From New DVD Releases Aug 3 2010 & Buy Cheap New DVD Movies Aug 3 2010
Movie & TV DVD Releases this week. August 3 2010
The Ghost WriterDirected by Roman Polanski
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Oscar-winning director Roman Polanksi (The Pianist) teams up with author-screenwriter Robert Harris (Enigma) for this twisty political thriller. Ewan McGregor plays an unnamed ghostwriter who signs on to pen the memoirs of former British prime minister Adam Lang (Pierce Brosnan). The money is good, but there's a catch: the ghost's predecessor perished under mysterious circumstances (his body washed up on the shore in an apparent suicide). Being the adventurous sort, the ghost puts that information aside and travels to Lang's austere compound on Martha's Vineyard, where he meets Lang's efficient personal secretary, Amelia (Kim Cattrall, good but for an inconsistent accent), and acerbic wife, Ruth (An Education's Olivia Williams). Just as he's wading through Lang's dull text, the PM's ex-cabinet minister accuses him of handing over suspected terrorists to the CIA, fully aware that torture would be on the agenda. The next thing the ghost knows, he's working for a possible war criminal, and the deeper he digs, the more convinced he becomes that Lang is lying about his past. After exchanging a few words with a sharp-eyed old man (Eli Wallach) and a tight-lipped professor (Tom Wilkinson), he realizes his life may also be at risk. Then, while Lang hits the road to proclaim his innocence, the ghost gets to know Ruth better--much better. If the conclusion feels a little glib, Polanksi tightens the screws with skill, McGregor enjoys his best role in years, and Williams proves she's fully prepared to carry a movie of her own.
Diary of a Wimpy Kid
Directed by Thor Freudenthal
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The first volume in Jeff Kinney's wildly popular Web and book series hits the screen in this live-action adaptation. The impish Zachary Gordon, who recalls Wonder Years-era Fred Savage, plays Greg Heffley, who enters middle school determined to become class favorite. It won't be easy. His best friend, Rowley (the sweetly funny Robert Capron), is a big, redheaded lug who embarrasses him at every turn. Greg's obnoxious teenage brother, Rodrick (Devon Bostick), advises him to keep his head down, but Greg believes he needs to excel at something to achieve his goal. Smart, but small for his age, he tries wrestling and safety patrolling, but nothing seems to fit. During gym class, he and Rowley meet wise-beyond-her-years newspaper reporter Angie (Chloë Moretz, (500) Days of Summer), who finds popularity overrated. Greg isn't convinced, but the harder he tries, the more boorish he becomes, until even Rowley abandons him. After a humiliating encounter with some high school bullies, though, Greg learns what really matters: self-respect (he also discovers that the dreaded "cheese touch" is just a myth). Berlin-born director Thor Freudenthal (Hotel for Dogs) avoids any dull or sentimental patches, which should please kids and adults alike (an upbeat modern-rock soundtrack doesn't hurt). Rachael Harris and Steve Zahn could use more face time as the terminally un-cool Heffley parents, but Harris's rhythm-impaired moves at the mother-son dance provide one of the best laughs. Kinney fans will also appreciate the way Freudenthal weaves stick-figure drawings from Greg's journal throughout this zippy entertainment.
Kick-Ass
Directed by Matthew Vaughn
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The cinematic equivalent of a half case of Red Bull chased with donuts, Kick-Ass is a giddy, violent experience--and not your average superhero movie. Based on the comic book by Mark Millar and John Romita Jr., it offers a set of heroes who are decidedly without superpowers: Dave Lizewski (Aaron Johnson) decides he'll be just like a comic-book character, and puts on a ridiculous green suit to fight crime as the mysterious Kick-Ass. Luckily, somebody else had the same idea and comes along to rescue the incompetent crusader: Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz), who also happen to be running around town wearing masks and vanquishing evil. And here we have the movie's masterstroke: Hit Girl, a pint-sized preteen who slaughters bad guys and swears like a sailor on leave (and was the focus of a measure of controversy when the movie was released). The main target of our heroes is a gangster (Mark Strong, Sherlock Holmes), whose neglected son (Christopher Mintz-Plasse, McLovin from Superbad) figures he might just pull on a costume himself and become… Red Mist! (One of the many funny things about Kick-Ass is that the superhero names are hopelessly lame.) Director Matthew Vaughn is operating at the same glib level as his Layer Cake, with cutesy song cues galore and a freewheeling appetite for cartoon violence. This means the movie's high wears off quickly, but it does get high--a crazy, hilarious (and by the way: decidedly R-rated) kick. All that, plus Nicolas Cage executes a deadly Adam West imitation when he pulls on his cape and cowl. That's entertainment.
