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DESERT HEARTS Lands on Criterion
The 1985 indie romance will sweep you off your feet.
It’s 1959 and English professor Vivian (Helen Shaver) arrives in Reno to divorce her husband. She resides at a ranch owned by Frances (Audra Lindley, Three’s Company, Cybill) and meets a young sculptor named Cay (Patricia Charbonneau). The relationship between Cay and Vivian — and Frances’s interactions with the two — is at the center of director Donna Deitch’s Desert Hearts.
Cay and Vivian fall for each other amidst colorful desert vistas and smoky, crowded casinos — all captured by cinematographer Robert Elswit, who would go on to collaborate with Paul Thomas Anderson and film recent additions to the Mission: Impossible series. Desert Hearts is an intimate and quiet romance with slow action — except for a sequence wherein Elswit and Deitch configured a way to shoot Cay driving backwards while conversing with Frances and Vivian in their car in the opposite lane.
Charbonneau’s Cay seduces Vivian with her Natalie Wood eyes and openly flirtatious nature. Shearer as Vivian walks off the train to Reno as stiff as a poker, so brittle she just might break. “I want to be free of who I’ve been,” she tells her Nevada lawyer. In her six weeks at the ranch we see the start of her slow reinvention and self-discovery.
There’s a keen yearning between Cay and Vivian before any first moves are made. This desire — along with careful direction and support from Deitch — fills their love scenes with tenderness and awe. Outside sounds, such as planes flying overhead and church bells chiming, accompany a sensual scene in a hotel, as if to emphasize that such wonder and deep affection is possible in the real world.
Elswit’s cinematography and the production design by Jeannine Oppewall create a true sense of place, down to the last detail. Songs from the period by Johnny Cash, Patsy Cline, and others reinforce the setting. What still seems refreshingly modern is Cay’s frankness about her sexuality. Deitch made Desert Hearts to celebrate a love between women and not punish them for it (as so many previous films tended to). This beautifully restored print, now available on Blu-ray from Criterion Collection, gives a new generation an opportunity to appreciate this seminal independent film.
Special features in this Criterion release include:
- A conversation between director Donna Deitch and Jane Lynch about the impact made by Desert Hearts
- Interviews with lead actresses Helen Shaver and Patricia Charbonneau about how they came to work on the project and their experience during filming
- A commentary track (from 2007) by director Deitch
- A conversation led by Deitch with DP Robert Elswit and production designer Jeannine Oppewall
- Excerpts from a ‘90s era documentary about Canadian author Jane Rule, who wrote Desert of the Heart (includes a surprise appearance by Margaret Atwood!)
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JUSTICE LEAGUE: An Exhausting Eventuality
The Casting Is Right, The Filmmaking Is Wrong
It feels like an eventuality at this point, doesn’t it? Not to say that I’m not a willing participant in this endless barrage of superhero spectacle. I somehow find the time for every big new superhero film, after all. But this Justice League film has felt more like an obligation than anything else, even as Wonder Woman surprised and delighted us all. Marvel shows no signs of slowing as upwards of 3 titles were churned out in their MCU this year alone, and DC’s eventual gathering of the League simply had to happen.
It’s too bad that a gathering of heroes this potentially massive ends up feeling like a prescription, then, with a beleaguered and personally impacted Zack Snyder running the ship amidst tragedy in his own life. But prescribed it does feel.
Batman needs to assemble a team. Why? Because there’s a villainous DC IP gathering cubes or shooting beams into the sky… or both. Because he needs a team, he and Wonder Woman have to find some new recruits. Who should they recruit? Why, a few of the other most pre-determined IPs, damned if it makes any sense or not. An hour of recruitment and exposition and moving puzzle pieces around in a punishingly loud and busy first half set up an eventual team up that does actually breathe a little life into the film in a classic “too little, too late” kind of way.
Cubes and light beams in the sky aren’t scary. Or threatening. Or compelling. Neither is an armored GCI giant as voiced by Ciaran Hinds. Steppenwolf as the threat which unites our ragtag group of heroes is woefully underdeveloped and outright silly. At no point does one actually believe or have any investment in his plan for world domination through… cube power. And the fact that he looks ridiculous even further removes him from any sense of emotional connection because he’s a computer generated character without even a human face to connect with.
One might also consider it a blessing that WB apparently mandated a runtime of under two hours for this project. But even then you’d be at least partly mistaken. Sure, it’s great that viewers aren’t forced to invest 2.5 hours, but that doesn’t mean the film doesn’t feel bloated and disjointedly busy. Cramming 6 character arcs (three of which are making their big screen debuts here) into under two hours results in a machine gun edited case of cinematic whiplash that’s done no favors by being so outrageously ridiculous. Aquaman is a tough enough pill to swallow as a cool badass character who dwells in an underwater kingdom. Rapid fire force that down my throat while simultaneously reminding me of Amazon warriors and a Lord Of The Rings style ancient gathering of tribes who pushed back the forces of Steppenwolf once before and then shine Gotham’s bat signal into the air and it’s just really hard for the adult in me not to tune out.
