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vidlib@videolibrarian.com
 Updated February 2, 2010 |
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Adam  Fox, 99 min., PG-13, DVD: $19.99, Feb. 2 
Those who like unusual, offbeat, uplifting stories will enjoy this intimate glimpse into the life of a young man with Asperger’s syndrome, a developmental disorder on the high-functioning autism spectrum that makes it difficult not only to communicate feelings and concerns but also to comprehend those of others. Having lived a highly structured, regimented life, Adam Raki (Hugh Dancy) is a brilliant, 29-year-old electronics engineer who is fired from his job as a toy designer and now fears losing his New York City apartment because he can’t pay the mortgage. Making his task even more challenging is his lack of the ordinary social skills necessary for a job interview; instead of conversing, geeky Adam awkwardly delivers lengthy discourses on topics such as space exploration, astronomy, raccoons foraging in Central Park, and the history of some Off-Broadway theaters—unable to interpret cues that he’s boring others beyond endurance. Adam’s new neighbor, Beth (Rose Byrne), an elementary school teacher and aspiring children’s book author, comes to his rescue and eventually the pair become romantically involved, much to the consternation of her parents (Peter Gallagher and Amy Irving), who are going through their own overly contrived life crises. Writer-director Max Mayer falters in his wobbly plot narrative, but he elicits multifaceted, naturalistic performances, while avoiding superficial shortcuts and stereotypes. Blending light comedy with pathos, Adam explores an unusual, bittersweet relationship that demands compromises and courage, and the film delivers an epilogue that’s both convincing and satisfying. Recommended. (S. Granger)
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American Son Miramax, 85 min., R, DVD: $29.99 
Despite a strong reception at the 2008 Sundance Film Festival, Neil Abramson’s feature American Son didn’t receive a theatrical release, even though this thoughtful drama approaches the touchy subject of the U.S. occupation of Iraq at a mature level, and offers excellent performances by frequently overlooked actors. Nick Cannon (currently the host of TV’s America’s Got Talent) plays Mike, a 19-year-old Marine on a brief Thanksgiving leave from Camp Pendleton, CA. Mike is being shipped off to Iraq, but is unable to tell his family about his upcoming orders. A chance encounter with lovely young Cristina (Melonie Diaz) offers a romantic diversion to a stressful family reunion and hookups with friends who aren’t entirely supportive of Mike’s military career. The film covers the politics of Iraq without becoming shrill, emphasizing the gap between apathetic young Americans who ignore the occupation and those who are ready to give their lives for that cause. Cannon and Diaz’s chemistry is strong, and the pair are ably backed with supporting turns from Jay Hernandez as a vet injured in |
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The Escapist  MPI, 102 min., not rated, DVD: $19.98, Jan. 26 
Superb character actor Brian Cox (who, among other things, was the screen’s first Hannibal Lecter) grabs center stage here with his riveting performance as convict Frank Perry, a “lifer” who decides to break out of prison to help his estranged daughter kick her drug dependency and enlists a motley crew of fellow inmates whose cross-purposes endanger the plan at every step of the way. Unfortunately, director and co-writer (with Daniel Hardy) Rupert Wyatt clutters a perfectly serviceable plot with a lot of unnecessary bells and whistles—sometimes literally. The Escapist is noisy to the point of cacophony, with an endless jumble of loud, jarring sound effects that are nearly as distracting as the constant flashbacks and flash-forwards (ultimately, there is a method to Wyatt’s madness in terms of the relentless time shifting, but it will still strike many viewers as affected). Cox anchors the film with his intense characterization of a savvy, determined convict, and he receives commendable support from Joseph Fiennes, Dominic Cooper, and Damian Lewis (all playing fellow cons). Although a more straightforward storytelling approach—with less noise—would have benefited the film enormously, it’s still fairly compelling entertainment, and is therefore a strong optional purchase. [Note: DVD extras include a “making-of” featurette (14 min.), deleted scenes (9 min.), and trailers. Bottom line: a decent extras package for an uneven but often enjoyable flick.] (E. Hulse)
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I Hate Valentine’s Day  IFC, 89 min., PG-13, DVD: $19.98, Blu-ray: $29.98, Feb. 9 
Writer-director-star Nia Vardalos tries in vain to replicate the success of her My Big Fat Greek Wedding in this flat romantic comedy. The premise here has Genevieve (Vardalos), a gregarious Brooklyn flower-shop owner, attempting to follow a simple (and idiotic), self-imposed rule: she’ll have no more than five dates with any man, because more would turn a joyous encounter into a tangled relationship. But when she meets Greg (John Corbett), the owner of a new neighborhood bar, she falls for him, and a crisis arises when she stays overnight at his place on their fourth date, and he, taking that as their fifth, cuts off further contact. She thinks he’s dumping her, but even with the confusion resolved, the big question remains as to whether the two can get together again. This moronic plot is worked out with a slavish adherence to cliché, in which all the situations are formulaic and all the supporting characters are sitcom stereotypes. Vardalos is not only atrocious as Genevieve (who comes across as a Lucy Ricardo clone minus the charm), but she makes matters worse by staging virtually every scene with herself at the center, beautifully lit and smiling vacuously while barely moving a muscle. Not recommended. (F. Swietek)
