Electric Shadow

Peanuts Collected


Last week, Warner Bros. released the six Charlie Brown TV specials from the 1960's in a two-disc set, with half of them on each disc and a featurette, Vince Guaraldi: The Maestro of Menlo Park, on disc 2. Even though the packaging may appear to tell you otherwise, You're In Love, Charlie Brown is on disc 2 as well. Also according to the packaging, all six were remastered. I'll admit, they do look better than I remember them looking on TV. There's still some occasional dirt and a to-be-expected amount of grain in the picture, but these look about as good as they can. The audio's sharp as well. This is the lowest price I've seen these for for, since the going rate for this one is what they cost individually. There is a more "Deluxe" set out there for four times the price, but this is perfect if you want just the specials. There's a Blu-ray edition of A Charlie Brown Christmas that was announced for release just a few days ago, so be advised if you want that one in the highest resolution possible. The Guaraldi featurette is a nice look at not only his contributions to Peanuts, but his career overall. For reference, the set inclides the following: A Charlie Brown Christmas Charlie Brown's All-Stars It's the Great Pumpkin, Charlie Brown You're In Love, Charlie Brown He's Your Dog, Charlie Brown It Was a Short Summer, Charlie Brown

Click to buy at Amazon.
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Please to Splain

As HE's resident Cuban American, it falls on me to point out that the Ricky Ricardo reference by the right honorable Sen. Tom Coburn (R-OK) isn't accurately racist. Sotomayor is Puerto Rican (Newyorquina to be exact), not Cuban. I wonder if that's how Coburn talks to Mel Martinez (R-FL)...
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Amazon + NetFlix?


Amazon is already the 800-lb. gorilla mail order company in the US for everything from cereal to LCD TVs. They've had a VOD store for a while now, with neither taking a foothold in a significant way. If they buy NetFlix, that exponentially expands Amazon's footprint and price control abilities. Allow me to explain: I know a number of people who are big fans of Netflix Watch Instantly, particularly due to the buffet style of all-you-can-watch on the service. In the acquisition, Amazon would have to leave this service fully intact or potentially lose subscribers. You can't regress in the VOD game, only forge on. Taking this for granted, Amazon could cherry-pick which titles you have to pay a VOD rental on and which ones are "free" (since you have to be a subscriber to get Watch Instantly). Existing Watch Instantly devices would undoubtedly gain Amazon VOD rental abilities. The muscle of Amazon behind a set top box-based, High-Definition VOD library with the reach of Netflix could finally push VOD toward full-fledged mainstream viability. With Blu-ray player and HDTV manufacturers building WiFi and Netflix WI into their new devices on top of the XBox 360 already having it, there's more "standardization" at play than during any format war in history. There will be multiple ways to access the content for a service many already subscribe to, but don't have a way to plug into their TV. Inexpensive dedicated devices like the Roku Player are out there too. The prices on those are closer to that of a standard-def DVD player than the $300-400 ballpark for a decent-quality Blu player. There's not even a requirement to have an HDTV, just an internet connection. Potential competition could come from Best Buy and TiVo, who have also been rumored for merger. BB even has their own in-house hardware manufacturer (Insignia). This is all theoretical, but completely plausible. If either AmazonFlix or TiVoBuy (or both) build current episodes of popular TV shows into their model, conventional broadcast networks could be completely doomed. Of course, across-the-board metered broadband pricing could then become the cable/DSL companies' revenge. "Want to stream VOD content? Free if you subscribe to cable and use the options we provide you, but if you stream to a player, we're going to gouge you like cell companies when it comes to international data roaming." Does anyone doubt major corporations are at this moment plotting how to dominate the streaming business and stifle competition? Send me your thoughts and I'll run them later in the week.
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Space Blu


Image cropped and shrunk down from DVD Beaver's excellent review. Go there for many more gorgeous examples of the picture quality of this release.
The Blu-ray released by MGM a couple weeks ago is the best that Spaceballs has ever looked or sounded on home video. Varying levels of contrast and sharpness are noticeable, as is a healthy amount of grain. This ends up being a great reference disc for people who freak out at the mere mention of Digital Noise Reduction, as there is none visible to me here. All the extras are carried over from the most recent DVD Special Edition, including the not-great Mel Brooks Commentary. Also packed in is the old flipper DVD edition, with pan-and-scan on one side, and widescreen on the other. I would have preferred a Digital Copy suitable for portable devices, but whatever.
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Backlot Gold

The new Universal Backlot titles all feature exceptional transfers considering their age and the bitrate limitations of DVD. Absent any supplements, the movies turn out to be the best "special feature" you can ask for. I've included some screen captures from the three pictures that aren't Lonely Are The Brave, which I've spent enough focus on for the time being. The bulk of the shots will be from Trail of the Lonesome Pine.

There's been a lot more attention on Trail of the Lonesome Pine's lush Technicolor transfer, but Ali Baba and the Forty Thieves is nothing to sneeze at either.


I'm glad they didn't replace "thieves" with "insurgent terrorists." Bullet dodged. Also, the Mongols held Baghdad for ten years, and we're pulling out after six? How dare the USA look like a bunch of quitters!

This is one of my favorite screen captures of the lot, from Beau Geste. I already put it in the Digital Roundup for last week, but it's too good not to re-run. The stark, clean desert landscapes look great in this 4-year-old, necessarily grainy transfer. It was previously only found in the Gary Cooper Collection, which, as I said in this past week's Roundup, is a better value dollar for dollar than the standalone disc. It includes the same transfer on a dual-layer DVD and four more Cooper-starring movies.

How many of those extras would be CGI cutouts today?

Very nice woodcarving work.

I think I counted about ten trees they did this to for the credits. Here's to the ecological mores of the past!

This is still true to some degree in some areas...

...wait a minute, didn't Candidate Obama get in trouble for saying something just like this? Obviously, this movie was palling around with terrorists before it became cool again.

The kid in this shot is the young version of Fonda's character. Strangely enough, the kid seems more natural at handling a rifle than his grown-up counterpart.

Fred Stone plays "scared of technology" so well in this scene, I must admit that he made me giggle.

The few seconds of this pan constitute one of the best examples of how great of a transfer Universal got out of this 73-year-old film.


