When this trailer begins, it looked like we were going to get another period piece movie. Back in the 1990’s, a lot of period movies were being released such as “Howard’s End” which my parents took me to see, and I found myself really liking it. From there, we got others such as “The Remains of the Day,” “The Age of Innocence” and “The Madness of King George,” and they contained many great performances and much more to take in. Whatever movie this trailer was for, it felt like I was in store for another period piece which would immerse me into a whole other time and place.
But the next thing I know, subliminal messages such as “SEX,” “BABES” and “CHICKS” started flashing at us from the silver screen, and I am wondering to myself, while laughing out loud, what the hell? Clearly, something far more devious was in store for audiences as these flashes of “SEE IT,” “FEEL IT” and “NUDITY” came straight at us with a thunderous guitar lick. Was this a trailer for another “Naked Gun” sequel?
Before I knew it, Howard Stern appeared onscreen making funny noises into a microphone, and I found myself getting really excited. I was not the biggest fan of Stern’s in the 1990’s but, like everyone else, I was constantly curious to see what he was going to do next. With this trailer being scored to AC/DC’s “You Shook Me All Night Long,” I found myself getting excited for it in a way Stern had not excited me before. While I wondered what was going on in his head from time to time, seeing him in a motion picture quickly seemed like a monumental event.
This trailer for “Private Parts” quickly made my list of my all-time favorites as it presented me with something highly unusual and wonderfully rebellious. This trailer went out of its way to satirize the kind which promised something to a select audience, and then proceeded to pull the rug out from under us all. It made me super excited to the film, and I loved how it twisted the form of the average movie trailer to an exhilarating extent. And, having seen this film many times since, I can confirm that the trailer delivered on what it promised audiences to great effect.
Some great family friends of mine went out of their way to give me a special edition VHS copy of the 1967 classic “The Graduate” as a high school graduation gift. I was thrilled to receive it, and I very much enjoyed it. In retrospect, however, I would have loved it even more if they had given it to me after I had graduated from college as, like Benjamin Braddock, I found myself feeling lost and alienated following that momentous occasion, and the film would have given me something necessary to relate to.
As the opening credits to “The Graduate” begin, we see Benjamin standing listlessly on one of those automated walkways in the airport, and he looks absolutely lost. I love how the camera is positioned as Benjamin is to the right, and there is a big piece of space ahead of him. On one hand, this allows for the opening credits to be displayed without any distractions, but it also illustrates the distance Ben feels from everything around him. This feeling is perfectly accentuated here by one of the classic songs from the 1960’s, “The Sound of Silence” sung by Paul Simon and Art Garfunkel.
I love the opening credits because they perfectly set up Benjamin Braddock for the rest of the film. He has just graduated from college, obtained his undergraduate degree, and now the rest of his life is ahead of him and he looks like a deer caught in the headlights. “The Graduate,” from there, follows his attempts to find some meaning in his life which includes an ill-fated affair with Mrs. Robinson (Anne Bancroft), and his parents treating him like a prized trophy. No wonder we see Ben hiding from the world by diving underneath the water. At least there, he can find some temporary peace from the craziness surrounding him.
Please feel free to check out the opening credits to “The Graduate” down below:
WRITER’S NOTE: This review was written back in 2012. Some edits have been made since then to make it more interesting in the Ultimate Rabbit’s eyes.
“Savages” is being looked at as Oliver Stone’s comeback movie, as if it is implied that he hasn’t made one worth watching in years. Granted, movies like “World Trade Center,” “Wall Street: Money Never Sleeps” and even “W.” might have made it look like Stone was starting to get too soft on us, but none of these movies, however, showed him to be losing any of his power as a filmmaker. I guess we just miss him generating some kind of controversy because we all expect him to have some conspiracy he is just waiting to unleash on an unsuspecting populace.
Based on the book of the same name by Don Winslow, “Savages” shows Stone getting down and dirty again as the film deals with a couple of weed producers who, quite unfortunately, capture the attention of a brutal and greedy Mexican cartel. While it doesn’t reach the exhilarating highs of “Natural Born Killers” or “Scarface” (which he didn’t direct but wrote the screenplay to), it is still a compelling film to watch. However you look at it, Stone is not about to play it safe with the story or its characters this time around.
Blake Lively stars as O (short for Ophelia) who begins “Savages” by saying that just because she’s narrating the movie does not mean she will be alive at the end of it. Now this is a clever beginning as Stone teases us with the possibilities of what is to come, fully ready to rip the rug out from right under us if the occasion calls for it. These days, it is so nice to see any filmmaker, let alone one who has won several Oscars, take such risks these days.
O lives with her two boyfriends, former U.S. Navy SEAL Chon (Taylor Kitsch) and University of California at Berkeley graduate Ben (Aaron Johnson), both of whom happen to grow some of the best marijuana you could ever hope to inhale. They live their days in Laguna Beach, California which is so beautifully captured by cinematographer Dan Mindel to where I want to drive down there in a New York minute. Heck, I used to go to school near there!
Anyway, Chon and Ben receive a very cryptic message from the Baja Cartel which comes along with a video featuring beheaded drug dealers whom, like these two guys, were independent sellers. Basically, the cartel wants to go into business with them and take a cut of their profits. Chon and Ben, however, refuse to get involved with any cartel, and they make plans to move out of the country with O to another where they can stay for at least a year. But the head of the cartel, Elena Sánchez (Salma Hayek), believes these guys need to show her some respect, so she gets her henchmen to kidnap O in order to make them comply with her demands. But Chon and Ben are not about to let go of their O without a fight.