Gathering all these characters together in one film is, of course, the whole point of a Justice League movie, however, and there are flashes of fun to be had. These are iconic characters, after all, and lots of money has been poured into this project. If they got anything right with the DC Universe so far, it’s the casting. The right actor in the right role can go a long way towards a successful finished film. It’s happened time and again, and will continue, despite the age of star driven vehicles being either past us or at least in hiatus as spectacular CGI replaces them. But on almost all counts, the actors fit their parts, and can’t be blamed for the shortcomings of Justice League. Ezra Miller as The Flash is the clear breakout here, injecting genuine laughs into a dour affair. Jason Momoa looks the part of a badass Aquaman, even if that whole thread comes off as patently ridiculous. Given some more, ahem, breathing room, I could see a compelling Aquaman movie being built around him. Newcomer Ray Fisher also does adequate work as Cyborg, though anyone would struggle being saddled with such a ridiculous and overly busy look as a CGI enhanced character. Gal Gadot simply radiates magic throughout the film, making you desperately wish you were just watching Wonder Woman 2 instead of this. Henry Cavill perhaps benefits the most from this storyline as Superman is able to be re-framed and hopefully sent forth into future films as the character we’ve always wanted him to be. Ben Affleck remains, if you ask me, perfect as both Bruce Wayne and Batman. He looks and sounds the part in a way neither Keaton or Bale really ever did. I personally think he had more to do and got to be more “Batman-y” in Batman V Superman, but as the default leader of the Justice League here, he’s doing his best to hold this ship together.
It’s worth noting that the general audience I saw the film with seemed to flip for it. There were audible cheers, gasps, and rounds of applause. One entirely prescribed moment got a huge reaction, and a post-credits sequence had people crying out uncontrollably with excitement. I love witnessing that kind of thing. It makes me feel like Warner Brothers will probably be fine here, making an adequate amount of money for a juggernaut property while continuing to confound critics whose protestations that the movie is very bad will go unheeded by the general public. I’m fine with that. I hope the general public enjoys themselves. Me? I felt the pained sense of a blockbuster built by a committee, none of whom really knew what to do with this film. Many will balk at the concept of Zack Snyder as a visionary director. But at least he is A director. Just one guy with a plan. Snyder needing to drop out due to personal tragedy is indeed heartbreaking on a human level, and it left a void that studio heads (and Joss Whedon) were only too willing to enter into and muck about with, resulting in a rudderless film all about heroes who are supposed to be taking up the mantle and leading humanity with clarity and unity.
And I’m Out.
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ATOMIC BLONDE Goes Nuclear On Blu-ray
Charlize Theron Is The Be All / End All Of This Movie
A second viewing of Atomic Blonde on home video confirms it to be a rock solid action spy thriller. The same second viewing also confirms that while it’s solid, it doesn’t necessarily add up to more than the sum of its parts.
There are a lot of moving pieces that make up Atomic Blonde. This statement can be applied to most any film, in truth, but is quite relevant here. This is a 1980s period piece. It’s a Berlin Wall falling tale (even though it insists it isn’t). It’s a twisty espionage thriller. It’s an unapologetic action film. It’s a star vehicle for producer and star Charlize Theron. And it’s a stylistic calling card for post-John Wick director David Leitch.
I recently made the argument when reviewing Blade Runner 2049 that style is substance. At least in the case of that film, this was very true. (2049 also has a lot to say, it’s just that its style is essential and elevating). Atomic Blonde is a highly stylized piece of work, from the juke box approach of 1980s needle drops, to the neon lighting dripping in almost every frame, to the outfits and “scene” being explored behind the wall in Berlin. Many balked at the overt and potentially over stylized approach taken by the Atomic Blonde team. It’s at the very least a layer of the film which cannot be ignored. And I think it adds a layer of naked enjoyment to a tale that isn’t exactly filled with light humor and giggles.
Which brings me to the winding spy narrative. This is not the film’s strong suit. Adapted from a graphic novel entitled The Coldest City, this story lives up to that moniker as a cold, occasionally distant affair. Theron’s Lorraine Broughton is calculated and methodical by default. She’s a spy cast from a similar mold as Daniel Craig’s Bond in this regard. The “McGuffin”-y narrative of Broughton and her contact Percival (James McAvoy in a solid performance that’s more grounded than his turn in Split, even though he’s regularly wearing a fur coat and a sleeveless sweater) attempting to track down both a list of all spies operating in Berlin AND a double agent codenamed Satchel is the most rote part of the film. Spy movies constantly seem to involve the tracking down of a list of names, and not much new is brought to this element. The identity of Satchel is, however, a spot of fun amidst the iciness.
So with the muted tone of the spy narrative, and the occasionally questionable “on the nose” nature of the style, a couple of elements really tip Atomic Blonde into the “good movie” column. And those elements are the action sequences (which are admittedly few and far between, but which are also centerpieces of the film and bring it roaring to life) and Charlize Theron’s performance and execution of those sequences.
This movie just doesn’t work without Charlize Theron in the lead. Period. If this were a male-led cast, it would have been dead on arrival. Broughton is inherently more interesting because of her innate femininity mixed with the cool and capable attitude normally reserved for male characters on the big screen. Her outfits, her approach to sexuality, her cunning awareness of men’s weaknesses giving her a leg up… the character is compelling and held together with a ferocity by Theron.
Theron’s commitment to Leitch’s approach to action also elevates Atomic Blonde. Leitch rose to fame as a stunt and action choreographer along with his 87Eleven action team. These are the folks responsible for some of the greatest action sequences and films of recent memory. Keanu Reeves’ transformation into an onscreen badass who is clearly executing most of his own action choreography in the John Wick films? That was 87Eleven. Theron underwent the same level of training and this pays off in spades on screen. The much-lauded “single take” fight sequence that is clearly the highlight of the film is a result of meticulous planning and commitment to a vision. The less lauded action sequences are also remarkable and might have been highlights in a dozen lesser action films.
