watched Scorsese's Last Temptation, and Joyce was keen to see firsthand what all the controversy was about. She had a very religious upbringing which extended well into her adult life and is well versed in bible stories, so it was very enlightening to have her alongside to separate "fact" from fiction for me.

The film begins with Jesus' adult life as a carpenter and follows his progression from self-realization as an unlikely messiah to death on the cross. However it's the balance between human and divine that Scorsese seemed most eager to explore and he did so by filtering the story through the interrelationships of Jesus with Mary Magdelene and Judas, brilliantly played by Willem Dafoe, Barbara Hershey and Harvey Keitel, respectively.

The story travels through several familar biblical events, all depicted with a gritty, human reality, to the inevitable, gruelling crucifixion (no whistling here, folks). But it was the subsequent coda of the last temptation that enraged Christian zealots the world over. I won't spoil it for those who have yet to see the film but, if you have any interest in Christianity, it deserves to be seen. Based on Joyce's reaction, chances are you won't be offended regardless which side of the theological fence you sit on.

The DVD ain't no Blu-ray but, as always, Criterion does a fine job, and the disc includes a very informative commentary among other features.

The Fly (Blu-ray)

Another horror classic from the '80's, this one a re-imagining of the original through the twisted mind of David Cronenberg. Actually, that's probably not a fair comment in this case since, at its core, The Fly is perhaps the most humanistic of all his films. The relationship between Jeff Goldblum's obsessed scientist/inventor and Geena Davis' ambitious journalist is the thread that ties the film together from beginning to end, even after things begin to go horribly awry. In some ways, it may not even be fair to label The Fly a horror film (science fiction may be more apt), though the grotesque special effects may leave you thinking otherwise. But in spite of it all, it's Goldblum and Davis who create the emotional resonance that makes The Fly so special.

Like The Shining, The Fly is given a very nice treatment on Blu-ray. Visually, it doesn't have quite the wow factor of The Shining but, make no mistake, this is still a very, very good transfer. And the audio track is surprisingly powerful, especially for a 25 year old film. A highly recommended upgrade or addition to your library.

The Shining (Blu-ray)

Stanley Kubrick's adapation of The Shining was initially greeted with extreme disappointment by fans of the novel, but in the 30 years since its release, has become appreciated as a classic of the horror genre. Without the advantage of modern CGI technology, it was through camera and character that Kubrick created the isolation and claustrophobia that lead to the terror of Jack Torrance's descent into madness.

At this point, I think I've owned just about every home video version of The Shining that's been released and in all aspect ratios (4:3, 1.66:1, 1.85:1). I thought the Kubrick Collection DVD was extremely well done and, to be honest, didn't expect the Blu-ray release to be much of an improvement. Wrong. The visual presentation, while not quite reference quality, easily exceeds that of many current films. Kubrick's primary colour palette is brought to eye-popping life with remarkable detail throughout. Unfortunately, there's only so much you can do with a 30 year soundtrack. It's thin and weak but cranking the volume fills things out to acceptable levels. All things considered, this is an absolute must-own for fans of the film.

True Blood Season 2 (Blu-ray)

Back following a too long hiatus with the first in a series of recaps of some films we've watched over the last six weeks or so...

In preparation for the Season 3 premiere back in June, we burned through the Season 2 the week beforehand. While I enjoyed the second season the first time around, it ultimately failed to expand on the promise of Season 1. The first season centered in and around the town of Bon Temps, and there was a certain voodoo mystique and sense of discovery that wasn't sustained throughout Season 2. Instead, the elements of the story veered into camp and, while great fun, ultimately over-reached itself.

On second viewing, however, I came away with a much greater appreciation for Season 2. Sure, the Mary-Anne storyline was taken past the point of no return, but Jason's foray into the Fellowship of the Sun was hilariously entertaining, as was his unlikely alliance and friendship with Andy Bellefleur. But there was also much more visceral excitement and dramatic depth to Season 2 than I'd remembered, most notably the story around Eric's maker, Goderich. Season 2 also serves to establish several plot point that have proven important to the story as it unfolds in Season 3 (which has been fabulous through four episodes).

The Blu-ray presentation of True Blood is an absolute treat. As terrific as the show looks in HD, the Blu-ray is a noticeable cut above. Most scenes look jaw-droppingly good, with a few exhibiting noticeable grain that gives the picture a film-like appearance rather than detracting from it. The visuals are ably supported by a surprisingly powerful and active surround mix. The package is topped offer with a bevy of bonus materials including several entertaining commentary tracks, and an hour and fifteen minute panel discussion featuring series creator Alan Ball and all of the regular cast. A very impressive box set on every level.

Blu-ray Round-up

With hockey season winding down, we found time to squeeze in a few movies over the past couple of weeks.

There Will Be Blood

This one has sat on the shelf for far too long waiting for the right opportunity to watch it. A big fan of the rest of P.T. Anderson’s work I was anxious to finally check out TWBB. I’m pretty patient when it comes to film, and like to be challenged (hey, I loved Magnolia and am a big fan of David Lynch), but I never did fully come to grips with the pedantic pace of Anderson’s latest. I kept waiting for something, anything to happen that would energize the story. It never came, in spite of the inevitable, darkly comedic finale. Daniel Day Lewis, in a fine performance, may have walked away with the Oscar, but it was Paul Dano’s turn as the obsessive preacher with an ulterior motive, Eli Sunday, that brought much needed energy to every scene he was in. Lovely cinematography too, but I’d rather revisit Days of Heaven than watch TWBB again. There Will be Blood isn’t a bad film by any estimation, but it’s not worthy of a place in my permanent collection either.

