I don’t always watch my favorite movies and television series. But when I do, I prefer to watch them on Blu-ray. Thankfully, the studios have provided home theater enthusiasts—people who shop for them—with a bounty of exciting new sets, likely to elicit that elusive “Ooo…” as the ribbons and bows tumble to the floor. From film canons to entire classic TV series to the sort of inspired little tchotchkes that can be proudly displayed, these selections go beyond the ordinary, as gifts that will be enjoyed well beyond the holidays.
Peter Parker’s a recent high school graduate with an awesome girlfriend and—thanks to a bite from an experimental spider—has become the super-powered guardian angel of New York City, and quite the folk hero. But Pete’s good fortune seldom lasts, and the return of his boyhood chum Harry Osborn quickly takes a dark turn—or is that just the new villain Electro sucking all the juice out of the Big Apple?
Greg P. Russell is the sound rerecording mixer of Transformers: Age of Extinction, and all of the Transformers movies actually, representing three of his 16 Oscar nominations… and counting. Since this was not only his first Dolby Atmos mix but the very first Dolby Atmos Blu-ray ever, he graciously sat down to discuss his work with Sound & Vision.
I guess people really like to watch robots breaking stuff. Transformers: Age of Extinction was another worldwide hit for the franchise, repeating more of the same paranoid nonsense (and lame dialogue and unfunny jokes) as its three predecessors. This time, a couple of suits decide they can build and control their own Transformers, using technology stolen from the evil Decepticons. How do you think that works out? The human ally this time is an underdog inventor (Mark Wahlberg) with a cutie-patootie daughter, in a mildly disturbing riff on Beauty and the Beast.
Thawed in the modern day at the end of Captain America: The First Avenger and revealed to the world to be as brave as ever in The Avengers, World War II hero Cap (Chris Evans) is now working for S.H.I.E.L.D., the super-secret, super-powerful organization of good guys. But his Greatest Generation standards of right and wrong are often a square peg in the round hole of our post-9/11 world. Case in point, the launch of a new ultimate weapon calls into question the meaning of freedom, security, and whether one must be sacrificed to preserve the other.
Christopher Nolan’s Oscar-winning go-to cinematographer Wally Pfister makes his directorial debut with this fantastical tale of a 21st-century ghost in the machine. Dr. Will Caster (Johnny Depp) believes that mankind is on the verge of a new order of artificial intelligence. It involves “transcendence,” whereby the electrical impulses of the brain—the emotions, memories, and ideas that make up our consciousness—are uploaded into a supercomputer. And after Will is shot by a member of a radical neo-luddite group (no, seriously), that’s exactly what he does to himself, losing his physical form and becoming a being of pure software.
At its best, science fiction sparks the imagination, inspiring the question, “What if…?” And in the world of cinema, this enthusiasm gives way to conjecture, even debate: Remember the decades of geek chatter about the version of Blade Runner that might have been, eventually leading to Ridley Scott’s Final Cut? We come away from Frank Pavich’s remarkable documentary Jodorowsky’s Dune with that same excitement. The second half of that title is no doubt familiar, either as Frank Herbert’s seminal novel or as the much-reviled 1984 film by David Lynch that it eventually became. The first part, not so much: Chilean-born filmmaker Alejandro Jodorowsky is perhaps best known for the surreal Western El Topo, widely considered the first “midnight movie” for its offbeat appeal.
In true comic book (excuse me, graphic novel ) fashion, Rise of an Empire presents the “origin” of the evil god-king of Persia and his hatred of all things Greek. Set ten years before the Battle of Thermopylae, this wild prologue is very much in the wheelhouse of writer/artist Frank Miller, whose as-yet-unreleased Xerxes comic provides the basis for this follow-up to the epic 300. A great Athenian warrior named Themistokles sets this dark destiny in motion, and we leap forward a decade to the resulting Persian invasion of Greece. An older Themistokles takes to the seas to stand against Xerxes’ overwhelming naval forces, as led by the savage, mysterious Artemisia, their deadly clashes concurrent with the legendary sacrifice of King Leonidas and his brave fifteen-score Spartans.
After an onslaught of Real American Heroes and Robots in Disguise, we often meet a new toy-inspired movie with the lament, “It’s just a two-hour commercial!” And so it is with no small measure of shock and awe that I watched The Lego Movie. The immensely talented filmmaking duo of Phil Lord and Christopher Miller has managed to tell an engaging story with boundless wit, originality, and even audacity, while still embracing what we know and love about these little bricks and the many associated characters.
Embellished from John Cheever’s most famous short story, The Swimmeris a rather artful drama that is ultimately open to individual interpretation. Determined to swim his way home from pool to pool across the county, middle-aged Ned also spends this unusual day wrestling with the very truth of his life, reality coming at him in increasingly hostile waves as he encounters more of his friends. Clad only in bathing trunks—except for one scene in which he removes them altogether—the legendary Burt Lancaster imbues this misguided soul with his bigger-than-life screen presence, carrying the entire narrative on his broad, buff shoulders.