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| The Hobbit : An Unexpected Journey (2012)
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| Justice League: Crisis on Two Earths
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| A Good Day to Die Hard (Blu-ray / DVD + Digital Copy)
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Bruce Willis is back in action - mind-blowing, heart-stopping, rip-roaring action - as John McClane, the heroic New York cop with a knack for being in the wrong place at the right time. John's latest predicament takes him all the way to Russia to track down his estranged son, Jack (Jai Courtney), who has been imprisoned in Moscow. But the mission takes a deadly turn as father and son must join forces to thwart a nuclear weapons heist that could trigger World War III!
The world has changed a lot in the 25 years between Die Hard and this fifth franchise rehash, but Bruce Willis is still the indestructible force of nature who is followed by gunfire and explosions everywhere he goes. In fact, he seems to have gotten more powerful and his body grown more resilient in spite of the crags in his face and the gray stubble over his ears. This time around, New York Police Department veteran John McClane has trekked to Russia for what he claims is a vacation, a running gag that lets Willis keep on quipping with the impeccable insouciance of a pedigreed action hero. What he's really up to is tracking his wayward son Jack (Jai Courtney), who John believes is on trial for murdering a mob kingpin. In the first of the movie's many dazzling set pieces, father and son meet cute just as Jack has broken out of a heavily fortified courtroom with a mysterious Russian businessman named Komarov (Sebastian Koch), who is in possession of some sort of information that's valuable on the world stage. Don't worry, the details aren't important as there's no room for plausibility in any direction. It's no spoiler to reveal that Jack is a covert CIA agent in pursuit of Komarov's file, and that instead of helping his estranged child, the senior McClane has actually bungled Junior's operation. This sets off a lengthy chase on the streets of Moscow (actually Budapest) that has father zooming after son with a tank full of caricatured Russian bad guys in the middle. Hundreds of vehicles sacrifice themselves for the hyperkinetic demolition derby between the three factions as they race through traffic-jammed streets, flattening everything made of metal and glass along the way. Though far less elegantly staged, the sequence recalls the opening chase in Skyfall, and the story rolls on in a similarly dumbed-down series of spy-movie showdowns that are all cranked up to 11. A Good Day to Die Hard is the most cartoonish sequel, given its superfluous plotting and nonstop spree of gratuitous destruction. There are a few plot twists--ultimately it's all about money, of course--but mostly it's an exercise in extravagant violence and automatic-weapons fire, with emotionless moments of rapprochement between John and Jack dropped in around the gunfights. Both of them survive beatings, car crashes, and ludicrous falls from tall buildings without injury as Komarov is lost, then found, then lost again. Dad helps his son mop up the mess by doing what they both like to do best: kill scumbags. The dizzying editing and breakneck pace builds to a crescendo at Chernobyl, where a magical anti-radiation gas explodes many things, a truck is driven out of a flying helicopter, buildings and people are shot to pieces, and a paroxysm of fetishistic, slow-motion digital mayhem turns the decrepit nuclear facility to rubble. Bruce Willis is firmly in charge throughout, delivering the mother of F-bomb catch phrases with a succession of increasingly eye-popping fireballs hot on his heels. Yippee-ki-yay, indeed. --Ted Fry
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| Lego Batman: The Movie - DC Super heroes Unite
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| Django Unchained (Two-Disc Combo Pack: Blu-ray + DVD + Digital Copy + UltraViolet)
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Brand: TCM
Model: ANCH59727BR
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Set in the South two years before the Civil War, DJANGO UNCHAINED stars Academy Award ®-winner Jamie Foxx as Django, a slave whose brutal history with his former owners lands him face-to-face with a German-born bounty hunter Dr. King Schultz (Academy Award®-winner Christolph Waltz). Schultz is on the trail of the murderous Brittle brothers, and only Django can lead him to his bounty. The unorthodox Schultz acquires Django with a promise to free him upon the capture of the Brittles – dead or alive.
Success leads Schultz to free Django, though the two men choose not to go their separate ways. Instead, Schultz seeks out the South’s most wanted criminals with Django by his side. Honing vital hunting skills, Django remains focused on one goal: finding and rescuing Broomhilda (Kerry Washington), the wife he lost to the slave trade long ago.
