Going MUTE

Article first published as Movie Review: MUTE on Seat42F.

Netflix, besides making a ton of television series, has recently started putting out lots of original films, too. One of the newest is MUTE, which is written and directed by Moon’s Duncan Jones, also written by Michael Robert Johnson (2009’s Sherlock Holmes). It follows a mute man named Leo who runs afoul of mobsters as he searches for the woman he loves, who has gone missing. And, just to add some flavor, it is set in Berlin, Germany in the future, although the characters do speak English.

The setting is interesting, though not all that relevant to the story. Sure, the reason Cactus Bill (Paul Rudd, Ant-Man) is in the country is because of a war that hasn’t happened yet, so in that way it ties into the futuristic framework. Yet, there could be another reason for Bill’s presence without jumping forward, so I’m not quite sure why this film doesn’t take place today other than that the choice makes for some very cool visuals.

The story itself is a basic one at its heart, with some complexity thrown in to keep it interesting. Leo (Alexander Skarsgard, True Blood) deeply loves Naadirah (Seyneb Saleh, Dogs of Berlin). Leo is a lonely man, so it makes sense that he’d be even more invested in the relationship than most people in his situation might be. Thus, of course he’s willing to give up everything, his job, his personal safety, unconcerned of what anyone else might think of him to find her, his sole purpose. It’s a sweet, if familiar, tale.

What does make the film a bit unique is that Leo is mute. The explanation involves a childhood accident and a deeply religious family that espouses surgery that could correct it. But the point is, Leo doesn’t talk to anyone in the movie. He occasionally signs, sometimes writes things down, but the majority of his communication is through body language and facial expressions. It’s a great role for Skarsgard, who performs it wonderfully. Though, of course, it’s a shame the production didn’t use an actual mute actor. But if they were going to choose a non-mute performer, Skarsgard is the right choice.

Where the story veers into weird territory is when it focuses on Bill, a layered character. He deeply loves his daughter and is devoted to getting her back to North America. To do so, he has to work for some bad dudes until they are willing to provide him a passport. (He’s a military deserter, so can’t go through normal legal channels.) Bill has an unexpected connection to Naadirah, which is interesting. He also has his own moral code which allows him to operate outside the law, and yet have some mixed values. For instance, he can remain friends with someone who’s behavior deeply offends him.

Between Bill and Leo, I really liked MUTE. Two great performances, two great roles. Smaller characters like Naardirah, her roommate Luba (Robert Sheehan, Misfits), and Bill’s buddy Duck (Justin Theroux, The Leftovers) make many of the scenes more colorful in the best of ways.

MUTE has been getting mixed reviews, some saying it’s a slog, gimmicky, or a mess. Honestly, I didn’t see those things when I watched. I found it compelling, visually stunning, unexpectedly creepy, and tantalizingly sexy all at the same time. My positive bias towards futuristic things could be at play here, but I’ve given other sci-fi less than stellar reviews lately, and I feel like MUTE doesn’t deserve that. It’s not a perfect film, nor will it make my must-rewatch-soon list. But I really enjoyed it for all the reasons above, a short story’s worth of material brought satisfyingly to life.

MUTE is available now exclusively on Netflix.

THE DIVERGENT SERIES: INSURGENT Blu-ray Review

Article first published as Blu-ray Review: 'The Divergent Series: Insurgent' on Blogcritics.

This week, the second film in the Divergent Series, Insurgent, is released on 3-D Blu-ray, Blu-ray, and DVD.  Divergent is set in a post-apocalyptic Chicago, where the remaining humans have been sorted into castes based on their abilities. One girl defies the framework and challenges those who wish to manipulate it for their own gain. Picking up just a few days after where the last Divergent movie ends, Tris (Shailene Woodley) and Four (Theo James) must bring the fight to Jeanine (Kate Winslet) before she destroys their society, pinning death and chaos on the pair. Jeanine’s tool to do so happens to require Tris, and the trippy adventure to get there is action-packed and visually impressive.