My feelings about the Blu-ray presentation mirror that of the film itself. In a word, lacklustre. As always, bright scenes look best with decent detail, but shadow detail is lacking in the numerous dark scenes that populate the film. And while the film is obviously no audio showcase, the track included here is simply missing the dynamics and fidelity that you’d expect of a current release. Disappointing.

Ratatouille

From one end of the spectrum to the other, next up is Ratatouille. If you’re a fan of Pixar and/or have any of their other Blu-ray releases in your library, you know exactly what to expect here. Ratatouille may not resonate with very young children to the same degree that many other Pixar films do (A Bug's Life, Finding Nemo, Toy Story 1&2, Cars), but it's a hoot and a half for we adults in the crowd, chock full of the clever wit and charm that we've come to expect from Pixar.

The transfer is top-notch with incredible detail, vividly saturated colours and an overall look that's almost film-like (which seems strange to say about an animated film). The lively soundtrack is punchy and dynamic with a very active surround mix and surprisingly forceful .1 track. Very highly recommended on all levels.

Boogie Nights

The disappointment of There Will Be Blood provided the urge to revisit Boogie Nights. Joyce had never seen it and was surprisingly game, and I was due for a repeat viewing. Perhaps not P.T. Anderson's most creative endeavour (that would be Magnolia, IMHO), but easily his most entertaining and the film that put him on the map as one of the hottest up and coming young directors in the business (along with the likes of David Fincher, and that other Anderson kid, Wes). Populated by a great ensemble cast, fantastic soundtrack and plenty of P.T.'s trademark long tracking shots, it's clear that this style of film is his comfort zone and where he operates best. Boogie Nights is a tour de force and absolute delight from beginning to end.

I had very high expectations for this Blu-ray release and have to admit that I came away somewhat disappointed. I'm willing to cut it some slack due to the film's age, but it's not that old and I've seen films older than BN look better than this. That being said, it's still a pretty good looking picture overall. The Audio track is more of the same, good but not great. We found that we needed to crank the volume much higher than normal to catch all of the dialogue, and the cool tunes don't pump out with quite as much authority as you'd wish they did. Even though it doesn't have quite the wow factor I'd hoped for, the Blu-ray is an easy recommendation for fans of the film. I'd just be inclined to wait out a price drop before shelling out.

Glory (Blu-ray)

Glory is one of those films that I consider a sentimental favourite. It doesn’t rank in the upper echelon of my all-time faves, but it’s a film that I like to revisit from time to time and enjoy thoroughly every time I watch it. Sure it treads perilously close to melodrama at times, aided and abetted by James Horner’s soaring score, but this is rare case where I allow myself to succumb to the emotional manipulations of the story, and it chokes me up every time. Highlighted by stellar performances from Denzel Washington and Morgan Freeman, exquisite cinematography, and the stirring story of the Civil War’s first all black regiment, Glory is essential viewing for any film lover.

I was really excited to discover that Glory was now available on Blu-ray and anxious about how great it might look and sound. Unfortunately, the news is not all good. The video transfer is generally quite good, but doesn’t come close to approaching the best the format has to offer. Bright scenes exhibit well saturated colour and fine detail. However, in many mid to lower lit sequences there is abundant grain, colours are sometimes washed out, and shadow detail is severely lacking. Fortunately, none of these issues infiltrate the climactic and spectacularly filmed assault on Ft. Wagner, much of which takes place at night, the action illuminated by flares and cannon fire.

The 5.1 HD Audio track is a similarly mixed bag. Glory is a surprisingly dialogue intensive war film, and the center channel track is much thinner and weaker than it should be. Things wake up a little as the mains and surrounds kick in, but the overall presentation lacks the clarity and separation that I’ve become accustomed to with BD’s. The three battle scenes are suitably cacophonic with immersive surround activity, though bass response is not nearly as solid or extended as I expected it to be, and that ranks as a real disappointment given all the cannon fire involved.

It’s easy to recommend Glory as a film, but much harder to recommend this Blu-ray release. It stands as a worthwhile upgrade for the dedicated fan, but not nearly as good as it could have been.

Potpourri for $200, Alex!

Life has gotten in the way of blogging over the last few weeks, so it's time for a long overdue update...

We've been trying to catch as much of the Olympics as possible since they started last wekend. It's a real thrill that the're being held in Canada (despite the non winter-like Vancouver weather), and very cool that the entire country is abuzz with pride and excitement over the Games and the performance of our athletes. In the end, and rather unfortunately, it will all come down to the success or failure of the men's hockey team. After an opening game 8-0 romp over Norway, they struggled mightly against a fiesty and determined Swiss team, backstopped by an amazing performance by Jonas Hiller in goal. It will all come down to whether Team Canada's star-studded lineup can develop the chemistry required over the course of a short tournament. They face a very tough test against the U.S. later this afternoon.

In gaming news, Hustle Kings and Borderlands have occupied virtually all of my limited gaming time. I'm over halfway through Borderlands at this point and still enjoying the heck out of it. I'd probably be finished had Hustle Kings not snuck up and stolen so much of my time. I'd like to make a concerted push to complete Borderlands, hopefully after the Olympics.

I also took a sneak peek at Mass Effect 2 last weekend. The visuals are stunning (especially the cut scenes), but the gameplay didn't immediately hook me. Granted, this is only based on about 1.5 hours of play, and I'm not about to render any sort of judgement until I've delved into it much deeper.

We've checked out a bunch of blu-rays over the last few weeks as well. Here's a round-up...

