Gardner Fox won't be rolling over in his grave...
Parallel earths, an evil Justice League, and Batman being badasss... JUSTICE LEAGUE: CRISIS ON TWO EARTHS gives the people what they want, and that this flick touts a PG-13 rating is yet one more treat. I've missed the Justice League since the series went off the air, and the solo adventures of Bats and Superman, Wonder Woman and GL are great, but I miss all the interaction.
The plot could've been convoluted, but the clear storytelling makes things easy to follow. It starts with a bare-nekkid Lex Luthor seeking help from the Justice League. Luthor claims to be from an alternate universe, one in which that version of the Justice League calls itself the "Crime Syndicate," and not because someone was trying to be ironic. The Justice League agrees to cross over to put a stop to their crooked doppelgangers, even though everyone's pretty suspicious, especially Superman (because it's still friggin' Luthor) and Batman, who decides to stay behind. I think I'll stop right there with the plot breakdown, other than to mention that, as it falls out, the stakes are much, much higher than mere world domination. The main bad guy spits at world domination.
The pace really moves. The story's good, and it's big in scope. I'm a sucker for mirror universes. But the highlights are the action sequences, thanks to some sharp animation and a pretty good voice cast (although, I miss Kevin Conroy's iconic timbre and I'm still not sure about Mark Harmon as Supes). There are several awesome battle royales, pitting the League against folks who can match and sometimes surpass them in power. Three pick of the pack moments for me: Aquaman actually not being a sissy; Wonder Woman demonstrating crunching warrior skills in her scuffle with Superwoman; and Batman's extended contest of brawn and wits with Owlman. Owl Man, by the way, is about as dangerously unbalanced as they come and in him, Batman finally meets someone who not only can outfight him but is even more detached than he is. James Woods is superb as Owlman. I mentioned earlier that I love that the Dark Knight comes across as a bad mofo here, clearly the underdog in his tussle with Superwoman and then with Owlman, until he applies the underhanded technique of trickeration on them. And - maybe a SPOILER alert here for the rest of this sentence - for someone who doesn't believe in killing, Batman sure has no qualms about offing off two of the more noticeable villains.
It's fun, also, to see how familiar faces are presented in this alternate reality, and can you identify each side character? That's not a Barsoomian; that's an alternate J'onn J'onzz with four arms. On the other side of that coin, I like that they've put the "real" Martian Manhunter in his more updated, much cooler threads. But poor Harley Quin...
Other than the absence of Kevin Conroy and perhaps the presence of Mark Harmon, the only other beefs I have - and they're very minor - concern Ultra Man speaking like a two-bit thug. I dunno, maybe I expected more gravitas coming from the most powerful despot on the planet. And I don't know that the unlikely romance which surfaces halfway thru the film doesn't feel like a filler.
Also on this DVD is the first in a series of animated shorts which will hopefully go on to feature the more obscure DC superheroes. DC SHOWCASE, in its debut, presents the Specter. This 12-minute-long short reeks of that film noir vibe, bolstered by a first person narrative and a funky 1970s-type opening score. Set in Los Angeles, police detective Jim Corrigan investigates the murder of a film producer. If you're not familiar with the Specter and his gristly brand of justice, then you're in for a treat and for a great reveal at the end. Even if you're already down with the supernatural, pasty-skinned Spirit of Vengeance, this short is still very well done, with excellent near-anime and sometimes purposely scratchy visuals and outstanding voice work done by Gary Cole and Alyssa Milano, who plays a femme fatale role.
What I've got is the two disc set. Disc 1 has the feature film, the Specter short; an exclusive first look at the next direct-to-DVD film from DCAU, BATMAN: UNDER THE RED HOOD, and previously released first looks at three other DC Universe Animated Original Movies: GREEN LANTERN: FIRST FLIGHT; SUPERMAN/BATMAN: PUBLIC ENEMIES, and WONDER WOMAN: THE AMAZON PRINCESS. There are also trailers for HALO LEGENDS and NARUTO SHIPPUDEN: THE MOVIE. Disc 2 has: "DCU: THE NEW WORLD" - a 26-minute-long segment in which several of DC's creative forces discuss the evolution of the modern-age superhero and the relevance of a shared superhero universe, from when Superman first appeared with Batman & Robin on the same cover in 1940 to ALL-STAR COMICS #3 and the JSA's debut, from CRISIS ON INFINITE EARTHS to IDENTITY CRISIS and onwards. Also here are two bonus episodes from the JUSTICE LEAGUE television series, the pivotal classic two-parter "A Better World," a parallel Earth story in which Superman finally frags Luthor and what happens after that.
