New Releases On Blu Ray & DVD: 4/15/14

Ben Stiller’s THE SECRET LIFE OF WALTER MITTY, which I wasn’t too impressed by last December, leads the line-up of new releases on Blu ray and DVD today. Stiller’s adaptation of the James Thurber short story, which felt to me and many others (it has a 49% rating on the Rotten Tomatometer) to resemble a feature length commercial, comes with a slew of Special Features including Deleted, Extended, and Alternate Scenes (equaling around 15 minutes), a bunch of Behind the Scenes featurettes, Gallery: Reference Photography, "Stay Alive" music video (Jose Gonzales), and the Theatrical Trailer.

A movie I liked a little bit better, Stephen Frears’ PHILOMENA, starring Judi Dench and Steve Coogan, also hits home video today. Although the fine film, about a cynical journalist (Coogan, of course) aiding an elderly Irishwoman (Dench) in her search for the son she was forced to give up for adoption, didn’t win any of the four Oscars (surprisingly, it was up for Best Picture) it was nominated for, its Blu ray and DVD release boasts a bevy of high-end bonus material. First up, there’s a commentary with writer/actorpProducer Steve Coogan and Screenwriter Jeff Pope, “A Conversation With Judi Dench” (8:54), a short (under 3 minutes) featurette “The Real Philomena Lee,” and a almost 25-minute Q & A With Steve Coogan from the film’s Guild Screening in Los Angeles last December.

Next up, a film that I thought was just released theatrically (actually it was in January – the year is flying by) also releases this week: Tim Story’s poorly reviewed but crowd pleasing action comedy RIDE ALONG, starring Ice Cube and Kevin Hart. I skipped the film because I’ve not yet found Hart to be funny, but for those of you who do here’s what Special Features are included: Director’s commentary with Story, Gag Reel, Locations Tour, alternate ending, deleted scenes, and various featurettes.

Also out today: Peter Lepeniotis' animated squirrel comedy THE NUT JOB, Chris Nelson's high school sex comedy DATE AND SWITCH, Ralph Fiennes' Charles Dickens drama THE INVISIBLE WOMAN (read my review), Deborah Chow's adaptation of V.C. Andrews' 1979 bestseller FLOWERS IN THE ATTIC (starring Heather Graham and Ellen Burstyn), Steven Rosenbaum's 2002 9/11 documentary 7 DAYS IN SEPTEMBER, Kasi Lemmons' musical drama BLACK NATIVITY, and Geoff Moore and David Posamentier's comedy drama BETTER LIVING THROUGH CHEMISTRY.

On the older films out this week in fancy new Blu ray editions front there's Orson Welles' undisputed 1958 classic TOUCH OF EVIL, Billy Wilder's 1944 thriller DOUBLE INDEMNITY (another undisputed classic), Anthony Mann’s 1957 Korean War film MEN IN WAR, Douglas Sirk’s 1948 film noir thriller SLEEP, MY LOVE, and the Criterion Collection deluxe edition of Lars Von Trier's heated 1996 drama BREAKING THE WAVES. 

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LE WEEK-END: An Aging Marriage On The Rocks On Holiday In Paris

Now playing at an art house theater near me:

LE WEEK-END (Dir. Roger Michell, 2013)

“You always did edit out the arguments and the misery,” remarks Lindsay Duncan to her husband played by Jim Broadbent over dinner at a fine French restaurant. “You can’t not love and hate the same person, usually within the space of five minutes in my experience,” Broadbent replies after pausing to take a sip of wine.

In Roger Michell’s (NOTTING HILL, VENUS, HYDE PARK ON THE HUDSON) latest drama LE WEEK-END, Broadbent and Duncan portray a British couple in their 60’s on a holiday in Paris in what appears to be a last ditch attempt to re-spark the flame of their fading marriage.

In hopes of taking a romantic breather from their lives of academia back in Birmingham – Broadbent’s a university philosophy professor; Duncan a grade-school teacher – the couple instead find it difficult to connect. Duncan is bully-ish, crabby, and sardonic towards Broadbent, who appears stressed under his muddled surface.

Broadbent and Duncan bicker all the while as they relocate from a shabby hotel to more luxurious accommodations in an elegant suite (“where Tony Blair once stayed”, they are told) with a beautiful view of the city and the Eiffel Tower.

Nevertheless, there are traces of life left in their relationship that we witness as we see them dine and dash, imitate the famous café dance scene in Jean-Luc Godard’s BAND À PART * along to its airing on their hotel room TV, and embrace in a passionate public display of affection in the Parisian streets, one that catches the eye of an old colleague of Broadbent’s (Jeff Goldblum). The eccentric as always Goldblum, oblivious to our lead couple’s friction, invites them to a dinner party at his home the next evening.

