By John Corrado
**** (out of 4)
“Think of our newscast as a screaming woman running down the street with her throat cut,” ruthless news director Nina (Rene Russo) tells budding freelance crime journalist Louis Bloom (Jake Gyllenhaal) in Nightcrawler, one of many provocatively relevant observations that the film offers.
There is such exhilarating energy coursing through the veins of director Dan Gilroy’s gripping, disturbing and thought provoking thriller, that the effects of the film continue to linger long after the credits roll. Arriving in theatres on Halloween, Nightcrawler has all the makings of a modern classic.
Louis is a small time thief who lives alone and makes his money stealing metal and selling it for cash to construction sites. But when he stumbles upon a gruesome car crash, he discovers the competitive and morally ambiguous underground world of freelance crime journalism, currently dominated by the ambulance chasing videographer Joe Loder (Bill Paxton).
Louis purchases a camera and hires the homeless Rick (Riz Ahmed) as his assistant, driving around the nighttime streets of Los Angeles with a police scanner, filming various emergencies and selling the graphic and unflinching footage to a local TV station. There he meets Nina, who fuels his obsession in her own hunger for upping the ratings, pushing him further over his already non-existent moral line in order to make the headlines.
Although Nightcrawler is one of the freshest and most original movies of 2014, comparisons to Martin Scorsese’s Taxi Driver and Sydney Lumet’s Network, two of the most iconic and influential films of the 1970s, are not only inevitable but also deserved. And nearly forty years after Robert De Niro’s Travis Bickle declared that “someday a real rain will come and wash all this scum off the streets,” and Peter Finch’s Howard Beale announced on national television that “I’m going to blow my brains out right on this program a week from today,” we have another unforgettable representation of our times in Jake Gyllenhaal’s Louis Bloom.
This is a protagonist who can’t be called a hero, but it’s impossible to take our eyes off of him as he becomes increasingly obsessed with getting the perfect shot and pursuing his career no matter what the cost. Losing twenty pounds for the role, his wide open eyes seeming to pop right out of his skull, Jake Gyllenhaal is simply mesmerizing to watch throughout every scene of Nightcrawler, projecting a chilling coldness behind the intense drive and determination of this character who survives on extreme analytical thinking. Rene Russo is also excellent, and the subtly creepy dialogue of a restaurant conversation between them crackles with sadistic seduction.
The ingenious screenplay compellingly challenges how we view violence in the media, raising fascinating questions about how even the most horrific crimes can be manipulated by cameras and editing, just to make for more gripping viewing. Louis is the man with a camera and we are his audience, drawing powerful comparisons between filmmaker and viewer, as well as fiction and reality. His actions become increasingly calculated and even sociopathic, but everything he does comes from increasingly compulsive attempts to manipulate the truth into what the network sees as a better story.
Blood always brings in viewers, but even more so if the crimes are being committed against the white upper class, not unlike the victims of some of the most popular horror films. With such biting commentary on society’s increasing tolerance of onscreen violence, there is perhaps a hint of irony to the wicked entertainment that Nightcrawler provides. This is one of the most tightly constructed movies of 2014, and the last act delivers some of the most gripping scenes of any movie this year, exploding with quiet tension that is perfectly wrought right up to the unforgettable final few scenes.
The mostly nighttime setting adds a disturbing sense of foreboding and atmosphere, matched by James Newton Howard’s haunting musical score. With intoxicatingly stylish cinematography, a brilliantly written screenplay and a constant sense of palpable suspense, Nightcrawler is a fascinating and shocking thriller that creeps up on you and is impossible to shake afterwards. Mark my words, see this one before everyone starts talking about it.
By John Corrado
**** (out of 4)
The experience of seeing Birdman is often like witnessing a sustained magic trick. We watch the movie in awe of how director Alejandro G. Innaritu is pulling everything together, and are left wanting to see it again just to get a closer look at how perfectly all the pieces fall into place.