Reviewed by H. Bala
Thursday, February 25, 2010
(500) Days of Summer [Blu-ray] with Digital Copy (2009)
This is not your typical `boy meets girl' kind of story...
One of those rare films where style and originality don't take away from heartfelt poignancy; `(500) Days of Summer' is a beautifully composed and constructed love story. Yes, I know that it makes you painfully away in the first few seconds that it is NOT a love story, but if you believe that then you're a sucker for a tall tale. This is not a conventional love story, sure, but when all is said and done, `(500) Days of Summer' is one of the most splendidly accurate depictions of love put to film.
The film jumps sporadically through the 500 day whirlwind romance between Tom and Summer. The film actually begins in the middle, after a nasty breakup, and then jumps back to when they met and so on and so forth. This filming style has been used by quite a few filmmakers and it's a style that either works extremely well or completely butchers a movie. This is one instance where the style is almost necessary. Sure, this tale could have been told in a straight forward canonical fashion, but the film really drags us in by teasing us with future events, keeping us completely engaged as we contemplate what led up to what we are witnessing.
It was a smart move that I applaud.
One thing that I really admired about the film is that fact that Summer Finn is basically presented as a blank canvas. One of my friends noted that the film fails to really give us any reason for Tom to become so obsessed with her. In the film his sister Rachel even comments that Tom only loves her because they like the same band. The thing to remember is that the story is being told from Tom's perspective. We are not getting two sides of the story here, and so what we see is what Tom sees, and not all of it is accurate. Even the film acknowledges that, as can be seen from what Rachel says to Tom. This is a story about how we can blind ourselves to the faults and missteps of the ones we love. Tom thinks everything is perfect, everything is wonderful and so we, the audience, see everything as wonderful. Summer's outbursts and significant `pulling away' seems almost out of place and unwarranted because all we can see are the blinders that Tom has put up. It's a very bold and brutally honest move, and I really admire the film for not taking the generic route of creating a faux love hate relationship.
Nothing about this film feels `done before'.
One aspect of the film that really embraced me was the beautiful way in which it was shot. The film feels so crisp, with beautiful lighting that gives the film an almost sun drenched appearance. It's a nice compliment to the fanciful idea of everlasting love, which Tom entertains throughout. In particular is the scene towards the end, where high expectations and bitter realities are delivered side by side on split screen. The sequence is probably my favorite in the film.
The performances are all very good, Joseph Gordon-Levitt once again delivering a stunning performance, one that is much different than anything he's ever done before. He proves that he can fuse the funny aspects of his acting style with the dramatic and make it believable. He is the perfect love-sick puppy here. Zooey Deschanel (who has always been one of my favorite actresses) is the perfect doll to dote over. She is beautiful and charming and witting and interesting, and even here, when playing a near figment of Tom's imagination, she is stunning and completely commanding.
`(500) Days of Summer' has it all. It has romance, drama, comedy and it even sports a sublime musical scene that just gives the entire film a facelift. It is a very, very smart film that never sacrifices honesty for art. This is certainly one of the best films of the year, and maybe even the decade.
Reviewed by Andrew Ellington
One of those rare films where style and originality don't take away from heartfelt poignancy; `(500) Days of Summer' is a beautifully composed and constructed love story. Yes, I know that it makes you painfully away in the first few seconds that it is NOT a love story, but if you believe that then you're a sucker for a tall tale. This is not a conventional love story, sure, but when all is said and done, `(500) Days of Summer' is one of the most splendidly accurate depictions of love put to film.
The film jumps sporadically through the 500 day whirlwind romance between Tom and Summer. The film actually begins in the middle, after a nasty breakup, and then jumps back to when they met and so on and so forth. This filming style has been used by quite a few filmmakers and it's a style that either works extremely well or completely butchers a movie. This is one instance where the style is almost necessary. Sure, this tale could have been told in a straight forward canonical fashion, but the film really drags us in by teasing us with future events, keeping us completely engaged as we contemplate what led up to what we are witnessing.
It was a smart move that I applaud.