With its talky realism and picturesque locations, LE WEEK-END may just give us a taste of what the BEFORE SUNRISE series may look like if it continues for a few more decades.

There’s not a false note or anything cutesy in the screenplay written by Hanif Kureishi, in his fourth collaboration with director Michell. The weight that the two leads bring to Kureishi’s words comes from the same ace acting chops that won Broadbent an Oscar (Best Supporting Actor for MOULIN ROUGE!), and Duncan a couple of Tony Awards (for her stage work in “Private Lives” and “Les Liaisons Dangereuses”). Their laughs, sighs, and pained shrugs all form layered lived-in performances.

At times the film may hit a little too close to home for anybody who’s ever been through a rough patch in a lengthy relationship. Both of these people have long suffered the other, but it was hard for me not to side with Broadbent’s character. Early on he reveals to his wife that he’s been sacked from his job, and Duncan shows little sympathy for him afterwards. She even flirts with another man at Goldblum’s party and agrees to have a late night drink with him. The nerve!

Meanwhile, Broadbent has drifted away from the get-together and ends up smoking pot, and connecting over Nick Drake’s “Pink Moon” with Goldblum’s neglected son from his first marriage (Olly Alexander). This leads to Broadbent’s confessional outpouring at the dinner table; the emotional climax of the movie.

The lingering question of will they stay together or split up may not be satisfyingly answered for some folks at the conclusion, but a clever callback to the BAND À PART dance routine that has Broadbent, Duncan, and Goldblum charmingly falling in line to the sprightly jazz on a pub’s jukebox provides a pleasing epilogue that should tell most movie-going dreamers everything they need to know about these people’s destiny.

* Godard made a 1967 film entitled WEEK-END, but it looks only tangentially related.

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The Pummeling Thrill Ride That Is THE RAID 2: BERANDAL

THE RAID 2: BERANDAL (Dir. Gareth Evans, 2014)

Gareth Evan’s 2011 Indonesian hit THE RAID: REDEMPTION was a high-voltage ultra-violent martial arts masterpiece that pitted an unsanctioned S.W.A.T. team against a 15-story apartment block full of murderous mobsters. Its fast paced gory spectacle was all contained within the dark, dank, crumbling walls of the tenement building – one of the grittiest backdrops of an amped up thriller in recent memory.

In the less gritty, more colorful sequel, THE RAID 2: BERANDAL (Berandal is Indonesian for “Thug”), opening today in the Triangle, the sole survivor of the first movie’s mayhem goes undercover to infiltrate Jakarta’s biggest, baddest crime syndicates resulting in a series of savage action sequences set all over the city.

As the rookie cop turned police mole, Indonesian martial arts champion Iko Uwais returns as Rama, who’s back to wow us again with his mad fighting skills. Uwais undergoes a two-year prison stay in order to integrate himself as a foot soldier for the powerful crime boss, Nagun (Tio Pakusodewo). Our hero does this by befriending the gang boss’s only son (Arifin Putra) in the slammer, by way of saving his life in a wild, bloody, and extremely muddy prison yard rumble.

Elements recalling INFERNAL AFFAIRS (remade by Martin Scorsese as the 2005 Oscar winner THE DEPARTED), and DONNIE BRASCO form the unevenly paced plot, but it just serves as a clothesline to hang one ferociously relentless set piece after another on.

Intense choreographed fist fights amid rampant gunfire take place in a variety of locations including a warehouse, a restaurant, a fancy kitchen, a glitzy nightclub, even in moving cars (in one of the best car chases since THE FRENCH CONNECTION), carting Uwais closer to his goal of bringing down both the evil organization and the corrupt cops on the syndicate’s payroll.

Foes such as Hammer Girl (Julie Estelle, using only two hammers as her weapons), Baseball Bat Man (Very Tri Yulisman, whose weapon ought to be obvious), and Yayan Ruhian, as a different brutal long-haired assassin than the one he played in THE RAID, attempt to thwart Uwais’s efforts, but I bet you can guess how they end up.

I felt more than a little beat down by the end of the film’s bloated 150-minute running time, as Evans and star/choreographer Uwais seem to have fit every single stunt they could think of within the film’s chaotic framework. Its exhausting length is the only thing that keeps it from being better than the first one, but not by much.

It’s hard to imagine how a follow-up would top it, but since it’s the second of a proposed trilogy, it’ll sure be fun to see them try. With its insanely brutal bravado, rendered in a viciously vivid visual style, the pummeling thrill ride that is THE RAID 2 kicks the ass of just about every American action movie out there. 

Indonesia: fuck yeah!

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