The movie’s title, “Savages,” makes me wonder who it is referring to among its cast of characters. It is tempting to think it refers to the Baja Cartel as they utilize horrific methods to get what they want, but it could really be referring to any of the characters we see here. Stone is examining just how far we can be pushed before we are forced to embrace our animalistic nature, and he gets at this horrifying truth of what violence we are all capable of when we get pushed to extremes.
“Savages” is far from original as its story may remind many of their favorite “Miami Vice” episodes. With a movie like this, I expected Stone to be pushing our buttons a little bit harder than he does here. But even though I came out of it feeling Stone could have gone even further with the violence, the action is still jolting and, at times, extremely graphic; one guy even finds one of his eyes hanging out of its socket during a moment of torture. Stone also utilizes his many ways of shooting which include black and white footage along with scenes of psychedelic power as characters find themselves under the influence either by choice or by force.
Now I don’t care what anybody says, Blake Lively is a good actress. Many seem to sneer whenever she is starring in a movie, but maybe this is because she was on “Gossip Girl,” a show I have never bothered to watch. Lively has to take her character of O from being a fun seeking woman to one who has to learn to live again, and she is excellent throughout. After her turn as a drug addicted single mother in Ben Affleck’s “The Town,” there should be zero doubt that she can act.
It has been a tough year thus far for Taylor Kitsch who has seen two big budget blockbusters he starred in, “John Carter” and “Battleship,” bomb hard at the box office. Then again, those movies probably would have bombed no matter who starred in them. With his role as Chon, he shows a toughness and attitude which is not easily faked, and you can see why so many were looking to cast him in their projects. Many actors yearn to play a ballbuster when given the opportunity, and Kitsch rises to the occasion and gives a terrific performance.
Aaron Johnson, who plays Chon’s more philosophical partner Ben, seems to have grown up a lot between this movie and “Kick Ass.” Once again, Johnson is playing a character who is eager prove himself and yet completely unaware of what that will take. From start to finish, he does an excellent job of transitioning his character from a peaceful man to a bloody defender of what he loves.
But leave it to some acting demigods to give “Savages” its potent power which nails us right into our seats. Benicio Del Toro is brilliant as the sociopathic henchman Lado. Like the most entertaining cinematic sociopaths, Lado is at times charming while more often menacing and extremely sick. He thinks nothing of killing people when the opportunity presents itself, and Del Toro looks to be having a blast as he explores the different facets of his character’s twisted personality.
And then there’s Salma Hayek who singes the screen as drug queen Elena Sánchez. All Hayek has to do is give the audience one look, and you know this is a person you do not want to mess with. She also gets a surprisingly complex character to play as Elena’s ascent to being a big-time drug dealer had more to do with tragedy than it did with opportunity.
“Savages” also features strong performances from John Travolta as a corrupt DEA agent, Emile Hirsch as the money launderer Spin, and Demián Bichir as one of Elena’s representatives, Alex. There is not a single weak performance to be found here as everyone looks to be as thrilled as can be to be acting in an Oliver Stone movie.
Now there has been some controversy over the movie’s ending as it offers up two very different conclusions. The way it comes across reminded me of when Michael Haneke got one of his characters to grab a remote control to reverse and alter the events in “Funny Games.” Both directors are looking to mess with our heads. While the fates of the characters are not entirely resolved, it was worth seeing things turn out the way they did as some end up getting very clever about the situations they are trapped in.
Is “Savages” classic Oliver Stone? Not quite, but it is certainly more potent and energetic than some of his other recent work. Give him the right story, and he can still give you a cinematic experience like few others can.
“Sarah’s Key” is what some would say is yet another movie dealing with the Holocaust and its impact on us all, but do not be fooled into thinking it is going to be the same old thing. Based on the novel “Her Name Was Sarah” by Tatiana de Rosnay, it ventures into this dark part of history from a different perspective as we watch the French army and bureaucracy aiding the Nazi party as they rounded up Jews and shipped them to Auschwitz; this event was called the Vel’ d’Hiv’ Roundup. As the story moves back and forth in time from 1942 to 2009, American journalist Julia Jarmond (Kristin Scott Thomas) works to solve a decades-old mystery which can no longer remain hidden, and these days we are all sick of things remaining hidden.
In 2009, Julia has moved into an apartment with her French husband and teenage daughter. She had previously written a celebrated article about the Vel’ d’Hiv’ Roundup, and he soon learns her husband inherited the apartment from his grandparents who came into possession of it during the 1940’s. From there, she becomes obsessed in learning about the apartment’s history, and she learns it was the scene of an unspeakable incident. Finding out the truth about this incident, however, proves to be extremely difficult as her family sees it as too damaging to reveal to the world at large.
Julia’s main focus is centered on a young girl named Sarah Starzynski (Mélusine Mayance) who hid her little brother Michel in a closet to keep him from getting rounded up by the Nazis along with everyone else. She makes him promise to stay in the closet until she returns, and she takes with her the only key which can unlock it. But Sarah soon realizes no one will be going back home anytime soon, and she escapes her captors in a desperate attempt to save Michel before it’s too late.
Like Stephen Daldry did with “The Reader,” director Gilles Paquet-Brenner makes the transitions between the past and present feel seamless to where it never feels jarring. He also avoids turning “Sarah’s Key” into a schmaltz fest begging for Oscar consideration which is quite the relief. By getting naturalistic performances from the cast, he creates an atmosphere which feels real and not exaggerated for effect. You end up getting caught up so emotionally in the story and its characters to where you do not feel like you’re watching just any motion picture.
Thomas is an amazing actress who never gets the same acclaim actresses like Meryl Streep or Viola Davis do on a regular basis. Maybe it is because her acting is not as theatrical, but Thomas’ strength is in inhabiting characters to where you never catch her acting. She pulls off a flawless American accent to where she makes the act look effortless, and she speaks fluent French ever so beautifully.
