The thriller The Quarry arrives on Blu-ray (plus digital), DVD, and digital June 16 from Lionsgate.
The film is available now on demand.
Based on the novel by Damon Galgut, The Quarry stars Shea Whigham, Academy Award nominee Michael Shannon (2016, Best Supporting Actor, Nocturnal Animals) and Academy Award nominee Catalina Sandino Moreno (2004, Best Actress, Maria Full of Grace) and is from a writer of “Narcos: Mexico.”
In the film, after murdering a traveling preacher, a fugitive drifter (Whigham) travels to a small town in Texas and poses as the man he killed. Though the congregation loves the drifter’s sermons of forgiveness, the local police chief (Shannon) is suspicious.
Street Date 1/7/20; Warner; Drama; Box Office $333.5 million; $28.98 DVD, $35.99 Blu-ray, $44.95 UHD BD; Rated ‘R’ for strong bloody violence, disturbing behavior, language and brief sexual images. Stars Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, Marc Maron, Douglas Hodge, Josh Pais, Leigh Gill.
In DC Comics, the Joker has been Batman’s primary nemesis for 80 years, and part of the reason he remains such a fascinating character is the mystery surrounding his origins and motivations.
That isn’t to say that there haven’t been versions of a Joker origin story over the years, most often tailored to a specific story being told. There just hasn’t been a definitive one as clean as his counterpart’s, the boy who grew up to fight crime after the murder of his parents. The tale of the Joker is often messy and contradictory, which only adds to his intrigue and popularity.
With the movie aptly named Joker, director Todd Phillips brings a new interpretation of the character. The script by Phillips and co-writer Scott Silver is mostly a gritty, disturbing character study about what could push a man to reject society and embrace chaos; calling it Joker, as Phillips admits in the bonus materials, just gives comic book fans an excuse to see it.
But that’s not quite a fair assessment, as the story, while not directly adapting any of the myriad source material available, does touch upon several classic elements associated with Joker and Batman from the comics, particularly the notion that all it takes is “one bad day” to push a man over the edge.
The film is anchored by Joaquin Phoenix’s immersive performance as Arthur Fleck, an anti-social, mentally ill loner and aspiring stand-up comedian who fantasizes about being accepted by a society that has little use for him. The film is set in 1981 in a moody version of Gotham City that threatens to burst at the seams at any moment, as corrupt bureaucrats leave public services underfunded while the wealthiest citizens, including Thomas Wayne, seem to have no interest in alleviating the tension.
While the story takes some violent turns and the film has courted controversy with its disturbing tone and sympathetic portrayal of a homicidal iconoclast, it nonetheless became a massive it. The film’s version of its title character has struck a nerve, becoming something of an anti-establishment champion of the downtrodden.
Phillips himself as even hinted that maybe Fleck isn’t the villain who ultimately confronts Batman, but is more of an inspiration for whomever that may be. But that’s a debate for fans and potentially a sequel that was never intended but may become a reality due to the film’s success.
Even so, there’s no requirement that this version of Joker be tied to any of the other versions of DC characters being displayed on the big screen at the moment. The look and style of the film is heavily inspired by Martin Scorsese crime dramas of the 1970s and ’80s, particularly Taxi Driver and The King of Comedy, which is perfectly in line with graphic novels that reimagine characters in different settings, something DC’s Elseworlds imprint did all the time. So, this movie is basically just what if the Joker were a Scorsese antihero.
The bonus materials for his initial home video release of Joker are somewhat sparse given its impact. The primary extra is “Joker: Vision & Fury,” a pretty good 22-and-a-half-minute behind-the-scenes featurette that includes interviews with many of the filmmakers and cast discussing how they sought to present their distinct vision of the character and his circumstances.
The other three featurettes are short highlight reels. “Becoming Joker” is a minute-and-a-half montage of Phoenix test footage; “Please Welcome … Joker!” is a nearly three-minute compilation of alternate takes of Joker’s entrance onto the late-night talk show that plays a central role in the story; and “Joker: A Chronicle of Chaos” is little more than a three-minute slideshow of photos from the movie.
A commentary with Phillips is available exclusively through copies of the film on iTunes, which owners of the Blu-ray can access as a result of the Movies Anywhere redemption code included with the disc.