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Little Ashes E1, 112 min., R, DVD: $26.98, Jan. 26 
Robert Pattinson, the brooding young vampire in the Twilight franchise, plays flamboyant Spanish artist Salvador Dalí in director Paul Morrison’s speculative biographical film about the young painter’s supposedly fiery relationship with poet Federico García Lorca (Javier Beltrán), who was executed during the Spanish Civil War. When 18-year-old Dalí arrives at a Madrid boarding school, he immediately catches the eye of García Lorca, becoming a member of a circle that includes avant-garde filmmaker Luis Buñuel (Matthew McNulty), a rabid homophobe who fumes as his friends move into forbidden sexual territory. At first, Little Ashes feels like one of those stilted gay coming-of-age stories, replete with sideways glances, sunlit bike rides, and gambols on the beach. But the focus shifts when Dalí decamps to France and becomes a self-aggrandizing darling of the art world, while García Lorca emerges as a champion of the socialist republic. Unfortunately, this later period finds the film veering completely out of control—largely because of Pattinson’s embarrassing turn as the older Dalí: he never seems more than an uncomfortable young man trying to hide behind a fake moustache and a striped suit too large for him. Not a necessary purchase. [Note: DVD extras include interviews with director Paul Morrison (16 min.), writer Philippa Goslett (9 min.), and costars Matthew McNulty (14 min.) and Marina Gatell (8 min.), as well as trailers. Bottom line: a decent extras package for a disappointing film.] (F. Swietek)
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The Boys Are Back  Miramax, 104 min., PG-13, DVD: $29.99, Jan. 26 
Scott Hicks’ tale of single fatherhood after two marriages—one ending in divorce, the other with the death of a much-loved second wife—stars Clive Owen as Joe Warr, an Australian sportswriter left with a son from each union. Desperately unhappy teenager Harry (George MacKay) lives with his mother in London, while Warr’s at-home six-year old Artie (Nicholas McAnulty)—too young to comprehend his mother’s death—begins acting out in frustration. Much of the film deals with Joe coming to terms with his wife’s sudden demise while also attempting to be a good father to Artie, even though his permissive attitude toward child-rearing raises some eyebrows. The odds against him increase, however, after Harry shows up for a visit, further altering the family dynamic. And when Joe’s editor insists that he go off to cover a big international competition, he decides to leave Harry and Artie home alone—a choice that has unhappy consequences, although all turns out well in the end. Some elements veer into maudlin territory (Joe’s dead wife occasionally appears to him), but the film generally steers clear of being blatantly manipulative, retaining an underlying kernel of emotional truth. A rare tearjerker that works well—largely due to the excellent cast—this is highly recommended. [Note: DVD extras include “A Photographic Journey” photo montage with optional commentary by director Scott Hicks (17 min.), “A Father and Two Sons, On Set” featurette (2 min.), and trailers. Bottom line: a small extras package for a fine film.] (F. Swietek)
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Beauty in Trouble Menemshe Films, 109 min., in Czech w/English subtitles, not rated, DVD: $29.95 
Czech director Jan Hrebejk chose the title for this 2006 drama from a Robert Graves poem, although it’s easy to assume the eponymous beauty was actually inspired by his casting of Ana Geislerová, best known for her performance in the 2003 Oscar-nominated Zelary. Here she plays Marcela, a young mother whose life becomes chaotic following the 2002 floods that ravaged Prague, and even more so after her husband—a chop shop owner engaged in petty crime to help make ends meet—is falsely arrested for a car theft. Marcela and her two children are forced to move in with her mother and overbearing stepfather, a situation that soon becomes unpleasant, but things take a turn for the better when she meets a wealthy vintner who relocates her and the children to Tuscany. Beauty in Trouble is clearly designed as a star vehicle for Geislerová, who responds with a full-throttle performance that balances raw sensuality, earthy maternal instinct, and careful doses of melodrama that never veer into camp. The film shines when she emotionally collides with her magnetic but rough-edged husband (Roman Luknár) and the older man who offers security (Josef Abrhám). Although the conclusion feels forced, the power of Geislerová’s personality onscreen more than compensates. Recommended. (P. Hall)
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Gamer  Lionsgate, 95 min., R, DVD: $29.95, Blu-ray: $39.99, Jan. 19 