With much of the running time seamlessly edited to look like a single take, this is a thrilling and ultimately brilliant cinematic magic trick that is wildly entertaining to watch unfold, carried by an outstanding comeback performance from Michael Keaton.
Riggan Thompson (Michael Keaton) is a washed up actor famous for playing the superhero Birdman, struggling to be taken seriously as he prepares for his stage debut in an adaptation of Raymond Carver’s What We Talk About When We Talk About Love.
But with the voice of Birdman ringing through his head, causing him to become increasingly delusional of his powers, the play is paradoxically both a last ditch effort for Riggan to regain his grasp on reality, as well as proof that he is slipping further into insanity.
Mounting the production is a big job for all involved. His daughter Sam (Emma Stone) is out of rehab and working as his assistant, and his ex-wife Sylvia (Amy Ryan) is also around backstage. Actress Lesley (Naomi Watts) is having her own issues, heightened by her husband Mike Shiner (Edward Norton) being hired as a last minute replacement, a professional actor who brings along his own inflated ego. Manager Jake (Zach Galifianakis) is working tirelessly to keep everyone on track, just trying to make it through opening night without a glitch, and hopefully get some good publicity in the process.
The brilliantly written screenplay offers numerous quotes and verbal exchanges that are the stuff actors dream of, and this is a film with a big cast where everyone has a chance to shine, turning in some of their best work. Michael Keaton is mesmerizing throughout every scene of Birdman, and he seems utterly rejuvenated with the material. After starring in Batman and Batman Returns over two decades ago, before turning down the sequels to focus on other work, his intensely dedicated performance here could be seen as art imitating life, and it’s an unforgettable comeback for the actor.
The same could be said of Edward Norton, who also delivers one of his best performances. From the moment his character arrives on stage for rehearsals, having already memorized the script, the actor delivers compelling supporting work that perfectly compliments Michael Keaton’s star turn. Emma Stone reaches new heights with her standout performance, a live wire who isn’t afraid of telling the truth in a world where egos are stroked above all else, and she has some magnetic scenes with both Michael Keaton and Edward Norton. Zach Galifianakis and Naomi Watts are also excellent.
The cinematography by Emmanuel Lubezki, who achieved similar magic with last year’s Gravity, is another integral part of the experience. We are taken through the halls and between dressing rooms, the camera effortlessly utilizing the almost claustrophobic backstage confines of the theatre to follow the actors without ever missing a beat. It’s a mesmerizing technique that works as far more than just a gimmick, injecting a sense of almost feverish energy and intensity to the film that never wavers over the two hour running time.
Because of this, the film also features some impressive scene changes, like a memorable moment when the video playing on an iPhone screen becomes the image on a television, before the camera pulls back to reveal that we are in a different location. Keeping up the illusion of this all being a single take, these ingenious little touches are the reasons why Birdman is so exciting to watch. Constantly finding ways to surprise us, this is a movie that captures the exhilaration of live theatre, where anything can happen.
But along with offering a pitch black comedy of errors, that is alive with the pulsating energy of staging a performance, Birdman also gives us a lot to think about. The film is filled with sharp commentary on the nature of acting and what passes for art in the modern age, which is especially relevant right now, with some of our best actors currently tied up in franchises. It’s about the struggle for relevance at a time when it doesn’t take much to go viral, and artistic integrity versus the much more popular notion of celebrity.
It’s also an allegory of how an actor can never really escape from the roles that defined them and first put their names on marquees. The fantastical touches that Birdman offers can be taken at face value, or seen as metaphors of both method acting and the toll that performing can have on mental health. Are we supposed to believe that Riggan is literally becoming his character? I don’t know, but we believe his delusions within the context of the film, because he is a man completely trapped within his own mind.
Through a subplot with Tabitha (Lindsay Duncan), a theatre critic for the New York Times who relishes the power her words have to either make or break a fledgling production, Birdman also brilliantly touches on the role that reviewers play in the artistic process. She makes no secret of her disrespect for whatever Riggan Thompson does, having written him off years ago as just another franchise star, threatening his show with a bad review before having even seen the previews.
A scene where he confronts her continues to linger in my mind. She’s depicted as a critic concerned more with “labels” than actually getting into why something does or doesn’t work, and I imagine certain people will take issue with that. But I think there is painful truth to the fact that some critics can become jaded, refusing to judge a work on its own merits, and instead criticizing mistakes the performers have made in the past. This goes the other way too, with Mike Shiner getting praised just for showing up.
This is an exciting and brazenly original film that offers a high minded critique of the cinematic pulp that often rules the multiplexes. From the outstanding performances, to the excellent jazz music by Antonio Sanchez that uses drums to elevate the constant sense of rhythm, Birdman is a transfixing cinematic experience, with an energy that gets going and never stops.
By John Corrado
*** (out of 4)
The trio at the centre of writer-director Lynn Shelton’s wonderful 2012 film Your Sister’s Sister provided one of the most strangely believable and oddly endearing three handers in recent memory.
Now comes Laggies, the latest dramedy from the quietly perceptive voice of Lynn Shelton, and the unlikely trio at the centre of this funny and wise character study also feels undeniably real. After playing at TIFF, the film opens in limited release today, courtesy of VVS Films.
After her boyfriend Anthony (Mark Webber) proposes to her at the wedding of their mutual friend (Ellie Kemper), Megan (Keira Knightley) gets scared and bolts from the party. On her way back, she runs into Annika (Chloë Grace Moretz) at the grocery store, a teen girl who convinces Megan to buy her friends some booze.
When she ends up spending the night drinking and hanging out with the group of teenagers, Megan decides to crash with Annika and her jaded single father Craig (Sam Rockwell) for the week, to avoid coming clean to her boyfriend.
Anthony is one of those almost smotheringly nice guys who plans out his every move, keeping a few days worth of carefully trimmed stubble on his face to try and look spontaneous. The friends they share are all the same way, happily coasting down the stereotypical paths they have planned for themselves since high school. But Megan isn’t ready to do the whole marriage and kids thing just yet, if at all, and who can really blame her? Craig already did all that stuff over sixteen years ago, only to find himself and Annika unceremoniously abandoned.
Although working on a bigger budget than before, which shows through in the nicely polished cinematography, Lynn Shelton has thankfully retained the sharp dialogue and naturalistic characters that have made her previous films so strong. Here she does a great job of subverting typical romantic comedy clichés, especially evident during an airport scene near the end that takes a refreshingly different turn. This is a film that is enjoyable because of how believable the whole thing feels, allowing us to spend time with a group of almost uncannily relatable characters, who help justify our own life choices.
Keira Knightley, Chloë Grace Moretz and Sam Rockwell are all great, and they have some wonderful chemistry together. Even just in brief scenes, the supporting cast is equally solid. Jeff Garlin has some very nice moments as Megan’s caring father, who openly admits that he has made some mistakes, and wished she would do the same. Kaitlyn Dever, who also delivered excellent work in this month’s Men, Women & Children, is an absolute scene stealer here as Annika’s whip smart best friend.
Even if we can pretty much guess where the characters will end up by the final scene, it’s no small feat that the journey getting there still manages to feel completely fresh. Enjoyable every step of the way, Laggies is a delightfully entertaining and even wise film about growing up on your own schedule, that hit home for this viewer.
By John Corrado
**** (out of 4)
When you search the word “whiplash” in the dictionary, one of the definitions that comes up is to “move suddenly and forcefully, like a whip being cracked.”
And what better way to describe Whiplash, a music film from promising young director Damien Chazelle that unfolds with the force and intensity of a sports movie or battlefield drama. I left the theatre feeling positively high.
After earning acclaim at multiple festivals including Sundance, Cannes and TIFF, Whiplash arrives in limited release this week with plenty of accolades already behind it, and emerges as one of the absolute best films of 2014.
Andrew Neyman (Miles Teller) is a talented young jazz drummer who dreams of being one of the greats. But his aspirations mean having to endure the shocking abuse and demands dished out by his teacher Terrence Fletcher (J.K. Simmons), who sees no problem with pushing his students over the edge in the name of perfection and success.
Everything in Andrew’s life, including a budding relationship with Nicole (Melissa Benoist), the cute girl behind the counter at his favourite movie theatre, has to be put on hold. His father (Paul Reiser) notices him becoming increasingly distant. Practising becomes his sole focus and obsession, eventually moving fast enough to leave his hands cut and blood splattered across the drum set, as Fletcher barks orders at him like a military commander.
Right from the opening sounds of an insistent drum beat, as a mesmerizing tracking shot takes us down the basement hallways of the conservatory, revealing Andrew practising and Fletcher observing him from a doorway, I was hooked. The experience of watching these two go at each other’s throats makes for gripping cinema, anchored by some of the finest acting we are bound to see all year. Miles Teller and J.K. Simmons deliver two of the best performances of their respective careers, masterfully portraying the increasingly tense and volatile relationship between this abrasive instructor and his shy student.
As we already know from Rabbit Hole and The Spectacular Now, Miles Teller is one of our best young actors. We can’t take our eyes off this character who keeps being chipped away at until he is completely raw and broken, only to piece himself back together and come back even stronger, and it’s a mesmerizing performance brought to life through small mannerisms and facial expressions. Because the actor has been playing the drums since he was a teenager, the scenes of him performing feel authentic, and we really are witnessing an already talented performer pushing himself even further into greatness.
This is matched by tremendous supporting work from J.K. Simmons, drawing us in with quiet moments that are quickly revealed to be cold and calculating, only to explode with bulging veins and the most cutting insults imaginable. Many of his putdowns are homophobic and sexist, and he almost seems turned on by abusing the power he has over his students. It’s the sort of raging and unforgettable performance that still manages to feel nuanced and reined in, a character who is both disturbingly cruel and impossible to look away from.
And then there’s the soundtrack, a stunning collection of jazz music that provides a fittingly propulsive and energetic backdrop to the performances. This is quite simply one of the best music films since Bob Fosse’s masterpiece All That Jazz in 1979, with the seamless edits and quick cuts to match every note recalling the mesmerizing power of that iconic classic. There are also undertones of Black Swan throughout Whiplash in the themes of pursuing perfection at any cost, even when nerves are long since shot and a breakdown not only seems inevitable, but also understandable.
This is one of those truly great films that constantly finds ways to surprise us, even when we think we know where the story is going to end up. These sharp left turns keep us on the edge of our seats, like watching a musician perform an increasingly intricate solo, only letting out our collectively held breath once the last note is played and everything has fallen perfectly into place. This all leads up to one of the most unforgettable endings of any movie this year, a finale that leaves us jumping to our feet in rapturous applause, an experience often more closely associated with a concert hall than a movie theatre.
This is among the most unforgettable moviegoing experiences of the year, delivering the sort of pulse quickening shot of pure adrenaline that is usually reserved for action movies or thrillers. With outstanding performances from Miles Teller and J.K. Simmons, matched by stunning camerawork and brilliant editing, Whiplash is a gripping drama that plays with the intensity of a thriller, an energizing and emotionally powerful experience that reaches a stunning crescendo. Wow!
Today, Sony Pictures is releasing this summer’s Sex Tape on Blu-ray. Disappointed with their love life post kids, mommy blogger Annie (Cameron Diaz) and her husband Jay (Jason Segel) make a sex tape. But when the video gets synced to the iPads they gave out as gifts, which are now in the hands of their friends (Rob Corddry and Ellie Kemper) as well as her boss (Rob Lowe) and the mailman of all people, they go on a mad search to retrieve them.
