BLU-RAY MOVIE REVIEWS

The Graduate is one of the great American films. It captured a spirit of the 1960s at its cusp, marked the screen debut of Dustin Hoffman (clearing the way for a new, more inclusive type of movie star), altered the nature and function of a movie-music soundtrack—and it’s just damn fine filmmaking. It’s the shrewd mixing of dissonant elements that made the movie so head-spinning in its day and so appealing still—a fairly conventional formula, sly angles on modern themes (empty materialism, alienated youth, sexual license), and raucous comedy done up in a stark, surreal mise-en-scène: Antonioni channeled through Second City, but deeply funny, not just satirical, and oddly moving, too.

Andy Weir’s bestselling novel The Martian was justly lauded for its clever use of hard science facts to tell a thrilling yet believable tale of science fiction. Of course, the characters needed to be compelling as well if this bold survival epic was to work, and on screen as well as on the page, the futuristic drama is a smashing success. We begin a couple of decades from now as a manned Mars expedition is cut short due to a violent storm on the surface of the Red Planet.

Two dice roll into close-up. Thus, down-and-out dockside gambler Johnny Farrell is introduced, along with the theme of characters that make their own luck by cheating with chance, love, and big business. Whereas Johnny just plays his way into a job at an exotic Buenos Aires casino through his cardsharp skills, snappy spiel, and fast fisticuffs, his boss, Ballin, has greater ambitions in creating an international monopoly and is willing to use intimidation, illegal business practices, and murder to attain his goal. Johnny becomes as faithful and obedient to his mentor as Ballin’s phallic walking stick, until Ballin breaks their agreement of no women around, returning from a business trip with a wife—Gilda. Especially as she’s the woman who’d ripped Johnny’s heart out.

When a government strike against the Mexican drug cartel on American soil proves fruitful but costly, a dedicated FBI field agent (Emily Blunt) joins an interagency task force to help bring the men responsible to justice. She quickly learns, however, that her new colleagues have a disturbing tendency to bend or break the rules, or even write their own. They’re an effective bunch, albeit mysteriously motivated. The dangerous transport of a high-value prisoner to the U.S. yields valuable information, including the whereabouts of a crucial cartel tunnel under the border.

As if their world-saving missions weren’t hard enough already, the entire Impossible Mission Force is shut down by an overzealous CIA director, and the IMF’s best agent, Ethan Hunt (Tom Cruise), is now an international fugitive. Of course, those setbacks don’t stop him from continuing his search for the Syndicate. The Syndicate is ruthless, frighteningly effective, and worst of all, the CIA refuses to believe that it even exists, so the pursuit is uphill all the way.

Ant-Man begins in 1989 as genius inventor and industrialist Hank Pym achieves a major success in a revolutionary shrinking technology that can reduce a man to the size of an ant while increasing his strength a hundredfold or more. But he hides his accomplishment and resigns from his company to keep the development from falling into the wrong hands. As we jump to the present, his protégé, Darren Cross, is now the head of the company and close to the success that Pym secretly achieved in 1989.