Category: DVD – Film

Screening Room: ‘Alfred Hitchcock: The Iconic Collection’

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Yep, every one of those films in fully remastered 4K Ultra HD. Plus extras. And a cool bookshelf case.

My review of Alfred Hitchcock: The Iconic Collection is at PopMatters:

Far from lazy, Alfred Hitchcock: The Iconic Film Collection delivers a delectable sampling of the director in the late bloom of his career. These six films—Rear Window (1954), To Catch a Thief (1955), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963)—provide everything from spiffy and urbane romantic crime melodramas to a road-trip espionage thriller, an eerie take on the apocalypse, a chilly study in obsession, and a proto-slasher film. It’s a staggering collection. No other mainstream director ever took on so many genres so successfully and in such a short time…

Screening Room: ‘The Great Dictator’

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I wrote about Charles Chaplin’s The Great Dictator for Eyes Widen Open. This is an update of a review from a few years back for filmcritic.com about the two-disc Criterion Collection edition.

Review is here:

In the controversial-for-its-time satire The Great Dictator (1940), Charles Chaplin plays both an Adolph Hitler-like dictator and a good-natured Jewish barber who is then mistaken for the dictator. Hijinks and tragedy and speechifying ensue. The movie is not always as funny as it could be and is frequently too innocent for its own good (a common complaint with Chaplin). But imperfect as it is, The Great Dictator might be the peak of Chaplin’s career…

Here’s the trailer, in case you’d like a refresher:

Screening Room: ‘After Hours’

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I reviewed the new Criterion Collection release of Martin Scorsese’s low-budget 1985 nightmare comedy After Hours for PopMatters:

Now available in an extras-packed Criterion edition, Martin Scorsese’s somewhat forgotten entry in the One Crazy Night genre, After Hours (1985), has most of its hallmarks but gives the loopiness a spin that’s both eerie and carnivalesque…

Here’s the trailer:

Screening Room: ‘The Adventures of Baron Munchausen’

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Have you ever seen The Adventures of Baron Munchausen? Whatever the answer, the new Criterion edition provides ample reason to watch it now, whether for the first or fifth time.

My article about the film, and its place in Terry Gilliam’s career, is at PopMatters:

It is not surprising that Terry Gilliam’s film career went up in flames—not just once but on multiple occasions, and not just in flames but in great roaring bonfires that consumed reams of industry trade gossip, millions of dollars, and years of people’s lives. As Monty Python’s animator of lewdly monstrous grotesqueries and generally non-verbal performer, Gilliam was hardly the troupe’s chief troublemaker (that would be Graham Chapman, busier hellraising ala Keith Moon than trying to make films). But Gillian did have an easily detectable rebel streak that signaled poor receptiveness to fussy things like schedules and budgets…

Here is the trailer:

Screening Room: ‘THX 1138’

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If you are not familiar with George Lucas’ first feature movie, THX 1138, then now is the time to seek it out.

My article about THX 1138 ran at Eyes Wide Open:

George Lucas’s most grown-up piece of work is, oddly enough, his first feature. He premiered his instant classic of dystopic angst, THX 1138, in 1971. It set off a downbeat decade in science fiction, crafting a template of futurism that saw technology as more threat than promise. But Lucas did not follow up on the movie’s promise with increasingly complex and innovative storytelling. Instead, six years later the first Star Wars began his steady decline of artistic maturity into increasingly cartoonish sequels. Though, to be fair, maybe that is where he wanted to end up all along…

Here is the trailer for the 2004 director’s cut:

Screening Room: Fellini’s ‘La Strada’

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In Federico Fellini’s breakthrough classic La Strada, a girl from a poverty-stricken family is sold to a traveling circus performer who does not realize just what a miserable life he has consigned both of them to.

My review of the new Criterion Blu-ray DVD is at PopMatters:

La Strada became a quiet sensation upon its American release in 1956. Critic Christina Newland, in an essay that accompanies the recent Criterion Blu-ray, refers to its “paradigm-shifting effect” for the widespread of its influence. It quickly earned a prominent place in the arthouse canon that placed a small cadre of foreign directors—Fellini, Ingmar Bergman, Akira Kurosawa, François Truffaut—as standing for everything sharp, insightful, and humanistic that bloated, materialistic, and subliterate Hollywood apparently did not. In that respect, La Strada certainly fits the bill…

Here’s the trailer:

Screening Room: ‘Ratcatcher’

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The debut movie from Scottish director Lynne Ramsay (We Need to Talk About Kevin) is a bracing combination of unflinching poverty and expressionist imagery.

My review of the new Criterion Blu-ray edition of 1999’s Ratcatcher is at PopMatters:

Living in tumbledown council housing blocks, many of the families pine for the day their number comes up on the list of people being moved across town to brand-new houses with yards. But even though this is a dream that seems destined to fall apart, Ramsay is more engaged by the nit and grit of these people’s lives – the actual sensation of cramped apartments with flickering TVs (a surreal mix of Tom Jones and news reports on rat infestation) and lurking rent collectors – than any desire to rub viewers’ noses in the pornographic poverty of it all…

Here’s the trailer:

Screening Room: ‘The Parallax View’

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The Criterion Collection Blu-ray release of 1974’s The Parallax View is a fantastic way to experience this paranoid classic that still induces shivers today.

