I first saw this trailer when it played before “Mad Love” which starred Drew Barrymore and Chris O’Donnell. This was at Crow Canyon Cinemas, a movie multiplex I once worked at, and the volume was not all that great as the teenage audience, desperately waiting to see O’Donnell take his shirt off, were talking endlessly before the lights finally went down. I saw it again at the UC Berkeley theater, which was once known as the New Beverly Cinema of Northern California, and I got a better idea of what was on display as I could actually hear what was being said that time around.
“Strange Days” is a 1995 science fiction thriller which starred Ralph Fiennes, Angela Bassett and Juliette Lewis, and the film featured a kind of technology which allowed those who used it to experience recorded memories and physical sensations of others. But despite it being co-written and produced by James Cameron and having been directed by Kathryn Bigelow, it flopped hard at the box office. It is only over time that this film has gotten the cult following it truly deserved as this one offers the viewer a cinematic experience you cannot find elsewhere.
This particular trailer for “Strange Days” was its teaser trailer which had Fiennes selling us on this technology. The dialogue is taken from a scene in which he is trying to get a potential customer to buy some recorded memories, but this time Fiennes is looking straight into the camera, attempting to sell the audience on what he has.
Fiennes starred in this film not long after his Oscar-nominated turn in “Schindler’s List,” and I love how he tells us about this technology here without showing us a thing. His words suck us in to the possibilities of what we could experience if common sense didn’t kick in on a regular basis. It’s a brilliant piece of acting as he succeeds in making us want to open Pandora’s Box and experience pleasures which are ever so forbidden.
I also love the sound design of this trailer as it features a hum throughout which is much like the one I heard as I entered the American Conservatory Theater to watch the first part of “Angels in America.” There is something so comforting and alluring about such a hum that I cannot help but be drawn into the subject matter in a heartbeat.
By the way, can anyone tell me what song was used at the end of this trailer? I really dug it and would love to know where it came from. Perhaps it was by the band Deep Forest as they were supposed to be composing this film’s music score (it would later be done by Graeme Revell), but I don’t know.
If you have not watched “Strange Days” yet, I encourage you to do so as it deals with themes which are more pertinent today than when this film first came out.
As single mother Sara, Emily Blunt is a powerful presence in Rian Johnson’s “Looper” and she more than holds her own opposite Joseph Gordon-Levitt and Bruce Willis throughout. It’s been a busy year for the actress as she has appeared in several movies including “Salmon Fishing in the Yemen” and “The Five-Year Engagement,” but “Looper” gives her an opportunity to play a different kind of role which allows her to be tough and vulnerable all at the same time. It presents a big acting challenge for Blunt, and those who know her best know she’s always up for one.
“I think I really just want to challenge myself, more than anything,” said Blunt. “People have been asking me if I’m gravitating to these sci-fi roles, but I don’t feel I necessarily am because they’ve been sort of sporadic as to when they come out. But I do like the idea of creating a backstop that is high concept for the characters to really have stuff to play with within that.”
Blunt has described Sara as being a “very tough cookie” who lives an isolated existence on a farm out in the middle of nowhere. Sara looks to have completely shut herself from the outside world and spends the days working on her farm and taking care of her five-year old son, Cid (the amazing Pierce Gagnon). The beauty of Blunt’s performance is how she pulls back the layers of her character to show us what’s underneath.
“I think that I really loved the tough exterior with the inner guilt that she sort of torments herself with,” Blunt said. “I love that unraveling of the character that you don’t know why she’s so tough, you don’t know why she’s so protective. Gradually it unfolds throughout the course of the third act. So really what I said to Rian (Johnson) was that we’ve got to make this whole sequence in the third act like that movie ‘Witness.’ It’s got to have that sort of pastoral tension to it and the feeling of someone coming in that’s alien to your world and disrupting everything and how frightening that must be for her. So, I think really I wanted to make sure we maintain the mystique of the character as long as we could.”
In preparing to play Sara, Blunt had to resort to using what she called those “dreadful sun beds” to get the tan her character has from working outside in the sun all day. Blunt did say she took some time lay out in the sun a lot before shooting began, but also admitted it takes a really long time for her to get a tan. Still, using the sun beds and getting makeup put on top of her tanned skin proved to be preferable to getting a spray tan as she hates the smell.
Blunt also gets to ditch her British accent for a Kansas-sounding one in “Looper,” and she worked with a dialect coach and listened to people from Kansas to get it down right. But what really helped was listening to one Oscar-winning actor in particular.
“The person I listened to a lot was Chris Cooper who’s from Kansas and grew up on a farm. I loved his voice and it sounded very grounded. I found it more helpful to listen to guys than girls because of the toughness of the character,” said Blunt. “I watched ‘American Beauty’ and I watched ‘Adaptation’ but I mainly listened to his interviews, him giving interviews and stuff.”
Watching Emily Blunt from one movie to the next shows her having an understated power to completely transform herself into whatever character she plays. It’s like she almost makes her preparation look effortless, except of course for those scenes where she chops wood with a big axe. As a result, she has become one of the most interesting actresses working in movies today, and we all look forward to seeing what role she will inhabit next.
With a movie like “Cloud Atlas,” I go into it expecting to be overwhelmed by the visual spectacle and unable to understand all of what is going on in the story. On this level, the movie does not disappoint as you kind of need a road map to tell you who’s who and what’s what. Then again, what matters most when watching something like this for the first time (and watching it once is never enough) is you get the gist of what’s going on. The gist of this story here is that everything and everyone is connected in one way or another, and once you understand this. then the film becomes a fascinating movie going experience.
Some will say “Cloud Atlas” is too damn ambitious, and we need to stop saying it like it’s a bad thing. What’s wrong with being too ambitious in this day and age? It may cause filmmakers to take a wrong step from time to time, but it also guarantees we will get a cinematic experience unlike many others we often watch. This project brings together the Wachowski siblings who gave us “The Matrix” trilogy and Tom Tykwer who directed the brilliantly kinetic “Run Lola Run,” and “Cloud Atlas” represents some of the best work they have ever done.