One thing that I really admired about the film is that fact that Summer Finn is basically presented as a blank canvas. One of my friends noted that the film fails to really give us any reason for Tom to become so obsessed with her. In the film his sister Rachel even comments that Tom only loves her because they like the same band. The thing to remember is that the story is being told from Tom's perspective. We are not getting two sides of the story here, and so what we see is what Tom sees, and not all of it is accurate. Even the film acknowledges that, as can be seen from what Rachel says to Tom. This is a story about how we can blind ourselves to the faults and missteps of the ones we love. Tom thinks everything is perfect, everything is wonderful and so we, the audience, see everything as wonderful. Summer's outbursts and significant `pulling away' seems almost out of place and unwarranted because all we can see are the blinders that Tom has put up. It's a very bold and brutally honest move, and I really admire the film for not taking the generic route of creating a faux love hate relationship.
Nothing about this film feels `done before'.
One aspect of the film that really embraced me was the beautiful way in which it was shot. The film feels so crisp, with beautiful lighting that gives the film an almost sun drenched appearance. It's a nice compliment to the fanciful idea of everlasting love, which Tom entertains throughout. In particular is the scene towards the end, where high expectations and bitter realities are delivered side by side on split screen. The sequence is probably my favorite in the film.
The performances are all very good, Joseph Gordon-Levitt once again delivering a stunning performance, one that is much different than anything he's ever done before. He proves that he can fuse the funny aspects of his acting style with the dramatic and make it believable. He is the perfect love-sick puppy here. Zooey Deschanel (who has always been one of my favorite actresses) is the perfect doll to dote over. She is beautiful and charming and witting and interesting, and even here, when playing a near figment of Tom's imagination, she is stunning and completely commanding.
`(500) Days of Summer' has it all. It has romance, drama, comedy and it even sports a sublime musical scene that just gives the entire film a facelift. It is a very, very smart film that never sacrifices honesty for art. This is certainly one of the best films of the year, and maybe even the decade.
Reviewed by Andrew Ellington
Tuesday, February 23, 2010
Iron Man (Ultimate Two-Disc Edition + BD Live) [Blu-ray] (2008)
The 2-Disc Ultimate Edition Delivers!
The first disc features 11 deleted and extended scenes. There's more of the opening ambush with Tony Stark being more proactive. We also see more footage of Rhodes and it quickly becomes apparent that he was the character with the most scenes cut from the film. We also see Tony and Pepper Potts attend another party.
The second disc starts off with the impressive "I Am Iron Man," a 108 minute making of documentary that can be viewed in seven segments or altogether, taking us through various aspects of the production. For example, we are taken step-by-step through the construction of the Iron Man armor with Robert Downey Jr. cracking jokes while being fitted for it. It's amazing how much of the suit is practical and looks really good in person. This is due in large part to the genius of the late-great Stan Winston and his company. Also included is plenty of soundstage footage of scenes being filmed.
"The Invincible Iron Man" is a six-part documentary on the comic book, tracing the history of the character. Stan Lee says that he modeled Stark after Howard Hughes, for the most part. He also mentions that he was never fully satisfied with the look of the armor - hence its many changes over the years. This doc also covers various key characters and storylines in excellent detail with several people who worked on the title over the years talking about their contribution to the mythos. This is a very well done overview of the comic book.
"Wired: The Visual Effects of Iron Man" examines the CGI work that went into realizing Iron Man's powers, like flying, his repulsors, and so on. Director Jon Favreau says that he likes to use practical effects whenever possible, which is wonderfully refreshing to hear, and in this film he mixed the practical with CGI.
"Robert Downey Jr. Screen Test." Incredibly, the actor had to do a screen test because the studio deemed him a risky proposition and this footage shows that he had a handle on the character very early on.
"The Actor's Process" features fascinating footage of Jeff Bridges and Downey rehearsing a scene with Favreau. It's great to see these guys at work and offers insight into how they put together a scene from the film from an acting point-of-view.
"The Onion's Wildly Popular Iron Man Trailer to be Adapted into Full-Length Film" is a funny satire where a newscaster "breaks" a story of how the Iron Man trailer will be made into a film that pokes fun at the rabid nature of the hardcore fanbase of the character.
Finally, there are "Galleries," featuring concept art, technology stills, behind-the-scenes photographs, and poster art.
Reviewed by Cubist
The first disc features 11 deleted and extended scenes. There's more of the opening ambush with Tony Stark being more proactive. We also see more footage of Rhodes and it quickly becomes apparent that he was the character with the most scenes cut from the film. We also see Tony and Pepper Potts attend another party.