There's a shot of this same place caked in snow that made me wonder if they left the location there and shot in winter or used some sort of alternative. So much of this movie left me with unanswered trivial questions that I wish there were some sort of Turner Classic Movies-style retrospective featurette for it.
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Digital Roundup: Week of 7/7


Disc of the Week Lonely Are the Brave From my earlier review: "Not only one of the great "death of the West" pictures, Lonely Are the Brave is by many accounts one of the best westerns ever made. Its star, Kirk Douglas, rates it as his favorite film he's worked on. It broke the blacklist with Dalton Trumbo's full credit for writing. Aside from a VHS that is long out of print and the occasional Turner Classic Movies airing, the movie has been impossible to find for a long time. "Douglas plays Jack Burns, a man with no government-issued ID or car. All Jack has is the shirt on his back, a horse, and the bare necessities. He has a friend he finds out has been put in prison. The friend's wife, Jerry, is played by Gena Rowlands. She and Jack have some sort of unrequited chemistry that becomes immediately apparent in Jerry's first moments on-screen. Walter Matthau appears later on as the sheriff tasked with tracking Jack down. "The two extras are more than I ever expected I'd see on this release. Lonely Are The Brave: A Tribute [19:13] features new interview footage with Kirk Douglas, his son Michael, Gena Rowlands, and Steven Spielberg. It may mark me as a sap, but I've felt for a while now that it would be a terrible injustice to allow the movie to go without a DVD release before Kirk Douglas leaves us. Spielberg's presence as anything other than a fan is only explained toward the end when he reveals his role in getting the DVD out. Rowlands refers to her director son as "Nicky," which made me chuckle. The Music of Lonely Are The Brave [9:46] examines the scoring done by Jerry Goldsmith, and how his work and ingenuity here is reflected throughout his later work. I most enjoyed getting to hear clips of unused cues, the buried treasure of great composers." This is the rare DVD worth $15 these days. Free to Stream

Storefront Hitchcock Watch now on Hulu. Jonathan Demme's concert doc featuring Robyn Hitchcock can now be viewed for free online. Highly recommended for Demme and concert doc fans. At only 77 minutes long, it's difficult to come up with a decent excuse not to see it now. Catalog New to DVD

The Trail of the Lonesome Pine Ali Baba and the Forty Thieves Beau Geste I'm happy to see these entries in Universal's Backlot Series in addition to Lonely Are the Brave, even though they lack any extras aside from the odd trailer. Trail of the Lonesome Pine stars Fred MacMurray and Henry Fonda, and commits one of the Great Mistakes a movie can make (unapologetically, I might add), and I love it for that. I didn't see it coming at all, especially from a movie made in 1936. The movie centers on a Hatfields-and-McCoys-style feud between two mountain families. MacMurray plays an "outsider" (called a foreigner by the mountain folk) who works for a railroad company. Fonda plays the son of one of the warring patriarchs who's been bred to hate and fight. Sylvia Sidney plays Fonda's cousin and wife-to-be, a barefoot mountain girl who has none of that book-learnin' the city folk have. Yes, Henry Fonda once played a definitely-inbred hillbilly engaged to his cousin. The back of the box accurately proclaims it a melodrama, so expect some wonderful over-acting. The most notable technological achievement of the movie is that it was the first Technicolor film shot outdoors in the Blue Ridge Mountains, and it looks gorgeous. No extras, but I'm glad to finally be able to watch the movie.

The Mongols beat us to invading Iraq, but hey, maybe we'll hold onto it longer!
Ali Baba and the Forty Thieves could definitely support a studio remake with actual middle eastern actors. Jon Hall is tolerable in brownface, and Maria Montez's latin accent passes for "1944 Hollywood Iraqi," but I'd love to see an Iraqi or at least Muslim director's take on the legend. In terms of actors, put Kingdom of Heaven and Syriana's Alexander Siddig in it. Put Oded Fehr in there. Hire some of the actors form Mongol to play the Mongolians. I'm posting some more screencaps for it and other Backlot titles where I'll elaborate a bit more. The 1944 classic's Technicolor transfer is gorgeous, and its cast of thousands upon thousands is a reminder of when CGI didn't give studios excuses for not using live humans.

Beau Geste is one of the many cinema classics from 1939 that everyone should see at some point. This is it's solo premiere, since the movie was previously only available as part of a 2005 Gary Cooper box set that includes Geste, Design for Living, The Lives of a Bengal Lancer, Peter Ibbetson, and The General Died at Dawn. It was a two-double-sided-disc set, with Beau Geste on it's own dual-layer side of disc two with the exact same transfer present on this individual disc. The kicker: that set is now $14.99 on Amazon, the same price as this individual disc. This transfer has a lot of noticeable grain in it, but that's a good thing as far as I'm concerned. I don't think that even a little DNR would have helped at all. The grain in this movie is part of the constitution of a lot of the picture. The above screen capture links to a higher-resolution version, but as I always advise with older B&W presentations, one should see it in motion to get a good idea of what the grain looks like. The presentation is very film-print-like to me, but that may not be what different viewers are looking for. For comparison's sake, the theatrical trailer is on the disc, and that, my friends, is a swirling, cataclysmic grainstorm. The John Barrymore Collection Dr. Jekyll and Mr. Hyde (1920) Sherlock Holmes (1922) Beloved Rogue (1927) Tempest (1928) Kino's new set includes the DVD premiere of Barrymore's turn in Sherlock Holmes. Breaking down to around $13 a disc, this is a great value compared to paying over $20 apiece for Image Entertainment's Beloved Rogue and Tempest and $18 for Kino's 2001 Dr. Jekyll and Mr. Hyde. They're available individually, but are priced such ($22.98 each) that if you want two of them, you might as well get the whole set for $45 from Kino directly. I haven't gotten my eyes on any of these, but I always trust Kino's track record. Catalog DVD Re-issue

Peanuts 1960's Collection Includes: A Charlie Brown Christmas Charlie Brown's All-Stars It's the Great Pumpkin, Charlie Brown You're In Love, Charlie Brown He's Your Dog, Charlie Brown (New to DVD) It Was a Short Summer, Charlie Brown (New to DVD) Warner Bros. has collected six of the Peanuts TV specials from the 60's, with the latter two coming to DVD for the first time. If you ask me, It Was a Short Summer, Charlie Brown sounds like a horror movie. I'll dig into the quality of the transfers and the included featurette on Vince Guaraldi's music (The Maestro of Menlo Park) in the coming days. Catalog New to Blu-ray

Grumpy Old Men The transfer on this movie looks great, and the only extra is the original trailer. This was one of my favorite movies from childhood. Yes, my childhood. I was 10 when it was in theaters. Jack Lemmon, Walter Matthau, Ann-Margaret, Ossie Davis, and Burgess Meredith are all perfect. Kevin Pollak and Darryl Hannah likewise. Christopher MacDonald shows up long enough to reinforce his talent for playing condescending, dickheaded bullies to perfection. If I didn't already have it, this would be the perfect gift to give me. I start the movie and I can't bring myself to just watch part of it. The Deep A fun post-Jaws "danger in the water" movie starring Robert Shaw and Jacqueline Bisset. I figure fewer people will buy this than want to rent it in HD. New Releases (DVD & Blu-ray) Knowing I skipped it, but will eventually give it a look on Alex Proyas' name alone. The Unborn I watched this one through (the Unrated version), and I didn't take to the jump-scares it relies upon. The only extra on it is a set of Deleted (and Alternate) Scenes. Push I can't dedicate any more time of my life to watching this than I did seeing a few minutes of footage last December at BNAT. TV New Releases

