Blu-ray Movie Reviews

Going back a few years, the arrival of high definition in general and Blu-ray specifically signaled a new era of entertainment. While home theater has long promised a movie-watching experience that we could enjoy in our pajamas—without getting arrested—the reign of the 1080p optical disc promised us DVD convenience combined with superior cinematic quality. Delivering on that promise wasn’t always so easy, however. Owing to a variety of variables, such as poor film storage, tight budgets, and the simple fact that some studios are more dedicated to the preservation of their libraries than others, many of the most anticipated Blu-ray debuts have been lackluster, frequently mere ports of existing standard-def masters.

Adaptations of old TV shows are a mixed bag, especially when filmmakers take the risky step of amping up the comedy factor of the original. The new gold standard of this bawdy-yet-reverent approach is 21 Jump Street, with much of the credit belonging to star/executive producer/co-writer Jonah Hill. He plays a brainy high school loser who, years later, winds up enrolling in the police academy at the same time as his brawny erstwhile tormentor (Channing Tatum).

Zeus, king of the gods, enlists the help of his half-human son Perseus in defeating Perseus’ brother Ares, who has allied with Hades in an effort to release Kronos, the leader of the Titans and the father of Zeus and the other gods. But Perseus just wants to be left alone to live as a human with his son.

The buddy movie has been a staple in Hollywood going back to the days of Abbott and Costello. The 1980s revived it with films such as 48 Hours and Lethal Weapon, and there have been quite a few copycats over the years that have made their mark. Like most successful films, sequels are a surety, and this is where the Mel Gibson–fueled franchise proved its worth with nearly $500 million in box-office receipts for the four films.

Long before Batman had the Joker, the world’s greatest detective, Sherlock Holmes, had an evil nemesis who was every bit his equal in intelligence and powers of perception; the yin to his yang, so to speak. Professor James Moriarty was a precursor to the Bond villain and a blueprint for every criminal mastermind to come. In the previous Sherlock Holmes film, he was a mysterious and sinister presence concealed in darkness. For A Game of Shadows, he comes to the forefront to challenge the master detective to a game to the death and is played with relish by Jared Harris.

Chinatown is an impossibly perfect movie from the glory years of the 1970s, when great filmmakers were routinely working within the Hollywood system. Consider that Chinatown’s 1974 Oscar competition was Coppola’s The Godfather: Part II and The Conversation, and you get the idea. Robert Towne’s complex but tightly woven screenplay, set amid L.A.’s 1930s water wars, is a clinic on screenwriting. Every detail is of great consequence as the misdirection peels away and the baser, more painful truths are revealed, culminating in a haunting, unforgettable ending that starkly reveals the cynicism of the film’s title.

There are few more enduring classics of American theater than Tennessee Williams’ A Streetcar Named Desire, an over-the-top, sweaty steam bath of a play that straddles Greek tragedy and Gothic camp yet still commands attention, even astonishes, 65 years after its creation. The show ran on Broadway for two years; the film adaptation was shot two years after that; both were directed by Elia Kazan and starred Marlon Brando. This was only Brando’s second film. He was 27 years old. And despite all the subsequent parodies of his sultry pout and his mumblecore rage (“Stella! Stel-l-l-laaa!”), he was a blazing-hot actor. It’s a natural heat that he radiates, and he modulates it seamlessly, from simmer to boil and all shades in between. Brando’s amazing to watch: The acting is all there on the surface, yet he’s so immersed in his character, it seems completely uncontrived. You see the moves and attitude that countless actors later copied, but none of them ever matched this. (That said, his performance in Kazan’s On the Waterfront three years later was even better, subtler.)