The film is based on the book of the same name by David Mitchell, and it interweaves six stories which take place in different time periods: the Pacific Ocean circa 1850, Zedelgem, Belgium 1931, San Francisco, California 1975, the United Kingdom in 2012, Neo Seoul (Korea) in the 22nd century, and the last story takes place on a beautiful ocean island in a time which could be our past but might actually be our future. Guessing which time period the island story takes place in is one of the film’s great mysteries right up to the end.
The characters range from 65-year-old publisher Timothy Cavendish who flees from the associates of a jailed gangster to Sonmi-451, a genetically-engineered clone who is freed from her servitude as a fast-food restaurant server to explore a world which she discovers lives to exploit her kind. “Cloud Atlas” travels back and forth through these stories, and once everything is set up the film becomes an exploration of how the actions of individual lives impact one another in the past, present and future. One person ends up going from being a killer in one life to being a hero in another, and one act of kindness ripples across centuries to inspire a revolution.
Tom Hanks, Halle Berry, Susan Sarandon, Jim Broadbent, Hugh Grant and many other actors here end up playing many different roles. They will be recognizable in some, and others will only become clear when you stay through the end credits. I can’t help but wonder how they kept track of all the different characters they played, some which are of a gender opposite their own.
Hanks’ performance in “Cloud Atlas” goes all over the map as he plays characters as varied as a tribesman trying to rebuild his life in a post-apocalyptic world to a doctor who looks to steal from a patient more than help him. I especially liked his role as Isaac Sachs, a worker at a nuclear power plant in the San Francisco story. Hanks is always so good when he underplays a role, and Isaac was the one character of his I wish was expanded on a bit more. At the same time, I think he is miscast as Scottish gangster Dermot Hoggins which has him doing a lot of bombastic acting for no really good reason. Where’s Jason Statham when you need him?
Berry’s career since her Oscar win for “Monster’s Ball” has seen a lot of peaks and valleys, but she also does strong work here as a variety of characters. Like Hanks, she is especially good in the San Francisco story as reporter Luisa Rey. She also has some strong moments as Meronym, a member of a technologically advanced civilization who may not be all she appears to be.
Jim Broadbent, as always, is a blast to watch in each role as he is so delightfully animated whether he’s playing a publisher in hiding or a composer as famous as he is vindictive. Ben Whishaw, who played Q in “Skyfall,” “Spectre” and “No Time to Die,” is heartbreaking as Robert Frobisher whose artistic ambitions are unforgivably shattered. And Hugo Weaving channels his Agent Smith energy from “The Matrix” to portray a number of nasty antagonists, one of which threatens to give Nurse Ratched from “One Flew over the Cuckoo’s Nest” a run for her money.
But the best performance comes from Doona Bae who portrays the engineered clone Sonmi-451. Although she is not really a human being, Bae infuses this character with such a strong humanity to where she makes you feel the emotions she soon experiences herself. Just a look into those piercing eyes of hers is enough to melt one’s heart as Sonmi-451 finds a power no mere mortal can easily obtain, and one of her last moments onscreen speaks to a truth which no one person or a government can ever simply wipe away.
For the Wachowskis, “Cloud Atlas” represents a big comeback after the boring fiasco which was “Speed Racer.” I’m also thankful it doesn’t have the same kind of ending “The Matrix Revolutions” had because that would have driven me nuts. For Tykwer, the film represents a chance for us to re-evaluate him as a filmmaker. Ever since his incredible success with “Run Lola Run,” people have taken him to task (perhaps more so than they should have) for not making a film as good as that one was. But together, these three have created a visual feast which has you glued to your seat and at attention for almost three hours (yes, it’s long, but you won’t really notice).
“Cloud Atlas” was an independently made film, and an expensive one at that with a budget of over $100 million. It’s easy to see why no major movie studio would take the whole thing on themselves; it has a dense narrative which goes all over the place, and it forces the audience to pay close attention in a way most movies never demand them to. The fact it was not a big hit at the box office is sad because you want audiences to embrace films like this more as they try to do something different from the norm.
Regardless of its flaws, “Cloud Atlas” looks to be one of those films which will have a long shelf life. It invites repeated viewings so you can take in new meaning s you didn’t see the first time around, and you will come out of it wondering how the filmmakers put the whole thing together. This one definitely has cult classic written all over it.
The “Ghostbusters” franchise is a lot like the “Predator” franchise in that filmmakers take them in all sorts of directions in the hopes of reintroducing classic characters to a new generation. When it came to “Ghostbusters II” and “Predator II,” neither could match the power or cultural zeitgeist of the original, and we were reminded of how you cannot catch lightning in a bottle twice. A third “Ghostbusters” has been lingering in development hell for decades now, and the 2016 reboot looked like the best we could hope for. Then again, despite a terrific cast, the reboot was a financial failure. After that, I had to wonder, now who we gonna call?
Well, after many years and the COVID-19 pandemic which delayed its release, we now have “Ghostbusters: Afterlife” which was directed and co-written by Jason Reitman, the son of “Ghostbusters” (1984) director Ivan Reitman. What results threatens to be a mixed bag as this sequel relies a bit too much on fan service and treads through familiar territory, but if you can get past that, it still proves to be wonderfully entertaining and has a lot to say about the importance of family.
Thirty years after the events of “Ghostbusters II,” we are introduced to Callie (Carrie Coon), a single mother of two kids, the extremely bright but socially awkward Phoebe (Mckenna Grace) and the restless and cellphone-addicted Trevor (Finn Wolfhard). This family is struggling financially and emotionally, and only their infinite sarcasm can help them get through the day. And just when they find themselves evicted from their meager apartment, Callie comes to discover her father, whom she has been estranged from for years, has recently died, and she has now inherited his dilapidated farmhouse where he appeared to be farming nothing other than dirt.
The farmhouse is located in Summerville, Oklahoma, a town which looks to be located out in the middle of nowhere. While the land stretches as far as the eye can see, there apparently is very little going on, and it reminds me of what David Ratray, who played Buzz McCallister in “Home Alone,” once said:
“We live on the most boring street in the whole United States of America, where nothing even remotely dangerous will ever happen. Period.”