Reno 911! Season 6 This show started while I was in college, and it took meeting my wife to have her introduce me to it. I have been a longtime fan of The State, which is where principals Thomas Lennon, Robert Ben Garant, and Kerri Kenney-Silver made their start. Coincidentally, this DVD set opens with a forced ad for MTV's complete series set for The State (coming next week). UCB veteran Ian Roberts and State alum Joe Lo Truglio join the cast after the departure of Garcia (Carlos Alazraqui), Clementine (Wendi McClendon-Covey), and Cherisha Kimball (Mary Birdsong). The show is still really funny, with the two-part Murder Mystery episode being particularly hilarious. Extras include Audio Commentary by the cast on selected episodes as well as Extended and Deleted Scenes, the first of which is a great example of how difficult it must be to edit this show. Profiles in Valor: Deputy Frank Rizzo and Sergeant Jack Declan are character moments with the two new officers. The only beef I have with this set is that it advertises a Digital Copy of the whole season and some extras, but there's a huge catch. Said Digital Copy is Windows Media-only, and is not compatible with iPods, iPhones, PSPs, Macs, or Zunes...but is allegedly compatible with PlaysForSure-enabled devices. PlaysForSure as a brand was discontinued in late 2007 and rolled into Certified for Windows Vista. The Microsoft Zune never supported MS's PlaysForSure standard, only working with their Zune Marketplace media. So, if you have one of the few remaining devices that support this dead standard, there is indeed a way to take the media on the go! If this Digital Copy followed the compatibility of that on so many DVDs and Blu-rays these days, sales of TV sets would go up and piracy would go down. Aside from that, this is a great set. Kath & Kim Season 1 A now-cancelled remake of a wildly-successful Australian sitcom, Kath & Kim was not as bad as some made it out to be. It's about a mother and daughter pox on humanity pair that have no idea how intolerable they really are. Molly Shannon and Selma Blair played off each other really well, and frankly did such a good job playing absolutely worthless wastes of humanity that I ended up watching a lot of the show as it aired. Their repellant personalities made me want to vomit like when I ingest grain alcohol, but I just kept drinking like an idiot. John Michael Higgins is in the show enough to make it watchable all on his own, and Mikey Day as Kim's husband Craig was enjoyable enough that I'd like to see him do some other stuff. There are two sets of Deleted Scenes [1:47 and 2:13 respectively] split to go with the episodes on each disc. The Gag Reel [9:13] has some good bits on it, including the crew thanks videos from the cast that usually only the crew sees. There are also commentary tracks on a good chunk of the episodes.
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The Last Cowboy


Not only one of the great "death of the West" pictures, Lonely Are the Brave is by many accounts one of the best westerns ever made. Its star, Kirk Douglas, rates it as his favorite film he's worked on. It broke the blacklist with Dalton Trumbo's full credit for writing. Aside from a VHS that is long out of print and the occasional Turner Classic Movies airing, it's been impossible to find for a long time. Douglas plays Jack Burns, a man with no government-issued ID or car. All Jack has is the shirt on his back, a horse, and the bare necessities. Jack's friend Paul has been put in prison. Paul's wife Jerry is played by Gena Rowlands, best known by my generation as "that old lady in The Notebook." This was only Rowlands' third film after doing a great deal of TV work.

Jerry and Jack have some unrequited chemistry that becomes immediately apparent in her first moments on-screen. Walter Matthau appears later on as the sheriff tasked with tracking Jack down. A year later, he'd make Charade with Stanley Donen. Bill Bixby, William Schallert, George Kennedy, and Carroll O'Connor appear in "that guy" parts. I feel it important to note that Schallert is still acting at the age of 87 (he had a birthday on the 6th of July), next appearing in Green Lantern: First Flight. According to a longstanding quote, he never intends to retire. Everyone's favorite supporting performance is that of Whiskey, Jack's horse. She's one of the best movie horses I've ever seen. Douglas wanted to call the picture The Last Cowboy, closer to the title of the book upon which it was based ("Brave Cowboy"). As much as I instantly like that title, I love the poetry of the one the studio forced on it against his protest. The biggest reason that red-till-they're-dead conservatives identify so strongly with the cowboy archetype is that, as Douglas puts it in the included featurette, it's become very "difficult to be an individual." That's something everyone out there feels to some degree, thanks to all the homogenization that's gone on over the last number of decades. Whether it's clothes, dwellings, or food, it all seems formed out of the same molds no matter where you look. Individualism is on a sharp decline, and a lot of it comes from the proliferation of little screens we can all console ourselves with any time, all the time. Whether it's obsessing over how many friends we have on social networks or finding ways to forget about all the debt we have, there's always some flimsy "escape" to be had. I wonder if all the avenues for "freedom of choice" we see aren't actually fencing us in without our realizing it. I know so many people not only addicted to their internet connection, but their smartphones and media players as well. I've become convinced that someone could make a "disaster" movie where all these things stop working and the United States falls under the crushing weight of a national anxiety attack.

The two extras are more than I ever expected I'd see on this release. Lonely Are The Brave: A Tribute [19:13] features new interview footage with Kirk Douglas, his son Michael, Gena Rowlands, and Steven Spielberg. It may mark me as a sap, but I've felt for a while now that it would be a terrible injustice to allow the movie to go without a DVD release before Kirk Douglas leaves us. Spielberg's presence as anything other than a fan is only explained toward the end when he reveals his role in getting the DVD out. Rowlands refers to her director son as "Nicky," which made me chuckle. The Music of Lonely Are The Brave [9:46] examines the scoring done by Jerry Goldsmith, and how his work and ingenuity here is reflected throughout his later work. I most enjoyed getting to hear clips of unused cues, the buried treasure of great composers. The movie is $15 and worth three times that. Order it at Amazon here and a fraction of a dollar goes toward keeping this column going.
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Full Friday

A press screening of It Might Get Loud (which I've heard good things about) is pushing this week's Digital Roundup to later. It's taking every fiber of my restraint to not stay home and watch the Blu-ray of 12 Monkeys that just showed up. I'll also have some thoughts on a really great pseudo-doc that includes a lot of unwitting participants later on as well.
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Best of the West

I'll run something more substantive on the Universal Backlot Series titles released this week once I finish getting through them. I couldn't wait to post some screen captures from Lonely Are the Brave, which was previously unavailable on DVD. It also happens to be one of my favorite westerns. Images link to the raw, high-resolution PNG files.




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Digital Roundup: Week of 6/30


Disc of the Week Do The Right Thing Anyone who owns the Criterion Collection DVD from a few years ago can go ahead and sell it. That is, unless they are conforted by the the spine number physically on their shelf. The most underreported thing since Universal released this Blu-ray (and DVD) last week is that it retains every last supplement from the Criterion disc with the exception of the "Fight the Power" music video. Not only are those hours of extras held over, but they've added a Spike Lee-directed 20 Years Later [HD 35:47] retrospective composed of interviews with cast and collaborators from the Lincoln Center 20th Anniversary event in February of this year. Also new are 11 Deleted and Extended Scenes [HD 14:14] that have not been cleaned up and restored, but are in full 1080p. Spike also contributed a recently-recorded Feature Commentary. For the sake of saving readers a trip to Criterion's page, the carried-over extras include the following: Feature Commentary with Lee, cinematographer Ernest Dickerson, Production Designer Wynn Thomas, and actor Joie Lee; Behind the Scenes footage shot by director Lee [57:58]; St. Clair Bourne's The Making of Do the Right Thing [1:01:01] and companion featurette Back to Bed-Stuy [4:49], where Spike and Producer John Kilik revisit locations; the Cannes 1989 Press Conference [42:22] featuring Spike, Ossie Davis, Ruby Dee, Richard Edson, and Joie Lee; a 2001 interview with Editor Barry Brown [9:38]; a Spike-introduced look at the storyboarding of the Riot Sequence; and finally, the Trailers and TV Spots round things out. Even the week after release, you can nab the Blu-ray on Amazon for $19.99. An in-depth review will follow soon. Fresh from Theaters (DVD & Blu-ray)

Two Lovers This movie is solid work from all concerned, though I'd stop short from the box quote claim that it was "the best American Drama of the year!" This is a more barebones release than I'd expect from Joaquin Phoenix's "final film." Picture and audio are great, as has been the case on previous Magnolia releases. A Behind-the-Scenes featurette [7:00] that includes the above and below images.