(Review) Director Damien Chazelle’s visually impressive biopic about the first man to walk on the surface of the moon challenges viewers’ expectations about what a film about the space program is supposed to be by focusing on the man instead of the mission, presenting an intimate and not always flattering portrait of an American hero that most Americans actually know very little about.
Street Date 1/22/19; Universal; Drama; Box Office $44.94 million; $29.99 DVD, $34.99 Blu-ray, $39.99 UHD BD; Rated ‘PG-13’ for some thematic content involving peril, and brief strong language. Stars Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Corey Stoll, Christopher Abbot, Ciarán Hinds, Lucas Haas, Shea Whigham, Patrick Fugit.
Space program enthusiasts thinking this biopic about Neil Armstrong would be as awe-inspiring treatment as The Right Stuff and Apollo 13 might want to temper their expectations.
Director Damien Chazelle’s First Man is not altogether about the Apollo 11 moon landing. Strictly speaking, it’s not even about the space program. As the title would imply, it’s a film about Neil Armstrong the man, what drove him to join NASA, and what motivated his efforts to become the first man to walk on the moon. Depictions of spaceflight achievements take a backseat to the character study of the most famous of astronauts that, ironically, most of the public really knew nothing about.
Chazelle’s re-creations of various missions are dazzling visually, but his aim is not to celebrate the achievements of the space program the way other portrayals have. That disconnect between filmmaker objective and audience expectation may be the primary reason the film underperformed at the box office despite massive critical buzz (though, really, how much of the acclaim was simply drafting from the aura of Chazelle’s Best Director Oscar for La La Land is anybody’s guess).
First Man is moody. It’s gritty. It’s lyrical and often plays like a dream, a tone set by a haunting musical score from Justin Hurwitz that often shifts between elegant and droning. And sometimes it’s just depressing. The first two-thirds of the film feels like a 1970s independent film rather than what one might expect from a big-budget outer space blockbuster.
Ryan Gosling plays Armstrong as a sullen family man who takes on risk as a means of distracting himself from the grief over the death of his young daughter in the early 1960s. This is a portrait of a man constantly confronted with death, with several of his astronaut friends killed training for missions. Yet Armstrong presses on, despite questions about whether going to the moon is even worth it. As an engineer and pilot, Armstrong is absorbed by the challenges of spaceflight to the seeming detriment of his personal life and relationship with his wife (Claire Foy) and two sons. He even conducts a discussion with his children over his chances of surviving the moon mission with the cold stoicism of a press conference.
The depicted missions are presented mostly from the point-of-view of Armstrong, with the final part of the film taken up with Apollo 11. Most of the major events were covered much more comprehensively in HBO’s From the Earth to the Moon, and anyone familiar with that miniseries will be struck by just how much is missing from the depictions here.
That’s not necessarily to the movie’s detriment, since it needs to portray the missions just enough to show how they fit into Armstrong’s story, not America’s. The result of this narrative direction, however, seems to be a choice to portray the missions in a matter-of-fact way, more akin to 2001: A Space Odyssey or Interstellar, as opposed to an inspirational achievement the way most audiences would be used to.
The film is less interested in technical details and glosses over several of them, such as an alarm that went off several times during the lunar landing that indicated the navigational computer was being overwhelmed with data (which doesn’t get explained until the bonus materials, for anyone who isn’t otherwise aware of what happened). The film flubs a few details, too, but only the hardcore enthusiasts are likely to notice.
Once viewers can get past such challenges, it’s easy enough to appreciate the film for its technical and artistic merits, which may take several viewings to fully take in.
Notably, First Man was the first big-screen dramatization of an actual Gemini mission, with the depiction of Armstrong and Dave Scott performing the first orbital docking during Gemini VIII. The mission was cut short when a stuck thruster sent the capsule spinning out of control before Armstrong could stabilize the craft. But here’s a prime example of how the decision to stick with Armstrong’s perspective could hamper the audience’s understanding of what was really going on, aside from a colossal malfunction taking place.
Personally, the knowledge I already had of the incident helped me follow what the scene was trying to portray, so I’d recommend checking out the first episode of From the Earth to the Moon for a more omnipresent look at what happened (aside from actual research on it, of course).
Likewise, with the way the film rushes through the lunar landing sequence, the way it’s handled in From the Earth to the Moon’s sixth episode will probably be more to a lot of viewers’ tastes. (HBO would be wise to re-release the From the Earth to the Moon DVD boxed set, assuming they aren’t willing to remaster the visual effects for high-definition to finally release it on Blu-ray).
Judging by an otherwise excellent audio commentary track of Chazelle, screenwriter Josh Singer and editor Tom Cross, the filmmakers weren’t really interested in how their movie would be compared to previous examples of the genre, other than stylistically. That’s kind of a shame, as the decision to present the Gemini VIII launch from the viewpoint of within the capsule the whole time works well to simulate Armstrong’s experience for viewers, but robs us of what could have been a glorious external view of the rocket launching that hasn’t really been dramatized yet.
Instead, Chazelle saves the inspirational launch for the liftoff of Apollo 11, and while a fully fueled Saturn V rocket is a sight to behold, and First Man manages to craft a solid launch with some good shots of the spacecraft, the filmmakers were going to be hard-pressed to top what we’ve already seen from the Apollo 13 depiction of a Saturn launch, which is the standard-bearer for such sequences.
In addition, the remarkable shot from the trailers of a Saturn launch that’s reflected in a window as Armstrong watches was cut out of the movie. It’s available as one of the two deleted scenes on the Blu-ray, while the film’s trailers haven’t been included with the disc.
The other deleted scene is a sequence of the Armstrong house burning down, which really happened in 1964.
The Blu-ray also includes about 34 minutes of behind-the-scenes featurettes, which in conjunction with the commentary provide a lot of insights into the process of adapting the film from James R. Hansen’s book First Man: The Life of Neil A. Armstrong.
What’s particularly fascinating is the level of practical visual effects employed with models and in-camera opticals rather than an abundance of CGI. In fact, it’s almost as if the filmmakers used technological advancements to improve upon old-school methods, filming models and cockpits in front of a giant LED screen that displays images at a resolution high enough to look like the real deal in the final product (with some digital enhancements).
This results in several visually stunning sequences that look great on the high-definition presentation of the disc. Scenes on Earth were shot with different grain levels to give the film a retro feel that serves its tone well. Of course, Chazelle is saving most of the razzle-dazzle for the final lunar sequence, which was shot with Imax cameras and appropriately shifts aspect ratios to capture the grandeur of it on home video.
To re-create the moon, filmmakers built a giant lunar set at a quarry, filmed at night with an actual full-sized lunar lander mock-up and a giant light in the distance to stimulate the sun (as opposed to the greenscreen and CGI approach most films would likely take today). The results pay off in a visually impressive lunar sequence that provides a real stylistic contrast with how such scenes have been handled before.
While Drew Goddard’s latest directorial effort isn’t as memorable as his horror deconstruction The Cabin in the Woods, the neo-noir thriller Bad Times at the El Royale still offers a solid showcase for its talented cast, a soundtrack fueled by a dynamite selection of period-appropriate songs, and a quirky setting that serves the story well.
Street Date 1/1/19; Fox; Thriller; Box Office $17.84 million; $29.98 DVD, $34.99 Blu-ray, $39.99 UHD BD; Rated ‘R’ for strong violence, language, some drug content and brief nudity. Stars Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth, Cailee Spaeny, Lewis Pullman, Nick Offerman, Shea Whigham.
Writer-director Drew Goddard scratches an itch to play in the noir sandbox with Bad Times at the El Royale, a breezy mystery that coasts on some nice directorial touches and the strength of its cast.
Not as engrossing or genre-bending as Goddard’s previous directorial effort, The Cabin in the Woods, Bad Times at the El Royale is more of a Tarantino-esque thriller that brings a group of strangers into a remote location and then reveals they aren’t quite who they claim to be.
The caper takes place at the El Royale hotel of the title, a former hotspot straddling the California-Nevada border that lost its popularity after losing its gambling license. The setting is apparently based on the real-life Cal-Neva Lodge, a Lake Tahoe hotspot that has seen its own troubled history. It also brings to mind the hotel managed by Tony Curtis in 40 Pounds of Trouble that was situated close enough to the stateline so he could see the Cali detectives waiting to nab him for missing alimony payments.
In the first scene we bear witness to Nick Offerman tearing up the floorboards in one of the rooms to stash a bag of what is presumably money, then restoring everything to its original condition before he gets shot by a shadowy associate.
Several years later, in 1969, a disparate group of travelers arrive, including a vacuum salesman (Jon Hamm), a priest (Jeff Bridges), a runaway (Dakota Johnson) and a lounge singer (Cynthia Erivo).
Thanks to flashbacks, a non-linear story structure, and a hidden corridor that looks into all the rooms unbeknownst to the guests via a two-way mirror, we soon learn their true identities, and what brought them to the El Royale (including who is after that floorboard cash).
Things heat up a bit with the arrival of a cult leader (Chris Hemsworth) looking for some missing “property” of his own.
In a good 29-minute behind-the-scenes featurette included as the only extra on the Blu-ray, Goddard discusses several reasons why he wanted to make this film. One was to assemble a talented cast and give him an excuse to pitch something to Jeff Bridges.
Another was the chance to explore the music of the genre and experiment with ways to tie the songs into the story. Goddard even refers to the film as a love letter to music and an appreciation for the ways it changed his life.
The featurette also provides some great insights into the production design and look of the film, such as how the filmmakers built the entire hotel on a soundstage in order to accomplish the shots they needed to get. There’s also some fascinating tidbits about the film’s use of (and in some cases, omission of) color — a subtle touch that helps establish the mood for a story that at times can get extremely dark.
We also get to see some of Bridges’ on-set photography, a tradition of his dating back to the production of 1984’s Starman.
Street Date 10/2/18; Paramount; Drama; Box Office $0.7 million; $22.99 DVD; Rated ‘R’ for some sexuality, violence and language. Stars Paul Rudd, Mark Strong, Sienna Miller, Jeff Daniels, Guy Pearce, Paul Giamatti, Tom Wilkinson, Connie Nielsen, Shea Whigham.
The Catcher Was a Spy is one of those strange-but-true tales that really drives up the curiosity factor based on its somewhat bizarre premise alone.
The film is based on a book of the same name that relates the true story of a former Major League Baseball catcher who was tasked with assassinating the head of Germany’s atomic bomb program during World War II.
The actual circumstances make a lot more sense when played out in context of course, even if the man at the center of it, the Jewish baseball player-turned-spy Moe Berg, would seem to defy most attempts to classify his character.
Berg, played here by the always affable Paul Rudd, was an avid reader who spoke several languages, demonstrated his smarts on radio quiz shows and was labeled an oddball for his eccentricities by coaches and teammates during an otherwise underwhelming 15-year baseball career.
After being invited to join an all-star team of Major Leaguers touring Japan in 1934, Berg learned from a Japanese friend that a war between the U.S. and Japan was likely inevitable, so he snuck onto the roof of a Tokyo hospital to film footage of the city’s harbor. After the bombing of Pearl Harbor in 1941, Berg gave the footage to U.S. intelligence services and ended up joining the OSS (precursor to the CIA).
Incidentally, while the film doesn’t dwell on the particulars, this was the same 1934 tour touted in Ken Burns’ Baseball in which a 17-year-old Japanese kid named Eiji Sawamura struck out Hall of Famers Charlie Gehringer, Babe Ruth, Lou Gehrig and Jimmie Foxx in succession. (Sawamura was killed a decade later serving the Japanese navy in WWII.)
Anyway, the OSS eventually assigns Berg to a team looking into the activities of famed German physicist Werner Heisenberg (namesake for Walter White’s alias on “Breaking Bad”), trying to gauge his involvement in helping Germany develop an atomic bomb and assess what progress, if any, he has made on the project. The key moment comes when Berg is sent to stalk Heisenberg (played by Mark Strong) during a lecture in neutral Switzerland and shoot him on the spot if the scientist offers any hint that he is working on an atomic weapon.
Part baseball movie, part spy thriller, The Cather Was a Spy is an intriguing wartime procedural carried primarily by its old-fashioned sensibilities and the likability of its main cast. The screenplay is by Robert Rodat, who is no stranger to WWII movies having penned Saving Private Ryan.
The DVD includes seven deleted scenes that run a total of about nine minutes. Many shed a bit more light on Berg’s character and motivations, and had some of them been kept they might have helped the character study bona fides of a film that runs a svelte hour-and-a-half as it is.