MOVIE 43 Blu-ray Review

Article first published as Blu-ray Review: 'Movie 43' on Blogcritics.org.

Movie 43, a comedy film of small bits packed with big stars, is now available on DVD and Blu-ray from Fox Home Video. Couched in a framing story about three boys’ search online for the very illegal and fictional Movie 43, bizarre bits that are supposed to be funny string along with little to no connection between them for about an hour a half.

Depending on whether you watch the theatrical version of the film or the alternate cut, both of which are included on this release, depends on what framing story you get. Either Charlie Wessler (Dennis Quaid) pitches an ever-changing film to Griffin Schraeder (Greg Kinnear), constantly shifting the characters and premise, or three boys (including The Inbetweeners‘ Mark L. Young) are hacking the internet to find a fictional film called Movie 43 that could destroy the world. Both go meta in a weird way; the other bits of the movie appear to be the same in both editions.

Neither scenario makes much sense, so I do wish the film’s producers had just let the scenes stand on their own. A bunch of different sketches performed by some of the most familiar faces in Hollywood is an intriguing enough concept without forcing them to be strung together. The way this is released, it feels like forced cohesion that doesn’t quite come together.

Because each segment is made by different people, they do feel like they fall across the spectrum, from the absurdly hilarious, to the confusingly weird, to the just plain gross. This is a common issue with every comedy made up of individual segments (just ask Saturday Night Live), and humor is highly subjective, so while I did not enjoy the entire hour and a half, there are some things in Movie 43 that I really loved. Others likely will watch the same movie and value different parts.

The best of the bunch are: “iBabe,” in which a woman (Kate Bosworth) just can’t make a boss (Richard Gere) and his underlings (Aasif Mandvi and Jack McBrayer) understand why teenage boys are getting their body parts mangled in a lower-region fan of an mp3 player that looks like a naked woman; a “Machine Kids” commercial showing sad children hiding inside ATMs and soda vendors; “Super Hero Speed Dating,” in which Batman (Jason Sudeikis) ruins Robin’s (Justin Long) chances with women ranging from Wonder Woman (Leslie Bibb) to Supergirl (Kristen Bell); and “Victory’s Glory,” in which a Coach (Terrance Howard) in 1959 faces an uphill battle in convincing a black basketball team they can beat a white one.

I think I like these four because they take something familiar, and turn it on its head in a clever manner. Wonderful performers lose themselves in these roles for a few minutes, doing something most people don’t expect from them, and doing it well. Throughout the segment, the tension and story ramps up, and there are odd twists.

The parts of the film I didn’t like involve sexual pooping, spilled period blood, and incestual make-outs. I can see how this might appeal to others, but it just crosses the line of my taste and goes too far. The point is, though, there is really something for everyone (except those who only like intelligent, witty stuff), with a broad swath of topics and genres.

The cast is amazing, and includes, besides those listed above, Common, Seth MacFarlane, Elizabeth Banks, Halle Berry, Stephen Merchant, John Hodgman, Anna Faris, Gerard Butler, Snooki, Hugh Jackman, Kate Winslet, Naomi Watts, Liev Schreiber, Emma Stone, Chloe Grace Moretz, Sean William Scott, Uma Thurman, Chris Pratt, J.B. Smoove, and others. It really is a remarkably talented group of people, and while I didn’t appreciate all of the styles of humor represented, I don’t think any cast member felt wooden or out of place in the larger picture.

The extras leave a lot to be desired, unfortunately, Besides a trailer and some previews of other titles, the only bonus included is a cut scene featuring Tony Shaloub and Julianne Moore. This deleted segment is no better or worse than anything in the finished film, so I’m not sure why it isn’t integrated in with the rest.

But what I’d really like to see is the story of how Movie 43 came about, why all of these actors chose to participate, and who championed the idea in the first place. Surely, there is a rich story behind this, given the scope of the project, and I’m very curious about the back story, which is not revealed on this disc.

As far as Blu-ray quality, the picture and effects are great, but there isn’t a lot to push boundaries. It’s a very typical film, visually, with character-driven scenes, so aside from liking a crisp, clear image, there isn’t much argument to made on DVD vs. Blu-ray. The format is consistent, and I didn’t notice any static or graininess from either picture or sound. However, neither is there anything super impressive that makes use of an advanced playback system. Nor would I really expect there to be in this type of movie.

Movie 43 is available now as a two-disc Blu-ray, DVD, digital download combo pack.

What happens in Vegas might want to stay in Vegas

Grade: 71%

Las Vegas, 1960. This is the time and place that CBS’s new drama, VEGAS, is set in. Supposedly based on a true story, the series follows Ralph Lamb (Dennis Quaid, The Special Relationship), a rancher dissatisfied with what progress is doing to his land and herd, who is tasked by the Mayor (Michael O’Neill, The West Wing), his old army commanding officer, with stepping up as sheriff of the rapidly-growing casino city. It’s the formula for an exciting, historical fiction show that could be quite cool.