Attention must also be paid to Mélusine Mayance who gives a very believable performance as the young Sarah. Called upon to portray a child going through horribly nightmarish circumstances, Mayance holds her own amongst the adults, and she breaks your heart through her utter commitment to the character she portrays. Throughout, she makes you share Sarah’s desperation in getting to her little brother before someone else does, and she makes you feel her accomplishments and disappointments in every which way.
“Sarah’s Key” is one of those movies I find it hard to find any fault with it. Everything seems to fit together perfectly, and nothing ever appears superfluous to the story. While it treads the well-worn ground of Holocaust movies and of what happened to millions of Jews, it finds an interesting angle by looking at the complicity of the French in this atrocity. It never did get much of a release as it spent little time in theaters near you, and you will probably be hearing about it more about on physical and digital media. Here is hoping that it finds a bigger audience than the one it has already gotten to date.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Bones and All” is a film I must admit I was not familiar with until I heard of its upcoming release on Blu-ray. After hearing about its premise and the actors involved, I was immediately interested in checking it out. It is an intimate little film which is unique in the way it tells its love story, and it’s filled with great performances and beautiful scenery. We live in a cinematic world where it’s all too commonplace for a film to be a remake, a sequel, or a copy of another film. It is something to admire when a project like “Bones and All” comes along and decides to take an ambitious and outside-the-box approach on young love and mix it with cannibalism. Director Luca Guadagnino (“Call Me by Your Name” and the “Suspiria” remake) is always on the cutting-edge of filmmaking.
The film opens by introducing us to Maren, played by the immensely talented Taylor Russell. Russell has an incredibly expressive face throughout the course of this movie, and she plays this part just right as she balances the vulnerability of Maren along with the inner strength she has been forced to possess because of her situation in life. Her father keeps her under lock and key and for good reason: she is an eater. He never knows when she might decide to eat someone. She first did it to her babysitter when she was younger, and it was something which caused her mother to pull away from her. We find out why later in the film.
Maren’s father is played by André Holland, and he makes the most out of his limited screen time. However, this is really the story of Maren and, later, of Maren and Lee, played by Timothée Chalamet. While on her journey to discover more information about her mother and why she left her and her father, Maren meets Lee in Kentucky. Lee is charming, charismatic, and an eater. For the most part, eaters do not eat other eaters, but they can smell when someone is an eater. The reason they meet is because Maren’s father decided there is nothing else he can do to protect his daughter. He has done all he can for her, and she’s become a threat to anyone she encounters even though she’s very nice, shy, and soft-spoken.
Along the way, the bond between Maren and Lee grows even stronger. This is the first time she has really been outside the house this much and been allowed to interact with people around her age. She likes him, and he likes her. They try to follow a moral code when it comes to the individuals they eat, but they do not always know their backstories, which can sometimes lead to Maren feeling like she’s a bad person. Lee is more experienced in this field and, because of this, he knows he needs to do whatever is necessary to survive.
There is also an older eater named Sully (Mark Rylance) whom Maren runs into earlier in the film. He seems to mean well, but Lee is not exactly sure what to make of him because of the age difference and his overall demeanor. Maren tries to distance herself from Sully, but he seems to be around the corner at every turn. Is he just a harmless old man? Is he a threat to her and possibly Lee? I was fascinated by the cannibalism angle of this film, as it does not really make a judgement on the characters. Cannibalism is part of them, but they are seen as human beings and not monsters. They are trying to live with it as best as they can and forge meaningful friendships and relationships.
“Bones and All” is one of those under-the-radar gems which is shot in such a naturalistic way by Guadagnino . It really allows the audience to spend time with the main characters, get to know, understand and feel for them. The love story between Chalamet and Russell is the lifeblood of this film. It is what makes this film tick. Both on their own and together, they make movie magic on screen. They have strong chemistry from the moment they meet each other, and it only increases as they are put together in various scenarios. Rylance does a fantastic job of keeping the audience guessing as we are left to figure out what his true intentions are with Maren.
This film is truly a journey with its running time of 131 minutes. At certain points, it can lag a little bit and feel a bit disjointed. During other scenes, the pacing is exactly right as it allows things to breathe and have time to resonate with the audience. The more and more I thought about “Bones and All,” the more I liked it. It is not perfect, but the things which work, such as the relationship between the main characters, the gorgeous cinematography and direction are top notch. This is a unique film that packs a powerful punch and is worth seeking out.
* * * ½ out of * * * *
Blu-ray Info: “Bones and All” is being released on a single-disc Blu-ray from Warner Brothers Home Entertainment. The film is rated R for strong, bloody and disturbing violent content, language throughout, some sexual content, and brief graphic nudity. It has a running time of 131 minutes, and it also comes with a digital copy of the film as well.
Video/Audio Info: I really wish this film would have received a 4K release, as it’s a film shot with such scope and beauty. I am a 4K guy and am always going to prefer a 4K release. The Blu-ray, however, is still pretty good, picture-wise. It comes in 1080p High Definition. For the audio, we got a Dolby Atmos track which is really impressive. Subtitles are in English, French and Spanish.
Special Features:
A Look Inside
Luca Guadagnino: The Vision of Bones and All
Meet Lee
Meet Maren
Outsiders in Love
Should You Buy It?