Braveheart

I've always felt that Braveheart is vastly overrated by a certain demographic of film fans. However, it is an exceptionally well crafted piece of work, and hugely entertaining. The DVD video transfer of Braveheart left a lasting impression on me after seeing it several years ago. As good as it was, the blu-ray transfer is simply off the charts in comparison, easily among the most impressive I've seen. The level of detail so apparent in the DVD release is taken to new heights here, and the audio track is no slouch either. If Braveheart sits as part of your permananent film collection, the new Sapphire Series blu-ray is an absolute must-own.

Kung Fu Hustle

A hidden gem of a film. Part traditional Kung Fu, part 30's gangster flick, and part Looney Tunes, Stephen Chow's Kung Fu Hustle must be seen to be believed. The blu-ray improves on the already great DVD release on all counts, but not to the degree that some other titles do. While the picture looks terrific, it falls just short of reference quality. The audio, OTOH, is reference quality. The DTS track on the original DVD was fantastic, but I've never heard side surround imaging as strong and precise as on this very active blu-ray mix. This is surround sound as it's meant to be, folks. I'll be anxiously awaiting the blu-ray release of Shaolin Soccer (which I've yet to see). In the meantime, do yourself a favor and see this film!

Fight Club

Another film whose reputation exceeds itself to some degree. Don't get me wrong, I love me some Fight Club and will always own the latest and greatest version (hence the upgrade to blu-ray). I was expecting to be truly wowed by this BD, and simply wasn't. I can't point to any particular reason why, as both video and sound are solid. Perhaps it's more a case of the special edition DVD being so good in the first place, though I haven't bothered to take the time to compare them directly. Either way, it's tough to to give this one a hearty recommendation as an upgrade.

Leon: The Professional

Luc Besson's Leon, while not a great film, has established itself as a personal favorite. How can you not not love Jean Reno's turn in the title role and the interplay between he and Natalie Portman's Mathilda? I wasn't sure what to expect from this blu-ray going in, but came away very pleasantly surprised. This is a great looking transfer and the audio kicks into high gear when called upon, most notably during the action-packed finale. As a bonus, the disc includes both the theatrical and extended cuts of the film. Highly recommended if you love the film. And if you've never seen it, what are you waiting for?

Kingdom of Heaven

See Braveheart, above. Most of the same comments apply here. KoH certainly has it's detractors, but I'm not one of them. Love it or hate it, there's no denying that blu-ray and Ridley Scott were made for each other. The format is the perfect match for his visual trickery, and this transfer is just about as good as it gets, save for the fact that darker scenes tend to be a little compressed. No complaints about the audio either, it's every bit as powerful as you'd hope. If you're a fan of the film, this one's a no-brainer purchase.

Bond? James Bond?

I’ve been a James Bond fan literally since I was a kid. I’m dating myself here, but I saw all of the Connery Bond movies, from Goldfinger onward, at the theatre. I had all the paraphernalia too, from trading cards to a gold Aston Martin Dinky toy with retractable machine guns and bulletproof shield. I even had a 007 attaché case that fired plastic bullets and came equipped with a built in camera that actually worked. I was obsessed with all things Bond.
My interest began to wane when Roger Moore took over from Sean Connery. I was never able to come to terms with Moore in the role and, to this day, Connery defines Bond for me. It didn’t help that most of those films were mediocre at best, especially when held up against the first four of the series (Dr. No, From Russia With Love, Goldfinger, and Thunderball), which are my personal faves.

Much to my surprise, I quite liked the Pierce Brosnan era Bond films (Goldeneye, Tomorrow Never Dies, World is Not Enough). I never thought much of Brosnan prior to that, but he had just the right mix of qualities to pull off Bond. Those films ushered the franchise into the high tech world of the new millennium and placed it squarely in the big budget action genre. Most importantly, they remained true to the well established formula and tone of the past (including the late Desmond Llewelyn as M), while integrating new faces like Judi Dench and John Cleese who breathed some fresh air into the proceedings.

I finally got around to checking out the most recent era Bond with a viewing of Casino Royale on the weekend. This is a meaner, nastier Bond in the form of Daniel Craig. Craig is a fine actor in his own right, but I didn’t for one minute buy into him as Bond. He has the requisite suave when called upon, but the panache is missing in action. It’s probably unfair to criticize Craig, since he was probably just playing the characterization that was drawn for him. Maybe it’s the hair color, but I couldn’t help but think that Clive Owen would have made a perfect Bond. In any case, I think the script and direction, not the acting, are the main culprits. They assembled all of the traditional Bond ingredients, and sucked the fun right out of them. Part of the Bond charm is that it never took itself too seriously – there was always a nudge and a wink to the audience. The cheeky humor and double entendres have given way to outbursts of brutal violence. The torture scene towards the end of the film is a perfect example. Can you imagine Dr. No wailing away on Bond like that? I think not.

Taken on its own merits, Casino Royale is actually a decent action flick, but it could just as easily have been called Bourne Royale. It bears little resemblance to its predecessors, and I hope it doesn’t represent the beginning of the end of the innocence for 007. Either way, I won’t be bothering to find out whether the trend continued with Quantum of Solace.

Weekend Round-Up

The Tarantino Film Fest continued this weekend with Jackie Brown. Probably the most underappreciated of QT’s films, it was considered a bit of a letdown following the raw intensity of Reservoir Dogs and inventive cool of Pulp Fiction. JB is the most character driven, and by far the least violent film Tarantino has made. For a director that had established his reputation (at least in part) on outbursts of graphic violence, JB represented a totally unexpected turn in direction. While still a crime drama, it’s a film that relies almost entirely on its story and characters to succeed, and it does so magnificently thanks to uniformly superb performances from all involved.

