Movie of the Day [Streaming and Blu-Ray] : 3 DAYS TO KILL

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3 DAYS TO KILL – With over 50 movies under his belt, Kevin Costner continues to mature into a better and better actor. Deftly and pulse-poundingly directed by McG from  a Luc Besson script, 3 DAYS TO KILL is simply a joy from its impressive opening credit sequence to its close.

A great and surprisingly smart and humanistic action-thriller, Costner is compelling as Renner, a man who has grown tired in the killing, and his understated performance is picture perfect, and is but one of an across the board great cast. Add to that vibrant cinematography and an ebullient score, and you have the kind of emotionally rich action movie that Pekinpah  would have made, and that’s high praise indeed.

Catch it free on streaming, then buy the Blu-Ray for the commentary and special features. It’s that good. Grade: A-.

 

REASONS TO GET THE BLURAY: “watched this film on an excellent Blu ray transfer. It comes in a 1080p resolution and a 2.37:1 aspect ratio. Beautifully detailed – check out the gracefully aging Costner face – and provides some terrific panoramic shots of Paris. Colors are excellent. Great picture. The audio is excellent as well. The primary track is DTS-HD Master Audio 5.1. It works great, especially in the numerous action sequences including the requisite car chase, several gun battles and some close up fighting. Dialog is clear and well positioned. Subtitles are available in Spanish, English and English SDH. Extras include a making-of short, a profile on director McG, a piece featuring a real CIA operative and a trailer. There are 2 options as well as to which feature to watch. The theatrical version and an extended version (5 minutes longer).”–Amazon.com review

 

This is a really beautifully shot film, and depending on time of day or bandwidth issues, that can be lost when viewing via streaming. Which is why I say streaming is a try before you buy medium. When you determine this is a movie you’re going to come back to, that’s when you want to purchase the Blu-Ray.

3 Days to Kill [Blu-ray]

MOVIE TRAILER Update : STAR TREK INTO DARKNESS in IMAX

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The third and latest trailer for STAR TREK INTO DARKNESS is out, and while it still doesn’t make me as excited as the trailer to JJ Abram’s first STAR TREK movie, it however is far better than the earlier teaser trailers. There’s actually a story here that I’m intrigued to view and the visuals are, in a word, sublime.

For those of us who grew us with the Star Trek mythos, the trailer doesn’t particularly scream Star Trek. It feels like something decidedly different and I for one think that’s a good thing. With sequences shot in the 70mm IMAX format (not with the IMAX 3D cameras) it should be a great film to see on a REAL IMAX movie theater.

STAR TREK INTO DARKNESS (would it have killed them to put a ‘The” in there?! 🙂 ) hits theaters on May 17th.

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Why do you care if Avengers, or Dark Knight Rises, or Prometheus in Imax 3D makes a boat-load of Money?

As I’m wont to do, I tend to keep abreast of the entertainment news, specifically film. One thing I’ve been hearing quite a lot in the wake of the Avengers film is talk of it making over a billion dollars. And I listen to the fervor and sense of ownership all these writers and pod-casters are going on with about this financial mark. And I have to ask ‘Why’?

I mean I enjoy the Avengers movie, as much as anyone, arguably more than most people will in 6 months. By that I mean it’s an interesting hive mind approach that occurs in popular films as well as other things, where people’s steadfast belief in whether a movie is good and bad fluctuates with the slightest derision or the popular opinion of the day.

AVENGERS was and is a great movie full stop. Pacing wise, action, wise, story wise. But now barely two weeks into its release you hear a few people say, “oh well the first half was slow”, and people I heard broadcast not even a week ago how great the film was, begin to backpedal and parrot “Oh well the beginning was a little slow”. We live in a monopolized society where the individual is so scared to have an unpopular opinion, to the point that a lot of their opinions generally are not worth the breath they take to say it, or the paper they take to write it.

They have the spineless nature of slugs.

Same change of opinion (but to both a lesser and greater degree) happened to the Bryan Singer film SUPERMAN RETURNS. First week, people came out raving and loving that film. The Airplane scene, the bullet to the eye. It was a solid very good movie. But less than a week later, people began picking up the mantra of ‘why’s the kid there’ and ‘lex again’ and ‘Lois’. And you could see the ship of public opinion so to speak, turn. And people who initially were overjoyed about the film, started backpedaling, “Well, yeah I didn’t really say it was good.”. Until now a few years later people routinely call that movie awful and one of the worst.

It’s something I’ve noticed, Something that is not just American, because I’ve listened to enough British pod-casters do the same thing. So many are seemingly so afraid to hold an opinion derided or frowned upon or be seen cherishing something not embraced by their ‘friends’ or even their ‘enemies’.

It’s a lack of conviction, to anything you believe. Obvious symptoms of a propagandized population, so used to embracing any lie, that will keep it from having to alone, look at uncomfortable truths.