Directed by Jake Kasden, reuniting with the stars of his pretty good previous film Bad Teacher, Sex Tape feels desperate and should have been a whole lot funnier. The premise is quite stupid and doesn’t make sense, and the characters are more off putting than appealing, making so many lapses in common judgement that it’s hard to care about their whiny rich people problems.
Despite the best efforts of the usually likeable leads, this is a very disappointing and sadly laughless comedy, but with the relatively harmless feel of a lowbrow sitcom, Sex Tape might just find a more forgiving audience at home.
The Blu-ray includes bloopers, deleted and extended scenes, as well as several featurettes.
Sex Tape is 94 minutes and rated 14A.
By John Corrado
*** (out of 4)
“Ideals are peaceful, history is violent,” the tough Don “Wardaddy” Collier (Brad Pitt) tells shy new recruit Norman Ellison (Logan Lerman) in Fury, a very well made film that eschews the more idealistic views of some World War II movies with impressive historical accuracy and unwavering realism.
This is an authentically dirty and graphically violent film that celebrates the heroics of the soldiers by showing the gritty reality of their experiences and less than ideal living conditions.
After affectively putting us in the front of a squad car in the 2012 thriller End of Watch, writer-director David Ayer plunges us right into the middle of the Second World War, and the suspense of Fury similarly never lets up.
The film takes place in the final weeks of WWII, and Wardaddy is the determined commander of a Sherman tank travelling behind enemy lines. With a crew rounded out by scripture-quoting Boyd “Bible” Swan (Shia LaBeouf), proud Mexican Trini “Gordo” Garcia (Michael Peña), and the abrasive Grady “Coon-Ass” Travis (Jon Bernthal), they are fighting their way through the heart of Nazi Germany, struggling to survive with only the metal shell protecting them from enemy fire.
There isn’t much backstory offered for the soldiers, and at times some of the supporting players can feel like stock characters. The film also runs a little long at 134 minutes. But Fury is elevated by outstanding production values, which are one of the main draws of the film. The cinematography is striking, with some memorably framed scenes that put us right on the sidelines of battle, as machine gun fire and grenades seem to explode above our heads. The visceral action is matched by stirring sound design, with constant noises coming from all around us, utilizing the surrounding speakers to plunge us right into the disorientation of combat.
Steven Price mixes haunting vocals in the background of his excellent orchestral score, which gives the music an appropriately unnerving effect. The battle sequences are impressively pulled off, showing the brutality of war in shocking and often disturbingly realistic ways. The film doesn’t shy away from showing the effects of bullets ripping through bodies, leaving human remains strewn about, and this unwavering attention to detail is admittedly admirable. Because of this brutally realistic approach, Fury is a hard and sometimes gruelling film to watch, but the excellent performances keep us gripped.
Recalling his unforgettable work in Quentin Tarantino’s brilliant Inglourious Basterds, Brad Pitt shines in another solid and fiercely dedicated performance here. Logan Lerman delivers standout supporting work, affectively showing the sheer fear of his character, a typist turned fighter who observes the situation unfolding around him with a quiet anxiety behind his eyes. Rebounding from his embarrassing real life persona, Shia LaBeouf also gets some excellent scenes, bringing surprising depth to his character through a dedicated performance that had him refrain from showering during the shoot.
Through these performances, we really feel the claustrophobia of the tank that forces them to become a family, and the actors bring an authentic quality to their interactions. A powerfully written scene at the home of German cousins Irma (Anamaria Marinca) and Emma (Alicia von Rittberg), provides an excellent showcase for the believable and sometimes explosive chemistry that they share. This memorable extended sequence offers a reprieve from the fighting but not the tension that permeates the entire film, allowing words to become the most powerful force in a story largely dominated by gunfire.