In a daring and inspired casting choice, former B-movie star Pam Grier hits all the right notes in the title role as a desperate, low income, airline stewardess transporting cash for a smarmy gun dealer. Likewise, Robert Forster turns in a finely nuanced and understated performance of compassion and intelligence as the aging bail bondsman who sympathizes with Jackie’s predicament and chooses to help her. Samuel L. Jackson once again delivers the goods as a hipster baddie, this time with more evil intent than his role in Pulp Fiction. Robert De Niro as the hapless ex-con with a stunted IQ, Michael Keaton in a reprise of the character he played in Out of Sight, and Bridget Fonda as chain-bonging surfer chick, Melanie, round out the perfectly cast ensemble.

The story is supported by a great script that’s tight and smartly written, peppered with plenty of Tarantino’s trademark repartee and sharp one-liners. For the most part, he wisely steps aside and lets the actors drive the story, so on the few occasions where he imposes a little directorial flair, it’s very effective. Jackie Brown is an extremely well crafted and enjoyable film. What it may lack in pizzazz, it more than makes up for in character development, solid acting and a terrific story. It features a strong and empowered female lead and virtually no on-screen violence, making it the perfect Tarantino primer for female viewers. My wife loved it, and so will yours.

Unfortunately, the two disc Collector’s Edition DVD, while a nice package, fails to do the film justice in terms of audio/visual quality. Maybe I’m turning into a Blu-ray elitist, but the DVD video transfer is a real disappointment. Shadow detail is severely lacking and edge enhancement is abundant, leaving dark scenes looking murky and brighter scenes over-processed. It’s a shame because JB is a good looking film that would be a great candidate for an updated BD transfer. The audio is also surprisingly mediocre, especially considering that it’s a DTS 5.1 mix. JB is hardly an audio showcase, but the dynamite, old school soul soundtrack lacks presence and clarity. A re-mastered, uncompressed audio track would no doubt do it justice. Here’s hoping for Blu-ray releases of both Jackie Brown and Pulp Fiction in the not too distant future.

On the gaming front, Fallout 3 continues to monopolize my time to the exclusion of everything else. I had originally planned to take a sneak peak at Ratchet and Clank yesterday, but that fell by the wayside the moment Fallout 3 found its way into the PS3. Much as I’m enjoying it, I almost wish I’d gotten hooked on something a little less expansive. At only 20-25% complete, I still have a looong way to go.

And last, but not least, we celebrated grandson Koen’s 2nd birthday on Saturday with a little get together at Joyce’s mom’s place. Here’s a taste of The Little Goomer enjoying the festivities…

Kill Bill Vol. 1 & Vol. 2 (Blu-ray)

Seeing Inglorious Basterds recently provided the urge to revisit the Kill Bill films. I replaced the DVD versions with Blu-rays some months ago, and they’ve been sitting unopened ever since. Joyce had never seen the KB’s, and I wasn’t sure they would be for her, particularly the first. I made her promise that if we watched Vol. 1, and she didn’t like it, she wasn’t allowed to bail on Vol. 2. With that agreement in place, we watched both films on successive nights.

It’s been a while since I’ve seen KB, and I’d forgotten how much fun the first instalment is. The set piece confrontation between The Bride and the Crazy 88’s is waaaay over the top and, IMO, detracts from the film, but I’m willing to forgive Tarantino that indulgence as his homage to the genre. However, the remainder of the film strikes a perfect balance between action, dark humour and character development that QT tried, but wasn’t quite able, to pull off in IB. Joyce really enjoyed Vol. 1 and was anxious to find out how the rest of the story unfolded in Vol. 2. She wasn’t disappointed.

Vol. 2 plays out at a far more measured pace, simultaneously filling out the backstory and advancing the narrative. But when the action arrives, it does so in explosive fashion, notably The Bride’s showdown with Elle Driver which matches the intensity of the ‘knock down drag ‘em outs’ with Vernita and Gogo the first time around. The acting also takes on greater prominence with David Carradine’s Bill and Gordon Lui (in his second of two roles) as Pei Mai being particular standouts. I recall many people expressing disappointment with Vol. 2 when it was released, complaining that it was too long and ponderous compared to the action-packed Vol. 1. But, taken as two pieces of a whole, it’s very nearly perfect.

As befits the material and mood, Tarantino paints Vol. 1 with bold, almost cartoon-like images, and the Blu-ray reproduces them in spectacular fashion. The film is chock-full of vibrant yellows, reds, blues and greens, and they positively leap off the screen. For the most part, he works with a more subdued colour palette in Vol. 2 that’s well suited to the more sombre tone and emotional depth of the latter half of the story, but it’s no less impressive. In both cases, the image is clean, detailed and razor sharp, and the B&W sequences (save for some intentional grain) rival those in the blu-ray release of Sin City (a reference quality disc, IMO). The uncompressed Dolby Digital soundtrack is every bit the equal of the stellar visuals - clear, tight and powerful.

I should note that these are the Alliance Atlantis Blu-ray releases (as is my copy of Sin City). They may be bare bones in terms of features, but the quality is outstanding and so is the very affordable price. I wish I could say the same for the Alliance release of From Dusk Til Dawn, but it doesn’t impress to nearly the same degree as the others.

Next on the Tarantino viewing agenda is Jackie Brown. Too bad that one isn’t available on Blu-ray yet.

Inglorious Fallout

A couple of quick hits for ya...