This featurette is as close as we get to a commentary in miniature bites. Also included are three Deleted Scenes [9:22] with contextual title cards and the Magnolia-standard HDNet promo HDNet: A Look at Two Lovers [4:32]. The Jonas Brothers: The Concert Experience This movie so underperformed on 3D screens, the movie it replaced (Coraline) in turn replaced The Jonas Brothers a couple weeks into its run. I tried watching it, I did. I got a little ways into it and I actually fell asleep. When I woke up, my dog was sitting next to the Blu-ray player, staring at me. She begged me with her eyes to turn off the tween music noise. This "movie" is really nothing more than a tween-centric concert movie that really belonged on TV in the first place. They're talented guys, but their music is decidedly not for me. The Blu-ray includes 2D and 3D versions of the movie, two pairs of 3D glasses, a Behind-the-Scenes [HD 15:00] narrated by the wunderkids, and a pile of trailers and sneak peeks. In addition to a Digital Copy, the Blu-ray edition also includes the DVD edition as well, so you can be obsessed with these guys no matter what kind of player you are in front of. 12 Rounds: Extreme Cut My wish finally came true: template-based 80's and 90's action movies have returned thanks to Fox, WWE Entertainment, and wrestler-turned-actor John Cena. To top it all off, 12 Rounds is billed as "A Renny Harlin Film." This is no mere movie, it's a film, motherfuckers, and don't you forget it. The movie's plot in 140 characters: musclebound cop's girlfriend is kidnapped, kidnapper puts guy through 12 EXTREME puzzles (this is how they used to make videogames). The Blu-ray has more special features than bona fide classics get or that this movie merits. The front of the box promises two Alternative Endings, whereas the back calls them Alternate Endings with Optional Commentaries. I couldn't tell you which it really is, because I was too distracted by all of the Extreme Pulse-Pounding Thrill-Riding. The Gag Reel is hilariously referred to as Never-Before Cena (get it? lolz!). There are a couple featurettes about Stunts and Action, one that is a Harlin and Cena lovefest, one about The Score of 12 Rounds (Jesus H everloving Christ, really?), and some Viral Videos (I never caught them). A Digital Copy resides on Disc 2. Street Fighter: The Legend of Chun-Li Didn't see it, but I don't know if I ever will. Flawless (Blu-ray only, DVD released 6/3) I never saw this Michael Caine/Demi Moore heist team-up, but will give it a shot sometime soon, if only to hear Moore's English accent. New Releases Only on DVD The Betrayed This one is a thriller that takes pace largely on a single set starring Melissa George (Dark City, 30 Days of Night) as a mother/wife of a guy with a past she doesn't know about. She and her son are violently kidnapped and sequestered in a warehouse. Oded Fehr plays her usually-masked captor and Christian Campbell, who I loved in Reefer Madness, appears in flashbacks at first as her husband. The movie isn't great, but the actors have some decent character work to do and the whole thing reflects a fair amount of chops on the director's part. The presence of a female writer thankfully provides a perspective that doesn't bury this kidnapping movie in torture, exploitation, or gratuitous nudity. The characterization of Alice Krige's character and her henchboys is a little bizarre verging on cartoonish in places, but otherwise, the movie's not bad at all. Writer/Director Amanda Gusack has done a couple other movies, and I can't find much biographical info on her. The DVD contains no extras. I wish there had been some sort of thing with Gusack talking about how it developed, how it was made, and so on. Catalog New to DVD Lookin' to Get Out From my review posted earlier: Jon Voight and Burt Young play a couple guys who get mixed up owing some tough guys money. They high-tail it from New York City to Las Vegas to try their hand at winning it at the card tables. Alex (Voight) runs into Patti (Ann-Margaret), an ex who just happens to be the kept woman of the guy who owns the MGM Grand. Though the movies are different in more ways than they're similar, I wonder if that bit inspired the Danny-Tess Ocean dynamic in Soderbergh's Ocean's Eleven. Angelina Jolie (credited with Voight tagged at the end of her name) appears briefly as Alex & Patti's kid. The original trailer, poster, and now the DVD cover make this look more like a zany, slapstick farce set in a casino than it turns out to be. If a viewer goes in thinking that's what they're gonna get, they'll be sorely disappointed. It makes more sense to go in expecting it's about two not-so smart guys who get into trouble and then get into more trouble by flying cross-country to enact some sort of scheme. It's a studio-funded Hal Ashby art movie set in Vegas. There's nothing wrong with that. Included are the original trailer and Lookin' to Get Out: The Cast Looks Back [16:12], which includes new interviews with co-writer Al Schwartz, Voight & Ann-Margaret, with an archival interview with Burt Young. It's mostly about how the project came together, but it also touches on how this cut and the DVD happened in the first place. TV Release of the Week

The IT Crowd Season 2 (also on Netflix Watch Instantly) I love this show. It airs on the IFC cable channel here in the US (Channel 4 in the UK, where they just finished up airing Season 3). Season Two brought the best parody of the "when you pirate a movie, it is a CRIME" ad that even anti-piracy types openly ridicule.


The geektastic menus (depicted below) are, as on Season One before it, duplicated from the original UK release. Extras (also carried over) most prominently include Commentary on the entire season by Creator/Writer/Director Graham Linehan. Also in there are some great Outtakes [7:12] and a featurette that gives a look at how the show is made called Recording The IT Crowd [7:39].