When you take the disparate elements of a film as busy as Atomic Blonde and mix them all together, you don’t get a perfect film. There are issues here. But the hard work and risks taken provide the kindling, and Theron brings the spark to set the film alight. Among the better action films of 2017, Atomic Blonde won’t be remembered as flawless (or even great cinema), but it does the work and achieves the results. It further cements Theron as one of the big screen’s most bankable action heroes period, not to mention her being a female. It also heralds David Leitch as an interesting filmmaker willing to assert his own style and voice even if it isn’t always received with open arms by expectant fans.
The Package
- The film on Blu-ray, DVD, & Digital
- Deleted/Extended Scenes
- Welcome To Berlin
- Blondes Have More Gun
- Spymaster
- Anatomy Of A Fight Scene
- Story In Motion with David Leitch Commentary
- Feature Commentary with Leitch and Editor Elisabet Ronaldsdottir
And I’m Out.
Atomic Blonde hits home video Nov. 14th, 2017 from Universal and Focus Features.
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THE VILLAINESS: Boundary-Pushing South Korean Action Cinema
Easily Among the Best Action Films of 2017 [An Already Great Year For Action]
Coming out swinging from the opening frames, writer/director Byung-gil Jung’s The Villainess pistol-starts with a breathtaking first person action sequence that puts Hardcore Henry to shame, then proceeds to top itself repeatedly, landing the film a spot in the annals of action cinema history without missing a beat. As this is a Korean film, the drama is dark and The Villainess is not the feel-good film of 2017. But while the action might not be as breezy as something like the awesome-but-silly Jailbreak from Cambodia this year, it’s hard hitting, executed thrillingly, and pushes the boundaries of what action cinema can be even in a post-The Raid-society.
Our Titular Villainess is Sook-hee (Ok-bin Kim in a star-making, seemingly life-risking performance), a tragic figure whose entire life has been lived beyond her control as she’s formed into an assassin from a very young age by various agencies after her father was brutally murdered before her very eyes. The story hops around in time from Sook-hee’s innocent childhood to her early days training with a mysterious group of killers and then her “final form” as a trained government agent in a shadowy group that sends her on kill missions. Oh, and at some point in there she becomes a mother to a wonderful little daughter. Keep in mind… this is a Korean movie.
So the drama and character work is just savage enough to make The Villainess feel patently Korean, but that’s only part of what makes this movie so special. Truly, this is action filmmaking on such a level as to elevate the art. The aforementioned first-person scene is an attention grabber par excellance. We don’t know the context or characters at all, so it’s a perfect spot to place a flashy and stylistic set piece. We never return to that perspective again, but the boundary-pushing continues on. There’s just enough mystery and suspense doled out between action set pieces thanks to the solid, time-hopping script (from Jung and co-writer Byeong-sik Jung) so that you are kept off balance. And then soon Sook-hee ends up on a high speed motorcycle chase / sword fight after she performs a government assassination that is so stylish and breathtaking it’s really hard to comprehend how the filmmaking team pulled it off. Never looking cheesy, this high speed sword fight might be the most iconic sequence in the film… although the hit she later attempts while dressed in her own wedding gown is also pretty visually striking. Culminating in an action sequence set aboard a speeding bus where the camera seems to magically move in ways it should not be able to, there’s just an unending barrage of badass, thrilling, and visually creative action sequences that set the film above the competition.
Another overarching theme found within The Villainess that is absent from most action cinema is the clear depiction of the challenges of life as a woman. While this is clearly genre fare designed to thrill and excite, the audience is deeply invested in the journey of Sook-hee because she is a real human being who is saddled with a rough lot in life. But it’s not just Sook-hee. The agency she is a part of, filled with lethal trained assassins, are all women. They’re monitored constantly, their freedom dangled before them as a reward for service now. Where The Villainess is in many ways a classic revenge thriller, it’s also a desperate attempt to reclaim some kind of freedom or agency in our main character’s life. The fights of The Villainess represent a modern woman with all the skills and talents to thrive in this world wrestling control of her life back from those who have taken it from her, however tragically that might all play out. So while you are scooping your jaw up off the floor after each truly revelatory action set piece, you’re also rooting for a female protagonist that feels achingly timely right now as professional women across many different industries are speaking out and working towards a reclamation of the workplace as a safe environment for all genders and orientations. This is a case of the right movie at the right time pushing the boundaries of action filmmaking and having something relevant to say along with each slain foe.
While Jung’s previous film Confession Of Murder was an enjoyable thriller that I’ve mostly forgotten, The Villainess harkens his arrival as a filmmaker who absolutely must be watched closely. The same goes for star Ok-bin Kim, who appears to have risked life and limb to reinvent herself as an on-screen badass for the ages. The Villainess feels fresh, invigorating, and absolutely ranks among the very best that action cinema has to offer in 2017.
The Package
Featuring some brief EPK-style featurettes, this release is not necessarily packed to the gills. That said, those brief behind the scenes pieces do give some insight into how the action scenes were captured. It’s illuminating and heightens the magic for someone like me, whose mind is sent whirling during the film itself wondering how certain shots or moments were captured on film. On top of the bonus features, the Blu-ray presentation of the film looks as slick and stylish as one would hope. There’s very little to complain about from a visual perspective. I guess The Villainess could easily show up on Netflix or some other streaming service at some point, and it’ll be just as awesome there as here on Blu-ray. BUT, this is a title I feel excited to have discovered; I am extremely pleased to own this title for myself. The Villainess comes with the highest recommendation for action fans.
And I’m Out.