We finally got around to seeing Inglorious Basterds yesterday. Tarantino fan that I am, I'd been looking forward to this one for a while. IB is less of a direct homage than some of his more recent efforts (though did anyone else notice a nod and wink to Mel Brooks?), and marks somewhat of a return to form for the once renegade director. The pacing is deliberate and the tone uneven, which is typical of QT at his best, and the kind of thing he can usually pull off in his sleep. But that's not quite the case here. Tarantino's trademark contrast of absurd humor against explosive outbursts of violence isn't nearly as deftly integrated as it was in Pulp Fiction, Jackie Brown, or even Kill Bill 2. The performances are uniformly excellent, the dialogue sharp (if not quite on par with QT's finest), and the direction impressive. Where IB missteps, IMO, is the story and editing. While it's hard to pick at any particular scenes (as they're all well executed), this film would have worked better and had even greater impact had it been more compact. And that comes back to story - entertaining though it is, it simply lacks the scope to justify a 2:30 running time. As a result it, at times, feels like a film that's strangely disconnected from itself. As IB unfolded, I couldn't help but think of how it may have turned out in the hands of the Coen Brothers (for starters imagine George Clooney in the Brad Pitt role, and a tad less graphic violence). Perhaps subsequent viewings will reveal greater cohesion and appreciation but, for now, Inglorious Basterds feels like a glorious mess.

On either side of viewing IB, I put some initial time into Fallout 3. I know this one's been around for a while, but it came highly recommended by Jim, and furthers my indoctrination into the world of gaming outside of sports and racing. From the moment I stepped outside Vault 101 (an entertaining level in its own right, and clever tutorial), it became obvious how massive in scope this game is. It's already almost overwhelming to think about how much time you'd have to invest in order to explore every corner of this world. I knew going in that Fallout 3 was an FPS with RPG elements but, so far, it feels like the other way around. I'm not complaining though. It's been a looong time since I played an RPG, and there's an exciting and addictive balance between thought and flat out action that's integrated here. And, like Infamous (which I'm currently enjoying), the moral decision making isn't obvious, and will no doubt affect the story as it progresses. Do you put your trust in Butch and help him, or beat him to death? Assassinate the Overseer, or take your chances? Help the young woman disarm the bomb that's strapped to her body, or run for safety? Heck, even a surreptitious pickpocket attempt (evidently failed) erupted into an unexpected gunfight with a Megatron dweller! How will the denizens view me now? It's all very engrossing. Speaking of which, I'm off to perfect my lockpicking skills. Anyone have any spare bobby pins?

Valkyrie - quick hit review

Barb and I watched Valkyrie the other night and I was pretty impressed - this despite the fact that A.) I am not a Tom Cruise fan and B.) I obviously knew how the story was going to end. Cruise gives a decent performance here; in fact I think he is a pretty decent actor overall. I just have a hard time separating his phony Scientology persona from his film roles. I guess when you come right down to it, that's my problem and it's something I usually get over before too long whenever I watch one of his movies.

Anyway, Valkyrie is the story of an assassination attempt on Adolph Hitler by high-up German commanders in 1944. The cast is full of familiar faces such as Kenneth Branagh, Bill Nighy, Terence Stamp and the always dependable Tom Wilkinson. Everyone in the cast shines, particularly Nighy as General Friedrich Olbricht. Director Bryan Singer is able to keep the action and suspense taut even though the eventual outcome is well-known by anyone with a smattering of world history. For this he gets high marks, as well as for pulling of a really handsome production of WWII Germany. The music is appropriately stirring throughout and the movie pays off with an emotion ending. If I were giving out grades, and I guess I am, I would give Valkyrie a nice, handsome B; it was better than I expected and I would recommend the movie to anyone interested in WWII history.

Gran Torino - quick hit review

I finally got around to seeing this movie as my wife and I watched it tonight. I enjoyed it; while it's nothing spectacular, overall it is just a good, solid movie, a quiet drama. A nice performance by Clint Eastwood is the center of the film. He does seem to be playing the role he usually plays, just at an advanced age, but he pulls it off with gruff charm and humor. I really liked the way the relationship played out between him and the 2 kids that live next door. They were excellent as well. My wife enjoyed the movie quite a bit too. If I was grading it, I'd give it a nice, solid B.

Up next is Valkryie. I love WWII history/historical fiction so I am looking forward to it, though Tom Cruise can be really hard for me to take at times. Still, the rest of the cast is stellar (it doesn't get much better than Tom Wilkinson, IMO), so it should be well acted and the story line is intriguing. We hope to watch it early this week.

Quick-hit review: Drag Me To Hell

I saw this with Barb last night. First off all, yes it is a horror movie, but it is rated PG-13 so it's not hard core by any means. Second, it's directed by Sam Raimi, who is best known for the Spiderman movies. But before that he made his name with a couple of cheap horror movies, The Evil Dead series. Now the first Evil Dead movie was made on a shoestring budget and it shows. It has a lot of cheesy effects. It's also one of the scariest horror movies I remember seeing as a teenager. I still enjoy it - great stuff. Raimi then made Evil Dead 2 and with that movie he incorporated a lot of humor into the horror. And that is where Drag Me To Hell comes in.

The movie has some very creepy moments and a couple of jump-out-of-your-seat shockers, but there is a sense of humor prevalent throughout and that really kind of tames the horror aspect of it. A lot of the humor is of the gross-out or slapstick variety. I mean, you can only see the heroine vomited upon so many times before you start to realize it's a running gag and the movie isn't taking itself very seriously. For my wife, who is a serious horror movie fan, the changing tones didn't work at all. She didn't like the film. I thought it was a lot of fun as long as you realized it wasn't going to be straight-up horror film. I can certainly understand my wife not getting into it. And we both agreed that it was very predictable, especially the finale. Which leads me to another point, and I guess I better use a spoiler warning so that I don't ruin the film for anyone.

