The Age of Innocence
On the surface, Martin Scorsese’s The Age of Innocence seems like an outlier. A gorgeous costume drama free of most of Scorsese’s on-screen depictions of violence and vice, Innocence catches you off guard. But Scorsese one claimed Age of Innocence to be “the most violent” film he ever made. In an interview with Roger Ebert, Scorsese said:
“What has always stuck in my head is the brutality under the manners. People hide what they mean under the surface of language. In the subculture I was around when I grew up in Little Italy, when somebody was killed, there was a finality to it. It was usually done by the hands of a friend. And in a funny way, it was almost like ritualistic slaughter, a sacrifice. But New York society in the 1870s didn’t have that. It was so cold-blooded. I don’t know which is preferable. I grew up thinking in one way, but in my own private life the past 10 years, I’ve started to appreciate the ability to say a little in certain emotional situations and mean a lot.” Scorsese’s film, set in 1870s New York, concerns Newland Archer (Daniel Day-Lewis). Archer is engage to marry the sweet, somewhat boring May (Winona Ryder). Then May’s cousin comes to town. The cousin, Ellen Olenska, is everything May is not: blunt, passionate, often shocking, and, of course, played by Michelle Pfeiffer. What follows is a battle to tamp down passion, as Archer lusts after Ellen without making things fully physical.Filled with lush cinematography courtesy of Michael Ballhaus, jaw-dropping production design via Dante Ferretti, and masterful performances from Day-Lewis, Pfeiffer and Ryder, The Age of Innocence is one of Martin Scorsese’s very best films. It’s a sumptuous visual and emotional feast.Special Features To Note:The must-have Age of Innocence Blu-ray release from the Criterion Collection features interviews with Martin Scorsese, co-screenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci.Scorsese spend a good part of his interview comparing the film to other classic movies, like Luchino Visconti’s The Leopard and Senso and William Wyler’s The Heiress.The director also says that before he made the film, he became aware of the power of passivity; the power of not saying what was wrong: “For me, it’s really about the power of what you think you know, and what you think you’re doing, and the reality of how people perceive you.“Scorsese also reveals he had his actors listen to recordings of Franklin Roosevelt and Alice Roosevelt and also Walt Whitman to learn the correct way to speak. He also defends his use of narration, saying he likes it because it adds “tone and atmosphere.“In Jay Cocks interview, Cocks says he and Scorsese wrote the movie in 17 days. The two had already been doing research for the film that would eventually become Gangs of New York, and they drew on that for Age of Innocence.The interviews with Dante Ferretti and Gabriella Pescucci go into the overall design of the film, from Ferretti’s production design to Pesucci’s costumes. “If the film is set in the 1800s, I automatically become an architect of that period,” Ferretti says. Pescucci says she begins her research by looking at paintings. For Age of Innocence, she referenced the paintings of James Tissot.