After.Life
From Starz / Anchor Bay
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Quite a few folks in the movies have seen dead people, especially since The Sixth Sense, but After.Life gives this by-now-familiar conceit an intriguing spin. As director-cowriter Agnieszka Wojtowicz-Vosloo's 2009 film would have it, the deceased aren't exactly dead. At least not yet; in the days between whatever killed them and the moment they're put in a box and lowered six feet under, they're caught in some kind of purgatory, no longer alive but still able to move and communicate. Not to everyone, of course; only Eliot Deacon (Liam Neeson) has the ability, be it a gift or a curse, to converse with these infernal travelers as he readies them for their final rest in the basement of his funeral home. That's where he meets Anna Taylor (Christina Ricci), who died in a car crash following a nasty argument with her boyfriend, Paul (Justin Long). Anna, not surprisingly, is in denial. How can she be dead, when she can still walk, talk, and experience emotions? Well, it's complicated, but Eliot's there to help her sort it all out--that is, unless he's up to something considerably more sinister, a question that remains in doubt even at the very end. After.Life has a cool concept, a good look, an ominous vibe (driven by former Tangerine Dream member Paul Haslinger's relentlessly spacy, downbeat musical score), and some fine performances. But movies like this depend on the rules and boundaries the filmmakers establish. In The Sixth Sense, those rules ("dead people don't know they're dead," etc.) are simple and consistent. Here they're a bit more confusing. How can the deceased wield a knife, open a locked door, or even make a phone call? If Anna is dead, why can she still see her breath on a windowpane? The willingness to accept such things may well affect one's appreciation of this very absorbing film.
A Prophet
Directed by Jacques Audiard
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In his labyrinthine portrait of a convict turned kingpin, Jacques Audiard (A Self Made Hero) combines the grittiness of HBO's Oz with the shifting loyalties of a Leone western. After assaulting a cop, Malik (riveting newcomer Tahar Rahim) earns a six-year prison bid. Though illiterate, the 19-year-old speaks French and Arabic. Instead of congregating with the Muslim inmates, he keeps to himself, providing a perfect target for Mob boss César (Niels Arestrup of Audiard's The Beat That My Heart Skipped), who makes him a Godfather-like offer he can't refuse: kill Reyeb (Hichem Yacoubi), an Arab set to testify against the Corsicans, or meet his maker. Malik decides he would prefer to live (in a surrealistic touch, Reyeb's ghost will haunt him for the rest of the film). In return, Luciani offers him protection but stops short of treating him like an equal. When Malik isn't serving coffee and making deliveries, he studies French and Corsu. With what he learns from the mobsters, he befriends two other loners, Ryad (Adel Bencherif) and Jordi the Gypsy (Reda Kateb), and starts a drug-smuggling operation. The years pass, and Malik takes advantage of his parole leaves to work both sides of the fence, and when the authorities transfer César's crew to a different facility, the balance of power shifts from the aging master to the model student. At 149 minutes, A Prophet feels more like a miniseries than a movie, but there are no dead spots, no wasted moments, resulting in Audiard's most fully realized vision to date.
To Save a Life
Directed by Brian Baugh
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To Save a Life is a powerful Christian film about suicide, faith, and the power of one person to make a difference in the lives of many. Set in an urban high school where the jocks are high on the popularity scale and partying is commonplace, the film opens with several striking segments that include a surprisingly uncensored look at a teen culture ripe with underage drinking, bullying, and sexuality. Jake (Randy Wayne) is a popular basketball player who's at the heart of every party, but when he witnesses a childhood friend commit suicide in the halls of their school, he begins to reflect upon how he treated his friend in recent years. As he starts to grapple with his own sense of right versus wrong and struggles to define what his duty toward others might be, he meets a youth pastor who intrigues him despite his own disinterest in religion. As Jake's relationships with his parents and his girlfriend Amy become increasingly tumultuous and confusing, Pastor Chris (Joshua Weigel) serves as someone he can talk to, and his weekly youth group becomes a safe place where he can be himself without the fear of being judged. With Chris's help, Jake sets out on a journey of transformation and personal growth that will reveal God's unconditional love and Jake's power to make a difference in the lives of others. This film is both graphic in its demonstrations of immorality and openly preachy, traits that may render it uncomfortable viewing for many, but those very traits send a powerful message to modern teens.
Open House
From Lions Gate
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A couple on the verge of a nasty divorce attempt to sell their empty love nest and move on with their lives, separately. After a successful open house, they are horrified to discover, days later, that a potential buyer didn’t leave their home. While Alice is being held captive in the basement, the unannounced houseguest moves in upstairs. She senses her capture is being kept a rebellious secret. She knows her only way out, if she can only get out alive.
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