Django and Schultz’s search ultimately leads them to Calvin Candie (Academy Award®-nominee Leonardo DiCaprio), the proprietor of “Candyland,” an infamous plantation. Exploring the compound under false pretenses, Django and Schultz rouse the suspicion of Stephen (Academy Award®-nominee Samuel L. Jackson), Candie’s trusted house slave. Their moves are marked, and a treacherous organization closes in on them. If Django and Schultz are to escape with Broomhilda, they must choose between independence and solidarity, between sacrifice and survival…
From the moment Jamie Foxx throws off a filthy, tattered blanket to reveal a richly muscled back crisscrossed with long scars, it's obvious that Django Unchained will be both true to its exploitation roots but also clear-eyed about the misery that's being exploited. Django (Foxx), a slave set free in the years before the Civil War, joins with a German dentist-turned-bounty hunter (the marvelous Christoph Waltz, Inglourious Basterds), who has promised to help Django rescue his wife (Kerry Washington), who's still enslaved to a gleeful and grandiose plantation owner (Leonardo DiCaprio, plainly relishing the opportunity to play an out-and-out villain). What follows is a wild and woolly ride, crammed with all the pleasures one expects from a revenge fantasy written and directed by Quentin Tarantino. Plot-wise, some things happen a little too easily (for example, Django instantly becomes a master gunslinger), but the moral perspective is not glib. For all its lurid violence and jazzy dialogue, this is a still-rare movie that paints slavery for what it was: a brutal, dehumanizing practice that allowed a privileged few to profit from the suffering of many, a practice guaranteed by the gun and the whip. Think of it as the antidote to Gone with the Wind. Tarantino is more heartfelt in Django Unchained than in any of his previous movies--without sacrificing any of the pell-mell action, tension, and delicious language that made Reservoir Dogs, Kill Bill, and Pulp Fiction so very enjoyable. --Bret Fetzer
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| Skyfall (Blu-ray/ DVD + Digital Copy)
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Model: MGMV128541BR
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Daniel Craig is back as James Bond 007 in SKYFALL, the 23rd installment of the longest-running film franchise in history. In SKYFALL, Bond's loyalty to M (Judi Dench) is tested as her past returns to haunt her. 007 must track down and destroy the threat, no matter how personal the cost. When Bond's latest assignment goes gravely wrong and agents around the world are exposed, MI6 is attacked forcing M to relocate the agency. These events cause her authority and position to be challenged by Mallory (Ralph Fiennes), the new Chairman of the Intelligence and Security Committee. With MI6 now compromised from both inside and out, M is left with one ally she can trust: Bond. 007 takes to the shadows - aided only by field agent Eve (Naomie Harris) - following a trail to the mysterious Silva (Javier Bardem), whose lethal and hidden motives have yet to reveal themselves.
For longtime viewers of the James Bond films, one of the larger pleasures of the series--aside from the eternally awesome jetpacks and ejector seats--has been watching it adapt itself to the times, scooting its unflappable central character past the Cold War to the Disco Age to beyond the Millennium seemingly without breaking a sweat. Skyfall, Daniel Craig's third turn in the tux, lands itself firmly in the utmost tier of the franchise, delivering the expected goods as well as a rather unusual vein of introspection. Celebrating the 50th year of Bond's existence, it continues cultivating the gritty, back-to-basics vibe of Casino Royale, while also slowly letting some of the more fancifully escapist elements in through the filters. Kicking off with a humdinger of a car/bike/train chase in Istanbul, the plot finds an aging 007 on uneasy footing, struggling to get back in the game while his boss M (a magnificent Judi Dench) is marked for death by a mysterious assassin. As Bond draws closer to his target (Javier Bardem, having an absolute blast), he uncovers some details that draw uncomfortably close to his own origins. Director Sam Mendes, an Oscar winner for American Beauty, ably brings his game to the blockbuster level, keeping the globe-hopping narrative moving at a swift pace while also allowing plenty of room for the cast (including newcomers Ralph Fiennes and Naomie Harris) to do their thing. For all of the talent assembled on both sides of the camera, however, Skyfall's true MVP proves to be director of photography Roger Deakins, who gives an astonishingly ravishing look to the proceedings, culminating in a battle in a Shanghai skyscraper that may very well be the best fight scene the series has ever had. By the time of the surprisingly moving finale, set in a location far, far away from the standard Evil Lair, Mendes and Craig and Co. have reminded the viewer of exactly what these films can do. Where it ends is a perfect beginning. Extras on the disc include a wry and informative director's track, a more laid-back commentary from the producers and production designer, and an exhaustively detailed look behind the scenes. If you want to learn more about Bardem's wig, that information is available. --Andrew Wright
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| Pilot
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| Hansel & Gretel: Witch Hunters (Unrated Cut) (Blu-ray / DVD / Digital Copy + UltraViolet)
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After getting a taste for blood as children, Hansel (Jeremy Renner) and Gretel (Gemma Arterton) have become the ultimate vigilantes, hell-bent on retribution. Now, unbeknownst to them, Hansel and Gretel have become the hunted, and must face an evil far greater than witches...their past.