So yeah, when I say I enjoy the AVENGERS more than most people will in 6 months, that’s not me having you on, it’s just a fact. I’m not swayed by the mob.

I thought SUPERMAN RETURNS was a fun, solid B movie when I first saw it, and I still think so. I think AVENGERS is a brilliant, surprisingly so, Grade A movie today, and will think the same thing 5 years from today, when most of you have been pushed far afield of any opinion you may have had on the film.

I mean there’s nothing wrong with changing your opinion, if it’s your change, your growth, your adaptation. But that’s not what’s happening. What’s happening is a propagandized population taught by the media to have no constants, no ideals, no values, that will not be torn down; have learned to make their opinions on shifting sands, always ready to be remade at the slightest rise of the tide.

Superman Returns [Blu-ray] 2008 Remastered Version

Which brings us back to the original concern. Why are you celebrating or in any manner cheering the AVENGERS making over a Billion dollars?

Beyond just financial interest, I could care less if the movie breaks even, does 400 million, or does a billion. Honestly I don’t really have a stake in it if it loses money.

Of course liking the film, it’s nice if it doesn’t bomb, for the simple fact it would be nice to see more films by a competent director like Joss Whedon.

But it’s not a passion, I don’t have a dog in this fight. If I’m the studio, or someone with a percentage share in the film, hell yeah I’m celebrating every dime it makes. Or in the days when people from your neighborhood actually owned movie theaters and that blockbuster money actually cycled locally, rather than just getting funneled out of the community to make fat cats fatter, I might be happy.

But none of that is the case. I don’t personally know a single person who is in any way going to profit, by making a monopolized studio and theatrical system a billion dollars richer. All this did is take a billion dollars from a lot of little pockets, and put it into a very few big pockets.

Now I’m not making a deal on that. I went to see the movie like everyone else, but you can be damn sure I’m not celebrating this state of affairs either.

AVENGERS makes a billion dollars, okay. I accept it as a fact. But honestly, until such time as those funds and profits get distributed to real theaters and real people (a billion dollars, hell you can afford to hire real projectionists, pay the ushers, and ticket takers a real wage, get real popcorn and healthy drinks, etc, etc…but you’ll drop dead waiting for that money to trickle down. In fact all the studios can talk about is reducing costs at the local level and maximizing profits by digitizing everything), I have no interest in celebrating billionaires becoming bigger billionaires.

Beyond a movie breaking even to keep a good director or actor I like viable, that’s where my interest in what a film makes or does not make… ends. Some people were complaining because TRANSFORMERS:DARK OF THE MOON was a box office success. Who cares? I personally don’t get the Michael Bay hate, but as we’ve established I don’t follow the crowd.

Michael Bay is a talented director who puts bodies in seats. Some films of his I like, some I don’t. I loved his first film BAD BOYS, and loved his last film DARK OF THE MOON (which the end of the AVENGERS was more than a little like) and in-between like any other director he has been hit and miss. But even the movies I don’t like I don’t wish them ill at the box-office. What sense does that make?

If you don’t like a movie, does that mean everyone has to wish it ill and hate it as well? Does that mean you have to begrudge it its success?

I personally hated Nolan’s first Batman movie, and thought his DARK KNIGHT while better, was still flawed and over-hyped. So not really a Nolan fan, but I don’t begrudge his films their success. As stated, what Billionaires do or don’t make.. not concerned.

When some of that tremendous profit begins cycling back into the communities, well then that will be something to feel pride and ownership of.

Movie Review: Drew Goddard & Joss Whedon’s CABIN IN THE WORDS

So I was able to finally see CABIN IN THE WOODS, Drew Goddard’s directorial debut (from a script by Goddard and Joss Whedon) and the film manages to keep itself compelling on the share audacity of its script. This will be a relatively spoiler free review, for those wondering.

Goddard’s CABIN IN THE WOODS film manages to harpoon the idiocies of the traditional slasher/horror flick, without devolving into SCARY MOVIE parody, by use of a surprisingly imaginative script, that by the end tosses in everything and the kitchen sink.

So while the film is for the most part a quick moving ride, it does suffer a bit of being too much of what it parodies (parody being a bit strong, self referential being more accurate). The central characters are largely, as in most films of this type, caricatures rather than characters, so it’s hard to get really too invested in them. And by the end, while visually dynamic, I am quite bored of the whole ghoul fad (if they are rotting and eat flesh they are ghouls, not zombies– What can I say? I know my Monster lore 🙂 ), and just throughout, felt not very invested in any of the characters or their outcome.

CABIN IN THE WOODS is a technically sound and imaginative film, that unfortunately suffers from its conceits… of horror movie tropes and bland protagonists. I felt surprisingly empty after leaving the film, not excited, not disappointed, just… uninvolved. So the film while not immediately forgettable in its script, is also not especially memorable in its execution.

So final grade: It’s worth a viewing at matinée price, but otherwise just wait for DVD. B-/C+

More Great Movie Opening / Title Credit Sequences!