The Villainess hits home video November 21st, 2017 from Well Go USA.
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THOR: RAGNAROK: Taika Waititi Makes This Look Easy
This Review Is Mostly Just About Taika Waititi, To Be Honest
Known most broadly for his involvement as a writer/director on television series Flight Of The Conchords, Maori creator and entertainer Taika Waititi has actually proven himself time and again as a writer/director of genuine, heartfelt comedy features such as Boy, What We Do In The Shadows, and Hunt For The Wilderpeople (all very strong recommends). His massive step up into the Marvel Cinematic Universe (from a budget perspective) as director of Thor: Ragnarok is therefore not the same kind of thing as, say, Disney handing the keys to the Jurassic Park films over to a director with only one quirky film to his name. Waititi has been charming those lucky enough to have experienced his films for a decade now.
So with his qualifications established, why does it still feel like such a coup that this man was able to not only be entrusted with a Marvel property, but then knock it out of the park with what seems like relatively little friction from the Marvel machine? Similarly hilarious and heartfelt (and wildly creative) filmmaker Edgar Wright famously parted ways with Marvel before completion of Ant-Man, and there have been other creative differences over the course of the emergence of the MCU. In all honesty, a major reason this reviewer is thrilled about Waititi’s involvement has to do with his being first and foremost a beloved creator, and also because he is a person of color who was able to effortlessly enrich and diversify what might have been the single “whitest” property Marvel has been producing.
When critics disparage diversity and equal representation as a loss of freedom or unnatural or no fun or less American, they’re often standing on a hundred years of primarily white entertainment to back up their claims. My most significant experience as an audience member enjoying Thor: Ragnarok was the carefree, whimsical, hilarious story that seemed to effortlessly diversify its cast, poke fun at itself, and remain a palatable product that one can only imagine Americans will eat up with the same aplomb with which they’ve devoured all previous Marvel features. In other words, Taiki Waititi inserted his skill set and unique perspective as a Maori, created a commercially viable and wildly consumable product, and made it all look easy. One hopes that as more and more people of color get involved in large budget Hollywood filmmaking, the critics of inclusion and representation will be silenced simply by being unquestionably entertained in superior ways.
Thor: Ragnarok itself is not the salvation of cinema or anything like that. As Marvel films have become wont to do, it feels like another brick in the wall of the cinematic universe they’re creating. I’ve been known to suggest that a “samey-ness” has crept into their output, with some entries recently feeling tiresome, forgettable, and inconsequential. Thor: Ragnarok doesn’t entirely escape from that line of thinking. Its breeziness and palatability do contribute to giving it a forgettable vibe endemic to giant popcorn blockbusters of its ilk. Plot points of massive import happen, in which the very foundations of Asgard are shaken and undercut, but current reality is such that I find myself much more concerned about the foundations of my own society than that of Asgard’s. It’s hard to be highly invested on an emotional level even when the plotting and consequences of the story are quite strong.
What’s undeniable about Thor: Ragnarok is that it’s damn funny. Waititi’s sense of humor is so in line with what I love to laugh at, he’s perhaps among my very favorite working comics today. Credit where it’s due, Waititi did not write the film, and writers Eric Pearson (Agent Carter), Craig Kyle (Many Marvel Animated projects), and Christopher Yost (Star Wars: Rebels) punch up the Thor series and send the trilogy out on a high note. There are jokes that are side-splitting, characters that are hilarious in conception and execution, and there’s an overall irreverent attitude permeating the film which goes a long way towards disrupting that Marvel samey-ness.
Chris Hemsworth has long since proven his comedic chops and has breathed life into one of the Avengers’ most boring characters consistently. He’s a genuine star and anchors this film with excellence. Marvel stalwarts Tom Hiddleston as Loki and Mark Ruffalo as Hulk bring the weight of their past adventures to this one effectively. Tessa Thompson, Jeff Goldblum, and Waititi himself are all new characters added to the mix, effortlessly inserting some of that diversity of which I was speaking. Thompson’s character is badass, Goldblum plays himself as a space emperor, and Waititi plays a motion-capture rock warrior that is hands down the funniest character of the whole affair. Cate Blanchett is having a blast as the big bad of the film, Idris Elba’s role (which carries over from the previous Thor entries) is beefed up substantially, and one simply gets the sense that Thor: Ragnarok was as pleasant to create as it was to watch.
Aside from the comedy, Marvel’s generous budgets allow for richly rendered fantasy worlds ripe with the type of excellent design that made the Guardians Of The Galaxy films stand out. Much has been said about the colorful nature of Ragnarok’s visuals, and that is a pleasure as well. Thor even gets some moments of strong iconography, even if the film doesn’t feel as action-packed as, say, the Captain America films do. The use of Led Zeppelin’s “Immigrant Song” lends itself to the most goosebump-inducing moments of pure badassery on display in any of the Thor films, and sent me home blasting Led Zeppelin music like I was back in high school.
It’s unclear what X-factors go into a filmmaker like James Gunn or Taika Waititi being able to thrive in the hyper-controlled Marvel system when someone like Edgar Wright butted heads so strongly. And with a film like Baby Driver thumbing its nose at the Marvel machine and becoming a singular creative and commercial hit this year, there’s a certain righteousness to unique creators simply doing their own thing well and not bothering with the Marvel Industrial Complex. Waititi acquitted himself well here, however, and has likely opened countless doors for himself in Hollywood. Here’s to hoping he continues to bring that effortless Maori/Kiwi sensibility to his future projects instead of the other way around, with Hollywood fitting him into it’s time-honored and stifling box.
And I’m Out.
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WAR FOR THE PLANET OF THE APES Battles For Caesar’s Soul
Matt Reeves’ Terrific Trilogy Ender Hits Home Video
The REAL war… was for Caesar’s soul.
But in all seriousness this is indeed the central premise that writer/director Matt Reeves bases this final chapter of the Caesar trilogy on. And it’s a solid core for a film that rose quite significantly in my estimation upon a second viewing and home video exploration. [You can listen to my theatrical review of the film on Matthew Monagle’s After The Credits podcast].
Dawn Of The Planet Of The Apes was a film that knocked me out of my seat so hard I ended up placing it as my number one favorite film of 2014. I was just completely enraptured by the harsh and human story being told within the trappings of a studio blockbuster; the magic and spectacle being the digital creation of these amazing ape characters. When so much criticism is (rightly) heaped upon blockbuster excess along the lines of the Transformers or Pirates Of The Caribbean franchises, the Apes revival has been a herald of what big studio money can foster when it comes to spectacle with a soul. For all the advances in what is possible on screen and what bigger and bigger budgets will allow, it remains character work that truly captures our imaginations. Captain Jack Sparrow is the reason people were compelled by Pirates way back when… not grandiose special effects. And visual effects have created an environment where super heroes can be more fully realized… but it’s the beloved characters represented by respectful writers that make the Marvel films fly off the page. The same is true with the Apes franchise. 20th Century Fox bet it all on making a motion captured amalgamation of a digital creation based around Andy Serkis’ unparalleled performance. This series of films hangs entirely on the shoulders of a fully formed digital character. It’s a remarkable bet that ushered a beloved sci-fi series into a new era, and resulted in what is pound for pound perhaps the best modern trilogy since the Lord Of the Rings.
Where Dawn bowled me over, however, War threw me for a loop. Reeves and company kept surprising me with where this story was going. It was not a bad feeling, but a rather disorienting one. War kept going in directions I wouldn’t quite have taken it myself. And that’s totally okay. It just resulted in a struggle to place and rank the film in regards to its predecessor. And after a rewatch, as well as a full exploration of this home video release’s bonus features, I’m quite comfortable saying that while Dawn is by far my favorite entry of this trilogy, War is a remarkable film in its own right. Perhaps what came into clarity the most upon a revisit is just how tight and intentional Reeves and Matt Bomback’s script is. They took the time, they told the story entirely from the Apes’ point of view, and they dragged their main character through hell and back, in this case the hell of potentially losing the battle against a dark and vengeful heart.
In War, Woody Harrelson’s “Colonel” leads humanity’s final army in a last stand against a world being overtaken by intelligent apes. In an attack on the Apes’ wooded stronghold, some of Caesar’s own family are killed at the Colonel’s hand. Intimately tied to the events of Dawn, War finds Caesar careening towards a dark quest for vengeance against Man, or at least the man who killed his loved ones, all of which mirrors the path taken by Koba, the vengeful ape from Dawn which set much of that plot into motion. Again, the franchise doubles down on telling the entire story from the perspective of these fantastic apes. Dawn made its central conflict between two apes, and War bets it all on an internal conflict within Caesar himself. The humans are all secondary characters here, with Harrelson’s Colonel and child actor Amiah Miller’s mute human Nova being the only human roles that even approach “main character” status. Knowing the intentionality behind that story approach really belies a confidence in the writing that makes the final product highly respectable.
Also, the bonus features on this home video release make it explicit that Reeves and company are not, indeed, attempting to tell stories that will lead directly up to the beginning of the 1960s franchise. The Nova of War is not the Nova of 1968’s original Apes film, etc. Knowing this information definitively improves the viewing experience of War For The Planet Of The Apes. Reeves is able to nod to fans of the original series without shoehorning every last detail of his series into a perfect mold to lead up to the Charlton Heston classic. So while War is very definitively the conclusion of a trilogy, it by no means has to be the end of this modern series of Apes films. The series would almost have to delve into deeper tragedy as our apes, who are clearly this series’ protagonists and heroes, descend into a culture which enslaves and brutalizes the devolved humans among them. But that is for another review entirely.
War For The Planet Of The Apes wasn’t the story I would have told in order to conclude Caesar’s story. And that fact will probably always be a part of my experience of the film. But Reeves had a direction and a vision for this film which can’t be denied, and it works as a loving, tightly constructed narrative. I’ve neglected to note that the film remains a genuine blockbuster amidst all the potent character work and drama. It’s not quite the war us bloodthirsty viewers were anticipating, but the action set pieces remain big and beautiful. Throw in Michael Giacchino’s absolutely remarkable musical score, the jaw dropping visuals captured by Michael Seresin’s cinematography, and the career defining motion capture performance of Andy Serkis as Casesar (and really all the ape performances including Karin Konoval as the beating heart of this trilogy and Caesar’s great confidant Maurice), and you’ve got a film that is genuinely special and stands tall above the summer blockbuster fare it competed with at the box office.
The Package
It goes without saying that this film is a visual feast. The technical wizardry that makes these apes tangible, palpable animated characters that feel more human than previously considered possible is one thing. But the filmmaking craft on display is also thrilling to behold. Battle sequences in wooded, snowy, and watery terrain are executed brilliantly. Emotional sequences are filmed in such a way as to bring a tear to your eye. War For The Planet Of The Apes is just beautiful to look at, so the higher your definition capabilities, the better. I didn’t get a chance to view the 4K release… but you better believe I want to. That said, the Blu-ray lacked for nothing.
