New Releases 11/13/12

Top Hits

Savages (action, Taylor Kitsch. Rotten Tomatoes: 51%. Metacritic: 59. A New York Times Critic’s Pick. From A.O. Scott’s Times review: “One of the jokes in Savages, Oliver Stone’s feverish, fully baked, half-great adaptation of Don Winslow’s ferocious and funny drug-war novel of the same name, is that the film’s title is flung back and forth between north and south — an epithet that is also eventually claimed as a badge of honor. The Southern California marijuana dealers on one side of the conflict that energizes the film’s zigzagging narrative are appalled by the brutality of the Mexican narco-traffickers, for whom torture and mutilation are routine ways of doing business. Some of the Mexicans, in turn, are disgusted by the sloth and shallowness of the gringos, who seem to lack any sense of dignity, tradition, family or honor. Savagery is in the eye of the beholder.” Read more…)

The Watch (comedy, Ben Stiller. Rotten Tomatoes: 17%. Metacritic: 36. From Stephen Holden’s New York Times review: “Directed by Akiva Schaffer from a screenplay by Jared Stern, Seth Rogen and Evan Goldberg, the movie clumsily juggles two loosely connected concepts. In the spirit of  The Hangover, it is a whimsical, potty-mouthed buddy movie that lunges for laughs with bursts of profanity; it is also a spoof of Invasion of the Body Snatchers, in which the aliens disguise themselves as humans.” Read more…)

Dark Horse (drama, Jordan Gelber. Rotten Tomatoes: 73%. Metacritic: 66. A New York Times Critic’s Pick. From A.O. Scott’s Times review: “Abe [Jordan Gelber] is a tubby underachiever in his 30s who lives with his parents, sleeping in a bedroom full of action figures, movie posters and other emblems of interminable childhood. In other words he is, in the context of recent American cinema, not unusual. But Dark Horse is a Todd Solondz movie, which means, among other things, that Abe is neither a sweet Apatovian schlub nor a stoner saint like the title character in Mark and Jay Duplass’s Jeff, Who Lives at Home. He is, instead, an emblem of loneliness and failure, whose cocoon of self-delusion and misplaced vanity is carefully dismantled by the sharp, remorseless tweezers of Mr. Solondz’s sensibility.” Read more…)

Brave (Pixar/Disney animated feature, Kelly Macdonald. Rotten Tomatoes: 78%. Metacritic: 69. From Manohla Dargis’ New York Times review: “From her wild and woolly locks to her Clydesdale, the gorgeous high-stepper Angus on whom she races across the softly rendered Scottish hills and glens, Merida has been created as something of an anti-Rapunzel [at least before Rapunzel received a girl-power makeover for Disney’s 2010 movie Tangled]. Merida is active instead of passive, a doer rather than a gal who hangs around the castle waiting for Prince Charming to rescue her. More to the point and to the movie’s marketing, she is Pixar’s first female protagonist, which means that there’s a lot more riding on her head than that ginger mop. After 17 years of feature filmmaking and 12 box-office hits, Pixar has — ta-da! — entered the big business of little girls.” Read more…)

2 Days in New York (romantic comedy, Chris Rock. Rotten Tomatoes: 67%. Metacritic: 62. From A.O. Scott’s New York Times review: “At the opening of her photography show, Marion, the high-strung heroine of 2 Days in New York, has an awkward encounter with a critic. Frustrated by his poker face and his noncommittal responses, and stressed out by everything else going on in her life [about which more shortly], Marion launches into an unhinged, obscene tirade at the poor man. Later in the film a karmically empowered pigeon drops an airborne excretory insult on him. Since Marion is played by the director of the film, Julie Delpy, I will take this as a warning.” Read more…)

Vamps (horror/comedy, Alicia Silverstone. Rotten Tomatoes: 50%. Metacritic: 57. From Rachel Saltz’s New York Times review: “Nice girls don’t drink human blood. But they can still be vampires. Just give them a rat and a straw, and they’re good to go. The image of Alicia Silverstone and Krysten Ritter slurping away at furry beverages is probably the grossest thing in Vamps, written and directed by Amy Heckerling. It’s also probably the funniest.” Read more…)

Batman: The Dark Knight Returns Part 1 (animated comic book feature, Peter Weller [voice])