***SPOILER***
DO NOT READ IF YOU HAVE NOT SEEN THE MOVIE!!!

Why is it that all horror movies have to have bad endings where evil always triumphs? I guess it is so the audience can leave the theater with an extra goose bump, knowing that "the danger is still out there" but it has become so overdone and so routine that it takes absolutely all of the surprise out of the ending. Every single horror flick I have seen over the last few years gives the viewer a false happy ending and then right before the credits, evil triumphs and the protagonist is killed or dragged to hell or whatever. Memo to horror movie makers: You have taken all of the suspense out of horror movies because we all know how it is going to end - evil is going to triumph. It's not a surprise anymore and it no longer resonates. Someone out there, please start mixing things up. Thank you.

***END OF SPOILER WARNING***

Okay, so I thought the movie was fun but predictable. I would definitely recommend waiting for it to come out on DVD rather than seeing it in the theater. If I had to give a grade, it would be somewhere between a B- and a C+. How's that for waffling?

A couple of movie recommendations

Both foreign movies...

My wife and I watched Let The Right One In a couple of days ago and thoroughly enjoyed it. Nothing earth shattering, just a unique take on vampires told in a quiet, understated way. The two young leads are fantastic. After watching the movie I went to IMDB and checked out some different theories on what all happened. Folks there who read the book shed lots of light on things that were a bit confusing. Really good stuff.

I also finally watched The Twilight Samurai, which I have had on DVD for ages. Just a fantastic movie. There's not a lot of action but plenty of drama in this one. It's about a widowed, low-ranking samurai that know what's important: he takes care of his 2 young daughters and goes about his business. When his childhood crush returns to his village after divorcing an abusive, higher-ranking samurai, he fights against his own code of loyalty, duty and decency. It's a terrific love story about a fundamentally good human being. This film set a record by winning 12 Japanese Academy Awards and was nominated for the Best Foriegn Film Oscar. Highly recommended.

Watchmen - the movie

I finally got around to seeing Watchmen last night. I read the book a while back and loved it. It was only the 2nd graphic novel I have ever read, so I am not heavily into superheroes or anything. Overall I enjoyed the movie. It stayed very true to the book. I would think that reading the book beforehand would give one a much better understanding of what was going on and would allow you to enjoy the film despite it's excesses. I can definitely see how someone that goes in cold would see it as a flat and bloated movie. This is because the of the way it's built; instead of telling a linear story, there are constant flashbacks. While this is also how the book was, it sort of deadens any sense of momentum that the movie should really be building. At 2 hours and 40 minutes it is quite long and without that momentum, it seems like some moderate trimming would help. I thought there was one false ending too many, for example. Some of the big denouements in the book came off a little flat and lifeless in the movie. But the ending, while not quite the same as the book, delivered fully. I should note that my brother, who has not read the book, said he thoroughly enjoyed the movie.

Jackie Earle Haley makes a great Rorschach. I also really liked Jeffery Dean Morgan as The Comedian and thought that Patrick Wilson gave a fine, reserved performance as Night Owl II. Matthew Goode, who played Ozymandias, seemed awfully slight for that role; he needed some freaking muscles. The film was beautifully shot; I saw it on a new digital screen and it was most impressive. If I was handing out grades, I'd give Watchmen a B-/C+. I'll be checking it out again on DVD when it is released.

Movie minute: In Bruges

Saw this last night and absolutely loved it. It's a small, quirky film but it is filled with great performances (Colin Farrell has never been better) and lots of laughs and drama. Ralph Fiennes is menacing as a crime boss while Brendan Gleeson teams up with Farrell to portray a pair of unlikely hitmen. Highly, highly recommended, I'd give it a solid A.

The Great Movies, vol. 3: Boogie Nights

Director Paul Thomas Anderson hit pay dirt last year with his critically lauded epic, There Will Be Blood. It featured a towering performance by Daniel Day Lewis (for which he won a richly deserved Academy Award) and some truly wonderful visuals. In short, it deserved it's acclaim. But it's another of Anderson's films that I always include of my list of top ten favorites. That film, epic in it's own way, is Boogie Nights.

For the uninitiated, Boogie Nights tells the story of a a group of porno film makers in the late 70's and early 80's. It's content is startling, to say the least, because of it's subject. But the affection that Anderson shows for this group of "losers" let's us see them in sort of a neutral way, making us more witnesses than judges. This serves the characters well, as most of them are truly memorable despite what they do for a living, not because of it.

Mark Wahlberg portrays Eddie Adams, a simple teenager from a dysfunctional family. When he (and his "special talent" - think bulging trousers) are spotted by porno film maker Jack Horner (Burt Reynolds), his life is instantly transformed into something most teenage boys surely dream of: becoming the top dog of the porno acting world. Horner has an already-established stable of actors as his surrogate family. These include Amber Waves (Julianne Moore), Buck Swope (the ever-wonderful Don Cheadle), Rollergirl (Heather Graham, always on roller skates) and Reed Rothchild (the hilarious John C. Reilly). Soon Eddie has given himself an appropriate porno moniker, Dirk Diggler, and he and the "family" are making very successful porn movies. He and Reed Rothchild hit it off immediately and become best pals with a friendship based on bragging and bullshit. Amber Waves is immediately attracted to Eddie/Dirk, but also feels the need to be a mother figure to him. There is a reason for this: she and her ex-husband are in the midst of a custody battle and he is using her profession as a reason to have her declared an unfit mother. She has already become a mother figure to Rollergirl, who has her own issues regarding her chosen career path.

In fact, all of the characters are dealing with revelatory, life-changing moments. Jack Horner is fighting off the advances of the video age. He insists on making real "movies" using film. His money man, "Colonel" James, backs him up, but he has his own demons which will eventually consume and destroy him. Meanwhile, Buck Swope wants to go legitimate and open his own stereo store, but it's hard to secure a bank loan when your application asks for your source of employment and you have to list the porno industry. Buck is looking for a break. When he finally gets it, it is one of the most chilling/crazy/funny moments in recent memory.