The second disc starts off with the impressive "I Am Iron Man," a 108 minute making of documentary that can be viewed in seven segments or altogether, taking us through various aspects of the production. For example, we are taken step-by-step through the construction of the Iron Man armor with Robert Downey Jr. cracking jokes while being fitted for it. It's amazing how much of the suit is practical and looks really good in person. This is due in large part to the genius of the late-great Stan Winston and his company. Also included is plenty of soundstage footage of scenes being filmed.
"The Invincible Iron Man" is a six-part documentary on the comic book, tracing the history of the character. Stan Lee says that he modeled Stark after Howard Hughes, for the most part. He also mentions that he was never fully satisfied with the look of the armor - hence its many changes over the years. This doc also covers various key characters and storylines in excellent detail with several people who worked on the title over the years talking about their contribution to the mythos. This is a very well done overview of the comic book.
"Wired: The Visual Effects of Iron Man" examines the CGI work that went into realizing Iron Man's powers, like flying, his repulsors, and so on. Director Jon Favreau says that he likes to use practical effects whenever possible, which is wonderfully refreshing to hear, and in this film he mixed the practical with CGI.
"Robert Downey Jr. Screen Test." Incredibly, the actor had to do a screen test because the studio deemed him a risky proposition and this footage shows that he had a handle on the character very early on.
"The Actor's Process" features fascinating footage of Jeff Bridges and Downey rehearsing a scene with Favreau. It's great to see these guys at work and offers insight into how they put together a scene from the film from an acting point-of-view.
"The Onion's Wildly Popular Iron Man Trailer to be Adapted into Full-Length Film" is a funny satire where a newscaster "breaks" a story of how the Iron Man trailer will be made into a film that pokes fun at the rabid nature of the hardcore fanbase of the character.
Finally, there are "Galleries," featuring concept art, technology stills, behind-the-scenes photographs, and poster art.
Reviewed by Cubist
Black Dynamite [Blu-ray] (2009)
Blu-ray: DY-NA-MITE!! Definitely recommended! Awesome PQ, AQ and better than I was expecting.
It all began when actor Michael Jai White ("Spawn", "The Dark Knight", "The Underground Bounty Hunter") was listening to "Superbad" by James Brown on his iPod and suddenly he came up with an idea to have a film spoofing '70s blaxpoitation films (1970's exploitation films targeting urban Black audiences). White got together with a few friends and began taking photos of himself in '70s outfits and hooked up with director Scott Sanders ("Thick as Thieves") and their friend and fellow actor Byron Minns ("Undisputed", "South Central") to help craft "Black Dynamite".
The low budget independent film was screened at the 2009 Sundance Film Festival and was picked up by Sony Worldwide Acquisitions for distribution and now is being released on Blu-ray and DVD.
VIDEO & AUDIO:
"Black Dynamite" is presented in 1080p High Definition (1:85:1). What the film does well is capturing the look of a 70's film by shooting via 16mm color reversal which brought in more grain and contrast. Blacks are deep and gave the film an older look. Thus when combining 70's classic footage (such as scenes from "Charlies Angels", "Swat", etc.) from the Sony Library, it works with this film. The grain is intentional and so the colors are definitely not natural but it works for this film as yellows and brown colors definitely stick out and blacks are much deeper. Also, the Blu-ray manages to capture the detail of the clothing, the hair, the hardware, the walls and surfaces. It's a very cool looking film on Blu-ray.
As for the lossless audio presented in English 5.1 DTS-HD MA, again...I was very surprised and impressed by the audio. It helps when they brought in Adrian Younge, a musician who still plays 70's music and brought in that 70's style of feel for the film. Dialogue is clear through the center channels, music and action come on strong as well. There are many action scenes from fighting to car chases, car explosions, gun shots, especially near the end of the film that takes advantage of the surround channels.
I suppose for a low budget independent film, I was not expecting too much from the audio. So, to hear the lossless audio being utilized with crystal clear dialogue, music and special effects, I was very pleased with the film's soundtrack!
Subtitles are in English, English SDH and French.
SPECIAL FEATURES:
"Black Dynamite" comes with the following special features in standard and high definition with English stereo. Included are:
*
* Commentary with Director/Co-Writer Scott Sanders, Actor/Co-Writer Michael Jai White and Actor/Co-Writer Byron Minns - A fun and hilarious commentary as the three creators of the film talk about certain scenes and how it came about, what they were trying to achieve and more.