Special Features Include: New, restored 4k digital transfer, approved by director Martin Scorsese, with 5.1 surround DTS-HD Master Audio soundtrack New interviews with Scorsese, coscreenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci Innocence and Experience, a 1993 documentary on the making of the film Trailer PLUS: An essay by film critic Geoffrey O’Brien
The Disaster Artist
James Franco takes the story of the making of Tommy Wiseau’s The Room and turns it into comedy gold. Franco’s version of events is definitely idealizing for mass consumption, and its portrayal of Wiseau as a tragic artist who dared to dream, even if his dreams were dumb, probably gives Wiseau more credit than he deserves.Still, it’s hard to deny how fun this film is. While Franco’s direction is a bit point-and-shoot, The Disaster Artist is cut from the same cloth as Tim Burton’s Ed Wood – a film about an inept artist who refuses to give up, even when he probably should.Wiseau’s story is told from the point-of-view of Greg Sestero (Dave Franco), a would-be actor who hitched himself to Wiseau’s insane vision. As played by James Franco, Tommy Wiseau is a mystery; an enigma; a weirdo who constantly lies about himself, and wants nothing more than to be an actor. When his impenetrable accent and gonzo acting style keeps him from landing roles, Wiseau decides to take matters into his own hands and make his own movie. That movie is The Room, which would go on to find its place in the hallowed “so bad it’s good” halls.The Disaster Artist is a fun, often hilarious film. I have issues with some of its choices – the opening scene, with a parade of famous people talking about The Room – is a huge misstep and should’ve been cut completely, for instance. But issues aside, The Disaster Artist is a hoot.Special Features To Note:Special features on The Disaster Artist take you behind-the-scenes of the film in a very light-hearted, easy-going fashion. If you’re looking for depth, you won’t find it. What you will find are fun little interviews with the cast and crew discussing both the film at hand and The Room.“The Room has heart and passion,” James Franco says, explaining what drew him to The Disaster Artist, and describes it as “a strange, ironic success story.”"[The Room] constantly reinvites how it was bad and why it was bad,” says producer and co-star Seth Rogen.Behind-the-scenes footage shows that producers Seth Rogen and Evan Goldberg worked a lot behind the scenes on the film, and that James Franco directed pretty much every scene in character.“Just a Guy Leaning on a Wall: Getting to Know Tommy” attempts to decode the real Tommy Wiseau with an actual interview, but the filmmaker is his usual enigmatic self. When asked if he read The Disaster Artist book, Wiseau replies: “No comment, next question.” The bulk of this segment is focused on interviews with other people talking about how damn strange and mysterious Wiseau is.Beyond that, there’s a quick, fun gag reel.
Special Features Include: Gag Reel Audio Commentary with James Franco, Dave Franco, Tommy Wiseau, Greg Sestero, and More “Oh, Hi Mark!: Making a Disaster” Featurette “Directing a Disaster” Featurette “Just a Guy Leaning on a Wall: Getting to Know Tommy” Featurette Theatrical Trailer
I, Tonya
I, Tonya is wildly over-the-top, but perhaps that’s warranted for a story like this. Director Craig Gillespie attempts to get the truth behind the tabloids, chronicling the life of infamous figure skater Tonya Harding. As the film unfolds, however, it becomes clear that fact is stranger than fiction. Harding’s life was such a garbage fire that it’s easy to sympathize with her. At the same time, the film’s version of Harding – much like the real person – has a very hard time admitting when she’s done something wrong, and sees persecutors everywhere.There are flaws a’plenty here. There’s too much hack and slash going on; too much style over substance. And don’t even get me started on those needle drops. Yet at the same time, the film is entertaining, engrossing, and often surprisingly sympathetic. One of the final scenes, in which Tonya pleads her case in front of a judge, is heartbreaking. However, it’s worth nothing such a scene never happened in real life.What makes I, Tonya work is the lead performance from Margot Robbie. Robbie is dynamite here, and without her, the film would suffer. The supporting cast is great too, especially recent Oscar-winner Allison Janney as Tonya’s nightmarish mother. But this is Robbie’s film. As I said in my theatrical review:
“Margot Robbie plays Tonya, and she’s damned good in the part. It’s a fine reminder of what a talented actress Robbie is, especially after her shaky performance in Suicide Squad. Robbie plays Tonya as rough around the edges; a self-proclaimed redneck who never fit in, and only really came alive when she was on the ice.” Special Features To Note:Special Features on the I, Tonya Blu-ray included some deleted scenes. These are mostly brief, amusing moments that don’t add a lot to the film. The funniest of the bunch is a scene at a buffet, where it’s revealed Tonya’s mother has dumped a bunch of chicken wings into her purse – much to the disgust of the buffet manager.There’s also an extra scene with featuring Nancy Kerrigan. In this scene, narrator Tonya says her violent husband Jeff and Nancy might have planned the attack on Kerrigan themselves to ruin Tonya’s career. It’s a weird scene, and clearly intended to not be taken seriously – Kerrigan turns to the camera and calls bullshit on the whole thing.Beyond these deleted scenes, there’s a making-of feature. Here, writer Steven Rogers says the film is a “cautionary tale” about the beginning of tabloid stories becoming mainstream. “Things aren’t just black and white; things are gray, and grays a lot more interesting.“There’s also a featurette about how visual effects were used to combine Margot Robbie’s head on the body of a real figure skater to pull off all those fancy skating sequences.
