Blu-ray Movie Reviews

It's the end of the world and Donnie Darko (Jake Gyllenhaal) doesn't feel fine. He's unhinged and uneasy. He's been sleep- walking, waking up in the middle of golf courses, and experiencing waking daydreams. A jet engine has fallen from the sky and crashed into his bedroom and a giant rabbit named Frank is telling him the world will end soon unless he stops it. But how?

Universal Studios needn't have advertised on Nobody's disc cover that it sprang from the mind of Derek Kolstad, writer of John Wick, since it's at its core the same movie. And that's not such a bad thing, since the erstwhile-enforcer-makes-a-violent-comeback formula is a winning one. This time the story lives or dies on the substantial charm of star Bob Odenkirk, who for the most part keeps his renowned comedic chops under wraps, instead allowing the humor to grow from the incongruity of suburban schlemiel Hutch's explosive and deadly skills.

Gattaca tells the story of a future where genetically engineered humans are provided all the benefits of an advanced civilization while those that are genetically inferior are relegated to more menial jobs and not afforded the same opportunities as society's elite. Ethan Hawke plays Vincent, an "in-valid" who takes on the identity of one of the genetically elite, Jerome (Jude Law), to realize his dream of becoming a navigator at Gattaca, a prestigious space exploration corporation. The film moves slowly, but with stylish cinematography and excellent performances, it holds up well nearly 25 years after its initial release.

Legend has it that director Zack Snyder was streaming his Dawn of Justice one day and was unhappy with the color, specifically red, a shade relevant to much more than a certain Last Son of Krypton. And so, the studio took the unusual step of remastering the movie from the existing 4K video transfer and rereleasing it, with the new version addressing Snyder's crimson concerns as well as showcasing the de rigueur IMAX scenes in their full and correct 1.43:1 aspect ratio.

Pixar O.G. and now Chief Creative Officer Pete Docter touched our hearts with Up, then plumbed the intricacies of the human mind in Inside Out. It would follow, then, that his next movie would be Soul.

Together, these are arguably the most grown-up entries in the Pixar canon, not for any sort of overly mature content, but rather for their sophisticated themes and storytelling. And Soul might be the most adult-skewing: It's the longest of the three, exploring The Great Hereafter and even "The Great Before," namely where souls originate prior to their arrival on Earth. This concept requires quite a bit of exposition, and it's executed masterfully by Docter, co-writer/co-director Kemp Powers, and co-writer Mike Jones, through bold visuals and pithy gags.

Closing an almost 50-year career that began with Un Chien Andalou, writer-director Luis Buñuel—aided by screenwriting partner Jean-Claude Carrière—created a trio of subversive amusements that savagely poke fun at pillars of French society, including church, military, and figures of the establishment. The master surrealist did so by playing with and disrupting conventional narrative structures, questioning the validity of his protagonists' rationality, and reducing their self-serving behavior and values to nonsense while upsetting cinematic expectations of viewers.