Blu-ray Movie Reviews

War for the Planet of the Apes concludes a trilogy that began with Rise of the Planet of the Apes in 2011. It tells the story of Caesar, from a nascent, intelligent ape to the leader of a band of smart simians. Humankind here has been nearly wiped out, with the survivors fighting to retain their freedom and humanity. In a twist from the classic 1968 original, however, the humans here are the villains, and the apes, fleeing the remnants of an army led by an obsessed, Ahab-like colonel, are the heroes. We’re driven to root for the Apes, from the story’s beginning to its near-biblical conclusion.

David Leitch is known mostly as a stunt coordinator on big action films like Tron: Legacy, but for Atomic Blonde he steps behind the camera as the big man in charge to direct an adaptation of the graphic novel series The Coldest City by Antony Johnson and Sam Hart. The movie is fairly dripping in neon and ’80s nostalgia. Charlize Theron stars as sexy Cold War MI6 agent Lorraine Broughton, tasked to go into East Berlin and work with embedded station chief David Percival (James McAvoy) in order to find a sensitive dossier.

In the original Cars, from 2006, hotshot racecar Lightning McQueen learned to be a gracious winner but a winner nonetheless. In Cars 2, Pixar learned that they could produce a less than sparkling sequel. Now, in Cars 3, the second Disney-Pixar property to produce a threequel (after Toy Story 3), McQueen is getting older, losing his edge, and suffering both losses and trash talk from newer, sleeker, faster racers. But he goes back into training, gets up to speed (so to speak), and is on the verge of motoring back to the top when….OK, you don’t expect spoilers, do you?

This is the classic story of boy meets girl, boy falls for girl, girl wakes up one day and realizes she loves boy and can’t live without him. Will daddy approve? Not likely since the boy comes from the group that daddy is trying to wipe off the face of the Earth, so the young couple must overcome long odds to live happily ever after. Although there’s a twist here that you don’t often see—the boy is a zombie who can’t even remember his name other than it begins with an R.

A dangerous crime wave hits the beach as legendary Lt. Mitch Buchannon leads his squad of lifeguards on a mission to prove you don’t have to wear a badge to save the day—despite being told to keep away from the trouble by both the police and his boss. Along for the ride are a trio of new recruits including former Olympian Matt Brody, who made the cut because of the positive PR he will bring to the team. To find the mastermind, the team must break some rules, go undercover, and put their careers in jeopardy to keep the beach safe from nefarious business interests.

Ridley Scott’s stunning dystopian allegory about the meaning of life, where technology ends and humanity begins, Blade Runner—from the Philip K. Dick cyberpunk novel Do Androids Dream of Electric Sheep?—draws from many influences. Perhaps the strongest are the classic Fritz Lang film Metropolis and the Heavy Metal sci-fi magazines of the 1970s. The story follows gruff lawman Deckard (Harrison Ford) chasing androids called “replicants” that are nearly indistinguishable from humans.

Shot on a budget of $5 million, acquired for $12 million, and promoted with a $20-million marketing budget, The Big Sick grossed $50 million worldwide and claimed much acclaim. For me, The Big Sick initially came across as The Big Suck, but on a second, more sobering screening, it made sense, building from the characters’ youthful shallowness to emotional growth into something like near-human depth.