Lamb is a familiar character. Much like the central sheriff in this summer’s Longmire, he is gruff, a bit stuck in the past, but intelligent and fair. Quaid lends much gravitas to the show, having such a successful movie career prior to his job. That’s mainly what sets Lamb apart, since it’s not that fresh a take on the staple part. The way he looks into the murder, avoids working with men he doesn’t trust, and keeps a level head when the others scream that the up-to-no-good bikers did it (they didn’t) is the epitome of the classic Western hero.

Lamb has a crew to assist him. His brother, Jack (Jason O’Mara, Terra Nova), doesn’t really have any personality qualities of note in the “Pilot,” but seems loyal and smart enough. Ralph’s son, Dixon (Taylor Handley, Hidden Palms), is an idiot screw up who gets into far too much trouble for his own good. Lamb doesn’t want to give his son the power of the badge, but it’s a better option than letting Dixon run the ranch into the ground, allowing Lamb to keep an eye on him. And apparently, though we don’t see them, Lamb has enough competent employees to keep his ranch running without much guidance from him. Which makes one wonder why Lamb needs to spend so much effort and care on the ranch before he is tapped to become sheriff.

Lamb’s main obstacle in his new career is Vincent Savino (Michael Chiklis, No Ordinary Family), a mobster recently arrived in Las Vegas, who plans on making a ton of money by whatever means necessary. Vincent is the stereotypical thug, not opposed to beating the crap out of people, but ready with a slimy smile to make a veiled threat or grease a palm. We see in the “Pilot” that Savino can have compassion as he apologizes to a faithful informant who is unfairly beaten, but it is probably only demonstrated to serve his own needs.

Rounding out the cast is A.D.A. Katherine O’Connell (Carrie-Anne Moss, Chuck). Her boss clashes with Lamb because he’s the type who would rather take bribes from gangsters like Savino than put any effort into dispensing actual justice. O’Connell disagrees, of course, probably without knowing the full extent of the corruption, though she usually bites her tongue to keep her job. She has a romantic interest in Lamb, a widower, so it’s pretty clear what side she will fall on with the inevitable confrontation arises.

The problem with VEGAS is that it brings together a totally predictable group of characters in a very familiar situation. What one may forget when star struck by the stellar cast, or while admiring the terrific sets and costumes, is that there isn’t anything new or original here; it’s the same old stuff that is on other shows in a different package. I admit, the presentation is of a higher quality than in most productions. But that’s just putting a fresh coat of paint on the same old wagon. The axle is still rusty.

Now, if VEGAS would fully embrace the history lesson, even with the dramatic license taken by Hollywood, I could get on board. Even as O’Connell and Lamb sway to the rote dance steps, or as Savino does exactly what we think he’s going to do, it would be interesting because there is a complete story to tell over several years, with growth and twists. It wouldn’t live up to the epics that HBO and AMC put out, but it would be something pretty novel for network television.

Unfortunately, from the “Pilot,” at least, it looks like any greatness will be tampered dull by making Lamb solve a case of the week. This is a CBS staple, a network built on its procedural crime dramas. True,  VEGAS will be in a league of its own in that genre, and should be really cool for people who like this type of series. But for those who don’t want the same story virtually every week, though, signs are not looking good for the long-term prospects of the show.

VEGAS premieres September 25^th on CBS.

'The' Special Relationship?

    HBO's newest movie is called The Special Relationship, and revolves around Bill Clinton's second term as president of the United States, and Tony Blair's first term as prime minister or Britain.  I'm not sure why they seemingly had a special relationship, even after viewing the movie.  Their relationship didn't seem particularly more interesting or complicated than plenty of other world leaders'.  But it wasn't a bad movie.

     The beginning flipped quickly past Blair taking advice from the Clinton team on how to win, then concentrated on three meaty segments of their time: the Lewinsky scandal, Kosovo, and the 2000 U.S. presidential election.  Each lasted a certain number of minutes, but the after effects of the main event being focused on were never discussed.  As such, it seemed more a series of vignettes than a cohesive film.  It also was far from balanced, painting Blair as the humble, heroic figure and Clinton as a lying, scheming, manipulator.  Both characterizations are rooted in some truth that happened, but again, this movie did not seem to want to explore complexities.

     The best part of the film was the acting.  Michael Sheen took a third go round as Tony Blair, having previously portrayed him in The Deal and The Queen.  At this point, he's practically become more recognizable to Americans as Blair than Blair himself, and so it's hard to judge his performance as anything but thoroughly realistic.  Helen McCrory was a delight as his wife, Cherie, whom she also played in The Queen, and so the chemistry was already set.  Dennis Quaid came as close to Clinton as any non-comedian I've ever seen.  The only weak link was Hope Davis, usually a wonderful actress, playing Hillary a little softer and weaker than expected.  However, as the Hillary scenes were mostly private moments, it's hard to say it she was being accurate or not.

     I wouldn't discourage anyone from watching the film, but I wouldn't necessarily encourage it either, unless you have an interest in the event covered, as I do.  Sheen made Blair really grow and come into his own over the course of the hour and a half, but other than that, there's not much that stands out.  Not exactly what I've come to expect from HBO, but feel free to make your own judgments.