Game Night

BLU-RAY REVIEW: 

Warner;
Comedy;
Box Office $68.85 million;
$28.98 DVD, $35.99 Blu-ray;
Rated ‘R’ for language, sexual references and some violence.
Stars Jason Bateman, Rachel McAdams, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Chelsea Peretti, Danny Huston, Michael C. Hall, Kyle Chandler.

The premise behind Game Night is simple yet solid: A group of friends gets together to play some board games, only to have the party interrupted by criminals, involving them in a caper they believe to be a more-elaborate game.

And sometimes, having an entertaining time with a movie doesn’t have to be more complicated than that. Think of it as David Fincher’s The Game mixed with the comedic sensibilities of The Hangover.

The premise allows room to build jokes around the quirks of the characters, which only feeds the comedic potential of the premise further. It helps that there are multiple levels of where the game might end and real danger might begin, which makes for some hilarious moments for the characters when they don’t realize where that line is but the audience does.

Game Night was co-directed by John Francis Daley and Jonathan Goldstein, the team behind the 2015 Vacation remake, for which this is a bit of a step up, and co-writers of amiable fare such as the “Horrible Bosses” movies and Spider-Man: Homecoming.

The cast is charming and the script knows just how long to push a story point before it wears out its welcome, making this a great movie for a cozy evening in or a diverting re-watch with friends in a casual setting.

The Blu-ray includes an effective but short four-minute behind-the-scenes featurette and a funny seven-minute gag reel.

The Post

BLU-RAY REVIEW: 

Fox;
Drama;
Box Office $81.88 million;
$29.99 DVD, $34.99 Blu-ray, $39.99 UHD BD;
Rated ‘PG-13’ for language and brief war violence.
Stars Meryl Streep, Tom Hanks, Bob Odenkirk, Carrie Coon, Bruce Greenwood, Jesse Plemons, Sarah Paulson, Tracy Letts, Bradley Whitford, Matthew Rhys, Alison Brie, David Cross, Zach Woods.

Even before seeing the movie, the obvious question surrounding The Post is why the filmmakers would decide to focus a story about the publication of the Pentagon Papers on the efforts of The Washington Post newspaper when the bulk of the material was broken by The New York Times.

After watching it, though, it’s a lot easier to understand some of the reasons director Steven Spielberg guided the film along the approach it took.

For one, there just seems to be much more storytelling to mine from the Washington Post perspective, whereas a Times POV would likely have been a more straightforward legal drama about the relationship between the press and government.

At the time, the Post was still seen as primarily a local D.C. publication without the broad national following it has now. Financially strapped, the paper issued an IPO that could have been threatened by any legal troubles encountered as a result of publishing the leaked documents copied from a classified report that exposed government deception in the conduct of the Vietnam War.

And that’s on top of the expected discussions of the role of journalism in a democracy and defending the First Amendment against government pushback, with the Times included in all those story points anyway.

There’s also an argument to be made that the primary interest of the film isn’t even about the Pentagon Papers to begin with.

Certainly, looking at the film from the prism of the Pentagon Papers as the subject matter makes it seem like it’s the story of a minor newspaper jumping on the bandwagon of a bigger newspaper to gain stature.

But keeping a bigger picture in mind, the film is much more about how the Post rose in prominence under the leadership of publisher Katharine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks), and that the Pentagon Papers just happened to be the catalyst.

From Spielberg’s perspective, it probably didn’t hurt that this approach also allowed him to devote significant screen time to Graham in depicting the ascension of a female publisher in a man’s world.

Spielberg also seems interested in positioning the film as a prequel of sorts to All the President’s Men, showing how the Post became the paper that drove coverage of the Watergate break-in.

As such, The Post is more fascinating for its procedural aspects and character dynamics for any actual history it’s trying to explore. The film also sees itself as an allegorical commentary on criticism of President Trump’s relationship to the media, and his tendency to label detractors as “fake news,” but these aspects of the film are really only going to appeal to choirs expecting to be preached to. One could be completely oblivious to such perceived messaging and still find the film immensely entertaining. The performances are terrific and the nitty-gritty details of classic print journalism are just fun to see, particularly contrasted with the digital simplicity of today.

The Blu-ray includes a number of good behind-the-scenes featurettes that detail the making of the film and explore the real-life circumstances being explored. This being a Spielberg movie, there’s also a featurette about the music composed by longtime collaborator John Williams, this being their 28th film together.