The finale is an incredibly tense sequence that sees them struggling to hold off hundreds of enemy soldiers, culminating with heartbreaking images of carnage that close the film on a sobering note, even though we know that the Nazis are about to be defeated and the war is within weeks of being over. With powerful themes of loyalty, brotherhood and self sacrifice, matched by scriptural quotes and biblical undertones, Fury has the feel of a classic American war movie, as channelled through a gritty and impressively realistic lens.
By John Corrado
***1/2 (out of 4)
Right from the opening title card, which lands on screen with a boom clearly meant to elicit the first jump scare of the film, The Guest positions itself as a throwback to the classic genre busting horror comedies and action thrillers of the 1980s.
And everything that follows lives up to this promise, becoming one of the most purely entertaining films of the year. Knowingly aware of horror movie cliches, and wringing some pitch black humour out of the situation and appropriately atmospheric October setting, the film seems destined to become a modern Halloween classic.
After closing out the Midnight Madness section of TIFF last month, The Guest finally arrives for a limited run in theatres this weekend, courtesy of D Films. See this one with a good crowd.
When David (Dan Stevens) arrives on the doorstep of the grieving Peterson family, claiming to have fought with their son who was killed overseas, he is immediately welcomed into their home by the well meaning mother (Sheila Kelley). The seemingly charming David becomes a confidante to their bullied teen son Luke (Brendan Meyer), but as Halloween approaches and people start mysteriously showing up dead, their crafty young adult daughter Anna (Maika Monroe) becomes suspicious of the new houseguest.
Starting as a drama with comedic undertones, before seamlessly morphing into an exciting action thriller and finally becoming a full stop horror film in the last act, The Guest is simply a great blast of genre filmmaking from director Adam Wingard and screenwriter Simon Barrett, the same team behind You’re Next. This is all expertly handled with creeping suspense and a wicked sense of humour, and the film works because of this carefully balanced tone, culminating with a brilliantly done set piece in a haunted maze that puts mirrors and fog machines to particularly inventive use.
The performances are also top notch. Dan Stevens is perfectly cast as this former soldier who almost seems too good to be true, and in typical horror movie fashion arouses the suspicion of almost no one, even as it becomes increasingly clear that he’s not exactly who he seems, and his sinister side start to be revealed. Just watch the way that he flicks open a knife to carve a pumpkin. Maika Monroe is refreshingly given more to work with than just being the usual scream queen or damsel in distress, rocking the role with a cunning confidence that is refreshing for a horror movie heroine.
From the stylish cinematography to the perfect soundtrack, there are any number of memorable scenes throughout this tense, darkly funny and just scary enough film that is suspenseful and entertaining as hell to watch unfold. And a film like this wouldn’t be complete without that before credits scene that sends a final shiver down our spines, which The Guest also generously offers.
By John Corrado
*** (out of 4)
At the beginning of The Skeleton Twins, we watch as failed actor Milo (Bill Hader) drops a picture of his boyfriend into his fish tank, turns up the volume on his stereo and lies down in the bathtub. The water slowly turns red with the blood of his suicide attempt.
When his estranged twin sister Maggie (Kristen Wiig) gets the call, she is contemplating swallowing the fistful of pills in her own hand, but instead goes to meet her brother at the hospital. There is painful irony to the fact that his failed attempt to take his own life has potentially just saved hers, forcing them to see each other for the first time in ten years.
Milo goes to stay with Maggie, who never left the town where they grew up and is stuck in a dead end marriage to Lance (Luke Wilson), the sort of well meaning but overbearing and almost annoyingly nice guy whose needs for a happy life don’t go very deep.
Lance desperately wants to start a family, and has probably been dreaming about having kids since he was one himself, but children aren’t in Maggie’s life plan, putting further strain on their crumbling relationship. Milo takes the opportunity to track down his former English teacher Rich Levitt (Ty Burrell), who left him confused after becoming inappropriately involved back in high school.