The story behind Insurgent is interesting, if a little underdeveloped. The plot rockets through four different groups of people in two hours, while still trying to grant some character development to the leads. This means little insight into the various factions and their leadership structures, even as each new corner of the world begs to be explored. And it’s a fascinating world.

Most of the action is focused on Tris, the emotional entrance to the film’s heart, and I understand the desire to maintain the focus there, but it feels like there are wasted possibilities constantly plucked and then discarded.

As a result, those plot threads are neglected, minimizing the roles of terrific actors, new to the sequel, including Octavia Spencer (The Help), Naomi Watts (The Impossible), and Daniel Dae Kim (Lost). I find myself wishing for more story in each of their zones. The talented new cast members, join the already impressive cast from the first movie (which, alongside Winslet, includes Ashley Judd, Mekhi Phifer, Jai Courtney, Ray Stevenson, Miles Teller, Maggie Q, and more).

The overall story arcs feel a bit weak at times. For instance, Tris is able to resist the mind-controlling serum in the first movie because she is Divergent, but quickly succumbs to Candor’s truth juice? The powers of a Divergent aren’t quite clear. And why does Candor have its own guards? It also seems like Jeanine has a lot of power, but then has no idea what is going on in other parts of the city, though the soldiers that work for her always seem to show up when the movie requires another shot of adrenaline.

Insurgent is not a bad film. What it lacks in plot, it makes up for in some really neat shots. I wish I’d been sent the 3-D version of this film to review because I am sure it would be cool to see all of the visual effects with depth. As it stands, even the  Blu-ray version is pretty good looking. Some wide shots and crowd scenes are identifiable as computer-generated, but everything that happens to Tris, and there’s a lot of mind-confounding stuff for her to go through that isn’t set in reality, is very well done. As a blockbuster-type movie, Insurgent delivers on the expectation for big, flashy scenes.

The special features on this set are also much better than most recent releases I’ve seen. “The Ultimate Behind-the-Scenes Access” is the entire length of the movie, often showing the film in a small box while talking about different aspects. This is more than just fluff, giving real insight into a variety of pieces of the production. There’s also a separate audio commentary, and several featurettes about adapting the book, the cast in general, a break down on a scene, and a look at perhaps the most interesting character, Peter Hayes (Teller). Most of these are not on the straight DVD, so that means blu-ray is recommended, though I’d imagine 3D is the best way to go if you have a 3D television and player.

In short, while Insurgent has some flaws, the package has a lot of value to it. It may not be as good as some other recent entries in the genre, but there is a lot of clever, original material here, too, which will give the savvy viewer much to ponder long after the film is over. Combined with a great array of extras, I’m glad to add this to my collection.

The Divergent Series: Insurgent will is available August 4th.

‘The Other Woman’ – Blu-ray Review

Article first published as ‘The Other Woman’ – Blu-ray Review on Blogcritics.

Movies make it to disc so much more quickly these days than they used to! Barely three months after its theatrical release, The Other Woman gets the Blu-ray and DVD treatment on a single disc. The story of a wife, her husband’s mistress, and his other mistress, it’s a comedy of female bonding and revenge, with a dash of 9 to 5 vibe, as the trio of women make the sleazy man who has wronged them all pay. Too bad it’s not that funny.

At the center of The Other Woman are two figures. Cameron Diaz (Bad Teacher) plays Carly Whitten, a tough lawyer who thinks she has finally succeeded in the dating world, a struggle that has made it hard for her to care about others as a coping mechanism. Leslie Mann (This is 40) is Kate King, the spouse without a job or kids to occupy her, and who desperately needs something in her life besides giving her husband ideas to use at work. They form an unlikely bond of friendship as they decide how to handle their common scourge, Mark (Nikolaj Coster-Waldau, Game of Thrones). They later find him sleeping with Amber (model Kate Upton), too, which prompts them to take their schemes to the next level, determining that Mark must be stopped once and for all and punished severely.