New Blu-Ray



The Watch

Lawrence of Arabia

New Foreign

A Burning Hot Summer (France, drama, Louis Garrel. Rotten Tomatoes: 50%. Metacritic: 62. From A.O. Scott’s New York Times review: “Philippe Garrel, whose films include Regular Lovers [set against the turmoil of France in May 1968] and Frontier of Dawn [a love story involving one man and two women], creates worlds that spring from a poetic, deeply personal sense of life rather than a screenwriting manual. People find and lose love, make up or don’t. They pass the time, time passes them by. In A Burning Hot Summer [a pulpy title that sounds better in the original, Un Été Brûlant], two men fall into friendship, and while little happens, everything is at stake.” Read more…)

Weekend (France, 1967, Godard satire, Mirielle Darc. Rotten Tomatoes: 95%. From Renata Adler’s 1968 New York Times review [requires log-in]: “Jean-Luc Godard’s Weekend, which was shown last night at the New York Film Festival, is a fantastic film, in which all of life becomes a weekend, and the weekend is a cataclysmic, seismic traffic jam—with cars running pedestrians and cyclists off the road, only to collide and leave blood and corpses everywhere.” Read more…)

Pier Paolo Pasolini’s Trilogy of Life:

The Decameron (1971, comedy/drama based on Boccaccio, Franco Citti. Rotten Tomatoes: 91%. From Vincent Canby’s 1971 New York Times review [requires log-in]: “Taking 10 tales out of the 100 in Boccaccio’s Decameron, Pasolini has created one of the most beautiful, turbulent and uproarious panoramas of early Renaissance life ever put on film. It is also one of the most obscene, if obscene defines something that is offensive to ordinary concepts of chastity, delicacy and decency, although I’d hardly call the film offensive to morals.” Read more…)

    The Canterbury Tales (1972, comedy/drama based on Chaucer, Hugh Griffith. Rotten Tomatoes: 71%.)

    Arabian Nights (1974, comedy/fantasy, Ninetto Davoli. Rotten Tomatoes: 89%.)

New American Back Catalog DVDs (post-1960)

Twilight’s Last Gleaming (1977, thriller, Burt Lancaster. Rotten Tomatoes: 88%. From a Nicolas Rapold New York Times article about Twilight’s Last Gleaming‘s recent re-release: “Twilight’s Last Gleaming epitomized a paranoid, quintessentially ’70s moment in American history and imagination. As a thriller, it is a nerve-racking procedural. Its parallel strands of action shatter into two, three and four split-screens that observe the silo, the White House and the special-assault squads outside the missile base. All of this is enhanced by a raft of old-guard stars: Lancaster, Richard Widmark, Joseph Cotten, Melvyn Douglas.” Read more…)

Michael Cimino’s Heaven’s Gate (1980, western, Kris Kristofferson. Rotten Tomatoes: 43%. Heaven’s Gate is a legenday film. Assailed upon its 1980 release as an expensive disaster, over the past three decades a critical re-examination has led to the film now being seen in a far more positive light. This new DVD release is a painstakingly remastered Criterion edition. New York Times critic Vincent Canby wrote in 1980 [requires log-in]: “Heaven’s Gate is something quite rare in movies these days – an unqualified disaster.” [Read more of Canby’s review…] But this past September in the New York Times “Arts & Leisure” section, Dennis Lim wrote of the contemporary reappraisal: “Present-day viewers may well find that time has been kind to Heaven’s Gate, which plays more than ever like a fittingly bleak apotheosis of the New Hollywood, an eccentric yet elegiac rethinking of the myths of the West and the western, with an uncommonly blunt take on class in America. [‘It’s getting dangerous to be poor in this country,’ someone says. The rejoinder: ‘It always was.’] But this defiant last gasp of the downbeat ’70s, opening two weeks after Ronald Reagan was elected president, was plainly a movie at odds with its time. Reached at his home in Hawaii, [the film’s star Kris] Kristofferson said he believes the themes of the film, with its grim view of American capitalism, were what made it so unpalatable.” Read more…)

New British DVDs

Call the Midwife: Season 1

New Documentaries

The Queen of Versailles (travails of fallen billionaires. Rotten Tomatoes: 95%. Metacritic: 80. A New York Times Critic’s Pick. From A.O. Scott’s Times review: “It has been said that we live in a new gilded age, in which the rich take it as their sovereign right and civic duty to get richer, while the rest of us look on in envy, simmer with resentment or dream of rebellion. The Queen of Versailles, a new documentary by Lauren Greenfield about life on the thin, fragile, sugarcoated top layer of the upper crust, captures the tone of the times with a clear, surprisingly compassionate eye.” Read more…)

