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| Up in the Air
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Brand: Paramount Home Video
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WITH A JOB THAT HAS HIM TRAVELING AROUND THE COUNTRY FIRING PEOPLE, RYAN BINGHAM LEADS AN EMPTY LIFE OUT OF A SUITCASE, UNTIL HIS COMPANY DOES THE UNEXPECTED GROUND HIM.
Up in the Air transforms some painful subjects into smart, sly comedy--with just enough of the pain underneath to give it some weight. Ryan Bingham (George Clooney) spends most of his days traveling around the country and firing people; he's hired by bosses who don't have the nerve to do their layoffs themselves. His life of constant flight suits him--he wants no attachments. But two things suddenly threaten his vacuum-sealed world: his company decides to do layoffs via video conference so they don't have to pay for travel, and Bingham meets a woman named Alex (Vera Farmiga, The Departed), who seems to be the female version of him… and of course, he starts to fall in love. Writer-director Jason Reitman is building a career from funny but thoughtful movies about compromised people--a pregnant teen in Juno, a cigarette-company executive in Thank You for Smoking. George Clooney has a gift for playing smart men who aren't quite as smart as they think they are (Michael Clayton, Out of Sight). The combination is perfect: Bingham is charming and sympathetic but clearly missing something, and Up in the Air captures that absence with clarity and compassion. The outstanding supporting cast includes Anna Kendrick (Rocket Science), Jason Bateman (Arrested Development), Danny McBride (Pineapple Express), Melanie Lynskey (Away We Go), and others, each small part pitched exactly right. --Bret Fetzer
Stills from Up in the Air (Click for larger image)
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| The Hurt Locker
List price: $26.99
Lowest new price: $13.83
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Brand: UNI DIST CORP. (SUMMIT)
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War is a drug. Nobody knows that better than Staff Sergeant James, head of an elite squad of soldiers tasked with disarming bombs in the heat of combat. To do this nerve-shredding job, it’s not enough to be the best: you have to thrive in a zone where the margin of error is zero, think as diabolically as a bomb-maker, and somehow survive with your body and soul intact. Powerfully realistic, action-packed, unrelenting and intense, The Hurt Locker has been hailed by critics as “an adrenaline-soaked tour de force” (A.O. Scott, The New York Times) and “one of the great war movies.” (Richard Corliss, Time)
The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball. The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson
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| 2012
List price: $28.96
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Brand: SONY PICTURES HOME ENT
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From Roland Emmerich, director of THE DAY AFTER TOMORROW and INDEPENDENCE DAY, comes the ultimate action-adventure film, exploding with groundbreaking special effects. As the world faces a catastrophe of apocalyptic proportions, cities collapse and continents crumble. 2012 brings an end to the world and tells of the heroic struggle of the survivors. Starring John Cusack, Chiwetel Ejiofor, Amanda Peet, Woody Harrelson and Danny Glover.
Now this is how you destroy the world. Roland Emmerich's 2012 pounces on a Nostradamus-style loophole in the Mayan calendar and rams the apocalypse through it, gleefully conjuring up an enormous amount of Saturday-matinee fun in the process. A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety. The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible. He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people. Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton
Stills from 2012 (Click for larger image)
Features:
- Adventure, Action, Science Fiction Exhilarating and Jaw dropping.
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| The Hurt Locker [Blu-ray]
List price: $34.99
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Brand: UNI DIST CORP. (SUMMIT)
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Studio: Uni Dist Corp. (summit) Release Date: 01/12/2010 Run time: 131 minutes Rating: R
The making of honest action movies has become so rare that Kathryn Bigelow's magnificent The Hurt Locker was shown mostly in art cinemas rather than multiplexes. That's fine; the picture is a work of art. But it also delivers more kinetic excitement, more breath-bating suspense, more putting-you-right-there in the danger zone than all the brain-dead, visually incoherent wrecking derbies hogging mall screens. Partly it's a matter of subject. The movie focuses on an Explosive Ordnance Disposal team, the guys whose more or less daily job is to disarm the homemade bombs that have accounted for most U.S. casualties in Iraq. But even more, the film's extraordinary tension derives from the precision and intelligence of Bigelow's direction. She gets every sweaty detail and tactical nuance in the close-up confrontation of man and bomb, while keeping us alert to the volatile wraparound reality of an ineluctably foreign environment--hot streets and blank-walled buildings full of onlookers, some merely curious and some hostile, perhaps thumbing a cellphone that could become a trigger. This is exemplary moviemaking. You don't need CGI, just a human eye, and the imagination to realize that, say, the sight of dust and scale popped off a derelict car by an explosion half a block away delivers more shock value than a pixelated fireball. The setting may be Iraq in 2004, but it could just as well be Thermopylae; The Hurt Locker is no "Iraq War movie." Bigelow and screenwriter Mark Boal--who did time as a journalist embed with an EOD unit--align themselves with neither supporters nor opponents of the U.S. involvement. There's no politics here. War is just the job the characters in the movie do. One in particular, the supremely resourceful staff sergeant played by Jeremy Renner, is addicted to the almost nonstop adrenaline rush and the opportunity to express his esoteric, life-on-the-edge genius. The hurt locker of the title is a box he keeps under his bunk, filled with bomb parts and other signatory memorabilia of "things that could have killed me." That none of it has killed him so far is no real consolation. In this movie, you never know who's going to go and when; even high-profile talent (we won't name names here) is no guarantee. But one thing can be guaranteed, and that is that almost every sequence in the movie becomes a riveting, often fiercely enigmatic set piece. This is Kathryn Bigelow's best film since 1987's Near Dark. It could also be the best film of 2009. --Richard T. Jameson
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| 2012 (Two-Disc Special Edition) [Blu-ray]
List price: $39.95
Lowest new price: $21.20
Lowest used price: $18.99
Brand: SONY PICTURES HOME ENT
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From Roland Emmerich, director of THE DAY AFTER TOMORROW and INDEPENDENCE DAY, comes the ultimate action-adventure film, exploding with groundbreaking special effects. As the world faces a catastrophe of apocalyptic proportions, cities collapse and continents crumble. 2012 brings an end to the world and tells of the heroic struggle of the survivors. Starring John Cusack, Chiwetel Ejiofor, Amanda Peet, Woody Harrelson and Danny Glover.