New TV Releases Eastbound and Down Season 1 Some absolutely perfect work from Danny McBride that I'm glad is getting a second season pickup. Jockeys Season 1 One of the better reality series on Animal Planet, Jockeys gives people a look at all the stuff behind all those jockey movies they watch and races they see on TV. I didn't think I'd get into it, but I watched all of these as they aired. The Queens of Country I can't come up with words to describe how much I detest "modern" country music. MPI has put together a set dedicated to televised performances from Dolly Parton, Loretta Lynn, and Patsy Cline. Dolly's disc also features joint performances with Linda Ronstadt, Emmylou Harris, Kenny Rogers, and poet Rod McKuen. The most noteworthy part of the set is that it includes Cline's last televised performance, done just a few days before she died. After starting to get sucked into the whole thing, I can say this is a must-own for fans of any of these three women. The Lucille Ball Specials: Lucy Gets Lucky & 3 for 2 Another MPI release, this one features two Lucille Ball TV specials. The first, with Dean Martin, is all about Lucy trying to go see him in Vegas. The second co-stars Jackie Gleason and is split into three vignettes about marriage. Both are more fun to watch than the millionth I Love Lucy rerun on TV Land. Muhammed Ali: In His Own Words This 40ish-minute TV-special style documentary short collects a lot of footage of Ali talking to the press throughout his career. Video quality isn't remarkable or anything, but it's the most comprehensive, concentrated look at The Greatest talking about himself in front of the press. Non-Cable VOD Melvin Goes to Dinner One of my favorites from SXSW 2003, Bob Odenkirk's directorial debut was an adaptation of a stage play written by star Michael Blieden. Blieden has gone on to direct docs The Comedians of Comedy and Super High Me. Melvin centers around four people of varying acquaintance who find themselves at dinner together, including Stephanie Courtney, who many now know as the brunette Progressive Insurance commercial girl. The movie is almost all talk, but it moves right along and keeps the pace up. There are appearances from folks like David Cross and Fred Armisen,who weren't quite as well-known when the movie was out on the festival circuit. There's a surprise cameo I won't spoil here. This is worth your few bucks to rent at the least, I promise. Rent or buy it on iTunes here. The Order of Myths An Oscar-shortlisted doc about the continuing racial divide surrounding Mardi Gras in Mobile, Alabama. If you can find it anywhere, Bama Girl makes a perfect pairing. Rent or buy it on iTunes here. Streaming for Free Jazz on a Summer's Day A Jazz doc from 1960 that covers the Newport Jazz Festival of 1958. There's virtually no narration, and it's almost exclusively music. Watch at SnagFilms. We Are Wizards A documentary about the Harry Potter-themed Wizard Rock bands popping up all over. Watch on Hulu. Run Granny Run In another SXSW doc, a 90-year-old woman's husband dies and she takes up the cause of campaigning against all the money keeping regular people out of running a campaign for office. At the age of 94, she decides to run against Judd Gregg for Senator. It starts airing on HBO in October. Watch on Hulu.
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Lost Ashby Escapes


Click on the box art to order from Amazon.
One of the two films notably taken out of Hal Ashby's hands during editing (his area of greatest expertise), Lookin' to Get Out has been something of a lost film since original release in 1982. Even though the studio recut the movie and pitched it as some sort of high strung goofy caper, Ashby donated a print of his preferred cut to UCLA. Film historian and author Nick Dawson came across this version of the movie in the process of writing his book Being Hal Ashby. When he got a chance to speak with star and co-writer (and Friend of the Site) Jon Voight, the wheels were set in motion for the restored cut available now on DVD from Warner Brothers. Jon Voight and Burt Young play a couple guys who get mixed up owning some tough guys money. They high-tail it from New York City to Las Vegas to try their hand at winning it at the card tables. Alex (Voight) runs into Patti (Ann-Margaret), an ex who just happens to be the kept woman of the guy who owns the MGM Grand. Though the movies are different in more ways than they're similar, I wonder if that bit inspired the Danny-Tess Ocean dynamic in Soderbergh's Ocean's Eleven. Angelina Jolie (credited with Voight tagged at the end of her name) appears briefly as Alex & Patti's kid. The original trailer, poster, and now the DVD cover make this look more like a zany, slapstick farce set in a casino than it turns out to be. If a viewer goes in thinking that's what they're gonna get, they'll be sorely disappointed. It makes more sense to go in expecting it's about two not-so smart guys who get into trouble and then get into more trouble by flying cross-country to enact some sort of scheme. It's a studio-funded Hal Ashby art movie set in Vegas. There's nothing wrong with that. Honestly, I'd have watched this movie for Burt Young all on his own. He's the one who made me laugh principally because he's so organic throughout. Voight's going free rein with a character he co-wrote, but Burt really gets all the best moments. He plays as if he's just this lovably stupid guy and there's a movie happening around him, and it works. Included are the original trailer and Lookin' to Get Out: The Cast Looks Back [16:12], which includes new interviews with co-writer Al Schwartz, Voight & Ann-Margaret, with an archival interview with Burt Young. It's mostly about how the project came together, but it also touches on how this cut and the DVD happened in the first place. For me, it was nice to see Jon Voight back when he had a sense of humor. I'm not knocking his politics or him personally, but he's very different now than he once was, in character and behavior. Has he retreated inside his legacy like a President who's left office while unpopular?
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478: Lost in Marienbad


Last Year at Marienbad is a perplexing art film that openly eschews any attempt to be a conventional, passive experience. It's become as famous for its objective iconography as the sharply-divided critical response. The most concrete the movie gets is that a man tries to convince a woman that they met a year before. Another man appears to be protective of the woman. Trying to sort out any sort of conventional chronology is futile. Is the movie happening in the present tense with flashbacks? Is it a frenzied rush of repressed, traumatic memories? It's one thing and everything at once, and it's immensely frustrating and fascinating at the same time.

I went into my first viewing (while in college at a friend's house) as blind as possible. After having seen it twice more, I'm not sure I've gotten much more out of it than I did on my initial viewing. Then and now it feels to me like a feverish explosion of repressed memories and trauma, which has become a popular opinion over the years. If you're looking for a linear narrative (or anything resembling it), this is the wrong movie to watch. The dynamic nature of Alain Robbe-Grillet's script leaves the viewer unable to predict what will come next with any degree of certainty. It's hard to imagine this film finding an audience in an age before home video, where re-watching the film would require another trip to the cinema.

Alain Resnais' film retains its title as one of the most loved or hated films of all time. Pauline Kael railed against it. Michael Medved called it one of the 50 Worst Movies of All Time. Just this week a friend asserted his love of it and couldn't articulate why. I wouldn't be surprised if his reason was as simple as "it makes me seem sophisticated and cool." I only like it for two reasons: it's gorgeous to look at and it's so adept at provoking anger and exasperation from others. Anyone who says they love the "perfection" of it is full of shit if you ask me. Director Alain Resnais (Hiroshima mon amour) and writer Alain Robbe-Grillet were trying some unconventional things and intended for it to be amorphous.

Resnais (l.) and Robbe-Grillet (r.)
Not a single other release this month features the amount and quality of immersive supplemental material as Marienbad, as one could easily expect of Criterion. The centerpiece of the extras is a new audio interview with Resnais [33:04]. He opens up about differences of opinion the production team had as if he had just wrapped the last day of photography and were talking to his closest confidante. The interview is complimented by two featurettes, Unraveling the Enigma: The Making of Marienbad [32:36] and Ginette Vincendeau on Last Year at Marienbad [22:59].

Color production stills from Unraveling the Enigma: The Making of Marienbad


The former includes interviews with Assistant Directors, the Script Girl (how progressive), and various Resnais collaborators. Film scholar Ginette Vincendeau's piece is frank about the movie's reputation as possibly the most overhyped, over-praised art film in history. It also makes some interesting observations about possible interpretations.

My favorite extras are two Resnais-directed documentary shorts. Toute la Memoire Du Monde (1956) [20:57] is a gorgeous, though brief tour through the French National Archives. The photography makes it look like some sort of heist thriller, and it made me wish the director of Taken would craft something like that in the modern-day archives.