As a firm believer in physical media and independent cinema, I think this is a film worth adding to your collection. Sadly, the special features are noticeably short as they run around two minutes or less. I would have enjoyed a little more detail with them. However, with a film like this, maybe less is more as it allows the audience to come up with their own conclusions as it pertains to how they feel about the film. I am also disappointed about the lack of a 4K release as it would have looked perfect in that ultra-high definition format. The Blu-ray looks good, but a 4K of “Bones and All” would have been stunning. As far as the film itself, if you are like me and enjoy being challenged by a unique story with powerful performances and great cinematography, you will find a lot to like with here. As of right now, the film is going for $27.99, which is a bit pricey for a Blu-ray. If that were the price for the 4K, I would say you should buy it immediately. As it stands, you should buy it, but I would wait for the price to drop.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
WRITER’S NOTE: This article was written back in 2012.
“The Sessions” and John Hawkes’ performance in it as journalist and poet Mark O’Brien have earned some of the most rapturous praise of any movie in 2012. The film tells the story of how O’Brien, who was confined to an iron lung due to being stricken by polio as a child, hired sex surrogate Cheryl Cohen Greene (Helen Hunt) to help him lose his virginity at the age of 38. Hawkes, who earned an Oscar nomination for his performance in “Winter’s Bone,” has talked extensively about his concerns about taking on the role as well as the physical challenges he faced in playing O’Brien.
Hawkes’ biggest concern was whether or not it might be better for a disabled actor to play O’Brien instead of him. As a result, he’s still waiting for some sort of backlash to hit him. Ben Lewin, who directed “The Sessions” and is himself a Polio survivor, did take the time to find a disabled actor to play Mark, but he eventually became convinced Hawkes was the man for the job.
“Of course, that was my first question: Why not a disabled actor? They are a uniquely qualified group of people for this role, who are undervalued and underused,” Hawkes said. “I’ve had a lot of disabled actors come to me after screenings, and they told me to get over it.”
“It is the 800-pound gorilla in the room in a way,” Hawkes continued, “but it’s something that, Ben (Lewin) being a polio survivor himself, and the fact that he put the time in to look for disabled actors, he felt like, would it be politically correct to hire a slightly disabled actor to play a severely disabled actor? He ultimately just hadn’t found his guy. We met, and he felt like I could do it.”
Once cast, Hawkes became determined to mirror the physical condition O’Brien was stuck in for the majority of his life. To that extent, he and the props department created what was described as a “torture ball;” a soccer ball-sized foam pad that he tucked under the left side of his back to force his body to curve dramatically. In addition, he also used a mouth stick which was much like the one O’Brien used to turn the pages of a book or dial a telephone. It was this “torture ball,” however, which threatened to leave Hawkes with permanent physical damage to his body.
“Finding that position was difficult and did hurt. I’ve got a guy that I’ve been seeing for years, who is a combination massage therapist and chiropractor. I’d have 15 minutes with him, two or three times a week, or half an hour, if I was lucky. He told me that I wasn’t doing very good things to my body, but it was my choice. I’m not a martyr or masochist, but when the script says that your spine is horribly curved, you can’t just lie flat on your back and pretend,” Hawkes said.
But ultimately what makes Hawkes’ performance so good is that he doesn’t turn him into just another pity case. Filmmakers are typically expected to give us an emotionally manipulative experience when it comes to portraying physically disabled characters, making us feel sorry for them and of what they are unable to accomplish because of their limitations. Hawkes and Lewin, however, were determined not to go down this route.
“A character like that had every reason to wallow, but that’s just not interesting to watch on screen,” Hawkes said. “I’ve played a lot of underdogs and I like people who aren’t equipped to solve their problems but just keep trying anyway. There’s something really noble and interesting about watching someone keep banging their head against the wall.”
One of the other things which helped Hawkes was watching the documentary “Breathing Lessons: The Life and Work of Mark O’Brien” which won its director Jessica Yu the Oscar for Best Documentary Short Subject in 1997.
“There was Mark’s body, and there was his voice,” Hawkes said, referring to the documentary. “And so, I didn’t invent a lot. I just tried to really take as much of the Mark that I saw and tried to make it my own, to embody him.”
The effect Hawkes’ performance has had on those who were very close to O’Brien has been profound. Just ask Cheryl Cohen Greene, the sex surrogate whom Hunt’s character is based on.
“The first time I heard John I got chills,” said Greene. “I’m sitting there on the set with headphones thinking, that’s Mark. It’s scaring me. John got him completely.”
John Hawkes’ performance as Mark O’Brien looks very likely to earn him an Academy Award nomination for Best Actor, and many will agree that he deserves the recognition for his work. It marks another memorable role for this actor who first came to Hollywood over a decade ago, and he has many more great performances ahead of him.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
It has been eighteen years since I first watched “The Polar Express,” and quite frankly, I wasn’t entirely sure what to expect because of the length between viewings. I remembered the film had stunning visuals and great computer-animated graphics. However, I did not remember what the film was about or how ir unfolded. So, in a sense, I was walking into this film as a total newcomer. It was directed by legendary director Robert Zemeckis, and it reunited him with actor Tom Hanks as they had worked together previously on “Forrest Gump” and “Castaway.” This was clearly a different project for the two of them, but they still were able to produce movie magic on screen.
Hero Boy, one of six characters voiced by Tom Hanks, is starting to wonder if Santa is real as he gets a little older. He’s even started to put doubts into the head of his younger sister. His parents have even noticed he’s not staying up all night anymore on Christmas Eve to wait for Santa. This doesn’t bring any joy to Hero Boy, but it’s the reality he’s living in at this point in his life. His skepticism is put to the test when the Polar Express train arrives outside his house with the Conductor (also voiced by Hanks). The Polar Express will take him directly to the North Pole along with other children on Christmas Eve.