* Deleted and Alternate Scenes - (25:15) Featuring 17 deleted and alternate scenes.
* Lighting the Fuse - (22:48) The making of "Black Dynamite". How the film came to be, the music, the costumes, the look on film and more.
* The 70's Back in Action - (14:13) Michael Jai White, Scott Sanders, cast and crew talk about utilizing styles and lingo from '70s blaxpoitation films in "Black Dynamite" and what they enjoyed about the films and the talents back then.
* The Comic-Con Experience - (18:03) The "Black Dynamite" panel at San Diego Comic Con with Scott Sanders, Byron Minns, Michael Jai White and Salli Richardson Whitifeld.
* Trailers - Trailers for upcoming releases from Sony Pictures Home Entertainment.
* BD- Live enabled with movieIQ - This BD-Live feature can connect you to real-time information on the cast, music, trivia and more while watching the movie! Also includes an interactive playlist where you can bookmark your favorite songs featured in the film and email yourself a customized playlist! NOTE: You need a profile 2.0 Blu-ray player (that connect online) to access movieIQ.
JUDGMENT CALL:
At first, I was a bit skeptical about "Black Dynamite" but after watching the film, I can tell you that I absolutely enjoyed this film.
The storyline spoofs '70s blaxpoitation and Kung-Fu films but where a lot of those films back then were cheesy and were being pumped out like crazy because they were what was making money for the film companies during that time, "Black Dynamite" manages to capture the good from those films and make it a hilarious, action/comedy film. What makes this film work is the costume design, the afro's, the slang, the jive talk, utilizing '70s footage, along with finding homes that still have maintained the '70s look (yes, shag carpets and all) and of course, the use of '70s style funk and soul music. For characters, you got the jive-talking pimps, the militants, the crooked cops and politicians, the whores, the drug dealers...all integral to the film with dialogue filled with'70s expletives and ethnic slurs. An obvious nod to "Shaft", "Superfly", "The Mack", "Return of the Dragon" and "Foxy Brown" and other films and the talents of that era.
Just a tremendous job by the filmmakers and performances that worked for this film. The fact that it was done for under $3 million is quite impressive!
From the naked women, to the militant and his men armed with machine guns, the talent made this film quite believable as if it was a '70s film. The choice by director Scott Sanders to use the Super 16 Color Reversal film stock was a perfect choice as the film literally looks and feels like like a '70s film. For a low budget independent film, the Blu-ray manages to enhance the look and feel of this film as you can see a good amount of grain and the colors are just vibrant. Audio quality from the dialogue, music and the special effects are well-done and also a good amount of special features are included as well.
If there was one thing that I felt wasn't impressive was the studio's handling of the distribution for the film for its theatrical release. There have been a lot of small, absolutely dumb comedy films that have received decent screenings across America and for once, we have a creative and enjoyable African American comedy film written and directed by African-Americans with a multi-ethnic cast and a film that has received positive reviews from film critics but yet it received a very limited screening nationwide. Definitely not cool. But fortunately we get a solid Blu-ray release for "Black Dynamite" and if you have any interest in this film, I can easily recommend this film to be included in your collection.
"Black Dynamite" is a film that just makes you laugh from beginning to end. For those with familiarity with blaxpoitation and even old Kung-Fu films, you can't help but be amused and impressed by what the filmmakers were able to accomplish. Even for those who aren't familiar with the films back then, there are enough jokes that viewers can still enjoy. It's a well-crafted, very creative film that is worth checking out and worth owning, especially if you enjoy comedy films. And yes, I am hoping that there is a sequel.
"Black Dynamite" is a solid Blu-ray release and definitely recommended!
Reviewed by Dennis A. Amith
It all began when actor Michael Jai White ("Spawn", "The Dark Knight", "The Underground Bounty Hunter") was listening to "Superbad" by James Brown on his iPod and suddenly he came up with an idea to have a film spoofing '70s blaxpoitation films (1970's exploitation films targeting urban Black audiences). White got together with a few friends and began taking photos of himself in '70s outfits and hooked up with director Scott Sanders ("Thick as Thieves") and their friend and fellow actor Byron Minns ("Undisputed", "South Central") to help craft "Black Dynamite".
The low budget independent film was screened at the 2009 Sundance Film Festival and was picked up by Sony Worldwide Acquisitions for distribution and now is being released on Blu-ray and DVD.