I was so taken by this one, I've watched it three times now. The labyrinthine halls and endless shelves of books, papers, scrolls, and other documents are absolutely mesmerizing. The first time I watched it, I was half-distracted thinking of how different this place must be now with the advent of digital cataloguing. The second time, I got pause-button-happy and skipped back and went frame by frame in places. The third I just let it wash over me. It's exquisite, and still relevant all these decades later.

Le Chant Du Styrene (1958) [13:40] is a more playful look at the production of polystyrene-based (plastic) goods in France. It's the kind of short educational film I wish I'd seen in school, subtitles and all, instead of the really lousy stuff we were stuck with. Styrene sneaks scientific knowledge in to pretty pictures and jovial narration, which is why, as with Du Monde, it doesn't feel its age.

My favorite feature of the Director-Approved edition is that Alain Resnais requested that Criterion include the original, non-remastered Mono audio, hisses, artifacts and all. Criterion has made Last Year at Marienbad available on both DVD and Blu-ray. A little blue sticker is the only way to tell them apart aside from the disc format noted on the back cover. As has been the case of late, the price of the Blu-ray ($25.99) is lower than the DVD ($34.99). For the purpose of this review, I watched and screencapped the DVD. Based on the picture quality alone, I can't quite wrap my head around how it could look better, but I'm sure they managed it somehow. Even though I nearly dismissed the movie earlier on as not much more than a conversation piece, I've watched it a third time since I started drafting this review. Maybe I like it more than I think I do.

Click the image to order the Blu-ray from Amazon.
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Digital Roundup: Week of 6/23


Release of the Week Last Year at Marienbad I went into my first viewing (while in college at a friend's house) as blind as possible. After having seen it twice more, I'm not sure I've gotten much more out of it than I did on my initial viewing. Then and now it feels to me like a feverish explosion of repressed memories and trauma, which has become a popular opinion over the years. If you're looking for a linear narrative, this is the wrong movie. The dynamic nature of Alain Robbe-Grillet's script leaves the viewer unable to predict what will come next with any degree of certainty. It's hard to imagine this film finding an audience in an age before home video, where re-watching the film would require another trip to the cinema. Not a single other release this month features the amount and quality of immersive supplemental material as Marienbad, as one could easily expect of Criterion. The centerpiece of the extras is a new audio interview with director Resnais [33:04]. It's complimented by two additional featurettes, Unraveling the Enigma: The Making of Marienbad [32:36] and Ginette Vincendeau on Last Year at Marienbad [22:59]. The former includes interviews with Assistant Directors, the Script Girl (how progressive), and various Resnais collaborators. Film scholar Ginette Vincendeau piece is frank about the movie's reputation as possibly the most overhyped, over-praised art film in history. It also makes some interesting observations about possible interpretations. My favorite extras are two Resnais-directed documentary shorts. Toute la Memoire Du Monde (1956) [20:57] is a gorgeous, though brief tour through the French National Archives. The photography makes it look like some sort of heist thriller, and it made me wish the director of Taken would craft something like that in the modern-day archives. Le Chant Du Styrene (1958) [13:40] is a more playful look at the production of polystyrene-based (plastic) goods in France. It's the kind of short educational film I wish I'd seen in school, subtitles and all, instead of the really lousy stuff we were stuck with. A more fleshed-out review overflowing with screencaps will follow later today. New Releases (DVD & Blu-ray) Waltz With Bashir Last year's odds-on favorite for Best Foreign Language Film arrives on the format more people will discover it on than ever would theatrically. Features include a Making-of, Director's Commentary, Director Q&A, and Animatics. At the Death House Door A SXSW 2008 doc reviewed by Cinematical's Eric D Snider last year. Snider called it the "poignant, heart-rending story of Rev. Carroll Pickett, a soft-spoken Texas man who served for 13 years as chaplain at the notoriously execution-happy Huntsville Prison." Confessions of a Shopaholic From my review posted last night: I've already forgotten the name of the protagonist of Shopaholic played by Isla Fisher. I skipped it in theaters but promised myself I'd watch this woulda-been-funnier-in-2006 consumerist comedy if only to marvel at its advanced aging. The movie isn't horrible by any stretch, but I couldn't bring myself to find any of the Girl in the Green Scarf's pathological lies and betrayals even mildly humorous. The Bloopers are pretty good, as are the Deleted Scenes. Blu-ray exclusives include a Behind-the-Scenes featurette that spends more time on costume design than I ever thought I would ever put up with. Considering the subject of the movie, I suppose it makes sense, but I kept drifting. There are also a couple Blu-exclusive music videos I didn't watch featuring singers I've never heard of. A Digital Copy is provided with the Blu-ray so that you can selectively learn portions of life lessons on the go. Pink Panther 2 What an amazing cast and what a disappointing effort overall. It's every bit as dreadful as you think and reeks of paychecks all round. A single bit of business that John Cleese does was the only time I laughed instead of groan. I should note that I didn't see the first one, but I don't think that would have helped. I thought the highlight would be the 27 Pink Panther Theatrical Shorts included as "Disc 3," but I was a bit let down to find it was a DVD and not a Blu-ray. They all look fine, and 1964 Oscar-winning Animated Short The Pink Phink is first on the list. The Gag Reel is funnier than the entire movie by a longshot, even though in the interest of being family-friendly, it's censored. Featurettes include Drama is Easy...Comedy is Dangerous (stunts & gags), A Dream Team Like No Other (interviews with the brilliant actors in the cast). There's a BD-Java game called Master Thief-Global Crime Showdown! that, similar to every other BD-Java game, bored the life out of me. It's little more than a dumb trivia game. There's a Digital Copy included, as one expects on Blu releases from MGM. Inkheart Skipped it entirely. I might rent it at some point. The Code (Direct to DVD/Blu-ray) Colleagues say this was much better than the stigma of "direct to video" connotes. I'll give it a rent sometime. Catalog New to DVD

Wallace Shawn and Andre Gregory in Louis Malle's My Dinner With Andre.
My Dinner With Andre The movie that defines "talky and philosophical" for many, Criterion's new Andre disc replaces a long-out of print and difficult to find DVD from years ago. Supplements include new video interviews with actors André Gregory and Wallace Shawn by Noah Baumbach (with cameraman Joe Swanberg), and "My Dinner with Louis" (an episode of the BBC's Arena), in which Shawn interviews director Louis Malle. A Criterion-standard booklet is also in the case, featuring a critical essay by critic Amy Taubin and the prefaces written by Gregory and Shawn for the published version of the script. As usual, worth every penny.