My review is at PopMatters:

The screenplay reads like the kind of thing that might play at the drive-in to a half-attentive Friday night crowd. But in execution, the film more closely resembles one of the year’s other cinematic landmarks, Coppola’s The Godfather Part II (1974), whose indictment of American corporate-political criminality was similarly ruthless but still somewhat toothless by comparison…

Here’s the trailer:

Screening Room: ‘Ghost Dog: The Way of the Samurai’

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Jim Jarmusch’s Ghost Dog: The Way of the Samurai finally gets its overdue Criterion DVD release, just in time for holiday gift-giving. My review is at PopMatters:

An out-of-time transmission from the late 1990s, when auteurs were fully embracing genre and pre-millennium jitters was tossing old artistic certainties out the window, Jim Jarmusch’s Ghost Dog: The Way of the Samurai is a spectacular oddity that still confounds expectations…

The trailer is here:

Writer’s Desk: Don’t Hide Your Influences

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In an interview published in Projections 11, director Jim Jarmusch talked about all the influences he put on screen in his 1999 genre mash-up Ghost Dog: The Way of the Samurai:

I’m not going to play a game like all those ideas are original and they’re mine: I want to talk about where they came from, because if someone sees Ghost Dog and it leads them to see films by [Jean-Pierre] Melville or Point Blank by John Boorman, or the films of Seijun Suzuki, or to read Don Quixote or something that I mention in the credits, then that’s a good thing…

If something inspired you to write, there is no reason to hide it. Putting that out there could lead somebody else to be inspired as well.

Screening Room: ‘Kiss Me Deadly’

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My article on Robert Aldrich’s Kiss Me Deadly (1955) was published at Eyes Wide Open:

For sheer brazen strange, it’s hard to top Robert Aldrich’s 1955 noir adaptation of the skull-busting Mickey Spillane novel. It’s a mystery that never gets solved and a thriller that creeps more than excites. The closest that it gets to an explanation is a cynical, tired reference by the hero’s gal Friday to “nameless ones who kill people for the great whatsit.” All this confusion very likely derives from Aldrich clearly holding Spillane’s book in some contempt (as he did most things). But then it’s hard to say that a greater fidelity to the source material would have cleared matters up much…

Here’s the trailer for the Criterion release:

Screening Room: ‘In the Intense Now’

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In Joao Moreira Salles’ beautifully wrought documentary, In the Intense Now, an impressionistic flow of amateur footage captures the joy and despair of the revolutionary movements of the 1960s. It’s an incredible trip.

My review is at PopMatters:

The movie’s first half (“Back to the Factory”) starts with the street battles that ripped through Paris in May 1968. As far as Salles tries to explain it, narrating with a sonorous moodiness and marveling wonder, the protests were a sudden flaring crucible in which all the ferment of the Sixties burned white-hot over a few short weeks…

Here is the trailer:

Screening Room: ‘The Virgin Spring’

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My review of the Criterion Blu-ray edition of The Virgin Spring is at PopMatters:

You can easily imagine the characters in Ingmar Bergman’s devastating The Virgin Spring (Jungfrukällan, 1961) calling where they live “God’s country”. Their farm is situated in a kind of pristine wonderland of thick pine forests and gurgling streams. Religion plays a central role in most of their lives as well, with the mother, Mareta (Birgitta Valberg), seeming to spend her every waking moment in contemplation of God, and her husband, Tore (Max von Sydow), only slightly less fervent in his faith. They are certain of their place in the world, and God’s gifts to them…

Here’s a clip:

Screening Room: ‘A Matter of Life and Death’

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There’s a new Criterion Blu-ray edition out with a gorgeous presentation of Michael Powell and Emeric Pressburger’s 1946 wartime afterlife romance A Matter of Life and Death. And yes, it’s pretty much required viewing.

My review is at PopMatters:

After making a run of cheery but subversive movies during World War II, always under the watchful eye of Winston Churchill — who refused to shut down the film industry as it was during the Great War — the Ministry of War came to [Powell and Pressburger] with a request: Could they make a movie that would make the British and Americans love each other? A seemingly odd request, given that the nations were at the time fighting tooth and nail to dislodge the Nazis from Western Europe…

Here’s a trailer:

Screening Room: ‘Baby Driver’

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So here’s the pitch for the unlikely summer blockbuster Baby Driver: There’s this getaway driver who’s creepy good at his job. Only he has this thing where he listens to music all the time and doesn’t really talk to people. This annoys the bank robbers he works with. Sound good? Well, the soundtrack is, at least.

Baby Driver is out now on DVD. My review is at PopMatters:

In the desultory extras accompanying the DVD of Baby Driver, there isn’t much to explain the movie’s genesis besides the obvious. Writer/director Edgar Wright was obsessed with Jon Spencer Blues Explosion’s “Bellbottoms” and thought it would be a great song for a car chase. So, like the eager fanboy that Wright is, he doesn’t wait any longer than the opening scene to drop that sequence…

Here’s the trailer: