Release Date: February 7th, 2012

Running Time: 76 minutes

The Film

There are few Disney moments, or cinematic moments in general, that are as iconic as the spaghetti scene from Lady and the Tramp. Released in 1955 as Disney’s 15th animated feature, the film is firmly cemented in the annals of cinema. Lady and the Tramp makes an impressive HD debut on a Blu-ray set that is the perfect opportunity to revisit this endearing classic.

The film tells the story of Lady (Barbara Luddy), a privileged Cocker Spaniel living a perfect life with her owners Jim (Lee Millar) and Darling (Peggy Lee). Everything changes for Lady when Darling has a baby. When her masters need to leave town for a bit, Lady is left in the care of Aunt Sarah (Verna Felton) who hates dogs. Sarah won’t let Lady anywhere near the baby, and her Siamese cats make Lady out to be a bad dog.

Lady runs away after being fitted with a muzzle. She is completely out of place living the life of a stray, but her luck changes when a mutt named Tramp (Larry Roberts) comes to her rescue. Tramp gives her a taste of his carefree life, culminating in the iconic spaghetti dinner date. Unfortunately a series of events leaves Lady in the pound where she learns about Tramp’s womanizing ways. Sarah picks Lady up from the pound and chains her in the yard.

Soured from the experience at the pound, Lady wants nothing to do with Tramp. But when a rat poses a danger to the baby, Lady will have to put aside her hurt feelings and enlist Tramp’s help, allowing his true colors will shine.

Like most of Disney’s older films, Lady and the Tramp is universally enjoyable for all ages. It is not a children’s film by definition and never dumbs itself down to appeal to a younger audience. Back then Disney believed in children’s ability to absorb themes without being obvious or force fed, a trend that elevated the films of the time. Whether it is the humorous moments or more dire situations, the story is quality through and through.

At the core of the film is a story of star-crossed lovers from different worlds. It is a superb diatribe on the power of love to overcome all obstacles. The most memorable romantic couples, whether in literature or film, are the ones that have to overcome impossible odds when it seems like everyone is against them. Lady and Tramp are one of the most recognizable couples for good reason, even 50 years later. They are a canine Romeo and Juliet, and you can’t help but root for them.

It goes without saying that the animation itself is nothing short of art. The movements of the animals are natural while still allowing some anthropomorphic emotions. The fluid nature of the animation puts many CGI films to shame. The hand-painted backgrounds are simply stunning. With no shortage of charm in the characters, settings, or adventures, Lady and the Tramp is a visual feast in every frame.

Lady and the Tramp may not be the first Disney film that comes to mind, but it deserves a place alongside the most heralded animated films that Walt produced, now more than ever.

The Disc

The video is presented in a 2.55:1, 1080p High Definition transfer. Beautifully restored, the film hasn’t looked this good in decades. The colors are bold and consistent or soft when needed. Black levels are very deep without crushing detail. Every brush stroke and every frame of animation is pristine. You won’t find any aliasing or jaggies here. Video noise and compression artifacts are also not a problem. This transfer is yet another testament to Disney’s dedicated, restorative efforts.

The audio is offered in an English DTS 7.1 lossless surround mix and French/Spanish 5.1 DEHT. A restored version of the original mix is also offered. While 7.1 is probably overkill for the film, the end result is very impressive. All of the speakers are fully utilized without resorting to cheap surround effects just to show off the new mix. Atmospheric effects are well placed, and the action moments feature enough bass without it sounding too modern. Dialogue is balanced and cleaned up, though it still sounds like older recordings. Overall, this audio mix is the best of both worlds–strong enough to make use of modern systems but still respectful of the original mix.

The Extras

The set features a veritable treasure trove of extra content, both old and new.

Diane Disney Miller offers a quick introduction to the disc. She also has a segment called “Remembering Dad” (8 minutes) where she looks fondly back on her father, his love for the film, and much more.

Disney Second Screen is an app that syncs with the disc while you watch the film to provide more behind the scenes info, picture galleries, etc. You can also access “Walt’s Story Meetings” here or as a commentary track. This features a recreation of what it would like to be in a story meeting with Walt through voice actors reading old archive transcripts.

3 Deleted Scenes are presented in storyboards and run 19 minutes: Introduction of Boris, Waiting for Baby, and Dog Show. There is also a segment on a song developed for Tramp that was never recorded called “I’m Free as the Breeze.”

The vast majority of special features have been carried over from the previous DVD release. Unfortunately, they are all presented in standard definition.

“Lady’s Pedigree: The Making of Lady and the Tramp” is a multi-part documentary spanning nearly an hour. It covers a wide array of topics including early development, the animation process, voice actors, etc. This is probably the most complete behind the scenes look at the film on the disc.

“Finding Lady: The Art of the Storyboard” (13 minutes) is a unique segment explaining the purpose and importance of the storyboard process. This is supplemented with the original 1943 storyboard presentation of the film that runs 12 minutes.

“The Siamese Cat Song” (2 minutes) contains a number of different recordings of the song to find the right voice.

“Puppypedia: Going to the Dogs” is a 10-minute piece aimed at kids that explores the various groups of canines.

Two vintage behind the scenes featurettes from Disneyland TV are included as well: “The Story of Dogs” (18 minutes) and “Cavalcade of Songs” (22 minutes).

It wouldn’t be a Disney release without a music video, so here we get “Bella Notte” by Steve Tyrell.

Finally, 3 Theatrical Trailers are included as well as a standard definition DVD of the film.

Final Thoughts

Featuring a pristine technical Blu-ray loaded with relevant and interesting special features, Lady and the Tramp is one of Disney’s best Diamond Editions to date.

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It goes without saying some of this content is not suitable for some audiences….

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Release Date: January 31st, 2012
Running Time: 105 minutes

The Film

With the countless crime procedurals cramming television networks these days, the serial killer thriller genre seems like a dying art in cinema. After a major surge in the 90s and early 2000s, the genre became a source for countless gimmicky direct-to-DVD sequels and uninspired theatrical releases hoping to be the next Se7en. A truly harrowing entry that redefines the genre is now the exception, and unfortunately Texas Killing Fields and its anemic Blu-ray release do little to resurrect the genre.

The film follows a pair of detectives investigating a murder in Texas City. Mike (Sam Worthington) is a tough guy with a short fuse, and his partner Brian (Jeffrey Dean Morgan) moved to Texas for the betterment of his family after obsessing over and failing to solve a case. While beginning their investigation, they also deal with the completely inept parenting of a hooker who kicks her little girl, Anne (Chloe Grace Moretz), out of the house on a regular basis to turn tricks.

Coinciding with Mike and Brian’s own case is a series of murders happening in the next county over. Mike’s ex-wife, Detective Pam Stall (Jessica Chastain), calls Brian to help with a case of a dead woman. Her body was found in the “killing fields,” an area believed to be cursed where the Native Americans turned to cannibals. Despite Mike’s protests that they have their own case to worry about and knowing Brian’s obsessive nature, Brian agrees to help out Pam. Soon enough Brian and Mike receive a message on their work phone where they hear a woman murdered who is later found in the fields. Brian cannot let it go. When the next victim hits too close to home, Brian is determined to put an end to the killings no matter what the cost.

Texas Killing Fields has a creepy settings, a decent cop duo, and plenty of bodies popping up. On paper it all sounds great, but what should have been an hour-long TV episode is padded into a feature without any real meat on its bones. The “inspired by true events” aspect is extremely loose, and the story never quite hooks you into the mystery. The killer lacks an intriguing pattern and rarely interacts with the police. Without the tight cat and mouse game, the killer can’t create any real personality or intrigue.

I was initially drawn to the movie because of the actors, but I wish they had more to do. Worthington’s character never gets more than a few hints into his personal life and is mostly an anger-driven guy looking out for his partner. Morgan has his moments, but the obsessive downward spiral of his character plays out too erratically. Chastain is good in that she holds her own with these two tough guys, but her characters brings little to the story other than some tension due to bad history.

Texas Killing Fields only needed one extraordinary aspect to make it far more memorable, something to keep you engaged with the film. Instead, the dreary story and plodding pacing hurt what its otherwise a pretty decent little crime film.

The Disc

The video is presented in a 2.40:1, 1080p High Definition transfer. The overall quality is certainly acceptable, but the drab locations and dark visual tone makes it feel far worse than it is. Vibrant colors are almost nonexistent, and the dull greens and browns of the killing fields maintain a persistent, dreary feeling. Thankfully, black levels are very strong and preserve shadow detail. Clarity in close-ups drives home the debilitating nature of the case as our heroes look increasingly worn and beat up. Wide shots, however, lose detail and lack the 3D pop of many films. The transfer may be fitting for the dark feel of the film, but some more brilliant shots now and again would have been much appreciated.

The audio is offered in an English DTS HD 7.1 lossless mix with English subtitles. Atmospheric effects are the best part of the mix, effectively bringing to life all the grimy locales in the film, especially the killing fields. Directional and panning effects are used as well, most notably in the action-heavy chase towards the end. Gunfire awakens the subwoofer with hefty oomph. I found the music to be wholly forgettable, and the moments where little is happening on screen were sonically bland. The dialogue is also muffled in numerous shots, making Worthington’s accented delivery hard to discern. Problems are few and far between, but I definitely noticed inconsistencies in the clarity.

The Extras

Besides the Trailer, the disc has only one true special feature-an audio commentary with Director Ami Canaan Mann and Writer Donald F. Ferrarone. Like the film, the discussion doesn’t offer much new insight into the genre or filmmaking. Mann touches on staple topics from the story’s influences to the actual production and her own filmmaking style. It’s not a bad track by any means, but it will only hold the interest of the most passionate fans of the film.

Final Thoughts

Texas Killing Fields may appeal to crime procedural enthusiasts, but it is still unlikely to make a lasting impression, and the anemic Blu-ray release offers little reason to purchase the title.

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Release Date: January 31st, 2012
Running Time: 154 minutes

The Film

Michael Bay is the undisputed king of action filmmaking. With budgets and military connections far beyond any other director, he brings to life spectacles that speak to the adrenaline junkie in all of us. Despite the Transformers films being heavily criticized, especially the second entry, I have always appreciated Bay’s take on the classic franchise. Transformers: Dark of the Moon remains one of my favorite action films of all time. An unexpectedly brutal affair with enormous stakes, it is everything that I ever wanted out of a live-action Transformers film. The original Blu-ray release was completely devoid of special features, so we all knew a double dip coming. At last, the true Blu-ray release of Dark of the Moon has arrived, and it was well worth the wait.

As seen below, I lauded the film in my previous Blu-ray review. I’ve watched it probably four or five times since then and I love it even more with each viewing. Every time I watch the film, I am in sheer awe of the grand, epic scale and unbelievable action. Everything I state below still holds and then some.

The film begins with a brilliant sequence showing the war on Cyberton between the Autobots and the Decepticons. With the planet on the verge of destruction, the Autobots send off their last hope in the form of an ark, but it is shot down and crash lands on Earth’s moon. NASA detects the crash and makes landing on the moon a priority to investigate the alien presence.

In modern times, the world has changed following the events of Revenge of the Fallen. The existence of the transformers is common knowledge, and energon detectors are everywhere. Optimus Prime and his Autobots continue to work with the US military, training an elite squad on how to combat the Decepticons should they ever return. While on a mission at Chernobyl, Optimus finds a piece of tech from the ark and realizes the humans have been lying to him. The Autobots go to the moon and find the ark along with one sole survivor—Sentinel Prime. Optimus resurrects Sentinel who then tells them of the pillars, a way to create the Space Bridge to teleport matter.

Meanwhile, Sam Witwicky (Shia LeBeouf) is out of college and searching for a job in Washington DC. He lives in a ritzy apartment with his new girlfriend, Carly (Rosie Huntington) who foots the bill due to her job with a wealthy man named Dylan Gould (Patrick Dempsey). When Sam finally lands a job, his co-worker is attacked and killed by Decepticon Laserbeak. With no one else to turn to, Sam hooks up with former Sector 7 agent, Seymour Simmons (John Turturro). It turns out Decepticons have been killing humans connected with American and Russian space programs, humans who have been collaborating with the Decepticons! An attack is imminent, and it is once again up to Sam and the Autobots to combat the threat, but will the government heed Sam’s warning, or abandon their one true form of defense out of fear?

Dark of the Moon is phenomenal, and not just for the action (I’ll get to that in a minute). I really enjoy Sam’s character, far more than in Revenge of the Fallen. He represents an entire generation of overly educated college grads who want to make something of their lives but are forced to enter the job market in embarrassing, entry-level positions. This theme works just as well as the “boy and his first car” focus from the original film. I also don’t understand all the hate for Rosie’s performance. I loved Carly’s constant support and understanding, giving Sam a relatively drama-free relationship that is very refreshing. Comedic moments involving Sam’s parents and John Malkovich are great icebreakers as well and necessary due to the immense tragedies that happen later in the film.

With solid character work as a foundation, how does the action fare? To put it plainly, the action sequences are the best I’ve ever seen in my life and on a scale unlike any other film. Michael Bay was forced to focus more since he was shooting in 3D, giving us plenty of slow-motion shots that allow you to see every iota of detail in the action. I’m talking about things like a gigantic sandworm, drill-like Decepticon cutting through an entire sky scraper or Bumblebee transforming and hurling Sam in the air to dodge debris only to catch Sam and transform back. Transformers spew liquid from their wounds, chunks and pieces of their bodies explode off—it is merciless stuff that would secure an R-rating if they were human. Then there’s the destruction of Chicago, which is harrowing and exhilarating all at the same time.

Optimus Prime is a freaking legend and even has his classic trailer in this one, complete with a sword, shield, and flight gear. Few heroes have as much screen presence as Optimus—I dare you not to clap when he’s got one arm and still going strong. The other transformers seen on screen are like a greatest hits list, including: Ironhide, Bumblebee, Sideswipe, Megatron, Soundwave, and Shockwave. Still, as much as I love the bots, they can’t be the only focus. Much to my surprise and delight, the humans are in the thick of it all and can hold their own. The sequence with the wing suits is just as badass as any of the robot action.

As a Michael Bay and Transformers fan, Dark of the Moon is a near-perfect film for me, but it isn’t for everyone. The endless action and hefty running time will turn off a lot of people. If you are up for a visceral action extravaganza that will put all of your senses into overdrive, then Dark of the Moon is for you.

The Disc

The technical aspects of the video and audio remain the same as the previous edition. Dark of the Moon is still one of the single best looking and sounding titles ever released on the Blu-ray format.

The video is presented in a 2.40:1, 1080p High Definition transfer that is a revelation. Colors are rock solid and beautiful, best seen in the bold primary colors of the Autobots. Black levels are abyss-like while still providing layered shadow detail. Clarity is supreme in all aspects of the images: the sleek cars, the beautiful actors, the stunning clothing—it’s all perfect, but it is the transformers that truly shine. Every gear, every moving part, every chink of damage has never been clearer. Likewise, the hectic action scenes are rife with particle and smoke-ridden explosions, but the action remains crystal-clear. With no digital noise or compression errors, this transfer is absolutely pristine.

I cannot speak to the quality of the 3D release, but the consensus among other reviewers is that it is one of the best out there but still not quite perfect. Even in 2D, you can see how many of the sequences would be breathtaking in 3D.

The audio is offered in an English 7.1 Dolby Digital TrueHD lossless surround, English/Spanish/French/Portuguese 5.1 surround, and English 2.0 surround mixes with English/French/Spanish/Portuguese subtitles. This mix is hands down the most detailed, unique, and powerful audio experience on Blu-ray. The is immediately apparent in the opening Paramount logo and film’s title sequence that blast across the channels while exploring the depths of sound. The controlled chaos of Michael Bay’s action is perfectly complemented by the sound design. Through endless layers and nuances, every sound effect is unique, balanced, and clear. The transformers themselves feature dozens of effects spanning a dynamic range. Atmosphere is also never neglected despite the film’s focus on action, and oh, the action—panning and directional effects are omnipresent, always placing you in the thick of it. Bass has soul-rumbling lows rarely heard, and is a constant, ominous presence in the score. As much as the video is noteworthy, the audio will really push your system to new levels.

The Extras

The set includes the Blu-ray, 3D Blu-ray, DVD, Digital Copy, and Ultraviolet streaming Digital Copy! Unlike the previous bare bones release, there is now a plethora of extra content to sift through. I also have to note the killer lenticular slipcover of Optimus Prime.

The new special features have a dedicated Blu-ray disc.

“Above and Beyond: Exploring Dark of the Moon” is a five-part, two hour documentary providing one of the most in-depth looks ever into a Michael Bay film. The segments include: “Development and Design” about coming off the struggles of the second film and character/tone changes; “Filming Across America” focusing on the production design, location shoots, 3D effects and more; “Shooting in Chicago” breaks down the massive location shoot making up the last half of the film; “Aerial Stunts” exploring the wing suits sequence; and “Post-Production and Release” covers editing, the immense CGI post-production, sound design, and the future of the franchise.