But soon after this family arrives in Summerville, strange things begin happening which cannot be seen as anything other than terrifyingly supernatural.
I have to say I really admired how “Ghostbusters: Afterlife” reminds you of how things can be forgotten after so many years. Those who watched the original “Ghostbusters” back when it came out in 1984 have watched it many times since as it was that good and so hilarious. But as time goes on, you have to be reminded of how easy it is for people to forget about the past, or that some have not seen nor remember certain events because, well, they weren’t born yet. Phoebe has to remind others of this, and it brings back memories me of when I ask certain individuals, “You’ve never seen a ‘Star Wars’ movie?!”
Jason Reitman has stated this film is about family above all else, and it definitely shows. The family of Callie, Phoebe and Trevor have been through more than the average family should ever have to experience, but then again, maybe this is common for what’s left of the middle class. While the Spenglers may be stuck in a realm of bitterness and a desperation to understand why they are at where they are. “Ghostbusters: Afterlife” implies while some families might be better off with certain members, others deserve an explanation. When it comes to explanations, the one this family gets helps to absolve a lot of bad feelings as living in a place of bitterness is a very unattractive quality in a human being.
When it comes to the screenplay, Reitman and his co-writer Gil Kenan have provided the cast with a lot of inspired dialogue as these two do not want them to be saddled with any of the clunky kind which ends up in every other motion picture. Seriously, the characters more often than not talk like real people here, and for me this is such a relief.
The cast all around is perfectly chosen. Carrie Coon, who may be best remembered for playing Ben Affleck’s sister in “Gone Girl,” is sublime as Callie. Right from the start, she makes this single mother a force to be reckoned with even as she matches her children’s sarcasm word for word.
Perhaps my favorite piece of casting here is Mckenna Grace who plays Phoebe as she takes this Wesley Crusher-like character and makes her ever so appealing. When I was a kid, characters like Phoebe were presented in movies as the kind I should avoid being like, but watching Grace here reminds me of how being incredibly intelligent but socially awkward can really pay off later in life. She really invites you to follow Phoebe as she becomes the big hero of the show here.
When it comes to Finn Wolfhard, I imagine many will look at his performance as a regurgitation of his work from “Stranger Things,” but such an accusation is not altogether fair. As Trevor, he portrays the normal teenager who is quick to become enamored of the opposite sex once he arrives in Summerville. What results is something which may feel similar to the infinitely popular Netflix series, but this young actor clearly knows how to distinguish Trevor Spengler from Mike Wheeler just as he did with Richie Tozier from the latter in the recent cinematic adaptation of Stephen King’s “It.”
And then there is Rudd, Paul Rudd. The actor, recently named as People Magazine’s Sexiest Man Alive (someday it will be me), is a blast as science teacher Gary Grooberson. Whether he is slobbering over all the Ghostbusters equipment or showing R-rated movies to a group of disaffected kids (kudos to him for selecting “Cujo” by the way), we are quickly reminded of how we can never go wrong with this guy. As much as I want to say “damn you,” the man never ceases to be an entertaining presence.
Now when it comes to the nostalgia featured here, it does come on fairly heavy, but it doesn’t capsize the film. Unlike sequels such as “Blues Brothers 2000” which was so jam-packed with so many familiar characters and scenes to where the déjà vu made me want to turn it off and watch the original instead, this one treads the line carefully to give us something a bit different even as it pays homage to the 1984 original.
Having said that, part of me wishes “Ghostbusters: Afterlife” was bit more original and did not simply re-employ old villains. If this franchise is to continue beyond this installment, and several post-credit scenes indicate it will, the filmmakers should be willing to take new chances in the future. Even Rob Simonsen’s music score sounds more like a simple adaptation of Elmer Bernstein’s to where it is hard to spot any new themes. It is a bit like when J.J. Abrams brought back Emperor Palpatine for “Star Wars: The Rise of Skywalker;” he’s a great villain and the kind you love to sneer at, but he failed once before and we know he will again, you know?
Still, I very much enjoyed this sequel as it provides audiences with terrific characters who are inhabited by a very talented cast, and the effects are excellent throughout. And yes, there are great surprises to be found here, and I am not about to spoil them for you even if others have already.
But most importantly, this is a film with a lot of heart, and this should be completely clear during its last act. The final scene shows how the deeply embittered can be healed through love and understanding, and that’s whether or not you have a proton pack or ghost trap available. As the end credits came up, it was real treat to hear Ray Parker Jr.’s theme song once again. Where it once was annoying as hell, now it has been found again as “Ghostbusters: Afterlife” finally gives this franchise a truly worthy installment.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Reminiscence” is one of the most underrated and overlooked films of 2021. From start to finish, I was riveted by the acting, the action, and the many twists and turns throughout. It is a film which keeps its audience on its toes and keeps them guessing. There is a lot to like here. It’s a bit baffling to me to read how the film did poorly at the box office and with critics. I do have a strong feeling this is the type of film which is going to gain a cult audience with time and now that it’s out on Blu-Ray. I really think people underestimated it. That is the beauty of home video: A film can live on and grow with time.
Hugh Jackman stars as Nick Bannister, a lonely and troubled man after the war. He runs a business which allows people to relive some of their favorite memories and moments from their lives. If they were happier in the past, they can go in this water tank and relive that memory. It is very comforting for a lot of people, especially if they have lost someone close to them. His partner in business is named Watts, and she’s played by the talented actress Thandiwe Newton. She was with Nick in the war, and they have remained close friends. She has a drinking problem that has ruined her relationship with her daughter and her ex-husband. She is still very loyal to Nick and credits him with giving her a purpose.
One day, a young woman by the name of Mae (Rebecca Ferguson) comes to relive a memory of how she lost her keys. Watts thinks something is fishy about this, but Nick is quite taken with her. As a matter of fact, they strike up a relationship which turns out to be quite passionate. It makes it that much harder for Nick when she disappears out of his life for seemingly no rhyme or reason. He really thought she was the one, and he had strong feelings for her. With his memory tank and resources, he goes on a mission to find out what happened to Mae and where she might be in an attempt to save her.