Diaz and Mann are two film veterans, so one would think that their casting in The Other Woman would be a no-brainer. But they aren’t well used and the film suffers from a mediocre script. It’s nice to see Diaz playing the rock at the center of the crazies, and Mann does annoying well. But Kate is too annoying, to the point where it’s hard to feel any sympathy for her, even as one realizes that Mark’s behavior may be a driving factor in her current personality. The two also go from detesting one another to being bosom buddies without enough explanation in between, during their second night of getting plastered. A smidgen more connection between point A and point B would be welcome.

The Other Woman doesn’t get any better when Upton shows up. Upton and singer Nicki Minaj, who plays Carly’s entitled assistant, are not actors and it shows. Thankfully, Don Johnson (Nash Bridges, Miami Vice), who plays Carly’s dad, and Taylor Kinney (Chicago Fire), who is Kate’s brother and Carly’s love interest, are good. However, this makes for a very uneven ensemble, keeping the film rough around the edges.

Coster-Waldau is deliciously charming and sociopathic, but we don’t get to see that enough. For most of the running time of The Other Woman, he’s getting away with things, not suffering at all for his sins. In fact, at least one of the females who has the most justifiable anger towards him still is tempted to sleep with him even after the truth about him is exposed. By the time he gets his comeuppance, which, of course, must happen, it’s satisfying, but doesn’t give the actor enough of a chance to shine in that more interesting situation.

The story stumbles along for quite awhile, taking a bit of time before it goes anywhere. Then, once it does, it goes a little too fast, jumping from tiny pranks to the big finale quite quickly. Some of the emotional hurdles between the three women and their feelings for the man are leapt over with barely a mention, making the girl power angle fall short, too. The ending is very neatly tied up, which makes sense for a film like this, but it also robs the proceedings of authenticity and honesty. This could be forgivable if there were more jokes, but since the tone is more focused on pathos than laughs, it doesn’t quite land. There are worse ways to spend two hours, but neither can I really recommend this movie.

The extras for The Other Woman are light. We get eight deleted scenes, including an epilogue tag for Mark, a gag reel, gallery, trailer, and “giggle fit,” nothing that really gives insight into the production or story. The picture and audio quality are excellent, as most current films tend to be on blu-ray, but other than a couple of beach shots, there’s not really anytime this is taken advantage of, so blu-ray is preferred only in that DVD starts to look bad after watching most video in high definition.

In all, The Other Woman is forgettable and this release doesn’t show much effort to try to make up for that. If you’re so inclined, it is available now.

HBO Takes Us BEHIND THE CANDELABRA

Article first published as BEHIND THE CANDELABRA Review on Seat42F.

Grade: 95%

HBO generally does a great job with their original films, and the latest, BEHIND THE CANDELABRA, which premiered last night, is no different. The movie details the relationship between famous performer Liberace (Michael Douglas) and Scott Thorson (Matt Damon), from when they meet to Liberace’s death. Based on the book by Thorson, it may feel a little one-sided, but is well presented.

Douglas is excellent as Liberace. He lived before my time, so I don’t have personal memories of the performer, but from the little bit I know about him, Douglas seems to capture the spirit and the personality. He is a flamboyant showman, insecure and addicted to being loved. He seems to find peace for a time with Thorson, but is always hungry for more attention and affection.

Damon is equally captivating as Thorson. At first, Thorson seems stiff and wooden, but over time, as he adjusts to Liberace and his lifestyle, Damon makes the man come alive, embracing a home, something he desperately wants and lacks all his life, as well as a way of living and direction. Thorson may or may not be bisexual, as he claims at first, perhaps willing to be with whoever will accept him. He does seem to care about Liberace, but Thorson also cares about being taken care of.