On the train, he meets Hero Girl (Nona Gaye), a young girl who has never, ever stopped believing in Christmas. The Christmas spirit is alive and well with her. He also meets Know-It-All (Eddie Deezen), and he certainly lives up to his name with his mouth that runs a mile a minute with various facts and statements about trains and Christmas. Along the way, the Polar Express picks up Billy (Peter Scolari). He’s shy, lonely, and has had some bad luck on Christmas. Because of this, he’s struggling to find any joy or satisfaction on Christmas, whatsoever. Between Hero Boy, Hero Girl, and Billy, they form a friendship and help each other as they try to get to the North Pole.
On the way to the North Pole, there are dancing waiters that bring out hot chocolate (who doesn’t love hot chocolate around the holidays?), a hobo on top of the train (voiced by, you guessed it, Hanks), a mean-spirited puppet (Hanks again), and numerous other trials and tribulations. Along the way, Hero Boy is starting to think that maybe Santa is real after all and maybe, just maybe, he should start to regain his spirit and believe again. After all, considering all he has gone through on his way to the North Pole, it’s getting harder and harder to believe that Santa isn’t real. The things that are happening are so fantastical and so magical, it has to be the work of Santa.
“The Polar Express” absolutely blew me away. The film runs at 100 minutes, and there is not a dull moment to be found here. What I loved most about the film was its ability to make me, as an audience member, feel something. Even at age thirty-seven, this is a film which had me teary eyed and emotional. The great thing about this is that none of it was forced. It all worked out because of the out-of-this-world visuals, the big heart of this film, and the epic direction of Zemeckis. There is no stone left unturned in this film. It feels like a big, sweeping epic Christmas story which matters. It also understands the importance of Christmas and believing.
I love a good old-fashioned Hollywood story told the right way. That is exactly what “The Polar Express” is, and it gets all of the details right. At first, the life-like nature of the characters is a little peculiar and even creepy, but before long, it adds to the charm. I absolutely loved this movie, and it was such a pleasant surprise for me. I have seen a lot of Christmas movies in my lifetime, but very few have captured the grand scale of the event like “The Polar Express.” Leave it to Hanks and Zemeckis to get it right. It’s rare that I’m watching a film and I get completely lost in the story. With each and every adventure, I was captivated and in awe.
This film warmed my heart and made me feel good. Films like this are rare. When they are released, they need to be praised, valued and appreciated. This is a big screen Christmas movie that knows exactly what needs to be done and how to do it. It’s about tugging at your heartstrings in a way that is not manipulative or cheap. It is about making us, the audience, believe, without being too corny or silly. It is about making us smile without ever pandering to us or trying to pull the wool over our eyes. “The Polar Express” is a Christmas classic and my kind of Christmas movie. I wish I could stand on top of a mountain and scream, “I love this movie!”
* * * * out of * * * *
4K/Blu-ray Info: ‘The Polar Express” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. The film is rated G and has a running time of 100 minutes. It also comes with a digital copy of the film.
4K Info: I recommend you watch this film with the lights off. I noticed a vast improvement in the picture quality when I watched the movie in the dark. It’s absolutely gorgeous in 4K HDR. It just added to my enjoyment of the film. When people talk about films that were made for 4K, they are talking about films like “The Polar Express.” I couldn’t believe the attention to detail on this transfer. They really put their heart and soul into the making of this film, and there were times where I was completely and utterly blown away by what I was watching on my TV screen. It was a work of art.
Audio Info: The Dolby Atmos track also enhances the viewing experience as it’s a big, booming soundtrack. For a movie like this, which is a big movie, you expect it to look and sound big. They accomplished both of those tasks here.
Special Features:
You Look Familiar
A Genuine Ticket to Ride
True Inspirations: An Author’s Adventure
Behind the Scenes of “Believe”
Flurry of Effects
Smokey and Steamer
Josh Groban at the Greek
Meet The Snow Angels
Theatrical Trailer
THQ Game Demo
Should You Buy It?
Yes, yes, and YES. “The Polar Express” is a top-of-the-line 4K film, and it is also top-of-the-line with its audio and visuals. Everything here is 4 out of 4 stars, except for the fact that the special features are transferred over from the previous Blu-ray. Normally, I wouldn’t mind this, but I felt the special features were a little lacking here, and there are so many questions regarding this film and especially the filmmaking process. I would have loved a commentary track with Tom Hanks and Robert Zemeckis, for example. I know it can be hard to track people down these days with so much going on, but for a film of this scale, it would have been worth it. Despite these minor issues, this film gets the highest recommendation I can give a 4K film. I was watching it on a day where I was feeling a little down, and it instantly cheered me up. That is the highest praise I can give to a film. I don’t feel like enough people talk about “The Polar Express” in the same fashion they do other Christmas films, and they should, because it’s a Christmas classic in every sense of the word.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
If it’s Christmas time, you know it means twenty-four hours of “A Christmas Story” from director Bob Clark on TBS and TNT. It has become a holiday tradition for many people and a good background distraction for families as they gather to open presents, eat and spend time together. As with any Christmas film which is hugely popular, people are known to quote the lines from this one as they hold it near and dear to their hearts. However, how does “A Christmas Story” hold up in 2022?
“A Christmas Story” is set in Northern Indiana and follows young Ralphie Parker (Peter Billingsley), a nine-year-old kid who wants one thing for Christmas—a Red Ryder BB Gun. However, he is told by his mother, his teacher and even a mall Santa that he will shoot his eye out. This does not stop him from pulling out all the stops to get it though, including leaving behind little hints for his mother. Ralphie also has a peculiar little brother named Randy who likes to play with his food and hide in tiny spaces. He’s also joined by his overworked mother (Melinda Dillon) and cranky father (Darren McGavin).