“Reminiscence” has been described as part science fiction and part film noir. Film noir has always been one of my favorite genres in Hollywood. It’s not used as often these days, but it was quite popular back in the golden days of Hollywood with actors such as Humphrey Bogart, Orson Welles and Burt Lancaster. The fact writer and director Lisa Joy blended this genre with science fiction is a really bold move. Off the top of my head, I can’t remember too many times this has been done recently in Hollywood. It works perfectly here, especially with Jackman’s narration. It really adds to the film’s mysterious underbelly. As far as the science fiction, they did it just enough to make it believable without going too over-the-top with the concept.
To quote the legendary wrestler Roddy Piper, “Just when you think you know the answers, I change the questions.” That is exactly what is happening with “Reminiscence.” I thought I had this film figured out two or three times, and the filmmakers kept surprising me with where they went with the story. Jackman is great in everything he does, but his friendship in the film with Newton is what really gives the film its heart and soul. Ferguson is also pitch-perfect as the femme fatale, as you really don’t know what’s going on with her and if you should trust her. Is she the woman she claims to be? Is she a seedy film noir character with bad intentions? I thought the casting in this film was spot-on in all avenues.
I really loved “Reminiscence.” It’s creative, fun, heartfelt, surprising, and different. Hollywood is known for doing a lot of the same movies over and over again. I haven’t seen a film even close to this one in quite some time. It really captivated me, and most of all, I cared about the characters and their individual fates. This is a film I’m proud to champion and encourage people to see now that it’s out on Blu-Ray and DVD. I have a strong feeling you will be surprised by it. I know I was, and I’m a tough critic because I see so many movies. This is a special film. I also really enjoyed the atmospheric world created by the director as well. All of the pieces were lining up with this flick.
* * * ½ out of * * * *
Blu-Ray Info: “Reminiscence” is rated PG-13 for strong violence, drug material throughout, sexual content and some strong language. It comes on a single-disc Blu-ray from Warner Brothers Home Entertainment. It also has a digital copy of the film as well.
Video/Audio Info: The film is released on 1080p high definition with audio in Dolby Atmos-True HD: English, Dolby Digital: English Descriptive Audio, and English, Spanish and French. Subtitles are included in English, French and Spanish as well.
You’re Going on a Journey
The Sunken Coast
Crafting a Memory
Reminiscence: A Family Reunion
“Save My Love” Music Video
Should You Buy It?
One of my favorite filmmakers is Richard Linklater, and while I’m not comparing Lisa Joy to him, I did enjoy the way she used time and memory as such a pivotal part of the story. Much like in Linklater’s films, time and memory plays such a big part in what is happening here. It’s a character in the film. As someone who often thinks about the past and is big on nostalgia, this film really struck a chord with me. How much is thinking about the past a good thing? When does it become a bad thing? Are we stuck in the past? Did we learn from the past? There is a lot to chew on with this film. The performances are committed and powerful, especially Jackman’s. He always brings such an intensity to all of his roles. If you are still a hardcore physical media collector like myself, you will be very pleased to add “Reminiscence” to your collection. As I mentioned earlier, it’s one of the great surprises of 2021.
**Disclaimer** I received a Blu-ray 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.
As a film lover and someone who considers themselves well-versed in the world of cinema, I’m sad to report this was my first-time watching “A Clockwork Orange.” I feel like no matter how many films you have seen, there are usually a dozen or so that have just slipped through the cracks. This is the 50th anniversary of this Stanley Kubrick classic and, as a first-time viewer, I can’t imagine the impact it had on viewers when it first came out. I know from reading up on it, it was quite controversial and misunderstood, but it ended up gaining a cult following. After watching it last night, I can’t wait to watch it again. Kubrick is truly a genius when it comes to cinema. There is always so much happening in his films, but everything is happening for a specific purpose.
The first forty-five minutes or so of “A Clockwork Orange” are a little out there and a little frustrating from a narrative perspective. The film is set in a dystopian Britain where a group of young gang members run around terrorizing anyone who gets in their path. For example, when they run into a homeless man, they beat him up simply because they find it amusing and comical. In another instance, they go out of their way to create chaos and havoc for a writer and his wife by attacking them in the middle of the night. One night, this group of four young men takes it too far when one of their members, Alex (Malcolm McDowell) ends up killing a wealthy woman. His three fellow gang members leave him behind, the police catch him, and he is sentenced to fourteen years in prison.
The early part of “A Clockwork Orange” is not necessarily hard to watch as I’m used to movie violence, and it takes a lot to upset me or really get under my skin. It’s more so that Alex and his “droogs” are unpleasant to spend time with, which I would venture to guess was Kubrick’s intent as a filmmaker. This film is based on the novel by Anthony Burgess. I think they could have trimmed out some of their antics in the film as, at times, it’s beating the audience over the head with violence and becomes repetitive and dull. However, when Alex is sent to prison, it is when the film becomes really, really interesting and takes off.
After being well-behaved in prison for two years, Alex hears about this experiment which allows someone to be cured almost instantly of their bad thoughts and impulses. They start to think and behave without any lust or violence. The experiment exposes them to footage of violence, rape, and other heinous acts. When they see this footage, they start to become sick. Because of this, if they ever have the urge to misbehave again, it is quickly stopped because of how they feel after the aversion therapy. The prison chaplain tries to warn Alex against it by telling him the good should come from inside of him and the choices he makes.
What happens from there makes for an incredibly thrilling and intense final act. The beauty of a Kubrick film is the details all around you that are happening in a scene. For example, when Alex returns home, the way his house is shot is gorgeous. Kubrick is never afraid to use colors and lots of them. He knows the beauty of imagery, color and scenery, and it makes the scenes much more effective. There is also his use of music. I don’t think I’ll ever be able to listen to “Singing in the Rain” or anything from Beethoven again without thinking of this film. There is a purpose for everything in his films from a visual and audio standpoint.