There are too many body parts flying around Hansel & Gretel: Witch Hunters to single out the tongue that has nearly been gnawed off in the cheek of its clever premise that fairy-tale heroes have grown up into savage supernatural mercenaries. Jeremy Renner and Gemma Arterton strut around like 18th-century Avengers in leather uniforms, cursing up a storm of modern vernacular and bearing an inventive array of historically and mechanically impossible weapons such as grenades, crossbows, tasers, machine guns, and other weapons of witch-killing mass destruction. It's all a big joke of course, and one that the movie wears boldly and without a shred of irony. To quibble with its gaps in narrative logic or be righteously indignant that the script is often a slapdash mess is to miss the point that it's all meant to be a pile of plain old silly fun. After their childhood trauma at the gingerbread house, the famous Teutonic siblings are now in the business of killing witches full time, hiring themselves out to villages plagued by ugly, evil women wearing loads of scary makeup (Famke Janssen being the evilest and scariest) who feed on the townsfolk's kids. They do their job well and the movie spares no opportunity to show the effect of their fantastical arsenal with profusions of firepower, explosions, viscera, and disgusting cartoon violence, decapitation being the most favored method of killing by the movie and the title characters both. As the latest in the trend of revisionist fairy-tale telling, Hansel & Gretel: Witch Hunters takes the low road whenever possible, but it does so with a blithe spirit, a foul mouth, and the above-mentioned gore galore to create a B-movie soul that pities any sort of critical over-analyzing. It's also pretty funny. There are several inspired offhand moments, such as the missing-children notices slapped on the sides of farmers' milk cans or the way Hansel has to make time for insulin injections because of the gingerbread overdoses he endured at the hand of the proto witch he and Gretel encountered as children. The art direction, wardrobe, and anachronistically engineered props that propel the story all have a cool steampunk design theme and make the silliness pretty hard to resist. Renner, Arterton, and Janssen aren't really taking things too seriously, which is fine because neither are we. This is the American debut of Norwegian director Tommy Wirkola, who brings the same playful gross-out sensibility he did to his 2009 feature Dead Snow. That one was about long-dormant Nazi soldiers rising up as zombies. What fun! It was a lark and a goof, just like Hansel & Gretel: Witch Hunters. --Ted Fry
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| Batman
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| Star Trek Into Darkness (Blu-ray + DVD + Digital Copy)
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When the crew of the Enterprise is called back home they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for leaving our world in a state of crisis. With a personal score to settle Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death love will be challenged friendships will be torn apart and sacrifices must be made for the only family Kirk has left: his
A good portion of Trekkies (or Trekkers, depending on one's level of Star Trek obsession) have special affection for episodes of the original TV series that related to Earth and other-Earth cultures visited by the crew of the Enterprise, version 1.0. Some of the shows unfolded in distorted forms of the past, some in the present day of Star Trek's future reality. Director J.J. Abrams recognized the importance of this relationship in his origin-story reboot of the franchise in 2009, and in Star Trek Into Darkness he has made it an even greater touchstone to the roots of Star Trek creator Gene Roddenberry's defining philosophy from nearly 50 years ago. The human home world is key to the plot of this spectacularly bold leap into Star Trek lore, which cleverly continues along the alternate path that was established as separate from the "original" Star Trek universe in Abrams's first whiz-bang crack at advancing the mythology. But it's not just Earth that is cool and imperiled in this rendering of adventure in the 23rd century; Into Darkness also plays with the original conceit that Earthlings were member to a multi-species United Federation of Planets ruled by a "Prime Directive" of noninterference with other civilizations. The conflict comes when rogue elements in the Earth-based Starfleet Command hunger to shift focus from peaceful exploration to militarization, a concept that is anathema to the crew of the Enterprise and her ongoing mission. The new cast is again inventively reunited, each of them further investing their characters with traits that reveal novel acting choices while staying true to the caricatures that are ingrained in our popular culture. The interplay between Chris Pine as Kirk and Zachary Quinto as Spock is deeper, and Zoe Saldana as Uhura is a solid third in their relationship. John Cho (Sulu), Simon Pegg (Scotty), Anton Yelchin (Chekov), and Karl Urban (McCoy) all have standout roles in the overall ensemble mystique as well as the plot-heavy machinations of this incarnation's narrative. Fortunately, the burdens of the story are well served by some important additions to the cast. Benedict Cumberbatch's Shakespearean aura, ferociously imperious gaze, and graceful athleticism make him a formidable villain as the mysterious Starfleet operative John Harrison. Harrison has initiated a campaign of terror on Earth before leading the Enterprise to even greater dangers in the enemy territory of Klingon-controlled space. That his background may make dedicated Trekkies/Trekkers gasp is just one acknowledgment of the substantial and ingrained legacy Star Trek has borne. There are many references, nods and winks to those with deep reverence for the folklore (some of them perhaps a little too close to being inside-baseball), though the fantastical and continually exciting story stands as an expertly crafted tale for complete neophytes. Another new face is Peter Weller--iconically famous in sci-fi-dom as RoboCop--here playing a steely, authoritative Starfleet bigwig who may also be following a hidden agenda. Not only is he running a covert operation, he's also at the helm of a fearsome secret starship that looms over the Enterprise like a shark poised to devour its prey. Which brings us to the awesome CGI effects driving the dazzling visual style of Into Darkness and the endlessly fascinating cosmos it makes real. The wow factor extends from the opening set piece on an alien world of primitive humanoids, garish vegetation, and a roiling volcano to the finale of destruction in a future San Francisco that is elegantly outfitted with gleaming-spired skyscrapers and all manner of flying vehicles. (London also gets a breathtaking 23rd-century makeover). With a coolness that glistens in every immaculately composed shot, the movie never forgets that humanism and creativity make the myriad design details and hyper-technology pop out as much more than eye candy. The biggest achievement of Star Trek Into Darkness is that it hews to the highest standard of a highly celebrated tradition. Though Kirk and co. may bend it a little, the Prime Directive remains unbroken. --Ted Fry
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