The film is told from Ralphie POV as an adult as he looks back on this particular Christmas. We get to see him at school as he’s trying to focus on his classes while also pining over the Red Ryder BB gun. He’s also dealing with the local school bully named Scut Farkus (Zack Ward) who terrorizes Ralphie and his friends Flick and Schwartz, played by Scott Schwartz and R.D. Robb. They get into the usual tomfoolery at school such as Flick getting his tongue stuck to a post outside school, which causes him to need medical attention.
Ralphie’s father is also obsessed with a leg lamp which he sees as a major award, even though it brings his wife a great deal of shame and embarrassment. The father is also dealing with being hounded by the dogs next door. There is a lot going on in Ralphie’s life, but one thing remains the same—he wants the Red Ryder BB gun. He is counting down the days until Christmas, and he is hoping he will find it under the tree, no matter what it takes. I think we can all relate to that period of time in our lives as a child hoping for that special present as if it were the most important thing in the world.
I do feel though that “A Christmas Story” is overrated simply because of the fact it’s been on TNT and TBS since 1997. Sometimes if an audience sees something enough, they tend to fall in love with it based on repetition or the memories it conjures up for them. It is not a bad movie by any means. It is based on “In God We Trust: All Others Pay Cash” by Jean Shepherd which, according to my research, featured semi-fictional tidbits. I just don’t think there is a story or a plot here. It is filled with movie moments and memorable lines which have stayed with people throughout the years. My favorite Christmas movie of all time is “It’s a Wonderful Life” with “Elf” coming in at number two, which I recently reviewed.
There is humor to be found here, and I understand what they were trying to go for with the story and the theme. I just didn’t feel like it was enough to make a full-length film. Even though it’s only 93 minutes, there are times where the film drags and feels a little insignificant. I didn’t hate the film nor did I love it either. It’s watchable, but there is nothing which really stands out to me. The film doesn’t have an “it factor” like the other two Christmas movies I mentioned. It’s just mindless silliness, which is fine, but it doesn’t make for a great movie. It makes for an average movie.
* * ½ out of * * * *
4K/Blu-ray Info: “A Christmas Story” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment that also comes with a digital copy of the film. It is rated PG and runs at 93 minutes.
4K Info: They have done a masterful job of cleaning up this picture. I’ve seen it many times over the years in bits and pieces on TV, but this is, far and away, the best it has ever looked. There is no grain whatsoever on the picture. It is crystal clear, and the HDR gives the film a new life.
Audio Info: The audio formats are DTS-HD MA: English 2.0 Mono and Dolby Digital: English and French. Subtitles are included in English, Spanish, and French. The audio has also never sounded better on 4K. You can hear everything perfectly, and the sound is consistent throughout the film.
Special Features:
Audio Commentary by Bob Clark and Peter Billingsley
Christmas in Ohio: A Christmas Story House
Another Christmas Story
Daisy Red Ryder: A History
Get a Leg Up
“Flash Gordon” Deleted Script Pages
The Leg Lamp Spot
Jean Shepherd Original Radio Reading
Duel in the Snow, or Red Ryder Nails the Cleveland Street Kid (HD, 38:07)
Flick’s Tongue
Theatrical Trailer
Should You Buy It?
If we are strictly talking about the audio and video of this 4K release of “A Christmas Story,” this is a must own if you are a fan of the film. Having seen it on TV at many Christmas parties and also having watched the Blu-ray in the past, this is an incredible transfer on 4K. The film looks great. Keep in mind, the filmmakers have set this story in the 1940’s, even though it was released in 1983. It looks out of this world on 4K. I was really impressed with the audio and video here and every little detail that was popping up on screen. I give the audio and video four stars on this release. You get the special features that were on the Blu-ray in the past, which is expected. If you are a fan of the film, you NEED to own it on 4K, there is no question about it. If you have grown tired of the film or don’t find it funny (I fall into the latter category), you can pass on it. However, I have a feeling this is going to be a hot-seller for fans of Christmas movies. It just doesn’t work for me.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
WRITER’S NOTE: This review was written in 2012. With the 2022 midterm elections now concluded, I thought it would be fun to revisit this one.
It will be interesting to see what people think of “Game Change,” assuming of course they can get past their own political prejudices while watching it. We have long since made up our minds about the former Vice-Presidential candidate Sarah Palin and are either for or against her, but this HBO movie offers a more intimate look at her life which you won’t find on any episode of “Saturday Night Live.” Then again, this movie is not all about her, and it deals more specifically with how people are selected to become national leaders. While you may think it’s the Presidential candidate who makes the final decisions, that is not always the case.
“Game Change” opens with a scene from a “60 Minutes” interview Cooper Anderson did with John McCain’s chief campaign strategist, Steve Schmidt (Woody Harrelson), after the Presidential campaign ended in which he asks Schmidt if he regretted choosing Palin as McCain’s running mate. The look on his face is perplexing as if he wants to say yes, or maybe he is instead looking for a better answer so he can seem more thoughtful. Either way, we don’t find out his answer until the end, but we wonder about this question throughout.
Schmidt is seen as reluctant to join McCain’s Presidential campaign, but his respect for McCain eventually makes him a chief participant. But after McCain wins the Republican nomination, a bigger problem looms; the politicians he is considering for his running mate won’t help him overcome the excitement Americans have for Barack Obama. This leads his political advisers Rick Davis (Peter MacNicol) and Mark Salter (Jamey Sheridan) to suggest Governor of Alaska Sarah Palin who they see as a game changer. Even though Palin has not been Governor for very long, they believe choosing her will enhance McCain’s image as a political maverick. Sure enough, Palin energizes McCain’s campaign in a way few others could with her strong presence and conviction of purpose. But when it comes to world and political affairs, that’s where everyone, including Palin, comes to develop a severe case of anxiety.