I could go on and on about “A Clockwork Orange.” The best praise I could give the film is that I want to watch it again and again. Kubrick was a true visionary of cinema. This film also has a lot to say about politics, drugs (think of the milk featured here), violence, sex, karma and so much more. After I woke up today to write this review, the film was still in my head. His films really stay with you and mess with your head in the best possible way. On 4K, the brightness is taken to a whole new level. I know I’m stating the obvious here, but Kubrick’s “A Clockwork Orange” is a masterpiece. I absolutely loved this film. It’s a great reminder of how great movies will always stand the test of time, no matter when they were released.
* * * * out of * * * *
4K/Blu-Ray Info: “A Clockwork Orange” is released on a 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. It comes with the 4K, Blu-ray, and also a digital copy of the film as well. It has a running time of 137 minutes and is rated R.
Video Info: The 4K of the film comes in 2160p Ultra High Definition with a ratio of 16×9 1.66:1. If any film ever deserved the 4K treatment, it is “A Clockwork Orange.” I plan on watching the Blu-ray of the film at some point, but the high dynamic range and the colors are on full-display with the 4K. The film is mesmerizing to watch on 4K. This is the reason why more and more people are getting 4K TV’s and players for films like this. They were made for 4K. There is no other way to watch it at home. The Blu-ray of the film comes in 1080p High Definition with a ratio of 16×9 1.66:1.
Audio Info: The audio for the film is presented in DTS-HD MA: English 5.1, Dolby Digital: English, French and Spanish. Subtitles are in English, French, and Spanish as well. This applies to both the 4K and Blu-ray discs.
Commentary by Malcolm McDowell and Nick Redman
Still Tickin’: The Return of Clockwork Orange [2000 Channel 4 Documentary]
Great Bolshy Yarblockos! Making A Clockwork Orange
Turning Like Clockwork
Malcolm McDowell Looks Back
O Lucky Malcolm!
Should You Buy It?
According to the press release, the special features are the same released on the previous Blu-ray of the film, which is a bit of a bummer. One would have hoped they would have done an updated version of the special features, especially with it being the 50th anniversary of this film. If you haven’t seen “A Clockwork Orange” before, you are missing out! I can vouch for that. This one is a no-brainer to add to your collection for the film itself and the visual aspects of 4K.
This film is going to stay with me for a long, long time, and I get to watch it again on Blu-ray and 4K. I can even watch it on my iPad because of the digital copy which comes with this combo pack. However, as Spike Lee says, do the right thing and watch it on 4K. There will never be another director like Kubrick. Kudos as well to Warner Brothers for their recent upgrades of classic films like “A Clockwork Orange” and “The Shawshank Redemption.” They are on a roll lately!
**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
It is September 9, 2021, and I knew exactly what I needed to do: have breakfast and watch the first trailer for “The Matrix Resurrections.” But of course, breakfast would be second as this particular trailer could not come soon enough. All I can say is, wow! Keanu Reeves, looking more like John Wick than Neo, is back. Lana Wachowski is back. Carrie-Anne Moss is back, and no, she does not look to be playing a grandmother here.
The first thing I want to point out about the “Resurrections” trailer is how excited I am at how part of this movie takes place in San Francisco. It all looks so beautiful here, and it feels like it has been forever since anyone shot anything there. Part of me expected those digits to descend down the screen, but the trailer instead opens up with Thomas Anderson (Reeves) talking with a therapist (played by Neil Patrick Harris) about these strange dreams he has been having. From there, we see him taking what I guess are anti-depressants, and they are blue pills. And one other thing, Harris is wearing blue glasses in his session with Thomas. Coincidence?
What blew me away about this trailer was that it has a unique look to it. Sure, there are many images from the original featured, but “Resurrections” is made to look like its own thing and not a simple repeat of what came before. While its story line feels a bit similar to the original as Mr. Anderson is slowly waking up to the world around him, there is a different feeling this time around.
Quite wisely, this trailer only tells us so much about what we will be seeing this December. Lana Wachowski is not about to give everything away which is smart, and we are left to ponder the reality this sequel takes place in. As a result, I am left with a string of questions I am eager to see answered:
Will this sequel take place following the events of “Matrix Revolutions,” or is this a whole new timeline featuring the same characters?
Is Thomas Anderson (a.k.a. Neo) too woke to use a cell phone while in an elevator?
Why does Neo recognize Trinity but Trinity does not recognize Neo?
Will the bullet time effects be utilized frequently in this film?
Is Morpheus, now played by Yahya Abdul-Mateen II, meant to be a younger version of the character previously played by Laurence Fishburne?
Is this a prequel instead of a sequel?
Christina Ricci is co-starring in “Resurrections,” but did we see her in this trailer?
Is Thomas/Neo dumping those blue pills into the sink meant to be smack in the face to big pharma?
Do we really want to see this on HBO Max instead of on the big screen where it belongs?
Was Keanu Reeves shooting the fourth John Wick movie while filming “Resurrections?” Is this why Neo looks like John Wick?
Is Trinity pregnant with Thomas’/Neo’s baby? Well, whatever the case, she certainly does not look to be a grandmother in this installment.
With Johnny Klimek and Tom Tykwer taking over music scoring duties from Don Davis, will Juno Reactor be along for the ride as well?
Lastly, why is everyone stunned that Laurence Fishburne does not appear in this trailer? For crying out loud, it was announced he would not be appearing in it ages ago! Besides, he will be reunited with Reeves in the next John Wick sequel, so stop complaining!
Suffice to say, I am as excited for this sequel as I am for “Halloween Kills.” As a result, I need to keep my expectations in check as they can be easily ruined for all the wrong reasons. I have enjoyed all “The Matrix” movies, and I include the third one even though its ending really sucked. With this trailer for “The Matrix Resurrections,” we look to be getting something as striking and visually spectacular as the original which wowed us back in 1999. I cannot wait, and I am about to say something I have not said in years: Christmas can’t come soon enough!