Eddie/Dirk rapidly ascends up the porno acting ladder, becoming an award-winning, top-grossing star. We see his rise as a wide-eyed boy and witness the crash as he descends into a hellish, cocaine-fueled nightmare. Eddie's drug habits have a direct effect on his film/sex performances and he spins into a paranoid abyss. When Reed's friend Todd (a virtually unrecognizable Thomas Jane in a stellar performance) enters the picture, things go from bad to dangerous.

Throughout all of this, Anderson wonderfully captures the essence of the era through music, dialogue and visual touches. The soundtrack is wondrous, a virtual audio tour through the 70's/80's Being from that time frame myself, it really touches a chord and sends me back in time each and every time I watch the movie.

The treasures of this film are many. There are scenes so funny your sides will split (particularly Eddie and Reed's foray into the music business), while others are so intense (think Alfred Molina, firecrackers and "Jessie's Girl") that you will be beside yourself with angst as the film plays out. There are a ton of great performances here, from the aforementioned to Julianne Moore, Burt Reynolds, William H. Macy as a director with a nagging problem and Philip Seymour Hoffman as the lovelorn sound man. It all adds up to a rich tapestry that I think is every bit the equal of Tarantino's classic Pulp Fiction. Watching these flawed, real characters try to make something of themselves in an unseemly world is in turns chilling, funny and horrifying. This film is not to be missed.

The Great Movies, vol. 2: Jaws

As a 9 year old boy during the summer of 1975, I witnessed the single greatest entertainment experience of my life: my father took me to see Steven Spielberg's Jaws. Now this was in September of 1975 and the movie had opened earlier in June and was already a phenomenon the world over, so I was a little late to the party. But by then I had pumped so much information out of my friends who had already seen the movie that I knew the entire story inside and out. I mean, I knew it all: I knew about each victim of the shark, I knew about the tiger shark that was caught and erroneously thought to be the killer, I knew how it ended, ...everything. I remember my teenage neighbor saw the movie and when he came by to tell us about it, I was finishing his sentences, knowing everything he was saying about the movie. And I distinctly remember him saying, "I don't know why to still want to see it, you know it all already."

Ah, but that was just it; I hadn't seen it yet, experienced it with my own eyes. I already knew it was the greatest adventure story I had ever heard. But to actually see the events unfolding on screen...well, that was something I had to behold for myself. And so that September, I finally talked my dad into taking my brother and me to see Jaws. My uncle Jim came along with us. And when the lights went down and that awesome John Williams music started, I was already a goner. What made Jaws so special for me was that beyond all possible hope, it lived up to my expectations. I had never before so eagerly anticipated something and all experience since then has taught me that nothing can ever live up to the hype. Well, Jaws did. And it still does for me today.

Based on Peter Benchley's best-selling novel of the same name, Jaws tells the simple story of the town of Amity, a tidy Long Island beach side community that relies on the summer tourist trade to keep it going through the long, cold winters. When the body of a swimmer killed during a late night skinny-dip is found on the shore, the coroner tells police chief Martin Brody (Roy Scheider) that the girl was the victim of a shark attack. When Brody responds by ordering the beaches closed, Amity's mayor, worried that such a move will kill the summer tourist business, convinces the coroner to change the official cause of death to a boating accident. Brody does not agree but has no choice but to go along. Days later when a young boy is killed by a shark in front of numerous beach goers (including Brody and his family), Brody is proven correct and a town meeting is called. After Brody announces that the beaches will be closed, the attending citizens panic and the mayor decrees that the beaches will only be closed for 24 hours, much to Brody's chagrin. The meeting is then interrupted by a loud screech as one of the great movie characters of the 70's is introduced; for running his fingernails down a blackboard is the local shark fisherman, known simply as Quint. He informs the town that the shark is a big problem and one that he is not willing to risk his life over for the standing $3000 reward. He will find and kill the shark, he says, for $10,000. The mayor is dubious and vaguely promises to consider the offer.

The character of Quint is played by the late, great Robert Shaw, and he is absolute perfection playing a salty old fisherman who has his own personal demons and reasons for hunting and killing sharks. It is a tour de force performance that remains etched in the memories of many, many film-goers. How we has overlooked for an Academy Award nomination is one of the great mysteries of the 70's, right up there with the leisure suit. Anyway, back to Amity and it's little shark problem.

Except that it's not a little shark problem, it's a BIG shark problem. When local fishermen haul in a large tiger shark, the mayor is convinced the killer has been caught and that the beaches are safe again. Matt Hooper (Richard Dreyfus), a shark expert called in by Brody, examines the remains of the first victim and determines that the tiger shark cannot be the killer. He proves this with a quick late night autopsy on the tiger shark. He and Brody, who by the way is deathly afraid of the water (the fact that he lives on an island is a running joke throughout the movie), head out to see if they can find any sign of the shark at night. Hooper's sonar gear picks up a large object, but it is not the shark; it is the half-sunken boat of victim #3, a local fisherman whose body Hooper discovers in a truly shocking scene. And that's not all Hooper finds. He also finds a tooth embedded in the hull of the boat. It is the tooth of a great white shark and it is huge. Unfortunately, Hooper drops the tooth when he is startled by the appearance of the victim, and neither he nor Brody can convince the mayor to close the beaches again. For tomorrow is the 4th of July, you see, the biggest day of the summer for Amity's tourist season.

