Blu-ray Movie Reviews

Perhaps America’s greatest working filmmaker, Martin Scorsese continues to refine his stream-of-consciousness directorial style, a motif that reached its zenith in 1990’s Goodfellas. His latest film, which chronicles the rise and fall of stock shark Jordan Belfort (Leonardo DiCaprio), might lack the depth and poignancy of Scorsese’s gangster classic, but it takes his staccato storytelling techniques to an even higher level of commercial appeal. Starring in his fifth Scorsese film, DiCaprio interprets the larger-than-life Belfort with essential hubris, though his portrayal sometimes strays into heavy-handedness. Not so Jonah Hill, who, as DiCaprio’s lieutenant, delivers the best performance of his meteoric career, not to mention this movie. (Both DiCaprio and Hill were nominated for Oscars.) Matthew McConaughey and Rob Reiner conjure delightful caricatures in their supporting roles, endowing Wolf with the dimensionality that has become a Scorsese trademark.

When you think about the serial nature of comic books and the virtually limitless stream of new stories published each month, big-screen sequels in this genre should be a slam-dunk, right? Unfortunately, Kick-Ass 2 loses its way; its themes becoming at once muddled and more clichéd. High-schooler/hero Kick-Ass (Aaron Taylor-Johnson) is upping his crime-fighting game under the tutelage of 15-year-old Hit-Girl (Chloë Grace Moretz), who soon faces her own identity crisis. Inspired by the duo’s exploits, an all-new team of masked heroes has assembled, just as the vengeful son of a dead mob boss begins recruiting his own evil army, and a showdown is inevitable.

The legend of the 47 ronin is a long-cherished Japanese story about a group of dishonored samurai who set out on a dangerous quest to avenge the death of their village lord. Technically, their lord was deceived and tricked into killing himself, but as far as they’re concerned, it still counts as murder. And in the Japanese feudal code of samurai conduct, there’s no greater shame than failing to protect and serve your lord and master. Masterless samurai are called ronin, and it sucks to be one. The story is simple enough: The dishonored and banished ronin stage an impossible attack on their enemy’s stronghold to avenge their fallen master and perform ritual suicide when their task is done to regain their honor. The End. It sounds like a great idea for a movie, and it probably would have been in the hands of someone like Kurosawa or Kubrick, but tragically, both were unavailable.

After watching The Great Beauty in a theater, I wanted to watch it again, not to catch details I’d missed (there weren’t many) but to relive the experience. I can’t remember a film that so raptly captures the flow of life, the “fleeting and sporadic flashes of beauty” beneath the “blah-blah-blah” of existence, as our protagonist, Jep Gambardella, reflects in his epiphany. Jep (played by the marvelous Toni Servillo) is the king of Rome’s high society, the author of a celebrated novel who hasn’t written one since because he can’t find “the great beauty.” But, at the end, he realizes that life is full of great beauty when mediated through art, and so begins his new novel, which, we realize, is the film we’ve just seen.

When six-year-old Anna Dover and her neighbor disappear, father Keller (Hugh Jackman) tramples the law to find her. While Detective Loki (Jake Gyllenhaal) methodically investigates, the impatient Keller kidnaps his daughter’s alleged kidnapper and attempts to extract a confession through torture. Prisoners is a perfectly paced psycho-drama that engrosses and rewards its audience.

Michael Mann’s feature film directing debut, this rough-hewn caper drama fairly throbs with energy, thanks in large part to the inspired use of a Tangerine Dream musical score. Criminal or not, Frank (James Caan) is pretty difficult to like, but he’s a total professional, so naturally the Chicago mob wants to own him. They underestimated Frank, however, and his rage erupts stylishly in this unrated director’s cut.