Now this is how you destroy the world. Roland Emmerich's 2012 pounces on a Nostradamus-style loophole in the Mayan calendar and rams the apocalypse through it, gleefully conjuring up an enormous amount of Saturday-matinee fun in the process. A scientist (Chiwetel Ejiofor) detects shifting continental plates and sun flares and realizes that this foretells the imminent destruction of the planet. Just as the molten lava is about to hit the fan, a novelist (John Cusack) takes his kids on a trip to Yellowstone; later he'll hook up with his ex (Amanda Peet) and her new boyfriend (Tom McCarthy) in a global journey toward safety. If there is any safety. The suitably hair-raising plot lines are punctuated--frequently, people, frequently--by visions of mayhem around the globe: the Vatican falls over, the White House is clobbered (Emmerich's Independence Day was not enough on that score), and the California coastline dives into the Pacific Ocean. Unlike other action directors we could name, Emmerich actually understands how to let you see and drink in these vast special-effects vistas--and they are incredible. He also honors the old Irwin Allen disaster-movie tradition by actually shelling out for good actors. Cusack and Ejiofor are convincing even in the cheesiest material; toss in Danny Glover (the U.S. president), Woody Harrelson (a nut-bar conspiracy-theorizing radio host), Thandie Newton, and Oliver Platt, and you've got a very watchable batch of people. Emmerich hasn't developed an ear for dialogue, even at this stage in his career, and the final act goes on a bit too long. This is a very silly movie, but if you've got a weakness for B-movie energy and hairbreadth escapes, 2012 delivers quite a bit of both. --Robert Horton
Stills from 2012 (Click for larger image)
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| Mad Men: Season 3
List price: $49.98
Lowest new price: $28.99
Brand: Mad
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Returning for its third season, the two-time Golden Globe®-winning series for Best TV Drama bursts with one scandalous surprise after another. Jon Hamm and the rest of the award-winning ensemble continue to captivate us as they contend with a world on the brink. Welcome to Mad Men - a shocking portrait of a time that was anything but innocent. Nothing is as sexy. Nothing is as provocative. Nothing is as it seems. Mad Men: Where the Truth Lies.
Stills from Mad Men: Season 3 (Click for larger image)
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| Where the Wild Things Are
List price: $28.98
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Brand: Warner Brothers
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"Let the wild rumpus start!" Nine-year-old Max runs away from home and sails across the sea to become king of the land Where the Wild Things Are. King Max rules a wondrous realm of gigantic fuzzy monsters--but being king may not be as carefree as it looks! Filmmaker Spike Jonze directs a magical, visually astonishing film version of Maurice Sendak's celebrated children's classic, starring an amazing cast of screen veterans and featuring young Max Records in a fierce and sensitive performance as Max.