Of course when the holiday arrives, Mr. Shark makes an appearance and kills a boater in the estuary, nearly taking Brody's son with him. A highly peeved Brody forces the mayor to hire Quint to kill the shark, for the summer season is over in Amity. No one will be swimming there until the real shark is killed. Brody convinces Quint to take him and Hooper along for the hunt. Right away there is a clash between Quint's old school ways and Hooper's technological approach to finding the shark. Brody, who is scared out of his wits to be on a boat in the first place, is caught in the middle. And here is what separates Jaws from the average thriller: the characters are real. You believe that there is a Quint, and a reason that he behaves the way he does. Same for Hooper, the quirky, educated guy that has a razor sharp wit. And Brody, the everyman, is a flesh-and-blood character as well, a man that you hope and pray somehow survives this saga and returns to his family safe and in one piece. These are not the cardboard cut-out characters you find in modern day thrillers, they are real personalities. And it makes all the difference in the world.

Once aboard Quint's boat, the fabulously rickety "Orca", the chase is on. The Orca is one heck of a set piece, a character in itself where you witness some of the most intense action you can imagine. It becomes a claustrophobic nightmare for Brody, while Quint and Hooper are completely in their element. The level of suspense during the hunt is propelled by Spielberg's impeccable directing and John Williams' soaring musical score, which rightfully won an Oscar.

Quint is able to harpoon the shark and has a floating barrel tethered to the harpoon. The drag from pulling this barrel will tire the shark and keep it from diving. The men decide to stay out at sea overnight in order to keep an eye out for the barrel. Chasing their fear away with a few drinks, they begin comparing scars and telling stories and it is here we learn of Quint's dark past. A sailor during World War II, his ship was sunk by a Japanese submarine and 1,100 men were adrift in the water for days. Sharks quickly arrived and began devouring the sailors in plain sight. Witnessing many friends killed in the most horrible of ways, the young Quint would survive and go on to become a shark fisherman, taking private revenge against the beasts that still haunt his dreams.

The shark interrupts their drinking and before too long, the hunters become the hunted. Quint continues to harpoon the shark, but is awestruck when the shark continues to dive, even with two, then three barrels attached. The great white turns the tables on the men, ramming the Orca repeatedly and springing several leaks in the hull. Quint, finally rattled, heads for shore, the shark chasing them all the way. When Quint stubbornly refuses to slow down, the engine overheats and finally blows and the Orca is left listing dead in the sea, taking on water. Brody, who can't swim, faces the realization that he is likely to either face his biggest fear, drowning, or be eaten by the shark. In a last ditch effort to save their hides, Quint calls upon Hooper's modern equipment to kill the shark.

Lowered into the water in an anti-shark cage, Hooper is immediately set upon by the shark. The cage is no match, and soon the shark's head is inside the cage and the mouth is reaching, straining to get a bite at Hooper. But the shark gets tangled in the cage's tethering lines and Hooper is able to swim to the ocean floor, where he hides among the rocks. Brody and Quint, unable to see what has transpired in the water beneath them, desperately haul up Hooper's cage, only to find it mangled and empty. The shark then surfaces, leaping out of the water and onto the back of the Orca, plunging it beneath the waves. The weight of the shark tips the boat up and Brody and Quint hang on for dear life. When one of Hooper's scuba tanks rolls onto his hand, Quint loses his grip. Brody catches his hand, but cannot hang on. Quint slides down the deck of the Orca, straight into the mouth of the shark, where he meets his gruesome fate.

Brody witnesses Quint's horrific demise and the Orca starts sinking. Stuck in the cabin of the sinking boat, Brody fights to free himself when the shark rams through the glass and into the cabin with him. Facing the gaping maw of the shark, he picks up Hooper's spare scuba tank and tosses it into the shark's mouth. The shark retreats and Brody climbs out of a cabin window and onto the bridge, only to see the shark circling him and getting ready to come in for the kill. With Quint's old rifle, he climbs the mast and takes aim at the shark, and more specifically the air tank wedged into it's jaw. As the shark approaches, the mast sinks ever lower until Brody is at water level. Firing shot after shot and quickly running out of time, he takes aim and gets off one last shot that pierces the scuba tank, exploding the shark into a huge geyser of flesh, blood and sea. Hooper surfaces, learns of Quint's fate and he and Brody rig a couple floatation barrels together and paddle back to shore.

Wow. The audience as a whole finally exhaled.

If you weren't around in the mid 70's, it's hard to picture just how much Jaws became a part of pop culture. It was at that time the highest grossing movie in history. It shaped everything about the sumer of '75. It was in every magazine, on every news stand and merchandise was in stores everywhere. There were Jaws posters, lunch boxes, models, games, magnets, stickers, t-shirts, you name it. The poster was used as a metaphor in political cartoons, it was parodied in other movies, it was talked about in every neighborhood. And this was unprecedented. As a young boy who had been addicted to monster movies as a kid, you can imagine what an impact this had on me.

Jaws was nominated for 4 Academy Awards, including Best Picture. It won 3 of those awards, for Best Original Score, Best Sound and Best Editing. It was not like many of today's empty blockbusters, which thrive despite being critically lambasted. Jaws was a huge critical success as well as a popular smash, and it gave Steven Spielberg the right to make virtually any movie he wanted. We all know how his career has turned out. But of all of his many successes, I still maintain that Jaws is his finest moment. It is not only a masterpiece of action and suspense; it also has a terrific sense of humor and it is perfectly paced. At just over 2 hours, it never feels long.

I still think back to that day in September of '75, when I was a young boy who finally got to see the most anticipated event of my 9 year old life and it actually exceeded my wildest expectations. When my dad sat beside me in the darkened theater, chuckling softly at the scary parts so that I wouldn't be too afraid. When, to paraphrase the late, great critic Pauline Kael, I lost myself at the movies.