On top of the presentation, this disc is proper loaded with bonus content that, as mentioned in my review, distinctly supplements one’s enjoyment of the movie. Hearing Reeves and company illuminate their process from writing to filming to performance capture really highlight their own commitment to, and love for, this property. I caught things upon a second viewing (and after taking in the features) that heightened my appreciation of the movie and especially gave me a new appreciation for the tightness of the script. Fans of the new Apes series will want to own this fantastic trilogy on home video, and while the 4K trilogy is likely the optimal option, this disc is a pleasure.
Bonus Features
- Deleted Scenes with Optional Commentary From Matt Reeves
- “Waging War For The Planet Of The Apes” — In-Depth Making Of Documentary
- “All About Caesar”
- “WETA: Pushing Boundaries”
- “Music For Apes”
- “Apes: The Meaning Of It All”
- “The Apes Saga: An Homage”
- Concept Art Gallery
- Audio Commentary by Matt Reeves
And I’m Out.
War For The Planet Of The Apes hit 4K Ultra HD, Blu-ray, and DVD on October 24th from 20th Century Fox Home Entertainment
Further Reading:
https://cinapse.co/unboxing-planet-of-the-apes-trilogy-4k-uhd-blu-ray-box-set-1293556f9fcbhttps://cinapse.co/unboxing-planet-of-the-apes-trilogy-4k-uhd-blu-ray-box-set-1293556f9fcb
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BROKEN SWORD HERO: Muay Thai Meets Old School Kung Fu
It Just Hurts More When It’s Knees and Elbows
There’s a spectacular uniqueness to Thai action films. Evoking Hong Kong cinema in its heyday, there’s just an irresponsible glee to the fight sequences and action set pieces that make their way across the seas from Thailand to my eyeballs. Broken Sword Hero continues the now time honored tradition of brutal Thai action cinema with a fresh new star and a classic old school kung fu-style narrative.
With Tony Jaa well on his way to a massive international career rehabilitation after going off the rails for a while, it’s great to see yet another physical talent emerge as a Thai action star. Leads like Dan Chupong and Jeeja Yanin have held down the fort in Thailand and created some truly jaw dropping stunt and fight work, and now Broken Sword Hero star Buakaw Banchemek arrives on the scene with a blazingly white smile, a chiseled physique that finds itself on screen for probably 85% of the film, and a talent for leaving lesser fighters in his wake. He’s an exciting new Thai star who apparently comes to the screen as an already established star in professional Muay Thai. I’d gladly watch him in future films.
Broken Sword Hero is an origin story of sorts, depicting the rise of Thongdee, one of Thailand’s most famed war heroes and legends. Following his childhood and training as a sort of wandering street urchin who becomes a talented fighter, Broken Sword Hero feels a lot like classic fight films where the student becomes the master. Travelling from master to master, picking up experience in different styles and learning valuable life lessons, Thongdee forges friendships, faces down enemies, and becomes as strong in his values and morals as he does in his varying fighting techniques. It’s a very classic hero’s journey that doesn’t really stand out from the pack in its storytelling. But it’s highly endearing and goes down easy as a result, offering a compelling if generic hero.
What sets it apart, of course, is the uniquely Thai action and battle sequences, which appear to depict full contact fight sequences in many instances, and with flying Muay Thai knees and elbows aplenty. There’s probably half a dozen wonderful fights and set pieces directed by Bin Bunluerit in such a way as to showcase his star’s ability set. The action is clear, high flying, and bone-crunching. It’s also occasionally bloody with swords and guns coming into play, even though most of the action comes down to fisticuffs.
And the bloody action feels somewhat out of place. Broken Sword Hero feels very quaint, depicting a hero who is shy around women, and never delving deeply into the horrors of war or anything like that. It’s a bit of a fairy tale that feels downright family friendly, complete with comedic sidekicks, until a bout of CGI blood stabs crop up here and there.
So while Broken Sword Hero is a great highlight reel for rising star Banchemek, and shows Bunluerit to be a strong action director, it never quite transcends its trappings to be counted among the very best Thai action cinema has to offer. Many of the thrills are there, and this is recommended viewing for fans of Sahamongkhol Film International (which brought us Ong Bak). But it’s not the game changer that that film was. Perhaps because Banchemek is a professional fighter and not a trained stunt actor like some of his fellow leading men and women, you get some great fights, but not as many jaw dropping stunts as someone like Jaa might bring us. That said, it sure looks like it hurts when he’s dropping a flying elbow on top of someone’s dome.
The Package
Barebones as a package, all you’re getting here is the film on Blu-ray and DVD. Fortunately, the movie does look quite nice, shot mostly outdoors with an ancient Thai feel to it that gives it lots of unique visuals, vistas, and visages. The action is clear and crisp and while it’s not a flashy high budget film, it certainly benefits from the high definition viewing experience. This is a rock solid HD rental recommend for Thai action fans. The barebones Blu-ray release probably isn’t something you need to rush out and buy, but you could do a lot worse.
And I’m Out.
Broken Sword Hero hits Blu-ray and DVD Oct. 31st, 2017 from Well Go USA
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Unboxing PLANET OF THE APES Trilogy 4K UHD Blu-ray Box Set
For viewers anxious to pick up the new War for the Planet of The Apes, the best way to do so is this Trilogy box set that delivers all three movies in the best available video and audio package, along with a poster.
This slipbox is a thing of beauty — the soft vellum-like matte surface has embossed surfaces on text and facial features. The most striking part, though, is the glossy accents on Caesar’s eyes.