“Tenet” is a film which should come with Cliff’s Notes or its equivalent as it is more challenging than the average Hollywood blockbuster. Thankfully, I was able to follow the gist of the story which has the good guys fighting the bad guys in an effort to prevent World War III, but I am at a loss for explaining how the characters learn to manipulate the flow of time. I imagine it all makes perfect sense to writer and director Christopher Nolan and his good friend, theoretical physicist Kip Thorne, but I have already watched this film twice and I still cannot fully understand all of which happened. While “Inception” and “Interstellar” did make a good deal sense over the course of a few viewings, it will take a few more for me to completely decipher all of which “Tenet” has to offer.
“Black Klansman’s” John David Washington stars as a CIA agent who is only known as the Protagonist, and “Tenet” opens with him taking part in an extraction mission which ends up going awry as he is captured and ends up sacrificing himself after an extended torture session. But instead of arriving in the afterlife, he finds himself in bed and informed by his boss, Fay (Martin Donovan), that he has been recruited by an organization called Tenet which, as a word, can open the right doors and some of the wrong ones too.
The Protagonist’s meeting with scientist named Barbara (Clémence Poésy) helps him to learn about technology with inverted entropy, meaning technology which moves backward in time. At this point, I found myself digging this premise as it is always fascinating to find characters wondering if they exist not in the present, but instead a past which has been far removed from what is considered to be the future. It also calls into the question the concept of free will as the Protagonist is made to wonder if we are part of a story with a pre-determined ending. I love it when free will is dealt with as I am always rooting for it to be shown as real even in a work of pure fiction.
The rest of “Tenet” acts as Nolan’s version of a spy movie as the Protagonist seeks to infiltrate the treacherous realm of Russian oligarch Andrei Sator (Kenneth Branagh) who communicates with the future and is planning to give Earth a fate worse than nuclear Armageddon. In the process, he comes to meet Andrei’s wife, Katherine (“Widows’” Elizabeth Debicki), as well as Neil (Robert Pattinson), his partner in all things inverted or otherwise.
It is tempting to label “Tenet” as a time travel film, but Nolan has made it clear it is not. While Marty and Doc Brown can travel from one point in time to another in the “Back to the Future” trilogy, the characters here do not have the same power of instantaneous travel. To get to a certain point, they have to travel backwards in the past to get to it, and it is never an easy trip as the challenges prove to be quite draining physically. Keep in mind, this is one of the few motion pictures you will see where a character is saved from certain death thanks to hypothermia.
Like I said, I have already seen “Tenet” twice and still cannot explain all that goes on in it. We watch as characters live through moments portrayed both forwards and backwards in time, and the concept of inversion remains the kind of puzzle I am not quick to put together. With this film, Nolan may have bitten off far more than he can chew as the concepts here prove to be more cerebral than the first “Star Trek” pilot known as “The Cage.” Having said this, the film proves not to be too heady for me as such films can drive me to complete insanity or make me fall asleep while watching them. In the end, I am glad I did not come out of “Tenet” in the same way the average filmgoer came out of Darren Aronofsky’s “mother!,” desperate to make a lick of sense out of the cinematic chaos they just witnessed.
Nolan employs many of his regular collaborators here such as cinematographer Hoyte van Hoytema and production designer Nathan Crowley, and they provide us with visuals which would have been great to see on the big screen or in IMAX had any theater in Los Angeles been open a few months ago. This is the first film from “The Dark Knight” director which I have been forced to watch on my television due to the never-ending Coronavirus pandemic, and it feels like such a missed opportunity to not have viewed it on the silver screen. Once movie theaters open up again, hopefully I will get another chance.
One Nolan’s newest collaborators on “Tenet,” other than editor Jennifer Lame, is composer Ludwig Göransson who won an Oscar for scoring “Black Panther.” Hans Zimmer was unavailable due to his commitment on scoring Denis Villeneuve’s “Dune,” but Göransson comes up with something as propulsive and percussive as what Zimmer would have likely given us. In many ways, his music is as much a character as any other in “Tenet,” and this is one of those music scores which deserves a more in-depth study than it has already received. Like Nolan, Göransson presents his music to us both forward and backward motions, and the result is endlessly fascinating to take in.
Right now, “Tenet” may likely be seen as lesser Nolan as its plot is more complicated than he would ever care to admit, but even the least of his works prove to be more ambitious and original than much of what Hollywood puts out on a regular basis. Even though I was a bit frustrated in trying to understand everything which unfolded before me, I was still deeply enthralled in what Nolan had to offer this time around.
When it comes to making sense out of this particular film, please keep a few things in mind: the word tenet is a palindrome, and the term Sator Square gave this film its title and is a two-dimensional word square which contains a five-word Latin palindrome. If you want to learn more, go online and find out for yourself. As much as I would like to explain everything for you, it is best you discover certain definitions on your own. The actor Andre Braugher once said that “if your vocabulary is limited, then your thoughts are limited.” Be like Braugher and don’t be limited.
The following review was written by Ultimate Rabbit correspondent Tony Farinella.
“Tenet,” written and directed by acclaimed filmmaker Christopher Nolan, is one of the rare films to get a big release in theaters when it came out in early September during the COVID pandemic. While watching it on Blu-ray was an enjoyable experience, I can only imagine what it was like to see it on IMAX. It probably enhanced the experience quite a bit for moviegoers. That being said, I’ve always subscribed to the idea that a good movie is good on any platform be it Blu-ray, 4K or the big screen. I understand why this was released on the big screen, though, as it is a big screen movie with big ambitions. Nolan has always been a filmmaker with a specific vision, and he likes to give his audience a lot to chew on when they watch his films. He also likes to let them come up with their own interpretations of them as well.
“Tenet” is a film I watched for the most part on my own with my wife checking in with me near the end of it. She asked me what was happening and if I liked the movie. While the idea of trying to explain the film to her was daunting, and I was still processing the film as it was happening, I realized Nolan had me exactly where he wanted me. Even though “Tenet” has a running time of two hours and thirty minutes, it’s pretty damn exciting when you take in all that is happening on the screen, the details, both big and little. As far as trying to describe the plot and what happens to her or to anyone reading this review, I will do my best without spoiling the film or making it sound too convoluted.