Last Call at the Oasis (environment, water resources, Erin Brockovich. Rotten Tomatoes: 86%. Metacritic: 64. From A.O. Scott’s New York Times review: “Jay Famiglietti, one of a handful of expert witnesses in Jessica Yu’s Last Call at the Oasis, is a thoughtful scientist with an engaging manner who specializes in water. In particular, he studies — and tries to raise public awareness about — the rapid depletion of water supplies caused by agricultural overuse, rampant development and global climate change. His analyses are thorough and clear, and he presents them, at public meetings and straight to Ms. Yu’s camera, with good-natured patience. For the most part, that is. At one point, contemplating a future of unchecked consumption and political paralysis, he sums it all up in blunt layman’s terms: ‘We’re screwed.'” Read more…)

Half the Sky (women’s human rights, Nicholas Kristof & Sheryl WuDunn)

New Children’s DVDs

Pixar Short Films Collection: Vol. 2

Hank’s Recommendations 11/13/12

Veteran’s Day is every day for veterans who find it difficult or impossible to convey what their experiences in war were like except, perhaps, to other veterans who were there. To take just one of those wars, for ourselves we can commemorate Veteran’s Day by remembering the Forgotten War in these good movies. The first is one of the most impressive visually and melodramatically, recently arrived and now in our New Foreign Arrival section.

FRONT LINE — During the three years of seemingly unending truce discussions, a South Korean intelligence officer’s insubordination has him sent to the front lines—Hill Aero-K—where the fierce and brutal fighting continues. Possession of this otherwise barren hill alternates between the opposing sides after each bloody assault, offering an eye view into the futile horrors that distinguish the Korean War: men on both sides dying brutally in freezing cold for a barren piece of land that has no strategic or material value while the “peace” talks drag interminably on.

Each of the characters has his (and, in once case, her) own story that particularizes the hell made there. Their compelling interactions are complemented by a spectacular and precise realism in the battle sequences. In one way, the hill itself is a starring character.

Through the pressures of war and story, you will find yourself attached to all of the characters: the intelligence officer who discovers a former friend he believed dead and, indeed, in a way has died; the captain whose inspiring leadership involves a morphine addiction to help him suppress memories of an earlier, necessary sacrifice of men under his command; a seventeen year old recruit who grows up too fast; the battle-hardened sergeant of many campaigns who accepts his inevitable fate. In this no-exit hell, where the participants try to make sense of a senseless war, heroics bred largely by desperation are on ample display here, and through one vividly rendered battle after another you get to know the hill all too well. If anything, this “over the top” film makes its points too persuasively: the viewer come away feeling a little like part of the collateral damage. But there’s no denying the power of this film, and what it makes you remember about this Forgotten War.

Distinguished by its own meticulously rendered action style and its character involvement, this South Korean movie ranks as one of the best anti-war films, along with Dalton Trumbo’s JOHNNY GOT HIS GUN and Stanley Kubrick’s PATHS OF GLORY.

Other highly recommended films you might want to check out about this war are THE BRIDGES OF TOKO-RI, with William Holden and Grace Kelley, MEN IN WAR, with Aldo Ray, TAE GUK GI: THE  BROTHERHOOD OF WAR, and PORK CHOP HILL, with Gregory Peck, about the last hill fought over before the announcement of the truce. Two great films about the war as experienced domestically are THE LAST PICTURE SHOW and—one of my all-time favorites—THE MANCHURIAN CANDIDATE, with Frank Sinatra, Laurence Harvey, Janet Leigh and Angela Lansbury.

I would be remiss if I didn’t also recommend, from our Audio CD room, David Halberstam’s THE COLDEST WINTER: AMERICA AND THE KOREAN WAR. Halbertstam’s best known for his Pulitzer Prize-winning book, THE BEST AND THE BRIGHTEST, about Vietnam. The Coldest Winter is a beautifully clear book about this especially horrendous and “forgotten” war. It is read by Edward Herrmann, a gifted actor and reader. Halberstam is a great writer, and his succinct history tells you a lot about the Korean War itself and how, though forgotten, it laid the template for our geopolitical strategy ever since. Take a long ride somewhere and listen to it.