VIDEO & AUDIO:
"Black Dynamite" is presented in 1080p High Definition (1:85:1). What the film does well is capturing the look of a 70's film by shooting via 16mm color reversal which brought in more grain and contrast. Blacks are deep and gave the film an older look. Thus when combining 70's classic footage (such as scenes from "Charlies Angels", "Swat", etc.) from the Sony Library, it works with this film. The grain is intentional and so the colors are definitely not natural but it works for this film as yellows and brown colors definitely stick out and blacks are much deeper. Also, the Blu-ray manages to capture the detail of the clothing, the hair, the hardware, the walls and surfaces. It's a very cool looking film on Blu-ray.
As for the lossless audio presented in English 5.1 DTS-HD MA, again...I was very surprised and impressed by the audio. It helps when they brought in Adrian Younge, a musician who still plays 70's music and brought in that 70's style of feel for the film. Dialogue is clear through the center channels, music and action come on strong as well. There are many action scenes from fighting to car chases, car explosions, gun shots, especially near the end of the film that takes advantage of the surround channels.
I suppose for a low budget independent film, I was not expecting too much from the audio. So, to hear the lossless audio being utilized with crystal clear dialogue, music and special effects, I was very pleased with the film's soundtrack!
Subtitles are in English, English SDH and French.
SPECIAL FEATURES:
"Black Dynamite" comes with the following special features in standard and high definition with English stereo. Included are:
*
* Commentary with Director/Co-Writer Scott Sanders, Actor/Co-Writer Michael Jai White and Actor/Co-Writer Byron Minns - A fun and hilarious commentary as the three creators of the film talk about certain scenes and how it came about, what they were trying to achieve and more.
* Deleted and Alternate Scenes - (25:15) Featuring 17 deleted and alternate scenes.
* Lighting the Fuse - (22:48) The making of "Black Dynamite". How the film came to be, the music, the costumes, the look on film and more.
* The 70's Back in Action - (14:13) Michael Jai White, Scott Sanders, cast and crew talk about utilizing styles and lingo from '70s blaxpoitation films in "Black Dynamite" and what they enjoyed about the films and the talents back then.
* The Comic-Con Experience - (18:03) The "Black Dynamite" panel at San Diego Comic Con with Scott Sanders, Byron Minns, Michael Jai White and Salli Richardson Whitifeld.
* Trailers - Trailers for upcoming releases from Sony Pictures Home Entertainment.
* BD- Live enabled with movieIQ - This BD-Live feature can connect you to real-time information on the cast, music, trivia and more while watching the movie! Also includes an interactive playlist where you can bookmark your favorite songs featured in the film and email yourself a customized playlist! NOTE: You need a profile 2.0 Blu-ray player (that connect online) to access movieIQ.
JUDGMENT CALL:
At first, I was a bit skeptical about "Black Dynamite" but after watching the film, I can tell you that I absolutely enjoyed this film.
The storyline spoofs '70s blaxpoitation and Kung-Fu films but where a lot of those films back then were cheesy and were being pumped out like crazy because they were what was making money for the film companies during that time, "Black Dynamite" manages to capture the good from those films and make it a hilarious, action/comedy film. What makes this film work is the costume design, the afro's, the slang, the jive talk, utilizing '70s footage, along with finding homes that still have maintained the '70s look (yes, shag carpets and all) and of course, the use of '70s style funk and soul music. For characters, you got the jive-talking pimps, the militants, the crooked cops and politicians, the whores, the drug dealers...all integral to the film with dialogue filled with'70s expletives and ethnic slurs. An obvious nod to "Shaft", "Superfly", "The Mack", "Return of the Dragon" and "Foxy Brown" and other films and the talents of that era.
Just a tremendous job by the filmmakers and performances that worked for this film. The fact that it was done for under $3 million is quite impressive!
From the naked women, to the militant and his men armed with machine guns, the talent made this film quite believable as if it was a '70s film. The choice by director Scott Sanders to use the Super 16 Color Reversal film stock was a perfect choice as the film literally looks and feels like like a '70s film. For a low budget independent film, the Blu-ray manages to enhance the look and feel of this film as you can see a good amount of grain and the colors are just vibrant. Audio quality from the dialogue, music and the special effects are well-done and also a good amount of special features are included as well.