Now I know Plain herself has made it clear that she has no interest in watching “Game Change,” but she is actually portrayed here with a lot of empathy. As played by Julianne Moore, Palin is sincere in her efforts in wanting to help McCain win the Presidency and is shown to be a loving mother and wife. Upon being introduced to the world, Palin becomes overwhelmed with the negative press thrown in her direction to where she’s not sure how to deal with it. There are scenes where she watches helplessly as Tina Fey does an impersonation of her on “Saturday Night Live,” and you can’t help but feel for her even if it made for some great comedy.
Speaking of Fey, after watching her do a flawless imitation of Palin, it seemed insane for anyone else to try and play Palin in a movie or skit (did you see Andy Samberg try to do it?). But Moore never stoops to impersonating Palin here, but instead inhabits her so brilliantly. The whole time we watch Moore in “Game Change,” we never see her acting but instead searching for what drives Palin in this political race and her life. I really felt like I was watching Palin here and not Moore as the actress seems to just float away and has let the former Governor of Alaska take over for her.
As the campaign rolls on, we see Palin rebelling against the advisers who tell her what to say, do, and wear. While part of us wants her to really listen to them, you can’t help but admire her for not wanting to put on an act for the American people. Deep down, we really don’t want to see politicians play us for fools as we always feel we can see right through their act. Would you be ever so willing to compromise the things you believe in just to win political office?
I love how Harrelson embodies Schmidt, a man who’s trying his best to handle a delicate situation which threatens to implode each and every day. Schmidt is a guy who thinks he can handle any problem thrown at him but ends up being confronted by one he cannot control. Seeing Harrelson’s eyes stare like daggers at Palin when she goes rogue is an unforgettable image as Schmidt eventually makes clear this is McCain’s show, not hers.
Ed Harris doesn’t look or sound much like McCain, but that doesn’t matter here. What he does accomplish is making McCain seem like an honorable politician trying to run a campaign which is not full of nastiness like the one George W. Bush ran against him in 2000. Seeing him grimace when his supporters start hating on Obama more intensely, calling him an “Arab” or a “communist,” is a painful sight as he realizes this is not the kind of race he ever wanted to be a part of. Harris is an actor who always delivers the goods, and he certainly doesn’t fail us here.
One performance which stands out here is Sarah Paulson’s as McCain adviser, Nicole Wallace. Paulson gives her role a wonderful complexity as her sincere dedication to McCain’s campaign is severely tested by her utter resentment of Palin. As much as Wallace wants to help Palin do her best, you can see in Wallace’s eyes that she is thinking, “is this the best we can come up with?”
“Game Change” was directed by Jay Roach who also directed the superb HBO movie “Recount” which dealt with the craziness of the 2000 Presidential election. As with that one, he attempts to make “Game Change” a balanced look at a politician and campaign we feel we know everything about already. Whether or not he has succeeded here is hard to tell because America is as politically divisive as it has ever been, and many people have been vocal with their criticisms even before they bothered watching this movie.
Roach show us history as if it were unfolding right in front of us, and he lets get us get all caught up in it. We all know the outcome of this election, but we still cringe when Palin makes mistakes like on the Katie Couric interview. Even if she didn’t have our support during the general election, seeing her suffer through a process which proves to be beyond anyone’s control is painful, and we want to see her overcome obstacles most people don’t get to experience. Regardless of what it is we’re watching we always find ourselves rooting for the underdog. As “Game Change” comes to an end, Roach keeps us on the edge of our seats as we wonder what Palin has up her sleeve next as she has long since proven to the world that she is nobody’s puppet.
Is “Game Change” accurate to what actually happened? It depends on who you ask. Both Palin and McCain have described it as inaccurate and based on a false narrative while Schmidt and Wallace have said it tells the truth and captures the spirit of the campaign. When all is said and done though, I’m not sure I care if it is because most movies “based on a true story” are usually not altogether accurate as dramatic considerations need to be taken into account. In the end, all we can do is hope for a compelling motion picture which holds our attention throughout, and “Game Change” certainly held mine.
Palin should at least be happy that she does not come off as the bad guy here. It’s really her political handlers who come off looking bad by throwing a barely tested Governor into a political minefield which is unforgiving and endlessly vicious. Long before the election ends, the handlers see that their thirst for victory has overcome their better judgment as they picked a celebrity more than a true candidate. This brings me to scariest thing “Game Change” reveals though which is a truth that many of us don’t want to see: that these days the news is nothing more than “entertainment,” and that celebrities seem more entrancing to the public than a thoughtful politician.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Casablanca” is a film which conjures up an immediate reaction from film fans whenever they hear the title. It’s right up there with “Citizen Kane” as one of those films which film buffs and historians consider one of the greatest movies ever made. There are many reasons for this, but the biggest reason is the love story between Humphrey Bogart and Ingrid Bergman. There is also the dialogue and the many quotable lines which come to mind when thinking of this film. I won’t be repetitive here and list all of them for you, but if you have seen “Casablanca,” you know the lines by heart. It’s one of those films which means a lot to a great deal of people and for good reason.
Set in 1941, the film introduces the audience to Rick Blaine (Humphrey Bogart), the owner of the nightclub Rick’s Café Américain. He refuses to have drinks with any of the customers and mostly keeps to himself. The audience can tell he’s cynical, unhappy, and something has happened to him to cause him to lose a big part of himself. He tends to stay neutral on almost every topic. Even though he’s cynical, he’s still a good guy with a good heart. His world gets turned upside down when his old flame, Ilsa Lund (Ingrid Bergman), shows up with her husband, Victor Laszlo (Paul Henreid), as he’s seeking protection from German Major Strasser (Conrad Veidt) who intends to arrest him.