Yul Brynner in and Palestinian actress Daliah Lavi
Catlow From my 6/24 review: The last thing I expected to encounter today was a movie with Leonard Nimoy fighting in the nude. Two years after the original Star Trek series and just before his appearance in one of my favorite episodes of Night Gallery, Nimoy played a snarling bounty hunter baddie in Catlow. His presence and the fact the movie is based on a book by Louis L'Amour are likely the reasons why this wasn't made a Warner Archive title. The movie is really quite enjoyable and a welcome alternative to the crap clogging the multiplexes. Tom and Jerry: The Chuck Jones Collection From my review posted yesterday: In 1962, MGM hired Chuck Jones to do a series of Tom and Jerry theatrical shorts. Jones, best known for his work on Looney Tunes and Merrie Melodies, produced some real classics. The shorts would go on to be aired during the now-extinct Saturday morning cartoon block for decades. The end of the production run on this 34-short series also signaled the closing of MGM's animation department. Warner Bros. fully remastered these shorts, but there are still artifacts present throughout. That being said, they look a lot better than other formats I've seen them in, from TV airings to VHS, which usually pan-and-scanned them. Streaming Free Last of the Mohicans Watch Here Some people would allege this to have been Michael Mann's last good movie. Mohicans is very good, but those aforementioned people are idiots.

Hell on Wheels Watch Here A really solid doc about the modern Roller Derby. It's free! No more excuses!
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Scott-Thomas, Caron in Night Music

A new production of Stephen Sondheim's A Little Night Music is opening on my birthday next year in Paris. The show will run for 5 days, and I should start saving now for three reasons: 1) I love the show, based on Ingmar Bergman's film Smiles of a Summer Night. 2) Kristin Scott-Thomas will play Desiree Armfeldt and sing "Send in the Clowns." 3) Leslie Caron (!) will play Madame Armfeldt.

Kristin Scott-Thomas in I've Loved You So Long.
This is the kind of thing you plan a trip overseas for and around. There is a Broadway revival planned for this fall, but I doubt they will come up with a more appealing star than Scott-Thomas.
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Sucks to be a Shopaholic

I've already forgotten the name of the protagonist of Shopaholic played by Isla Fisher. I skipped it in theaters but promised myself I'd watch this woulda-been-funnier-in-2006 consumerist comedy if only to marvel at its advanced aging. The movie isn't horrible by any stretch, but I couldn't bring myself to find any of the Girl in the Green Scarf's pathological lies and betrayals even mildly humorous.

Isla Fisher is more talented than this movie
My intermittent reprieve from the "heroine" I had no pity for at all was the clutch of scenes featuring The Girl's savings-minded parents, played by Joan Cusack and John Goodman. The mere presence of Kristin Scott-Thomas prevented me from shutting the thing off at any point. Hugh Dancy is charming enough, as he was in Ella Enchanted, but similarly, he doesn't get much depth or complexity to show off with. The Bloopers are pretty good, as are the Deleted Scenes. Blu-ray exclusives include a Behind-the-Scenes featurette that spends more time on costume design than I ever thought I would ever put up with. Considering the subject of the movie, I suppose it makes sense, but I kept drifting. There are also a couple Blu-exclusive music videos I didn't watch featuring singers I've never heard of. A Digital Copy is provided with the Blu-ray so that you can selectively learn portions of life lessons on the go. All right, I'll admit it: I actually enjoyed the movie here and there, if only to watch the self-centered idiot girl suffer. The problem for me came with the ending which SPOILER ALERT teaches her nothing because she ends up with Rich N. Dreamy McEnglishpants and moves up in income and occupation. There's no definitive evidence of change, just a brief indication she now understands she did a lot wrong. If the goal was to provide some sense of closure, why didn't we see her come close to falling off the wagon and resist temptation? We get that in movies about alcoholics, for their good or ill. Wait a minute, did I just ask for contrived, comprehensive, and completely unrealistic closure? Why the hell did I watch this?
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"Trig's Creator, Your Heavenly Father."

In what way is it abnormal for Sarah Palin to ramble off-message and make little sense in a public speech? At this point there are a thousand possibilities as to why she announced her lame duck resignation on Friday of 4th of July weekend. Weird? Yes. Out of character? Not at all.

Her Palinness
I finally read through a rather meaty Vanity Fair piece from last week. My favorite bit was the revelation that after the birth of her son Trig, she wrote a letter to close friends and family from an omniscient perspective and signed it as God Almighty: "Trig's Creator, Your Heavenly Father." She's threatening legal action against any and all critics who've floated a number of theories, including a possible scandal involving who really built the Palins' house. Palin lives in the fantasy world of so many dictators over the years. Again, I'm not directly implying that she is an authoritarian control freak, but merely noting that in this respect, she is just like them. She doesn't believe that the standard definition of impropriety applies to her. Even if she did rig a contract and get a ton of free work and raw material for her lovely house, her superhuman narcissism prevents Palin from detecting anything wrong with it. My god, the Andrew Lloyd Webber musical fodder that this woman could actually become. The image below was a cheap photoshop job done during the campaign. Similar ones were made with Hillary Clinton's head, but as Palin's legend grows, it seems more and more apt.

no idea who edited this, thanks to Google Image Search
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Line in the Sand