Special Features Include: Deleted Scenes All Sixes: The Perfect Performances of I, Tonya Irony Free, Totally True: The Story Behind I, Tonya Working with Director Craig Gillespie The Visual Effects of I, Tonya VFX: Anatomy of the Triple Axel Feature Commentary with Director Craig Gillespie Theatrical Trailers
The ’Burbs
Downsizing
(available March 20, 2018)
There’s a great movie buried somewhere in Alexander Payne’s Downsizing. Unfortunately, that great movie gets lost somewhere along the way. It starts out with a seemingly comedic premise – humanity finds a way to shrink itself down in order to consume less and end overpopulation. From here blossoms a story rife with social commentary; a tale of the haves and the have-nots struggling for their place in the world.Great. In theory. But the script, by Payne and Jim Taylor, never finds the right approach. Matt Damon is a nice guy who gets shrunk down, thinking it will solve all his problems. Instead, he finds himself stuck in a rut and caught in a mini-rat race. Everything changes when he befriends a house cleaner, played by Hong Chau.There are flashes of brilliance here – the miniature world that Payne and company create looks great, and Hong Chau’s performance is fantastic. But Downsizing is ultimately a frustrating film. It’s a frustrating film worth seeing, simply because it has a lot on its mind. But the end result is unfortunately disappointing.Special Features To Note:There are several behind-the-scenes featurettes included. Most of them are light and harmless, and the first one – where the cast and crew talk about working with Payne – is gushing to the point of being slightly embarrassing.The best features of the bunch are “A Visual Journey” and “A Matter Of Perspective”, which go into the work done to create the downsized world of the film. One detail that serves as an ah-ha moment when you hear it: production designers worked hard to make the buildings in the downsized world look “less detailed”, which ends up creating a “toy like” effect.
Special Features Include: working with Alexander the cast a visual journey a matter of perspective that smile a global concern
By Chris Evangelista/March 13, 2018 1:00 pm EST
Here are the new Blu-ray releases and their special features you should check out this week, and beyond.
Justice League
Special Features Include:
The Age of Innocence
On the surface, Martin Scorsese’s The Age of Innocence seems like an outlier. A gorgeous costume drama free of most of Scorsese’s on-screen depictions of violence and vice, Innocence catches you off guard. But Scorsese one claimed Age of Innocence to be “the most violent” film he ever made. In an interview with Roger Ebert, Scorsese said:
“What has always stuck in my head is the brutality under the manners. People hide what they mean under the surface of language. In the subculture I was around when I grew up in Little Italy, when somebody was killed, there was a finality to it. It was usually done by the hands of a friend. And in a funny way, it was almost like ritualistic slaughter, a sacrifice. But New York society in the 1870s didn’t have that. It was so cold-blooded. I don’t know which is preferable. I grew up thinking in one way, but in my own private life the past 10 years, I’ve started to appreciate the ability to say a little in certain emotional situations and mean a lot.” Scorsese’s film, set in 1870s New York, concerns Newland Archer (Daniel Day-Lewis). Archer is engage to marry the sweet, somewhat boring May (Winona Ryder). Then May’s cousin comes to town. The cousin, Ellen Olenska, is everything May is not: blunt, passionate, often shocking, and, of course, played by Michelle Pfeiffer. What follows is a battle to tamp down passion, as Archer lusts after Ellen without making things fully physical.Filled with lush cinematography courtesy of Michael Ballhaus, jaw-dropping production design via Dante Ferretti, and masterful performances from Day-Lewis, Pfeiffer and Ryder, The Age of Innocence is one of Martin Scorsese’s very best films. It’s a sumptuous visual and emotional feast.Special Features