Victor Laszlo is a fugitive Czech Resistance leader. Rick’s Café serves as a place for all sorts of types, good and bad, because of World War II. A lot of people there are looking to keep a low profile while others are looking to find someone to arrest. Rick has some war experience himself, but now he’s focused on his nightclub. He starts to become very focused on Ilsa when he catches up with her again, and it’s clear there are still strong feelings between the two. They were in love back in Paris, but when it was time to leave, she just left him hanging with a note that left him with more questions than answers.
Rick has letters of transit, which allow two individuals to get out of Casablanca safe and sound and start over without any consequences. Rick can give the letters to Ilsa, but that also means he will be giving her up as well. Again, even though he stays neutral on most topics, he can tell the good guys from the bad guys. He’s not afraid to lend a helping hand to someone in need. However, if he helps her and Victor out, he knows he will never see the love of his life ever again. That was the beauty of some of the old Hollywood films: the romance felt urgent and very important. It never felt frivolous or silly. You can tell that two people really loved each other, and it made a huge impact on their lives.
“Casablanca” is an old-fashioned Hollywood classic in every sense of the word. You have the black and white picture, the classic romance, and the big stars. You also have great supporting work from actors like Claude Rains, Sydney Greenstreet, and Paul Henreid. It all feels vital and like it serves a purpose. It’s old-fashioned Hollywood craftsmanship at its finest. The story with the war can sometimes bog the film down a little bit, but it’s there to push the love story between the two leads. They are the heart and soul of this beautiful picture. Like fine wine, this is the kind of film which gets better with age. Even if you have seen it multiple times and know how it’s going to end, you still can’t help but get swept up in the story. “Casablanca” is the kind of movie Hollywood doesn’t make anymore, but I wish they did.
This is Bogart’s best performance in his storied career. He has a certain vulnerability to him we don’t often get to see on film. He’s also an everyman in this film, and it’s great to see him connecting with his black piano player, Sam (Dooley Wilson). He respects people and does the right thing, but it doesn’t feel forced. It’s a completely natural performance. It’s not a big or showy performance, and it doesn’t need to be as we see everything in his face: all of the pain and the agony. Bergman is sweet, tough and very, very smart. She’s the perfect actress to go toe-to-toe with Bogart in this film. She looks absolutely stunning and gorgeous on screen.
I was sucked into “Casablanca” from start-to-finish, like I am every single time I watch it. Even though I know how it’s going to end, I’m still on the edge of my seat when they get to the final scene. The last line of dialogue is iconic and the perfect note to end this film on as well. I’m a huge fan of old Hollywood when stars were stars, and they could light up the screen with their presence. It should also be noted that “Casablanca” won Best Picture in 1942 along with Best Director (Michael Curtiz) and Best Screenplay. This is Classic Hollywood at its finest!
* * * * out of * * * *
4K/Blu-ray Info: “Casablanca” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. It also comes with a digital copy of the film as well. It has a running time of 102 minutes and is rated PG for mild violence.
4K Video Info: “Casablanca” looks pretty good on 4K. The black and white and older films in particular play pretty well with light and darkness on HDR. It’s not a fantastic upgrade, but I don’t know how much more they could have done to really upgrade a film from the 40’s. It’s better than the Blu-ray, but it’s not a huge improvement.
Audio Info: The audio for the film comes on DTS-HD MA: English 1.0, and Dolby Digital: French and Spanish. It also comes with subtitles in English, French, and Spanish. There isn’t a huge upgrade on the audio here, but it still sounds pretty solid. I don’t really think this is the kind of film which needed a huge audio upgrade.
Special Features:
Commentary by Roger Ebert
Commentary by Rudy Behlmer
Introduction by Lauren Bacall
Warner Night at the Movies
Now, Voyager trailer
Newsreel
“Vaudeville Days” (1942 WB short)
“The Bird Came C.O.D.” (1942 WB cartoon)
“The Squawkin’ Hawk” (1942 WB cartoon)
“The Dover Boys at Pimento University” (1942 WB cartoon)
“Great Performances: Bacall on Bogart” (1988 PBS special)
Michael Curtiz: The Greatest Director You’ve Never Heard Of
Casablanca: An Unlikely Classic
You Must Remember This: A Tribute to “Casablanca” (1992 TEC documentary)
As Time Goes By: The Children Remember
Deleted Scenes
Outtakes
“Who Holds Tomorrow?” (1955 “Casablanca” TV episode)
“Carrotblanca” (1955 WB Cartoon)
Scoring Stage Sessions (audio only)
Lady Esther Screen Guild Theater Radio Broadcast – 4/26/43 (audio only)
Vox Pop Radio Broadcast – 11/19/47 (audio only)
Trailers
I can’t get too upset over the lack of updated special features, as they transported a ton of special features from previous releases. The fact you get two commentary tracks, especially one with Roger Ebert, is quite a treat. There are A LOT of special features here. This one is pretty simple for film buffs and physical media collectors out there—if you love classic Hollywood, you owe it to yourself to pick up this film on 4K and watch it in the best possible format. As mentioned previously, it’s an upgrade over the Blu-Ray, even if it’s not a massive upgrade. Nonetheless, this is a film you should add to your collection on day one with the slipcover. Personally speaking, I love a good slipcover on my favorite films, and if you want the slipcover, it’s always better to buy it sooner rather than later. This will make the film lover in your life very happy this holiday season!
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
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