Category Archives: DVD/Blu-Ray

The 40 Year Old Virgin (2005)


Judd Apatow‘s IMDb profile is weighted surprisingly towards films he’s produced.  As of today, he has 38 completed productions with another 10 in development, compared to 8 directorial features and TV shows (including one episode of The Larry Sanders Show).  Even his writing credits number in the mid-20s.  It’s this space between projects that forces the movies he has directed under a magnifying glass.  If he felt like it was good enough to direct and not just throw some money behind then I’m especially curious to see what the fuss is about.  On top of that (and this is a point I’ve made before), Apatow’s directed projects have an element of realism lacking in his productions.  Whether it’s taste, or effort, or simply coincidence, the films he’s directed work on a loftier plane.  In the case of The 40 Year Old Virgin this line, so evident when comparing, for example, Walk Hard to Funny People, seems to bleed a little bit, finding it’s reality through a thick pane of glass fogged by touches of absurdity and breeches of aggression.

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8½ (1963)

The characters of Federico Fellini‘s are obsessed with age.  Apart from the occasional young person who somehow finds their way into a scene and is simply too naive to know any better, or to care, the chief characters range in age from their late 30s to nearly bedridden and all of them are desperate to regain that which is lost.  The men all have mistresses far younger than they, the women make themselves up literally and with feigned indifference.  While this is not the point of , it is significant to it.  This film is about the fear of commitment, both artistic and emotional.  Allowing age to run rampant in the way it does here, with barrages of the elderly ambling about in the sunlight (in a place so strongly resembling the afterlife it’s no wonder nothing gets done) and women whose usefulness runs out around the age of 55, suggests to the audience that time is fleeting and commitment is an anchor.  Freedom to pursue whatever you want comes at the cost of not being tied down.  To what?  Your producer, your crew, your cast, your friends, your wife, your mistress, your ideas, your ideals, yourself.

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Invictus (2009)

When the World Cup arrives this summer, we’ll see a common banner lining every pitch.  One that reads “SAY NO TO RACISM.”  As a young American, this seems a relatively dated sentiment, but a friend more savvy to the international scene explained it to me: international soccer offers racial tension a passionate arena to catch flame, and all kinds of race resentment is tied into a country’s national pastime.  These already intense matches become entwined with the immensely heated conflict of color, and feverish support of one’s team only fuels the anger.  So the banners seem a sad necessity in a twenty-first century still dealing with the ignorance of the past, and it’s this awareness that motivates Invictus. A story that appraises race relations as the simple matter they can be at heart, while ignoring the complex creature they truly are.

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The Wolfman (2010)

When it comes to the golden age of cinema, I haven’t seen nearly as many films as I probably need to.  If I’m being honest, I’ve probably seen ten or twenty films made prior to 1950, and Lon Chaney Jr.’s 1941 The Wolf Man is not among those.  So my frame of reference as far as this remake is limited.  I would like to be able to compare not only the story, but the style as well, as it seems that some of the most striking visuals found in the first few generations of film-making came in the horror genre.  But alas, I’m a film buff charlatan and my top five movies were made in the last twenty years.  Still, it’s not impossible to glean something from the general style of the times, and Joe Johnston‘s 2010 The Wolfman remake does seem relatively beholden to its roots.  There’s a struggle here in trying to update while simultaneously trying not to, and it’s in this struggle that the film staggers.  It’s like watching a graphic designer put together the Mona Lisa in Adobe Illustrator.  The pieces are there, but the final product feels inexplicably wrong.

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The Girlfriend Experience (2009)

There’s plenty of experimentation in film, though it’s usually produced independently and often flies under the radar.  Steven Soderbergh is a rare director in that he’s constantly shifting back and forth between big, moderately traditional productions and smaller, indie films.  I watched Bubble a few years back, and though I didn’t care much for the film, I really admired Soderbergh’s ability to work outside of a comfort zone.  If I had to guess I’d say that few directors will go into production on something they don’t feel confident will be called great.  They’re obviously not always right in their assessment and hindsight is 20/20.  I don’t know that Soderbergh minds working without a safety net, and again, I admire that.  The Girlfriend Experience, shot in nearly two weeks and for just over a million dollars, finds him again doing something all on his own, and any of the good or bad that can be found here can’t be traced back to anyone but him.  Maybe if he could have it his way, he’d sit in on every viewing and take questions afterward.

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Crazy Heart (2009)

As much as Country Western music is derided, there’s something romantic about its weathered subject matter.  An ambling loner in a bar, a whiskey and a beer, a battered jukebox.  It’s cliche, but it’s also purely American, and this is I think is what allows it to transcend a genre so many people love to hate.  This archetype forms the basis of Crazy Heart, written and directed by Scott Cooper in his debut behind the camera.  Following that lone figure through the travails of his older years, the film surveys the modern American West lifestyle as well as the broader themes of a washed-up musician, tiredly yearning for his glory days.

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Anchorman (2004)

Doesn’t it seem as though the SNL crossover into movies is sort of a cursed venture?  So many competent comedians have failed trying to bring their brand of funny to the big screen, whether in the form of a popular Saturday Night character or something original.  Yet somehow, Will Ferrell has prevailed.  Not that it’s been a completely successful run.  Remember Kicking and Screaming? But if you break down his career he does seem to be, for the most part, successful.  It could be that he’s just that much funnier, or more likeable, or business savvy than a Molly Shannon or Tim Meadows.  Or maybe he’s just lucky.  Whatever the reason, Will Ferrell has claimed a spot among the elite comedic actors of all time, and though he’s got a few crapfests under his belt, it’s movies like Anchorman that keep his momentum building.

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Rachel Getting Married (2008)

Reality is tantamount to the assembly of pretty much any film.  There are obvious exceptions in the realm of science fiction or fantasy, but for the most part, stories are set in our world and live by our rules.  This can be frustrating on a small level, when John McClane yet again avoids dying in some absurd way, or when two people fall madly in love with each other in the span of five minutes.  But working in the confines of reality can go much deeper than this.  With the goal of making something real, a director can place as many restrictions on his story as he chooses.  This is the triumph of Jonathan Demme with Rachel Getting Married. Reality is the impetus and the guiding hand in this story about the struggle for empathy and the obligation of relationships.

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Humpday (2009)

According to the reputable Urban Dictionary, the term Bromance describes “a non-sexual relationship between two men that are unusually close.”  Off the top of my head, I can think of three films from the last year or so that employ this concept as a main plot point: Pineapple Express, I Love You Man and Superbad.  All solid comedies, and all born of an idea that has really only recently started gathering steam.  Two straight guys, overcoming conflict together, and in the end being able to say “I love you.”  It’s sweet, and as a guy with a few separate bromances, I’m always a little touched by it.  Humpday, directed by Lynn Shelton, takes this idea to the (perhaps) logical conclusion, asking a question that, as far as I know, hasn’t been asked by a film before: What if two entirely hetero dudes chose to have sex with each other?

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The Royal Tenenbaums (2001)

Something happens in that moment when Margot Tenenbaum (Gwyneth Paltrow) steps off the Green Line bus and the soft strum of Nico’s “These Days” flutters.  Light suddenly fills her space, and time drags as she comes back to Richie (Luke Wilson), the brother she hasn’t seen in years.  Each step feels eternal and Richie watches unmoving, his impassive gaze telling us far more than any dialogue or exposition.  It’s a towering moment, showing us a director with, among many, many other talents, the ability to construct beautiful cinema.  Character, setting, light, sound, time; all just elements that Wes Anderson has blended to a moment glancing at perfection.  It can take your breath away.

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