Milo and Maggie are both depressed, but they are depressed in the way that real people are as they go about their quiet lives. They aren’t walking around constantly brooding and sullen, and the often wacky sense of humour that they share is still very much intact, finding time to laugh and joke with each other just like they always have. But they go about their lives with a quiet desperation, seeking happiness that has been eluding them since high school when their beloved father died, and instead waiting for the next wave of unbearable melancholia to hit them.
I’ve always been fascinated by watching comedic actors do drama. I think there is an inherent honesty and truth to a lot of humour that lends itself well to being played as drama, and some of the finest sequences in The Skeleton Twins effortlessly walk this tightrope. A scene at the dentist’s office where laughing gas is inhaled and secrets are revealed immediately springs to mind, as does a night out on Halloween where even the over the top costumes can’t mask the heartfelt truth of their reconnection. An impromptu dance to Starship’s “Nothing’s Gonna Stop Us Now” makes us simultaneously smile and tear up, a perfectly handled sequence that seems destined to become iconic.
Bill Hader has never been better, imbuing so much depth into this character that in the wrong hands could have just been another “tragic gay cliché.” It’s a powerful turn that draws us into his pain. Kristen Wiig also delivers one of her finest performances, portraying a broken woman trying desperately to hold herself together for both her brother and husband. The two have a natural and very believable chemistry as brother and sister, easily and authentically falling into the sort of shorthand that real siblings share, to deliver a pair of deeply affective and nuanced performances that complement each other quite nicely.
Although some viewers will see the actors on the poster and come expecting comedy, and there are some delightful moments of levity, The Skeleton Twins is in fact a quiet film that cuts deep. This is a touching and sometimes heartbreakingly believable human drama that rings true every step of the way, and the emotions of this very good little film linger long after the credits roll.
Today, Paramount is releasing a Diamond Anniversary Edition of the beloved 1954 holiday classic White Christmas on Blu-ray. After the war, song and dance men Bob Wallace (Bing Crosby) and Phil Davis (Danny Kaye) team up with the popular sister act of Betty (Rosemary Clooney) and Judy Haynes (Vera Ellen), to perform together and help save the Vermont inn owned by their former general (Dean Jagger).
Featuring a selection of Irving Berlin’s most beloved songs, including the Oscar-nominated “Count Your Blessings Instead of Sheep” and the Oscar-winning title track originally heard in the 1942 Bing Crosby and Fred Astaire vehicle Holiday Inn, White Christmas is an entertaining musical that still holds up after sixty years.
This is the sort of film that lends itself well to repeated viewings, and this beautiful new edition would make a wonderful Christmas gift, complete with sparkly red and white packaging and a very enjoyable bonus CD featuring the cast singing a dozen holiday classics.
The Blu-ray boasts sing along lyrics on thirteen songs, five TV appearances by Bing Crosby and Danny Kaye including a virtual duet with Michael Bublé, the 1954 UNICEF documentary Assignment Children with Goodwill Ambassador Danny Kaye, and more. Also included is commentary by Rosemary Clooney and over an hour of previously released featurettes.
White Christmas is 120 minutes and rated PG.
Today, Paramount is releasing a new edition of the 1996 comedy Kingpin, for the first time on Blu-ray. After losing his hand and promising career, washed up bowler Roy Munson (Woody Harrelson) starts training Amish prodigy Ismael (Randy Quaid) to compete at a national competition, and hopefully defeat his sleazily successful rival, Ernie McCracken (Bill Murray).
Directed by Bobby and Peter Farrelly, right in between their iconic classics Dumb and Dumber and There’s Something About Mary, Kingpin is still a lot of fun. This is a very entertaining and often delightfully ridiculous sports comedy that offers plenty of big laughs, and is worth seeing for the hilarious performances of Woody Harrelson, Randy Quaid and of course Bill Murray.
The Blu-ray includes two cuts of the film, as well as commentary with the Farrelly Brothers and a new featurette.
The Theatrical Version is 113 minutes and rated PG, and the Extended Version is 117 minutes and rated 14A.