John David Washington, who has quickly turned into one of our finest working actors today, is simply known as Protagonist. He is a secret agent who is put through a number of grueling tasks in order to see if he’s up for the task of trying to stop World War III through influencing time. We don’t know much about him, his backstory, or why he’s decided to take on this mission in the first place. Washington, however, comes across as calm, cool and collected in each and every scene, whether he’s negotiating or in battle. His natural charisma is evident throughout.
He’s part of an organization called Tenet, and this is a word which comes up a lot in the film as it is “inverted” and deals with the concept of moving backwards in time. This is put on display a number of times with simply stunning visuals which will leave your jaw hanging on the floor. If you are looking for an emotional core, it comes in the form of Kat (Elizabeth Debicki) and her working relationship with the Protagonist. While we clearly root for and spend a great deal of time with the Protagonist, Kat’s story is the emotional core of the film. There is also great work here from Kenneth Branagh as the villain. He’s very easy to dislike, and his performance is menacing and a little over-the-top, but it works in the world of this film.
The world of the film created by Nolan is not always easy to follow. There were times where I was lost even as Robert Pattinson’s character was explaining things to me with his Master’s degree in physics. I understand Nolan wants to keep us guessing and to question what is happening. I also know there are a ton of fan theories out there. It is always a good thing when a film can create discussion and debate among movie buffs. As a hardcore movie lover myself, I’m always looking to talk shop with individuals that look at movies as more than just movies. They live, breathe and sleep with the movie long after the credits have rolled. With “Tenet,” it is a film I look forward to revisiting a few more times to fully grasp and comprehend all it is about.
Let’s focus on the positives, first. Even though the film was not scored by Nolan’s usual composer, Hans Zimmer, the use of sound and music to enhance the movie is truly awe-inspiring. As a matter of fact, I didn’t even realize Zimmer didn’t compose the score until I saw the name Ludwig Göransson in the end credits. This is not to discredit the fantastic work by Göransson, it is just to say it is clear there is a certain style of sound and music Nolan is looking for with his movies, and he picked a great composer with a very impressive resume. I talked about the performances earlier, and they are universally good across the board with the standouts being Washington and Debicki. A few Nolan favorites pop up as well in cameos. Visually, Nolan takes his work to a whole new level with “Tenet.” It is a big screen movie all the way.
As far as the negatives, even though it is a good movie and doesn’t feel like two hours and thirty minutes, I don’t know if it necessarily had to be this long. I think they could have shaved fifteen to twenty minutes, and it wouldn’t have harmed the overall film. We all know Nolan likes to do everything big with his movies from the sound to the visual effects to the running time, but sometimes things can be scaled back a little bit. Another issue with the film is the fact it can be a little cold and distant at times. His films would be even more powerful with all of the sound and fury if they came with a bit more emotion, heart and more fleshed out characters. If you have great actors, you should use them more within the framework instead of letting the plot take center stage.
In the end, there is quite a bit to like about “Tenet.” I’m going to recommend you buy the film, and I know it will be one I’ll be watching a few more times in the future. However, my favorite Nolan film is still “Insomnia.” As mentioned in the previous paragraph, Nolan sometimes completely abandons character development and the heart of his films which can sometimes leave me feeling like I’m watching robots in the story. He also needs to understand that sometimes less is more. While I don’t necessarily see him changing his ways, there is always the hope of him evolving with his next project. “Tenet” is a good yet flawed flick.
* * * out of * * * *
Blu-Ray Info: “Tenet” is released on a three-disc Blu-ray/DVD/Digital Combo Pack from Warner Brothers Home Entertainment. One disc is the Blu-ray, another disc is the Blu-ray special features, and the final disc is a DVD version of the film. The film has a running time of 151 minutes. It is rated PG-13 for intense sequences of violence and action, some suggestive references and brief strong language.
Video Info: “Tenet” is shown on 1080p High-Definition 16×9 Variable 2.2:1 and 1.78:1 (IMAX sequences). The film is gorgeous looking with a transfer that is impossible to beat! I couldn’t take my eyes off the visuals of this film.
Audio Info: The Blu-ray comes on the following audio tracks: DTS-HD MA: English 5.1, English Descriptive Audio and Dolby Digital: French and Spanish. Subtitles are in English, Spanish and French.
Looking at the World in A New Way: The Making of Tenet: This special feature is broken up into thirteen featurettes which go into great detail on the filmmaking process. This is why I love physical media. It is for the special features and the amount of behind the scenes details we get here. This special feature is over an hour long!
Should You Buy It?
Considering the fact that you are going to want to watch this film a few times and that it is directed by Christopher Nolan, I think this is most certainly a film worth adding to your collection. There is also the fact it comes with over an hour of special features on a separate disc. There was a lot of time, thought and effort put into this film as well as its Blu-ray release. While this is far from a perfect film, there is enough really good stuff in here to make it a wise investment. As I’ve said a few times in this review now, I want to watch it again and piece together even more of this elaborate puzzle.
**Disclaimer** I received a Blu-Ray copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
There was a time when Frank Darabont created the most effective cinematic adaptations of Stephen King’s novels. He gave us one of the all-time great adaptations of King’s works with “The Shawshank Redemption,” a classic which you can still catch it on TBS or TNT every other week. Darabont also directed “The Green Mile” which was very good and left its audience in tears at its humbling conclusion. These days, Mike Flanagan has become the King adaptation master of choice with his takes on “Gerald’s Game” and “Doctor Sleep,” both of which proved to be wonderfully unnerving. Before this, however, was Darabont’s adaptation of King’s “The Mist,” and it represented his first time dealing with one of King’s full out horror stories. Having said this, he still brings this particular King horror tale to life in way few other filmmakers ever could.
“The Mist” takes place, as many of King’s works do, in the state of Maine. We see our main character, David Drayton (Thomas Jane), doing his work as a graphic artist on something which appears to be right out of “The Dark Tower,” and it establishes what David does while simultaneously establishing the kind of movie we are about to see. It is a motion picture which deals with people whom we recognize from the real world we inhabit and the small towns we grew up in. This is not often the case as many horror films deal with stock characters we cannot wait to see done away with.