Few who use the phrase "drawn a line in the sand" in writing or conversation understand a crucial detail about what those words imply. The most appropriate way I could think of to celebrate the 4th of July in column inches is to write about the Alamo Drafthouse Cinema operated by founders Tim and Karrie League. If you love high projection standards and hate cell phones and rude fellow patrons, the Alamo is your nirvana. I should specify here that I am exclusively talking about the original Alamo locations exclusively, for reasons I'll get in to further down. Jeff and I have both recently lamented the sad state of cinema-going quality, and rightly so. I often forget that I live a charmed life in Austin, with better theater options than the rest of the country. I need not tolerate high schoolers who act like they own the place. Nor do I contend with chair-rocking, spittle-spraying megababies. I don't even have to deal with asshat hipsters thinking it's ok to whip out a phone and facebook/text/tweet their way through a movie. I go to a zero tolerance church called the Drafthouse. Three recent experiences hammered this home more than anything. Ashley and I wanted to go see UP with a couple of friends. One of the friends really badly wanted to see the 3D version, which Ashley and I had seen already and were ambivalent about compared to the "flat" version. The Alamo Village was sold out for the rest of the night. The Village now operates top notch, crystal-clear 4K Digital projectors and is an "original" Alamo. It wasn't showing many other places, so our friend recommended the Regal Gateway, where we had never set foot. When we walked up to the box office, I noticed it looked just like the cinema where Ashley and I first caught the "3Dimensionalized" version of The Nightmare Before Christmas in Florida during a different friend's wedding weekend. Due to incessant family meddling and cliche-as-hell drama, the whole wedding party needed an escape from the house (and the groom's sister), so I masterminded a multi-phase getaway to a movie. As I recalled, the cinema itself looked posh, but the projector was under-lit, the sound under-cranked, and the side sconces never dimmed. This Regal Gateway 16 joint was the non-stadium-seating evil twin of that place I have gladly never seen again. The exact same issues were present. Of all things to have during a 3D show, unnecessary lighting from the sides is the worst idea imaginable. It gave me the most horrendous headache. I asked the theater manager afterward about the sconces, and she said "they don't go off, sorry" as soon as I said the word lights and then ran off. I paid IMAX-level ticket prices for it, and I feel dirty for doing so. On a lark, one Monday night, Ashley and I decided to head over to the Alamo Drafthouse Lake Creek to watch Night at the Museum 2. She told me, "it couldn't be that bad, right?" Oh sweet Jesus yes, it could. It bears mentioning here and now that Lake Creek is not one of the Holy Trinity "original" Drafthouses. We walked in and took seats in the next to last row, dead center. To our left was a group of six kids who must have been high schoolers or just graduated. I can't place age ranges on teenagers anymore. I knew the evening would be an "event" the moment we sat down. The girl next to Ashley reverse-snorted her disgust at having humans physically near her that were not on her Friends List. Behind us was a group of adults past their mid-30's who loudly guffawed and talked through the pre-show, which wasn't a sin so much as an annoyance and portentous of things to come. One of the kids drummed the Fox fanfare on the bar/table in front of them standard to all Drafthouses. The first spoken line of the movie was so entertaining that Ashley's next-seat neighbor felt the need to loudly repeat it for everyone and look totally hilarious to like, all her friends. This quacking genius repeated chunks of every other line and insert other bits of conversation. Her male companion's phone rang. It rang again minutes later. Then he surfed the web later in the movie for around five minutes. I was almost completely disengaged from the utter waste of talent on the screen in front of me, and I was still furious. Ashley was as well, and took the preshow advice of raising an order card to alert a server of loud, disruptive behavior. What followed left me absolutely irate and never would have happened at an Original Alamo. The server seemed like a nice enough guy. He didn't stoop down so as to not block the picture when he walked by, but he basically left you alone. He came by, read the miniature novel Ashley wrote, and apologized. He then walked over to the infants next to us and explained that he had just received a complaint about the noise they were making. Then he came back over and apologized to us again. What a great deterrent to customers complaining about noisy tables near them: a complete lack of anonymity as to who just lodged a complaint. The first time I took my in-laws to the Alamo Drafthouse South Lamar, it was to see Ratatouille a couple years ago. The first words out of my father-in-law's mouth after the screening was, "I'm not used to the picture being that bright, or the sound that loud. That is how a movie is supposed to look and sound." Others have come at this ongoing issue with the same "yeah who cares?" attitude that has helped it worsen to where we stand today. Being too meek to correct the mongrel behavior around you just encourages the animals around you to think what they're doing is fine and they can keep dominating the place. The Dog Whisperer is right: it's all about who asserts themself definitively. Complaining about it later with friends at an overpriced meal, or into the interweb abyss over Twitter is outright cowardice.
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Chuck and Tom & Jerry

In 1962, MGM hired Chuck Jones to do a series of Tom and Jerry theatrical shorts. Jones, best known for his work on Looney Tunes and Merrie Melodies, produced some real classics. The shorts would go on to be aired during the now-extinct Saturday morning cartoon block for decades. The end of the production run on this 34-short series also signaled the closing of MGM's animation department. Warner Bros. released all of them last week (6/23) on DVD.

The actual shorts look better than this studio-provided and approved image.
According to everything printed on the packaging, WB fully remastered these shorts, but there are still artifacts present throughout. That being said, they look a lot better than other formats I've seen them in, from TV airings to VHS, which usually pan-and-scanned them. The 34 shorts span 1963-67 and include: Penthouse Mouse (1963) Jerry-Go-Round (1966) The Cat Above and The Mouse Below (1964) Love Me, Love My Mouse (1966) Is There a Doctor in the Mouse? (1964) Puss 'n' Boats (1966) Much Ado About Mousing (1964) Filet Meow (1966) Snowbody Loves Me (1964) Matinee Mouse (1966) The Unshrinkable Jerry Mouse (1964) The A-Tom-inable Snowman (1966) Ah, Sweet Mouse-Story of Life (1965) Catty Cornered (1966) Tom-ic Energy (1965) Cat and Dupli-Cat (1966) Bad Day at Cat Rock (1965) O-Solar Meow (1967) The Brothers Carry-Mouse-Off (1965) Guided Mouse-ille (1967) Haunted Mouse (1965) Rock 'n' Rodent (1967) I'm Just Wild About Jerry (1965) Cannery Rodent (1967) Of Feline Bondage (1965) The Mouse from H.U.N.G.E.R. (1967) The Year of the Mouse (1965) Surf-Bored Cat (1967) The Cat's Me-ouch (1965) Shutter Bugged Cat (1967) Duel Personality (1966) Advance and Be Mechanized (1967) Jerry, Jerry, Quite Contrary (1966) Purr-Chance to Dream (1967) The extras include a family-oriented featurette about how Tom & Jerry and Chuck Jones mutually benefitted from "teaming up" called Tom and Jerry...and Chuck [20:23]. It includes a healthy amount of archival footage of Jones speaking for himself. The real gem is Chuck Jones: Memories of a Childhood [26:11], a Turner Classic Movies-produced biographical featurette that is replete with significant life events that inspired him as an animator. Fans of either Tom and Jerry or Jones get a nice, concentrated dose of both here. I'd love to see the Lowry guys take a crack at these when they're prepped for Blu-ray, but that's probably a ways off.

Click on the box art to order from Amazon.
A portion of the purchase goes toward supporting disc reviews featured in this column.
At the time of this posting, it's $18.99.
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Enemies of Innovation

The reasons I thoroughly enjoyed Michael Mann's Public Enemies are the same points cited by critics who are passively dismissing it. Are critics so-so-ing Enemies because they expected it to visually resemble Bonnie & Clyde? Is it neither strictly conventional nor "arty" enough to please them?

Marion Cotillard in Public Enemies
It seems that more than anything, they would have preferred to direct the movie themselves, with their criticism limited to "if I had resources X and Y, I would have done something different if I were Michael Mann." Others like Daily Beast columnist & host of KCRW's The Business Kim Masters are generating a Fall of an Auteur story for themselves. Most prominent among the nitpicky complaints is the assertion that the HDcam photography doesn't look right. I had the same knee-jerk reaction when I watched the first trailer, but I had zero complaints with it in full execution. It's not a glamour shot-filled, fine gloss picture as the pooh-pooh-ers "expected" of Mann. Did I miss the special request box? If so, I'd like to pre-order a three-plus hour Napoleon from Terence Malick with overnight delivery. The cinematography is dark, verite, and unapologetically at elbow's length from the viewer at all times. It's uncomfortable in a very purposeful manner. Enemies is immersive, brutal, and raw, with the pop-bang-boom everyone is used to only hearing and feeling in war films. From cinematographer Dante Spinotti as found by InContention's Kris Tapley: "We wanted the look of Public Enemies to have a high level of realism, not an over period feel...Among the historical aspects are a lot of action, romance and drama, and Michael [Mann] and I talked about achieving an immediate feel." The going template for gangster movies is to evoke sympathy for the robbers and murderers that serve as anti-heroes. The "bad guys" all turn out to be misunderstood Robin Hoods, canonized through a revisionist lens. Public Enemies isn't interested in making you fall in love with anyone despite their faults, the possible exception being Marion Cotillard's Billie Frechette. Not even "good guy" Melvin Purvis (Christian Bale) is particularly likable. I have a feeling that Enemies will do better than many may expect this weekend as an alternative, R-rated choice against Transformers's second week and Ice Age 3D.
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