To Note:The must-have Age of Innocence Blu-ray release from the Criterion Collection features interviews with Martin Scorsese, co-screenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci.Scorsese spend a good part of his interview comparing the film to other classic movies, like Luchino Visconti’s The Leopard and Senso and William Wyler’s The Heiress.The director also says that before he made the film, he became aware of the power of passivity; the power of not saying what was wrong: “For me, it’s really about the power of what you think you know, and what you think you’re doing, and the reality of how people perceive you.“Scorsese also reveals he had his actors listen to recordings of Franklin Roosevelt and Alice Roosevelt and also Walt Whitman to learn the correct way to speak. He also defends his use of narration, saying he likes it because it adds “tone and atmosphere.“In Jay Cocks interview, Cocks says he and Scorsese wrote the movie in 17 days. The two had already been doing research for the film that would eventually become Gangs of New York, and they drew on that for Age of Innocence.The interviews with Dante Ferretti and Gabriella Pescucci go into the overall design of the film, from Ferretti’s production design to Pesucci’s costumes. “If the film is set in the 1800s, I automatically become an architect of that period,” Ferretti says. Pescucci says she begins her research by looking at paintings. For Age of Innocence, she referenced the paintings of James Tissot.
Special Features Include: New, restored 4k digital transfer, approved by director Martin Scorsese, with 5.1 surround DTS-HD Master Audio soundtrack New interviews with Scorsese, coscreenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci Innocence and Experience, a 1993 documentary on the making of the film Trailer PLUS: An essay by film critic Geoffrey O’Brien
Scorsese’s film, set in 1870s New York, concerns Newland Archer (Daniel Day-Lewis). Archer is engage to marry the sweet, somewhat boring May (Winona Ryder). Then May’s cousin comes to town. The cousin, Ellen Olenska, is everything May is not: blunt, passionate, often shocking, and, of course, played by Michelle Pfeiffer. What follows is a battle to tamp down passion, as Archer lusts after Ellen without making things fully physical.Filled with lush cinematography courtesy of Michael Ballhaus, jaw-dropping production design via Dante Ferretti, and masterful performances from Day-Lewis, Pfeiffer and Ryder, The Age of Innocence is one of Martin Scorsese’s very best films. It’s a sumptuous visual and emotional feast.Special Features To Note:The must-have Age of Innocence Blu-ray release from the Criterion Collection features interviews with Martin Scorsese, co-screenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci.Scorsese spend a good part of his interview comparing the film to other classic movies, like Luchino Visconti’s The Leopard and Senso and William Wyler’s The Heiress.The director also says that before he made the film, he became aware of the power of passivity; the power of not saying what was wrong: “For me, it’s really about the power of what you think you know, and what you think you’re doing, and the reality of how people perceive you.“Scorsese also reveals he had his actors listen to recordings of Franklin Roosevelt and Alice Roosevelt and also Walt Whitman to learn the correct way to speak. He also defends his use of narration, saying he likes it because it adds “tone and atmosphere.“In Jay Cocks interview, Cocks says he and Scorsese wrote the movie in 17 days. The two had already been doing research for the film that would eventually become Gangs of New York, and they drew on that for Age of Innocence.The interviews with Dante Ferretti and Gabriella Pescucci go into the overall design of the film, from Ferretti’s production design to Pesucci’s costumes. “If the film is set in the 1800s, I automatically become an architect of that period,” Ferretti says. Pescucci says she begins her research by looking at paintings. For Age of Innocence, she referenced the paintings of James Tissot.