BEHIND THE CANDELABRA is much more than a biopic. It is the very tragic tale of two souls who have never quite found what they are looking for, but discover a kindred spirit in one another. They are both broken and damaged, and while they try to be what the other wants, sensing the similarities, they aren’t able to live up to those lofty expectations. Both scramble for something to hold onto, but are nearly impossible to satisfy.

Their love story reflects this inability to just be happy in the moment. They both make efforts to do so, but without knowing how to love themselves, they aren’t capable of being fully supportive of one another. Liberace turns to cosmetic surgery and sexual trysts, while Thorson becomes addicted to drugs, but the pathways are more alike than diverging.

Did Thorson love Liberace, or did he just want what Liberace was offering? Did Liberace love Thorson, or was he just drawn to the youth and spirit Thorson represented? These questions aren’t explicitly answered in the two hours, but Damon and Douglas give complex performances that capture the chemistry, warring emotions, and desires within the two men.

The two leads are joined by an absolutely outstanding supporting cast which includes: Dan Aykroyd as Seymour Heller, Liberace’s protective manager; Scott Bakula as Bob Black, the mutual friend that introduces them; Debbie Reynolds as Frances, Liberace’s elderly mother; Cheyenne Jackson as Billy Leatherwood, Liberace’s dissatisfied protégé; and Paul Reiser, Boyd Holbrook, Mike O’Malley, and Tom Papa in small parts that still leave an impression. All of these others may be on the outskirts of the main tale, but deserve credit for making it seem like a whole, complete look at two lives.

Special mention goes to Rob Lowe as Dr. Jack Startz, Liberace’s plastic surgeon and the pusher of Thorson’s drugs. At this point, it should hardly be surprising that Lowe can bring to life yet another eccentric oddball that feels fresh, and yet, he pulls it off again. A lot can be attributed to the facial expressions he exudes, but Lowe definitely plays a memorable role in this film.

Costumes and production design are predictably flawless. At this point, if a studio can’t deliver a convincing period piece, they ought to be ashamed of themselves. What is extra impressive in BEHIND THE CANDELABRA, though, is not just what stands out, but the reality glimpsed behind the facade. Glitter in Liberace’s hair that seems shining on stage comes across as part of a silly costume in the real moments away from the audience. The elaborate home of Liberace tells as much about the character as Douglas’s acting does. Liberace’s hair piece becomes a very essential representation of the man himself. These touches make the piece.

Pacing wise, BEHIND THE CANDELABRA does drag a bit in the middle. I think it kind of needs to to demonstrate where the romance begins to wear thin and when the problems crop up. However, there is a point where I got a little tired and the plot seemed to become a little predictable before ramping up to the antagonizing end.

The characters and their story is as much about our society during a certain decade as it is the people that the movie is about. The gluttony of excess is a familiar tale, one featured on the big screen right now in The Great Gatsby, a quintessential American trait. And with the gay rights movement finally changing minds and laws all over, it’s interesting to look back at a time of ignorance and denial. Including Liberace’s Catholic faith and funeral also points to the discrepancies present in many institutions, then and now.

BEHIND THE CANDELABRA is worth watching for all of the reasons I’ve mentioned and more. It’s not a perfect film, with historical events told from a certain point of view, but it is one that conveys something important and meaningful, balancing the personal story with the larger themes. Check it out, as HBO is currently re-running it frequently.

Blu-ray Review: Easter Parade

Article first published as Blu-ray Review: Easter Parade on Blogcritics.


Many are already familiar with the classic 1948 film Easter Parade, recently released for the first time on Blu-ray. The movie musical, set in 1912, revolves around Broadway star Don Hewes (Fred Astaire, Top Hat), whose dancing partner, Nadine (Ann Miller, You Can't Take It With You), decides to split off on her own. Frustrated, Don grabs a gal from the chorus named Hannah Brown (Judy Garland, The Wizard of Oz) and tries to shape her into a suitable replacement.