Isometric views 
Back cover and J-card 
Inside the slipbox are the three individually packaged movies, including Dawn and Rise in the previously available UHD editions with their ultra-cheesy Photoshop collage covers, while War is doing its own completely different thing. Clearly, not much thought went into the packaging consistency of the individual movies.
The set also includes a poster, though it’s actually a rather plain and colorless design that’s mostly negative space. Of greater interest to me was its reverse side…
On the flipside of the poster is a cool timeline of the trilogy’s events — spoilers lurk within so be sure to watch the movies before poring over this.
Each movie includes a UHD disc, standard Blu-ray disc, and Digital Copy code. A Blu-ray version of this box set is also available.
Get it at Amazon:
Planet of the Apes Trilogy Box Set – [4K UHD Blu-ray] | [Blu-ray]All package photography was taken by the reviewer.
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WARRIOR: MMA Grit Meets 4K Glory
Tom Hardy & Joel Edgerton Square Off In Higher Resolution
You know what’s better than Rocky? Two Rocky’s!
Now calm down, I’m not saying Warrior is better than Rocky. It most certainly is not. But it’s fair to begin a review of Warrior with Rocky’s name in our mouths. Blue collar, family-focused, emotionally charged, set in sweaty gyms… Warrior walks the very same ground as Rocky, sometimes literally as one of Warrior’s major characters hails from Philadelphia, PA.
Tom Hardy’s Tommy Riordan shows up in Pittsburgh where his estranged drunk of a father (Nick Nolte’s Oscar-nominated role as Paddy Conlon) has sobered up. Back from war in the middle east and using his mother’s maiden name, Tommy is clearly damaged by both his upbringing and experiences in the war, but we’ll spend the bulk of the movie unraveling the mystery of his life. Meanwhile Joel Edgerton’s Brendan Conlon is happily married with kids, teaching high school physics and working some dead end jobs on the side to avoid foreclosure on their family home. Both men enter a high stakes mixed martial arts tournament and set themselves on a collision course ripe for movie magic.
So yeah… Warrior has two Rocky’s. Tommy and Brendan are well written and well-rounded movie characters (Director Gavin O’Connor co-wrote the script with Anthony Tambakis and Cliff Dorfman) whom the audience is rooting for in equal but different ways. Tommy is angry and mysterious, with the audience itching to learn more about him. Brendan is an everyman who’s overcome adversity and found love, but who is still struggling to provide for his family. These men are compelling, portrayed by actors who’ve become far more vital to modern American film since the release of Warrior. It’s almost jarring to be reminded that neither Hardy or Edgerton are, in fact, Americans. They’re also awfully pretty to be playing everymen. But Warrior overcomes all that and grounds itself in a blue collar grit that works heavily in its favor.
After all, what’s better stakes in a final fight than to be rooting for both contestants?! It’s a clever (if engineered) twist on a formula that sets Warrior apart, even if it very much is a product of formula. In the end, Warrior is a very good film that never achieves greatness. That doesn’t really matter much since the movie might as well be written, set and cast just for me. I love it dearly, had a blast revisiting, welled up at all the right parts, and greatly enjoyed expanding the theatrical experience of Warrior with the fairly robust and earnest bonus features found on this 4K UHD release. In other words, I like Warrior a fair bit more than it is actually a great film.
What holds it back from greatness? Well, the premise feels more set up than one can easily digest. Brendan Conlon’s ability to to rise to the final round of an MMA tournament is portrayed in the film as a total upset, but the audience feels it as well. It feels impossible. Our characters are also appropriately taciturn, which is wonderful for establishing the tough guy vibe. These guys wouldn’t be big emoters or talkers. But that leaves a lot of the plot heavy lifting to that classic trope of fight commentators or sportscasters narrating the emotions of the film. A whole lot of important emotions are more or less narrated to us by commentators.
But as much as those strikes against the film matter, there are just as many excellent decisions that set this film apart as a solid, watchable, relevant fight film. The casting of all the major leads, including Frank Grillo (whose star power has also risen dramatically since the release of Warrior) as Brendan’s old friend and trainer, is the true master stroke of Warrior. The acting is off the charts and drips with bro-like masculinity. Nick Nolte’s father figure looms over our lead characters and informs all of the action and motivations. Nolte’s Oscar nomination is about as deserved as a nomination has ever been. It’s such a haunted and redemptive role it causes you to swear at the screen with the gut-punching emotion of it all. The structure of the film is also pleasantly surprising. Sure, it’s all building to a big fight. There’s even a training montage to get you there. But it’s surprising how independently each of the storylines co-exist independently. Our two leads don’t meet one another until the third act, and it works powerfully. The final fight is a strong action set piece and also a powerful sequence of emotional storytelling. Warrior lives and dies by its structure and pacing and really nails both.
Warrior isn’t quite as universal as Rocky. It’s more specific to our economic strife and war-torn times. It’s more male-focused, with one very essential female character who never gets a chance to be as central or vital as Adrian does in the Rocky series. Its central premise is not just one extreme underdog longshot, but two. There’s a slightly thicker veneer of Hollywood on Warrior than on Rocky. But all of that is okay. Because Warrior is rock solid and highly watchable. As these lead actors’ (and the filmmaker’s) stars continue to rise, one hopes that Warrior will be discovered and re-discovered over the years and that this 4K treatment will update it for future audiences.