The Disaster Artist
James Franco takes the story of the making of Tommy Wiseau’s The Room and turns it into comedy gold. Franco’s version of events is definitely idealizing for mass consumption, and its portrayal of Wiseau as a tragic artist who dared to dream, even if his dreams were dumb, probably gives Wiseau more credit than he deserves.Still, it’s hard to deny how fun this film is. While Franco’s direction is a bit point-and-shoot, The Disaster Artist is cut from the same cloth as Tim Burton’s Ed Wood – a film about an inept artist who refuses to give up, even when he probably should.Wiseau’s story is told from the point-of-view of Greg Sestero (Dave Franco), a would-be actor who hitched himself to Wiseau’s insane vision. As played by James Franco, Tommy Wiseau is a mystery; an enigma; a weirdo who constantly lies about himself, and wants nothing more than to be an actor. When his impenetrable accent and gonzo acting style keeps him from landing roles, Wiseau decides to take matters into his own hands and make his own movie. That movie is The Room, which would go on to find its place in the hallowed “so bad it’s good” halls.The Disaster Artist is a fun, often hilarious film. I have issues with some of its choices – the opening scene, with a parade of famous people talking about The Room – is a huge misstep and should’ve been cut completely, for instance. But issues aside, The Disaster Artist is a hoot.Special Features To Note:Special features on The Disaster Artist take you behind-the-scenes of the film in a very light-hearted, easy-going fashion. If you’re looking for depth, you won’t find it. What you will find are fun little interviews with the cast and crew discussing both the film at hand and The Room.“The Room has heart and passion,” James Franco says, explaining what drew him to The Disaster Artist, and describes it as “a strange, ironic success story.”"[The Room] constantly reinvites how it was bad and why it was bad,” says producer and co-star Seth Rogen.Behind-the-scenes footage shows that producers Seth Rogen and Evan Goldberg worked a lot behind the scenes on the film, and that James Franco directed pretty much every scene in character.“Just a Guy Leaning on a Wall: Getting to Know Tommy” attempts to decode the real Tommy Wiseau with an actual interview, but the filmmaker is his usual enigmatic self. When asked if he read The Disaster Artist book, Wiseau replies: “No comment, next question.” The bulk of this segment is focused on interviews with other people talking about how damn strange and mysterious Wiseau is.Beyond that, there’s a quick, fun gag reel.
Special Features Include: Gag Reel Audio Commentary with James Franco, Dave Franco, Tommy Wiseau, Greg Sestero, and More “Oh, Hi Mark!: Making a Disaster” Featurette “Directing a Disaster” Featurette “Just a Guy Leaning on a Wall: Getting to Know Tommy” Featurette Theatrical Trailer
I, Tonya
I, Tonya is wildly over-the-top, but perhaps that’s warranted for a story like this. Director Craig Gillespie attempts to get the truth behind the tabloids, chronicling the life of infamous figure skater Tonya Harding. As the film unfolds, however, it becomes clear that fact is stranger than fiction. Harding’s life was such a garbage fire that it’s easy to sympathize with her. At the same time, the film’s version of Harding – much like the real person – has a very hard time admitting when she’s done something wrong, and sees persecutors everywhere.There are flaws a’plenty here. There’s too much hack and slash going on; too much style over substance. And don’t even get me started on those needle drops. Yet at the same time, the film is entertaining, engrossing, and often surprisingly sympathetic. One of the final scenes, in which Tonya pleads her case in front of a judge, is heartbreaking. However, it’s worth nothing such a scene never happened in real life.What makes I, Tonya work is the lead performance from Margot Robbie. Robbie is dynamite here, and without her, the film would suffer. The supporting cast is great too, especially recent Oscar-winner Allison Janney as Tonya’s nightmarish mother. But this is Robbie’s film. As I said in my theatrical review:
“Margot Robbie plays Tonya, and she’s damned good in the part. It’s a fine reminder of what a talented actress Robbie is, especially after her shaky performance in Suicide Squad. Robbie plays Tonya as rough around the edges; a self-proclaimed redneck who never fit in, and only really came alive when she was on the ice.” Special Features To Note:Special Features on the I, Tonya Blu-ray included some deleted scenes. These are mostly brief, amusing moments that don’t add a lot to the film. The funniest of the bunch is a scene at a buffet, where it’s revealed Tonya’s mother has dumped a bunch of chicken wings into her purse – much to the disgust of the buffet manager.There’s also an extra scene with featuring Nancy Kerrigan. In this scene, narrator Tonya says her violent husband Jeff and Nancy might have planned the attack on Kerrigan themselves to ruin Tonya’s career. It’s a weird scene, and clearly intended to not be taken seriously – Kerrigan turns to the camera and calls bullshit on the whole thing.Beyond these deleted scenes, there’s a making-of feature. Here, writer Steven Rogers says the film is a “cautionary tale” about the beginning of tabloid stories becoming mainstream. “Things aren’t just black and white; things are gray, and grays a lot more interesting.“There’s also a featurette about how visual effects were used to combine Margot Robbie’s head on the body of a real figure skater to pull off all those fancy skating sequences.