Through his handcrafted ode to the trials of childhood, Spike Jonze puts his own unique imprint on Maurice Sendak's enduring classic. In the prologue, 9-year-old Max (Max Records) stomps around the house, feeling neglected. When his mom (Catherine Keener) sends him to bed without supper, Max runs away (something he doesn't do in the book). He finds a boat and sails to a distant land where fuzzy monsters are raising a rumpus in the forest. Since his wolf suit allows him to fit right in, he joins the fray, catching the eye of Carol (James Gandolfini, excellent), who notes, approvingly, "I like the way you destroy stuff. There's a spark to your work that can't be taught." With that, they pronounce the diminutive creature king, hoping he can bring cohesion to their fractured family. After Max comes across Carol's scale-model town, he decides they should build a real one, but the project stalls as Alexander (Paul Dano) and Douglas (Chris Cooper) mope, Judith (Catherine O'Hara) browbeats Ira (Forest Whitaker), and Carol pines for K.W. (Lauren Ambrose), who prefers the company of owls Bob and Terry. Max realizes he has to make a choice: stay with the wild things or return home, where he has to keep his aggressive impulses in check. For readers of Sendak's slim tome, his decision won't come as a surprise, but Jonze ends the story on a lovely grace note. Until that time, the squabbling is a bit much--these monsters never stop talking--but Jonze, cowriter Dave Eggers, the Jim Henson Company, and singer/songwriter Karen O. have gone all-out to re-create the inner world of a child with as much empathy as was mustered for the inner adult world of Jonze's Being John Malkovich. --Kathleen C. Fennessy
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| Inglourious Basterds (Single-Disc Edition)
List price: $29.98
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Brand: UNI DIST CORP. (MCA)
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Brad Pitt takes no prisoners in Quentin Tarantino’s high-octane WWII revenge fantasy Inglourious Basterds. As war rages in Europe, a Nazi-scalping squad of American soldiers, known to their enemy as “The Basterds,” is on a daring mission to take down the leaders of the Third Reich. Bursting with “action, hair-trigger suspense and a machine-gun spray of killer dialogue” (Peter Travers, Rolling Stone), Inglourious Basterds is “another Tarantino masterpiece” (Jake Hamilton, CBS-TV)!
Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale. Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds. Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
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| Julie & Julia
List price: $28.96
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Brand: Sony
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Julia childs story of her start in the cooking profession is intertwined with blogger julie powells 2002 challenge to cook all the recipes in childs first book. Studio: Sony Pictures Home Ent Release Date: 12/08/2009 Starring: Meryl Streep Stanley Tucci Run time: 123 minutes Rating: Pg13 Director: Norma Ephron
Julie & Julia is a film that should be relished with gusto--accompanied by the freshest and best ingredients, pounds of butter, and bottles of the very best wine. It lovingly celebrates the life of one of American food's most influential and beloved figureheads: Julia Child--played here with zest, humor, and a sweet, subtle respect by Meryl Streep, whose performance is spectacular. Julie & Julia is based on the book by Julie Powell, a frustrated New York bureaucrat who wants to be a writer. "But you're not a writer until someone publishes you," she moans. So she gives herself a challenge: to cook her way through Julia Child's Mastering the Art of French Cooking in one year, and to blog about it. As Powell (played with chirpy determination by Amy Adams), begins to find her groove as a cook, and her voice as a writer, the project takes on a life of its own--and in the end it does provide the struggling young woman with her life's purpose, to her very pleasant surprise. But mostly, Julie & Julia is a valentine to Child, to Child's amazing love affair with her dashing husband, Paul (Stanley Tucci, as divine as any soufflé in the film), and to her outlook on embracing life, and ordering seconds. Streep throws herself into the Child role with real affection for her character, and while certain of Child's idiosyncrasies--including her warbly voice and unflappable haphazardness in the kitchen--are retained, it's Child's character and vision which form Streep's portrayal, and which make the film so involving and rewarding. Nora Ephron directs with deftness and a light touch, though she seems at times to be encouraging some of Meg Ryan's onscreen tics in Adams (the self-conscious head tilt, for one). But mostly she simply allows Streep to channel Child and her love of food, her husband, and 1950s Paris. And that is a recipe for something truly sublime. --A.T. Hurley
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| Up in the Air [Blu-ray]
List price: $39.99
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Brand: Paramount Home Video
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Corporate downsizing expert's life is turned upside down.
Up in the Air transforms some painful subjects into smart, sly comedy--with just enough of the pain underneath to give it some weight. Ryan Bingham (George Clooney) spends most of his days traveling around the country and firing people; he's hired by bosses who don't have the nerve to do their layoffs themselves. His life of constant flight suits him--he wants no attachments. But two things suddenly threaten his vacuum-sealed world: his company decides to do layoffs via video conference so they don't have to pay for travel, and Bingham meets a woman named Alex (Vera Farmiga, The Departed), who seems to be the female version of him… and of course, he starts to fall in love. Writer-director Jason Reitman is building a career from funny but thoughtful movies about compromised people--a pregnant teen in Juno, a cigarette-company executive in Thank You for Smoking. George Clooney has a gift for playing smart men who aren't quite as smart as they think they are (Michael Clayton, Out of Sight). The combination is perfect: Bingham is charming and sympathetic but clearly missing something, and Up in the Air captures that absence with clarity and compassion. The outstanding supporting cast includes Anna Kendrick (Rocket Science), Jason Bateman (Arrested Development), Danny McBride (Pineapple Express), Melanie Lynskey (Away We Go), and others, each small part pitched exactly right. --Bret Fetzer
Stills from Up in the Air (Click for larger image)
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