One day, there is a storm which hurls a tree into David’s work studio, and he ends up going into town with his son the next day to pick up supplies. In the process, he also ends up taking along his next-door neighbor Brent Norton (Andre Braugher) regardless of the fact Brent’s tree fell down on David’s boathouse and completely destroyed it. But while at the market, a mist starts to blanket the town to where there is zero visibility. A local townsman named Dan ends up rushing into the store crying out, “There’s something in the mist!”
From there, everyone is trapped in the supermarket as the thought of stepping outside its doors is far too fearful an action. This is largely the result of there being something in the mist which quickly proves to be anything but human, and this creates divisions between everyone trapped in the store. This division is primarily brought about by Mrs. Carmody (Marcia Gay Haden), a fervent believer in the word of the bible who believes judgment day is upon us and that the end is indeed very near.
Watching “The Mist,” you can recognize the familiar types of characters which occupy the average Stephen King story; the man who doesn’t want to be the hero but ends up being one even if it is not by his own doing, the religious fanatic who will not allow themself be torn away from they believe to be the truth, and townspeople who appear to be brave on the outside but terrified on the inside. What I really liked about this film is how Darabont never lets them become just mere stereotypical characters. While these characters may appear to be just that, it is a credit to the writing and acting that everyone involved in this film’s production rose above the genre’s conventions to give us something more human than we typically expect.
What interests Darabont here is not so much the monsters on the outside, but instead the monsters which lurk deep in our psyches. How we would possibly react when all the things we depend on in our life are suddenly taken away from us? No easy answer is given, but it is clear we are left with our instincts for survival at any cost. Darabont does excellent work in creating an inescapably claustrophobic environment where escape is easier said than done and trust can easily become a disposable commodity.
Leading the cast is Thomas Jane who first has made an unforgettable impression when he co-starred in “Boogie Nights.” He then went on to do “Deep Blue Sea” which more or less typecast him as the hardened hero who shows more courage than anyone around him. But here, he is simply an ordinary man caught up in an unimaginable situation, and he is struggling to maintain his sanity in an increasingly desperate situation.
“The Mist” is filled with many fine actors who fully humanize their roles and succeed in avoiding the mistake of making these characters seem stereotypical and easily disposable. It is great to see Andre Braugher here as the disbelieving neighbor/lawyer who makes the idiotic assumption he is being setup for a practical joke. In any other movie, we would simply just hate his character Brent for not believing the protagonists, but Braugher succeeds in making us believe why he might see how Brent could not see the inherent danger everyone is caught up in. As an audience, we of course know better of what is really going on, but it makes you think of how people would normally react in a horrifying situation like this. Could we easily believe in such things? Wouldn’t we be skeptical of what others tell us? Aren’t some us sick and tired of being the butt of everyone’s jokes?
Also in the cast is Toby Jones who is a wonderful presence here as Ollie, a supermarket employee who turns out to be very handy with a gun. Then we have other character actors like Jeffrey DeMunn who plays Dan Miller, and William Sadler who plays Jim Grondin. Frances Sternhagen is also on board as a friendly schoolteacher named Irene and has some of the best and most memorable of moments in this movie. You also have Lauren Holden as Amanda Dunprey, a new school teacher who befriends David and his son Billy (Nathan Gamble).
All of these actors do a great job of making the characters all the more real to us so that we don’t simply laugh them off the screen for doing stupid things that horror movie characters usually do. You get the sense that if this were written and directed by anyone other than Darabont, it would look like just about any other horror movie we have seem hundreds of times already. But there is going with the story of this movie that makes it more than your typical horror movie.
But the best performance comes from Marcia Gay Harden who plays the seemingly crazed Mrs. Carmody. A religious zealot if there ever was one, Carmody can be easily compared to Carrie Wright’s mother from “Carrie” as both are hopelessly devoted to God and the Bible even though their belief structure has long since been corrupted. Harden is a brilliant actress, and she makes Mrs. Carmody far scarier than the monsters which constantly threaten to infiltrate the overcrowded supermarket everyone is stuck in. She also makes you believe how people would end up following her when the fate of the world continues to descend down on them all. Her crazy beliefs end up making believers out of others, and a mob mentality quickly forms a sharp division between the characters stuck in the store which threatens to bring out the worst in everyone. Harden’s portrayal of such a frightening individual has long since stayed with me after watching this film when it came out in 2007.
Not everything about “The Mist” is perfect. The monsters, when they do appear, are effectively creepy and eerie, but they are also clearly CGI, and this takes away from what we are shown. Darabont ends up creating more of an intense effect when we don’t see the monsters up close, but instead from a distance. When they are shrouded by weather they inhabit, they seem infinitely more terrifying as a result. If you have a fear of creepy crawlers like spiders, you may want to think twice about checking this movie out.
The ending of “The Mist” is different from King’s book, and King himself was quick to point this out to everyone who bothered to listen. What I can tell you about the ending is that it is both uncompromising and devastating in its impact. It makes you look back at everything which happened to where you realize the line between good people and bad people, protagonists and antagonists, heroes and villains can be ever so easily blurred. The people we end up fearing the most are ourselves and of what we are capable of. We can easily descend into craziness and insanity when all the things we need most in life are suddenly taken away from us. The moment we give up on life and accept its horrifying fate is the moment when we all become less than human, and considering the times we are currently living through, this seems more pertinent than ever before.
I walked out of “The Mist” completely shaken and unable to speak. It contains a shattering ending which is unlike any we usually from any film we typically watch. What makes it all the more unsettling is that we cannot help but think of what we would do in the same situation. There are many who cannot bear to think of the answer such a question, but there are those whose drive to survive is impossible to ignore.
“The Mist” may not as good as “The Shawshank Redemption,” but it is still an effectively made motion picture with excellent performances and an ever-growing intensity. It is also one of the better adaptations of a Stephen King novel in years, and it keeps itself from sinking into the clichés of the average horror movie.
Whether or not you believe in extra-terrestrials is beside the point. We end up fearing ourselves more than anything else, and this fear can easily cripple us from doing what we want to do in our lives.
The tagline of “The Mist” was right: Fear changes everything…