Easter Parade is a light-hearted, fun romp. There is plenty of humor, perhaps than in other entries in the genre, and lots of good old Irving Berlin music, including such classics as "Steppin' Out With My Baby," "Shakin' the Blues Away," "Happy Easter," and the title song, "Easter Parade."

Sure, there is conflict; Hannah doesn't do very well when Don is dictating her every move to her. But these are played more for laughs than for a meaty story. And, in keeping with the happy tone, Don eventually embraces who Hannah is, letting her do her own thing, and she soars, becoming the best partner he could ask for. It's kind of an early version of the hot-guy-makes-a-geek-girl-pretty-and-popular-then-learns-a-lesson-from-her tale that became so standard decades later.

There is something to be said about movie musicals of this era. Perhaps they can be considered fluff, as the only drama comes from the slightly rocky relationship road to a happy, romantic ending, but sometimes that's just what's needed to curl up with on a lazy afternoon. The dark, twisty fare filling our theaters today may often involve high quality writing, but viewers don't always want to be depressed by the material. Easter Parade, by contrast, will make you smile and improve your mood.

Just because the story is a little cheesy, and mostly designed to let the cast sing and dance as much as possible, doesn't mean that the acting isn't good, especially because they excel in the singing and the dancing. Garland is a veteran by this point, and knows how to deliver. Astaire is even further into his career, and the two together are terrific. Plus, the supporting cast includes Rat Pack member Peter Lawford (The Thin Man, Ocean's Eleven) as Johnny, Don's best friend.

Easter Parade does look pretty grainy, even in this new release. It is an old film, and it definitely shows its age, and in a few spots the color isn't consistent. But taking that into account, overall it's not bad. It definitely has more detail and richer colors than are available in past releases, and the flaws aren't enough to take one out of the viewing experience.

The sound is better restores than the picture, in my opinion. Sure, it does still come across as from another era from time to time, but you can clearly hear every note of Berlin's score, and the mix between dialogue, music, and other noises is handled well.

There are quite a few extras included on this new release. There's a commentary by Ava Astaire McKenzie, Fred's granddaughter, and John Fricke, an Oz historian, which may seem a little strange, given that these people had nothing to do with the film, but it's interesting. Also included is a theatrical trailer, radio promo, and an hour-long audio-only broadcast from 1951. Plus, outtakes and dailies from the cut song "Mr. Monotony," a featurette on the film, and an American Masters special about Garland are also included.

Easter Parade is a good selection for those who love mid-20th Century Hollywood movies. It's got the weight of the names behind it, and is thoroughly entertaining. With nice extras and a somewhat better picture, it's especially nice for those who do not yet own this title, but there are a couple of bonuses for fans who are upgrading.

Easter Parade is available now on Blu-ray.

Blu-ray Review: Driving Miss Daisy and more from Warner Brothers

Recently, Warner Brothers reached back into its extensive vault and released three classic films on Blu-ray. The jewel of this trio is Driving Miss Daisy, the memorable tale of a feisty southern woman (Jessica Tandy) and her loyal chauffeur (Morgan Freeman). The movie won four Academy Awards, including Best Picture, in 1989.

Driving Miss Daisy is a personal story, told over 25 years, about the relationship between two very different individuals, one a Jewish woman, and the other, an African-American man. They each have their own prejudices, backgrounds, and interests, but over time, become best friends. The movie is also a commentary on race relations at large, and a history lesson on the changing attitudes of the American people, especially in the South.

Tandy won a Best Actress Oscar for the role, an honor she greatly deserved. Freeman, nominated for Best Actor, is equally good, and the chemistry between the two actors feels as real as anything I've ever seen. Even decades after this movie came out, the experience of watching it remains as engrossing and special as ever.

Driving Miss Daisy is buoyed by a terrific supporting cast, including Supporting Actor nominee Dan Akryod as Miss Daisy's son, Boolie, who tries to get her to overcome her pride and accept help as she ages, Patti LuPone as Boolie's wife, and Esther Rolle (Good Times) as Miss Daisy's beloved housekeeper, Idella, who is the catalyst for a very emotional development in the movie.