If there was one thing that I felt wasn't impressive was the studio's handling of the distribution for the film for its theatrical release. There have been a lot of small, absolutely dumb comedy films that have received decent screenings across America and for once, we have a creative and enjoyable African American comedy film written and directed by African-Americans with a multi-ethnic cast and a film that has received positive reviews from film critics but yet it received a very limited screening nationwide. Definitely not cool. But fortunately we get a solid Blu-ray release for "Black Dynamite" and if you have any interest in this film, I can easily recommend this film to be included in your collection.
"Black Dynamite" is a film that just makes you laugh from beginning to end. For those with familiarity with blaxpoitation and even old Kung-Fu films, you can't help but be amused and impressed by what the filmmakers were able to accomplish. Even for those who aren't familiar with the films back then, there are enough jokes that viewers can still enjoy. It's a well-crafted, very creative film that is worth checking out and worth owning, especially if you enjoy comedy films. And yes, I am hoping that there is a sequel.
"Black Dynamite" is a solid Blu-ray release and definitely recommended!
Reviewed by Dennis A. Amith
The Hurt Locker [Blu-ray] (2009)
Forget Politics - "The Hurt Locker" is a film about the ugliness of war
Katherine Bigelow seems an unlikely choice for the directorial helm of Matt Boal's script for a war-themed independent film, "The Hurt Locker" (and the title's unlikely, too). Boal was last seen penning "In the Valley of Elah" , in which he turned a laudable screenplay from a hauntingly true story he had written for Playboy. I personally think that Boal was arm-wrestled into many of the aspects of the screenplay by powerful director and co-writer Paul Haggis during "In the Valley". That, in fact, might be why Boal sought out someone who was more concerned about seeing the realism of the war in Iraq as it is, and not trying to politicize a story. The story, simply, is one of every day Americans confronted by the need to put their lives on the line in a country that is as hellish as the Iraq in 2004, in the wake of our great adventure there.
Hand-held camera shoots in "The Hurt Locker" give the gritty, real appearance of Iraq in the film. Bigelow shot in Jordan, when she could not overcome obstacles to filming in Kuwait, and the camera scenes can make one weary, in 137 minutes of film, But most of the film is so gripping, and the scenes portrayed do have a tendency to make everyone involved weary, weary of the war. Bigelow and Boal don't have to preach that war is hell, they just portray it in the realism of the film. We get it.
The story line involves a 3 person EOD (Explosive Ordnance Disposal) unit, charged with finding and clearing explosive devices that seemingly litter the landscape in Iraq. I've done some fiction and non-fiction reading about bomb techs in metropolitan areas in the US, and recognize that the specialty is populated with people who live their lives knowing that the next assignment could cost them those self-same lives. Not a vocation for the weak at heart. As the film begins, the trio in the EOD Hummer includes the bomb tech, Sgt. Thompson (Guy Pearce in a good cameo), the driver, Sgt. Sanborn (Anthony Mackie, largely unsung before this film), and the Specialist, who acts as the lookout and the turret gun in the Hummer, Eldridge (Brian Geraghty). The three work well together.
In shocking and violent order, Thompson breathes his last, and is replaced with Staff Sgt James (Jeremy Renner who was cast as Dahmer early in his career in the film of the same name. Renner has kicked around film and TV since then - he appeared as a lead in "The Unusuals" in this TV season, opposite Amber Tamblyn. It was not renewed.). As James, Renner has turned in a performance so finally nuanced, that his name will no doubt come up at Oscar time.
Sanborn and Eldridge don't know what to make of the new bomb tech, who is silent and somewhat reckless, a contrast to the confident Thompson, who was a team player. Over the course of their time with him, you can sense the two of them swinging into his rhythm, learning to anticipate his quirky style and the aplomb with which he's handled 800 explosive devices. Attribute this to the strong delivery Renner brings to the "silent cowboy" type. The unit has only 39 days left on their tour.
With Eldridge, and to a lesser degree, Sanborn, your sense is that they are waiting on the edges of their chairs for the tour to be over, so that they can escape with their lives and revisit the hellish assignment in dreams. With James, you get the feel that the 39 days is not enough; that only when he is pursuing his special trade does he feel at one with the world. There are sidelines to James' story; one in his relationship with a young Iraqi boy, and one in his inability to shoulder his homelife with wife and young son.
Because of their vocation, and because of the reality of the fear in the Iraqi streets, the intensity in this film makes time pass swiftly, absorbs the viewer in the reality. The actual bombs are stark in their violence, the feel of the streets is that of underlying deception. There is a scene in the last half of the film where the unit encounters a group of contractors (cameos by Ralph Fiennes and David Morse), that potentially could have come out in editing, but it serves as a contrast of what the different dangers are when EOD units are exposed in the open desert, and not in the city streets.