The Package
I’m still trying to wrap my brain around the 4K format. While the film looks great, for the most part the leap from DVD to Blu-ray was more distinct and notable than the leap from Blu-ray to 4K. Last I saw Warrior was in the theater, so that’s the only comparison I can make here. There’s still plenty of grain in the image of Warrior (something I quite appreciate). The absolute most thrilling element of watching all films on 4K UHD, and Warrior specifically, is the human face. Nick Nolte’s craggy puss in glorious 4K is the element that most sets this new release apart.
On top of the new scan, this disc really is packed. There’s a commentary with the filmmakers and Edgerton which was captured back around the release of the film. It’s illuminating, but also occasionally uncomfortably masculine. It’s amazing how dated something can sound when 2011 doesn’t feel that long ago. The supplemental material is where the home video release shines. Highlighting the work of choreographer JJ Perry and digging into the real world of MMA that is honored and depicted with authenticity in this film, the bonus features truly expand one’s appreciation of the final film in a special way.
I suspect all of these bonus features and materials were all available in the original Blu-ray release, so those who already own the Blu-ray will need to be major fans of 4K content to buy this release. That said, if it’s been years since you revisited Warrior and you’re set up with 4K, you need Nick Nolte’s craggy-ass face in your home.
And I’m Out.
Warrior hits 4K UHD Blu-ray on Oct. 24th, 2017 from Lionsgate
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BLADE RUNNER 2049: Style Is Substance [Spoiler-Free Review]
Denis Villeneuve is Our New Sci-Fi God
Extremely elusive and ill-defined… “coolness” is a tough nut to crack. Critics and audiences alike didn’t catch on to the prophetic coolness of Ridley Scott’s Blade Runner in 1982, but have been playing catch up ever since. Countless science fiction tales have aped its design, its tone, its future hellscape, its electronic soundscape, its every last detail. So elusive is the coolness of Blade Runner (itself an adaptation of a Philip K. Dick writing, further cementing its mythical status)that a sequel, follow up, reimagining, or remake of any kind felt ill-advised at best, and desperate at worst. Blade Runner was magic in a bottle that even sci-fi legend Scott himself couldn’t seem to recapture. Then along comes Denis Villeneuve, with original Blade Runner writer Hampton Fancher and Logan-scripter Michael Green, to recapture the tone, feel, and aesthetic of Blade Runner so casually as to almost make it look easy.
Audiences missed the import of Blade Runner in 1982, however, and it’s very possible the same will happen again today. While being hailed by critics (including yours truly), Blade Runner 2049 isn’t just methodically paced… it is outright languid. Clocking in at 2 hours and 43 minutes and a quiet soul at its core, wide audiences may struggle with Villeneuve’s patience and reverence for the style of the original.
But that style really is everything. Frame after frame, design after design, set after set flawlessly immerses us in one of the greatest science-fiction dystopias ever conceived of by a creative team. I’ll get around to the ideas and the themes and the relevance of it all. But in all honesty, we’ve seen a million great stories about what it means to be human, how we will evolve as a species, and how class disparity is ruining us all. Villeneuve and team have captured a weight and relevance in the continuation of the Blade Runner story that matters. But the greater accomplishment, in my estimation, is the style with which they do it. It’s just so rare anymore that the sheer spectacle of a film induces goosebumps. Having your brain kick you out of the narrative just to marvel at the visual and aural splendor of what you are experiencing just doesn’t happen very often. Blade Runner 2049 is that rare film where the effortless cool envelops you.
It is, of course, not effortless at all. This is a film in which top Hollywood talent that’s not often given the credit they deserve truly get to display their art. Roger Deakins’ cinematography is repeatedly awe-inspiring, as his ongoing collaboration with Villeneuve continues to mine new depth in visual splendor. Production designers, set builders, sound mixers… all are given an opportunity to shine, building a universe that feels so consistent with what came before it, and yet so boundary-pushing today. It’s not lost on the observant that this iconic, beautiful, noir-drenched experience in coolness is a combined effort to represent a desolate and broken planet teetering on the edge of apocalypse. Not since Fury Road has despair popped so vibrantly.
Narratively, 2049 holds up as a worthy successor to Blade Runner as well. Anchored fairly exclusively by Ryan Gosling as blade running replicant hunter “K”, all other acting roles in the film feel almost episodic, with a few vignettes here and there featuring stellar performances from everyone in the cast including Robin Wright as K’s commanding officer, Jared Leto as this chapter’s creator of the latest replicant models, Dave Bautista as a target in K’s investigation, Sylvia Hoeks in a breakout performance as Luv, a brutal antagonist to K, and of course… Mr. Harrison Ford as Rick Deckard. K finds himself on an assignment of extreme importance after his own detective work uncovers a secret that could tip the already ruined world into further chaos. The investigation is intriguing, feels wrought with import, will reward repeat viewings and spur debate, and never causes one to question why it was worth revisiting this franchise some 30+ years later. Continuing the themes and complications that come with a world set up around manufactured human beings and those who hunt them, 2049 more than justifies its existence. And yes, any further discussion of its plot would instantly plunge headlong into significant spoiler territory which is not necessary in order to offer a hearty recommendation of the film to the curious.
With a style so simultaneously reverent of the past and boundary pushing today, the genius of craft behind Blade Runner 2049 truly is its greatest asset. A 1982 film which has inspired a sci-fi aesthetic for an entire generation has given birth to a follow up which will somehow catapult that influence long into this future generation. It’s a magnificent achievement of style that appears so effortless as to make it feel almost inevitable. Denis Villeneuve takes another leap forward in his quest of becoming a modern master.
And I’m Out.