The release of the movie includes a 32-page book built into the disc case. It has some interesting information on the making of the movie, as well as the actors in it, with lots of beautiful photos. There is also a new featurette talking about discrimination in Atlanta, as well as previously released extras like an audio commentary, featurettes, and the theatrical trailer.

The movie itself has been remastered to great effect. I noticed that there is great detail in low-lit scenes, and while things may look a little grainy, that feels appropriate for the time period. There aren't a lot of bright colors in the flick, but the ones that are present are done well. I didn't detect major artificial contrast, and the visuals looking authentic. The sound is clear, and well mixed. There is a loud factory scene, but dialogue still comes through it. Driving Miss Daisy isn't really designed for surround sound, but as a stereo track, the feed is detailed and rich.

At the same time as Driving Miss Daisy is released, two other pictures came out, albeit with simpler editions. The first is Mrs. Miniver, the Academy Award Best Picture winner of 1942. The title role is played by Greer Garson, who also won an Oscar for it. The second is Grand Hotel, which was named Best Picture for 1931/32, and boasts a stellar ensemble cast including Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, and Lionel Barrymore.

The plot of Mrs. Miniver takes place in England during World War II. Maybe Mrs. Miniver can't personally fight in the war, but she can rally the spirits of those back at home, providing support to children and her neighbors alike, even sticking it to a face of the enemy. It's an inspiring movie about the resolve of a nation, personalized by one brave heroine, and released at a time where it could do the most good as propaganda.

Grand Hotel, by contrast, is less heavy material. A gaggle of stars cross paths at the building mentioned in the title. Friends are made, deals are closed, and crimes are forgiven. It's a place where lives can be changed, and they are. "Nothing ever happens" my foot, the famous line of dialogue dripping with contrary meaning.

These two older films remain in black and white, but look and sound pretty good in their new transfers, though occasionally appearing soft and lacking detail at times. Mrs. Miniver, made a decade later, is a step above Grand Hotel in picture, if not in audio.

For movies these old, one doesn't expect total magic, but they are serviceable releases, and surely an improvement over previous versions. They also lack new extras or colorful, photo-filled books, but will still provide an entertaining way to pass an evening. The stories themselves hold up, and really, what more can you ask for in films this old? As long as the remain entertaining, they deserve to be watched again, and both of these movies fall into that category.

Driving Miss Daisy, Mrs. Miniver, and Grand Hotel are available now on Blu-ray from Warner Brothers.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as Blu-ray Review: Driving Miss Daisy and more from Warner Brothers on Blogcritics.

The Descendants hits Blu-ray

Now out on Blu-ray / DVD / Digital Copy from FOX is The Descendants. The film, directed by Alexander Payne (Sideways, About Schmidt), is adapted from a book by Kaui Hart Hemmings. It tells the story of a family dealing with the tragedy of a mother's, Elizabeth (Patricia Hastie), accident. Husband Matt (George Clooney, Up in the Air, ER) soon learns that it's harder than it looks to take care of two daughters. His life is further complicated by a business deal involving his family's land, and learning that Elizabeth has been cheating on him. 

The Descendants is not a plot-heavy film, though there is a nice flow to it. Instead, it concentrates on exploring the emotions of those involved, and how people's actions can affect others. It is also about the dynamic of a particular family, and how it is shaped by circumstance.

This movie boasts a number of fantastic performances. Clooney is doing something a little different than usual, tackling an average schlub type of character rather than one who is exceedingly charming and handsome. Beau Bridges (Brothers & Sisters, Max Payne), as a relative of Matt's, is as close to a villain as the piece gets, something a little off of his best known parts, too. But no one is really black or white, and his motives are decent enough. Robert Forster has a tough position, playing Matt's father-in-law, but handles it expertly.