My previous tirade on public domain abuse and Shakespeare 🙂 made me think of a few more incredible opening credit sequences.


WILLIAM SHAKESPEARE’S ROMEO AND JULIET- Brilliantly directed by Baz Lurhmann (the only one of his four films I’ve seen all of, the other three I’m not positive are for me) this is a great film, great trailer, and…. Great opening credit sequence.

William Shakespeare’s Romeo + Juliet (Special Edition)


PAT GARRET AND BILLY THE KID- You could hold up any of Pekinpah’s films, but even for a Pekinpah film this credit sequence stands out. It’s amazing. And not something PETA would approve of.

Sam Peckinpah’s Legendary Westerns Collection (The Wild Bunch / Pat Garrett and Billy the Kid / Ride the High Country / The Ballad of Cable Hogue)

PISTOL WHIPPED- Seagal’s movies of the last decade or two have been of questionable quality. PISTOL WHIPPED is a surprisingly good film, that I actually enjoy more, every time I watch it. And one of the impressive things for me with this film was that opening credit sequence. Bullets and Gravestones, a nicely done combination.

Pistol Whipped


MENACE II SOCIETY- Doesn’t actually have a credit sequence, it has a title sequence. But what a sequence. It is a horrific, horrific film, that remains almost 20 years later brilliantly directed, and wrenchingly performed. To think this is someone’s debut film is amazing. Offensive, vulgar, sad, twisted, and unfortunately still too accurate a portrait of generational ignorance, lost souls, and man made hells. But the film is also quite engrossing, with moments of levity and even fleeting moments… of love.

Menace II Society [Blu-ray]
I’m a DVD guy, I really don’t care for Bluray. The packaging sucks (The moronic blue bar, was it designed by a blind guy? Cheap materials, poorly designed. Everyone I own (METROPOLIS, WATCHMEN Director’s Cut) looks like crap on my shelf, compared to the simple, functional design of a DVD case), and the quality difference between DVD, for me isn’t enough to justify paying more. So, I only recommend Blu-rays over DVD, if they offer special features not found on the DVD, and the price is right. This Blu-Ray qualifies.

Kiss Me Deadly (The Criterion Collection) [Blu-ray]

KISS ME DEADLY- Sports one of the most striking and haunting credit sequences. The Scrolling text, with the woman panting inconsolably beneath it.


FRACTURE- Is a very good thriller, with a quiet, understated credit sequence that is, like the film itself… endearing, and sticks with you long after you’ve seen the movie.

Fracture (Widescreen Edition)

That’s all for now!

Favorite Movie Title Sequences / Opening Credits

Favorite Movie Title Sequences/Credit Sequences


WOLVERINE- Director Gavin Hood’s X-MEN ORIGINS:WOLVERINE is a mediocre, relatively forgettable film that sports uneven direction and muddled writing/plot. However, the opening title sequence, done not by the director, is another matter entirely; being quite frankly brilliant. You’ll find yourself wanting to rewatch that title sequence constantly, while wanting to completely remove the rest of the film.

Peter Berg’s THE KINGDOM opening credits give in scant minutes a compelling, and brilliantly designed overview and background to the film he’s about to show you, and more to the conflict that has gripped the world since the latter half of the 20th century. It’s an amazing an ambitious credit sequence, if perhaps a bit heavy to really engender re-watchability, which a great title sequence should be… above all else.

LORD OF WAR- A great sequence follows the pov/life history of a bullet. Has been loudly applauded in many quarters and with good reason. It’s an instant classic.

SEVEN- A great movie and a great (and much copied) credit sequence. Perhaps the most influential of all the sequences on this list. Which is perhaps why it doesn’t seem as brilliant now, because so many people have stolen/borrowed this style. But the original is still the best.


QUANTUM OF SOLACE- Coming off the success of the first film, this one was subjected to all kinds of criticism, even before the film came out, including the title sequence. I quite like the film, it has flaws but I quite enjoy it. It falls apart at the end, but is still strong enough throughout most of it. And I LOVE the credit sequence. There was a lot of gnashing of teeth about Alicia Keys, but her amazing vocals along with songwriter Jack Black’s compulsive lyrics, above those sultry and sensual visuals just works, and is quintessential Bond. In fact I think it is my favorite Bond Credit sequence. A credit sequence I could watch on repeat darn near constantly.

SAHARA- By all reports an average film, it sports a fantastic floating tracking shot among the artifacts of a room. Seemingly simple, but brilliantly done.

HOSTAGE- The poster says a lot about what’s wrong with this film, it is unfocused and seems a bit pointless. That said the credit sequence is among the best ever put to film. It is brilliant.

Go to the members section of this blog for how to view any and all of these sequences (sign up and I’ll send details). However you view them, avoid crappy flash versions like you’ll find on Youtube. Just say no to Flash and its derivatives. 🙂

And Feel free to leave your comments about your favorite credit sequences. 🙂