Special Features Include: Deleted Scenes All Sixes: The Perfect Performances of I, Tonya Irony Free, Totally True: The Story Behind I, Tonya Working with Director Craig Gillespie The Visual Effects of I, Tonya VFX: Anatomy of the Triple Axel Feature Commentary with Director Craig Gillespie Theatrical Trailers
Special Features To Note:Special Features on the I, Tonya Blu-ray included some deleted scenes. These are mostly brief, amusing moments that don’t add a lot to the film. The funniest of the bunch is a scene at a buffet, where it’s revealed Tonya’s mother has dumped a bunch of chicken wings into her purse – much to the disgust of the buffet manager.There’s also an extra scene with featuring Nancy Kerrigan. In this scene, narrator Tonya says her violent husband Jeff and Nancy might have planned the attack on Kerrigan themselves to ruin Tonya’s career. It’s a weird scene, and clearly intended to not be taken seriously – Kerrigan turns to the camera and calls bullshit on the whole thing.Beyond these deleted scenes, there’s a making-of feature. Here, writer Steven Rogers says the film is a “cautionary tale” about the beginning of tabloid stories becoming mainstream. “Things aren’t just black and white; things are gray, and grays a lot more interesting.“There’s also a featurette about how visual effects were used to combine Margot Robbie’s head on the body of a real figure skater to pull off all those fancy skating sequences.
The ’Burbs
(available March 20, 2018)
Downsizing
(available March 20, 2018)
There’s a great movie buried somewhere in Alexander Payne’s Downsizing. Unfortunately, that great movie gets lost somewhere along the way. It starts out with a seemingly comedic premise – humanity finds a way to shrink itself down in order to consume less and end overpopulation. From here blossoms a story rife with social commentary; a tale of the haves and the have-nots struggling for their place in the world.Great. In theory. But the script, by Payne and Jim Taylor, never finds the right approach. Matt Damon is a nice guy who gets shrunk down, thinking it will solve all his problems. Instead, he finds himself stuck in a rut and caught in a mini-rat race. Everything changes when he befriends a house cleaner, played by Hong Chau.There are flashes of brilliance here – the miniature world that Payne and company create looks great, and Hong Chau’s performance is fantastic. But Downsizing is ultimately a frustrating film. It’s a frustrating film worth seeing, simply because it has a lot on its mind. But the end result is unfortunately disappointing.Special Features To Note:There are several behind-the-scenes featurettes included. Most of them are light and harmless, and the first one – where the cast and crew talk about working with Payne – is gushing to the point of being slightly embarrassing.The best features of the bunch are “A Visual Journey” and “A Matter Of Perspective”, which go into the work done to create the downsized world of the film. One detail that serves as an ah-ha moment when you hear it: production designers worked hard to make the buildings in the downsized world look “less detailed”, which ends up creating a “toy like” effect.
Special Features Include: working with Alexander the cast a visual journey a matter of perspective that smile a global concern