And "the hurt locker" of the title? It stands for a collection kept by James of items found at the bomb scenes; items that immediately call each scene to mind in the collection of nightmares that he's grown addicted to. And he is addicted; never doubt that.
Realistic and timely, "The Hurt Locker" may be one of the best movies you can see this year.
Reviewed by L. Quido
Katherine Bigelow seems an unlikely choice for the directorial helm of Matt Boal's script for a war-themed independent film, "The Hurt Locker" (and the title's unlikely, too). Boal was last seen penning "In the Valley of Elah" , in which he turned a laudable screenplay from a hauntingly true story he had written for Playboy. I personally think that Boal was arm-wrestled into many of the aspects of the screenplay by powerful director and co-writer Paul Haggis during "In the Valley". That, in fact, might be why Boal sought out someone who was more concerned about seeing the realism of the war in Iraq as it is, and not trying to politicize a story. The story, simply, is one of every day Americans confronted by the need to put their lives on the line in a country that is as hellish as the Iraq in 2004, in the wake of our great adventure there.
Hand-held camera shoots in "The Hurt Locker" give the gritty, real appearance of Iraq in the film. Bigelow shot in Jordan, when she could not overcome obstacles to filming in Kuwait, and the camera scenes can make one weary, in 137 minutes of film, But most of the film is so gripping, and the scenes portrayed do have a tendency to make everyone involved weary, weary of the war. Bigelow and Boal don't have to preach that war is hell, they just portray it in the realism of the film. We get it.
The story line involves a 3 person EOD (Explosive Ordnance Disposal) unit, charged with finding and clearing explosive devices that seemingly litter the landscape in Iraq. I've done some fiction and non-fiction reading about bomb techs in metropolitan areas in the US, and recognize that the specialty is populated with people who live their lives knowing that the next assignment could cost them those self-same lives. Not a vocation for the weak at heart. As the film begins, the trio in the EOD Hummer includes the bomb tech, Sgt. Thompson (Guy Pearce in a good cameo), the driver, Sgt. Sanborn (Anthony Mackie, largely unsung before this film), and the Specialist, who acts as the lookout and the turret gun in the Hummer, Eldridge (Brian Geraghty). The three work well together.
In shocking and violent order, Thompson breathes his last, and is replaced with Staff Sgt James (Jeremy Renner who was cast as Dahmer early in his career in the film of the same name. Renner has kicked around film and TV since then - he appeared as a lead in "The Unusuals" in this TV season, opposite Amber Tamblyn. It was not renewed.). As James, Renner has turned in a performance so finally nuanced, that his name will no doubt come up at Oscar time.
Sanborn and Eldridge don't know what to make of the new bomb tech, who is silent and somewhat reckless, a contrast to the confident Thompson, who was a team player. Over the course of their time with him, you can sense the two of them swinging into his rhythm, learning to anticipate his quirky style and the aplomb with which he's handled 800 explosive devices. Attribute this to the strong delivery Renner brings to the "silent cowboy" type. The unit has only 39 days left on their tour.
With Eldridge, and to a lesser degree, Sanborn, your sense is that they are waiting on the edges of their chairs for the tour to be over, so that they can escape with their lives and revisit the hellish assignment in dreams. With James, you get the feel that the 39 days is not enough; that only when he is pursuing his special trade does he feel at one with the world. There are sidelines to James' story; one in his relationship with a young Iraqi boy, and one in his inability to shoulder his homelife with wife and young son.
Because of their vocation, and because of the reality of the fear in the Iraqi streets, the intensity in this film makes time pass swiftly, absorbs the viewer in the reality. The actual bombs are stark in their violence, the feel of the streets is that of underlying deception. There is a scene in the last half of the film where the unit encounters a group of contractors (cameos by Ralph Fiennes and David Morse), that potentially could have come out in editing, but it serves as a contrast of what the different dangers are when EOD units are exposed in the open desert, and not in the city streets.
And "the hurt locker" of the title? It stands for a collection kept by James of items found at the bomb scenes; items that immediately call each scene to mind in the collection of nightmares that he's grown addicted to. And he is addicted; never doubt that.
Realistic and timely, "The Hurt Locker" may be one of the best movies you can see this year.
Reviewed by L. Quido