Gamers who spend a lot of time playing ultraviolent video games should be insulted by their portrayal in this atrocious action flick. One player is a self-centered twit who’s become famous successfully manipulating the muscular Kable (Gerard Butler), a human avatar in a live-action alternate-reality game called Slayers, in which death-row inmates are seeking a chance for parole. Another is a grotesquely obese shut-in who does nothing but eat and drool over the character—a scantily dressed babe who’s actually Kable’s wife, Angie (Amber Valletta)—he operates in another game. The couple are among those controlled by nano-chips inserted in their brains, with Kable on the verge of winning his freedom through survival skills that have made him (and his controller) international superstars. But power-hungry software magnate and game designer Ken Castle (Michael C. Hall) has created a brutal challenger to take him out, and a bunch of resistance fighters decide to help him. Theoretically this scenario could have been molded into a reasonably amusing, if implausible, thriller, but writer-directors Mark Neveldine and Brian Taylor have instead constructed a script of staggering incoherence, filmed with jittery camerawork and jagged editing, which makes Gamer an insult to the eye as well as the brain. Not recommended. [Note: DVD/Blu-ray extras include audio commentary with filmmakers Neveldine/Taylor and costars Amber Valletta, Alison Lohman, and Terry Crews, an “Inside the Game: Controlling Gamer” making-of documentary (80 min.), a “First Person Shooter: The Evolution of Red” behind-the-scenes featurette (17 min.), and trailers. Exclusive to the Blu-ray release is an “I-Con Mode” visual commentary track with behind-the-scenes footage, a “Gamer Cheat Codes” track with selectable commentaries, the BD-Live function, and a bonus digital copy of the film. Bottom line: a solid extras package for an awful film.] (F. Swietek)
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Pandorum Overture, 108 min., R, DVD: $29.98, Blu-ray: $39.98, Jan. 19 
This dark, extremely violent sci-fi movie directed by German filmmaker Christian Alvart is set on a spaceship that leaves a ruined Earth carrying survivors searching for a habitable planet, with passengers and most of the crew placed in cryogenic hibernation for the long journey. But as the plot kicks in, one of the crew members, Bower (Ben Foster), is painfully awakened from his slumber, followed soon by another, Payton (Dennis Quaid), who together remember little but discover that the ship is disabled. While Payton takes the controls, Bower sets off to reboot the reactor that will restore power—which is not as simple as it sounds, since the ship is crawling with carnivorous beasts that might be mutant versions of some of the passengers, while the other humans are either of no help or positively dangerous (with one in particular jabbering on about the titular madness that strikes people on extended voyages). It turns out that one of the group isn’t what he seems, but that revelation is reserved for a twisty—and incongruously upbeat—finale. Until then, Pandorum basically consists of a long chase with lots of brutal fights and gory deaths—intended to be exciting but quickly growing dull, since none of the characters are the least bit likable and virtually everything is shot in dank visuals meant to be atmospheric but mostly appearing just murky, with jerky editing adding to the muddle. Not recommended. [Note: DVD/Blu-ray extras include deleted and alternate scenes (28 min.), “The World of Elysium” behind-the-scenes featurette (14 min.), a “What Happened to Nadia’s Team” bonus scene (5 min.), and a flight team training segment (3 min.), as well as storyboard, stills, drawing, and monster art galleries, and trailers. Exclusive to the Blu-ray release is a bonus digital copy of the film. Bottom line: a solid extras package for a disappointing horror flick.] (F. Swietek)
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Whiteout Warner, 101 min., R, DVD: $28.99, Blu-ray: $35.99, Jan. 19 
In this alleged thriller based on the graphic novel by Greg Rucka and Steve Lieber, we’re introduced to the heroine, U.S. Marshall Carrie Stetko (Kate Beckinsale), as she strips and takes a long, sexy, relaxing shower—with steam obscuring strategic sections of her anatomy. Carrie is on Antarctica’s Amundsen-Scott Base with her avuncular buddy, Dr. John Fury (Tom Skerritt), and both are eagerly anticipating leaving the frozen tundra when the sudden discovery of a murdered geologist leads them to Vostok—a smaller, more remote Russian base. A flashback to Cold War-era 1957, in the Cold War era, shows a plane filled with vodka-swilling Russians crashing at the South Pole; a second flashback transports Carrie to Miami, where she lost her confidence on a bust gone bad. But back in the present, U.N. investigator Robert Pryce (Gabriel Macht) turns up with only 72 hours to figure out who the murderer is before a storm closes in (and the body count is mounting). Ultimately, in stark contrast to that opening scene, Carrie’s clad in a thick parka when she’s being pursued by the pickax-toting killer during the eventual blizzard. The script for Whiteout was written by two sets of brothers, Jon and Erich Hoeber and Chad and Carey W. Hayes, whose combined ideas add up to no more than implausible drivel, while director Dominic Sena opts for jerky, hand-held photography and flashing unfocused images that merely add to the confusion. Ultimately, Whiteout is a wipeout. Not recommended. [Note: DVD/Blu-ray extras include additional scenes (4 min.). Exclusive to the Blu-ray release are the production featurettes “The Coldest Thriller Ever” (12 min.) and “From Page to Screen” (12 min.), and a bonus digital copy of the film. Bottom line: a small extras package for a forgettable thriller.] (S. Granger)
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