Rob Huebel (Childrens Hospital, I Love You, Man) and Mary Birdsong (Reno 911!) are known for their comedy, and do lighten things up a bit as Elizabeth's friends. Judy Greer (Arrested Development, Archer, 13 Going on 30), also known for being funny, tones it down to do some serious drama, which, it turns out, she is pretty good at! Matthew Lillard (Scooby-Doo, Scream) is also wonderful in a layered performance as Elizabeth's married lover.

Perhaps most surprising, though, are the young performers in The Descendants. Shailene Woodley, who plays elder daughter Alex, is best known for the cheesy Secret Life of the American Teenager on ABC Family. Anyone who has watched that series could be forgiven for expressing shock at her fantastic, nuanced, grown up performance in The Descendants. Lesser known Nick Krause (How to Eat Friend Worms) carries the double duty of heart and comedic relief with ease. Young Amara Miller is also wonderful, making it odd that she has no prior screen credits.

Another character in The Descendants is Hawaii itself. The beauty and majesty of the tropical environment are incredibly important to the feel of the film, which is why purchasing the Blu-ray version is recommended. With the breathtaking landscapes, one will want the rich detail of high definition to fully appreciate a world so different from much of America. The colors are lush and deep. The picture quality in this release is awesome.

Sound is vital, and The Descendants pays attention to that, too. There is a terrific score underlying the movie. Many of the scenes are filmed outside, but the 5.1 Dolby Digital soundtrack only uses the ambient noises needed to enhance, not distract, from the piece. It is all mixed together expertly.

The Descendants was nominated for five Academy Awards, winning the one for Best Adapted Screenplay. It also won the Golden Globe for Best Picture - Drama. Additionally, Clooney took home a Golden Globe for his acting performance. These accolades are deserved. Whether one enjoys the film or not, it's easy to appreciate the artistry of what it is, and the masterful work Clooney and Payne have done. 

The Descendants is packed with bonus features, though, strangely, it lacks an audio commentary track. A trailer is present. The deleted scenes delightfully have title cards that explain a little bit about what viewers are about to see, and provide reasons for why they were cut. Too bad there are only two of them, one very brief.

To hear the extras tell it, two men are primarily responsible for the success of the film. "Everybody Loves George" has cast members, including Greer, Lillard, Huebel, and Birdsong, raving about George Clooney. They all say that he is a great, handsome, funny guy who deserves his good reputation. Boring? Not really, because there are interesting anecdotes mixed in, too. But everyone does tend to love Clooney for a reason, and fans will find the featurette a confirmation of this.

"Working With Alexander" has Woodley, Bridges, and others raving about how fantastic it is to work with Payne, who inspires enthusiasm, and is as nice and humble as Clooney. Apparently, Payne is clear with what he wants, and takes good care of his people. Sounds like a director for whom getting stars for his next film will not be a problem.

"The Real Descendants" tells the story of how Hawaiian land become privatized. It's a bit of a history lesson, but useful to understand some of the background on one of the subplots. These extra also touches on Hollywood's connection with the island state. "Hawaiian Style" speaks of some of the authentic details that contribute to the realism of the setting, including the feral chickens that roam the area after an early 1990s hurricane. Additionally, the cast and crew share their favorite native words.

Some of the extra titles are right on this nose. "Casting" is exactly what it sounds like. Casting people talk about how they found the people in this movie, including Lillard and Miller. "Working With Water" discusses just how hard it is to film scenes in boats and out on the ocean.

Believe it or not, there are even more features than this, including three music videos, a silent film, and a conversation with Payne and Clooney! So needless to say, there are a lot of special features in this set that will make sure you get your money's worth.

Buy The Descendants, available now as a Blu-ray / DVD / Digital Copy combo pack.

If you like my reviews, please follow me on Twitter! Article first published as Blu-ray Review: The Descendants on Blogcritics.

New Moon turns new page

     Before I even begin my review of the second movie in the Twilight saga, I'd like to admit outright that I expected this movie to suck.  Here's why.  I read all four books, and while I enjoyed the story, I believe that Stephanie Meyer is a terrible writer.  Her writing style is uneven, and many of the characters are two-dimensional.  I feel like that series is a great idea, but would have been handled better by another writer.  Thus I was excited to see the first film, hoping someone had fixed her mistakes.  Sadly, I was disappointed.  The entire thing felt poorly executed, capturing the book exactly.  Add to that, even fans of the series have trouble getting through that overly depressing second book (until Edward comes back), and I almost didn't even make the trip to the theater this weekend.

     Boy am I glad that I did.  New Moon was fantastic!  Kristen Stewart proved her acting chops, making me regret doubting her as Bella.  Taylor Lautner similarly delivered as Jacob, showing that he did not need a recast.  A slightly expanded role for the wonderful Billy Burke as Charlie was welcome, and I delighted when Ashley Greene's Alice returned near the end.  I wish there were more of the vampires, especially Rachelle Lefevre and Elizabeth Reaser, who proved themselves to be quite capable in What About Brian? and Grey's Anatomy, respectively.  The action was great, the effects flowed seamlessly, and the story didn't drag like the book did.  Bella's moping was done artistically, instead of torturing the viewer.

     I did, however, figure out what was wrong with the first movie, and this is going to be a very unpopular revelation.  It's Robert Pattinson as Edward.  He was wooden and lacked chemistry with any of the other actors during his thankfully abbreviated screen time.  I now realize it was his fault the first movie was so bad, as Kristen can act when taken away from his talent-sucking pout.  I am strongly against recasting movies, but I beg the producers to reconsider in this case, although I know they won't.  Perhaps Robert could enroll in some acting classes?  Or simply be tutored by a few of his costars, each one a worthy teacher?  New Moon was a great piece of cinema, but I worry about the upcoming sequels if Edward remains unchanged.  I know that's the point of his character, but come on!  Learn from your success.

The Plan for Galactica

     Battlestar Galactica: The Plan came out on DVD October 27th. For fans of the recent four season series, this was a worthy side story. For the first hour and twenty-five minutes or so, it just seemed to fill in some gaps from the miniseries and first two seasons, but the last twenty minutes made the whole thing worth it and really gave the story meaning. In those moments, the viewer will see certain Cylons in a whole new light, and understand even more what their intentions were.

      The made for tv movie, that has not yet aired, stars Dean Stockwell as Brother Cavil. The whole thing really hinges on him, book-ended by the death of two of his models. Not only do we get to finally see what he was doing before he showed up on screen, we actually see a version of him that is a bit sympathetic. I have always maintained that he is the only truly evil character in the show, everyone else falling in some shade of grey. In this, there is the evil Cavil, but there is also one who sees the perspective of human love, and understands what is happening to the other Cylon models. It gives the part new meaning, and really allows Stockwell an opportunity he didn't have in the series.

      Also featured are Ricky Worthy's Simon Cylon and Lymari Nadal as Giana. You may (or more likely may not) remember Giana from the miniseries, played by Edward James Olmos's real-life wife. She gets a meaty story that combines with Simon's. All of the other Cylons also show up, though Diana and Tori only briefly, and Ellen only slightly more. None of the other Galactica characters appear to have shot new footage, but there are scenes from the series mixed in, cut seamlessly together. If I had not watched the series, I would not have realized that they were recycled, so well it is put together. There are also some awesome new special effects, and fans will love to see planet-side action just before the series began.

     All in all, this wasn't earth shattering. It couldn't have been. The series concluded very satisfactorily. And if you haven't ever watched the show, you'll be more than a little lost. But for fans who craved just a little more, this does a fine job of giving you that. Directed by Edward James Olmos, who played Adama, and written by Buffy's Jane Espenson, I recommend that fans of the show add it to their Christmas list.