“Uncharted Territory: NASA’s Future Then and Now” (26 minutes) is a wonderful real-world look at the history and future of our space program.

“Deconstructing Chicago” contains a number of multi-angle sequences split up between Previz (17 minutes) and Visual Effects (19 minutes). The previz sections show you the early test animation against the final shot. Likewise, the visual effects section breaks down the CGI elements of the shot, again with an optional comparison to the final product. Many of the film’s major sequences are explored and both sections contain optional commentary by either Bay or the previz/visual effects supervisors.

If all of the above wasn’t enough, the “Dark of the Moon Archive” has miscellaneous content, including: “A Transforming Visual Art” (3 minutes) about the increased presence of 3D; “Moscow World Premiere” (2 minutes); “Birdmen Featurette” (2 minute); “Cody’s iPad” (2 minutes); and “The Sound of Transformers: Dark of the Moon” (9 minutes). Most of these are filler, but the sound design featurette is not to be missed. I will be pissed if the film doesn’t win Academy Awards for its technical achievements.

Finally, “The Matrix of Marketing” contains the Trailers and marketing materials while “The Art of Cybertron” has gorgeous HD galleries of the transformers, technology, and environments.

Final Thoughts

This is the Blu-ray release of Dark of the Moon that fans have been clamoring for: the same pristine technical achievements bolstered by a complete set of special features and a 3D disc as bonus. For true Transformers fans, this is as good as it gets.

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Modern Family: In Asgar Farhadi’s A Separation, a family falls apart and a child falls from grace in a testament to the bonds between a father and daughter

Director Asghar Farhadi’s A Separation, about the consequences in a middle-class Iranian family when the parents decide to split, which reverberate in their community, could easily be called Modern Family, given its very contemporary domestic drama, the complex kind we don’t often see not just from Iran, but from any country.

Oscar-nominated for Best Foreign Language Film and Best Original Screenplay, its rich tapestry of husbands and wives, fathers and children, right and wrong and ultimately, childhood and adulthood, makes for, perhaps, the movie of the year.

It’s an emotionally involving picture that, in telling the story of one family’s crisis, reaches across cultures to show us ourselves, how we struggle to preserve what’s ours in a modern world of pressures and stresses, how hard we fight to look out for our children, how they see us at our best and worst. And how they grow up in an instant.

I caught up with writer/director Asghar Farhadi recently to talk about A Separation, its universal messages of families and adolescence, and its transcendent qualities, which do what movies should do—reflect ourselves back at them and show us our strengths, weaknesses and muddled best intentions.

You’ve called A Separation “a detective story without a detective.”

I say that because usually in the movie detective stories that we see, there is always a detective and wherever the detective goes, we follow. And in this film, each one of us becomes a detective as we look for clues during the movie. A very important point is that each one of us will have a very different path through which we will follow the movie. Some follow the character of Termeh and go through the film through her. Some with the character of Razieh. This film doesn’t force you to follow a specific interpretation.

What is so refreshing about A Separation is how absolutely comparable the family in the film is to any other family, regardless of culture. The issues are the same. Parents and children and households and problems. Work and family. Daily stress. There is nothing different in family dynamics.

That is right. I would like to add one point to this. The issue that it’s a universal story does not suggest that it could not be local. On some occasions, local and universal can be next to each other, rather than opposite. Meaning that you can still have a local vision and yet be valuable and applicable universally.

Does that make the film less Iranian, or specific to the country in some way, or no?

No. The Iranians actually identify this as a very Iranian film, because it is very close to the real daily life of all of us. In France, America and other countries, I have heard people say that the story is similar to their lives. The issue is exactly that. In the end, what you notice is that the basics of life, for all people, are very similar. They are not that different.

However, in the U.S. that notion can be a challenge for some, who would look at anything that comes from, or happens in the Middle East, to be “different,” which is the predication for why we do so many things there. So the movie will challenge some.

My vision is that the similarities of the people of the world are much stronger than the differences. But the politicians of the world try to do exactly the opposite—they try to emphasize the differences.

Peyman Moadi’s performance here is really beautiful. There’s such a naturalness to his demeanor. I think you could say the same about the ensemble.

This is my second movie with Peyman. The majority of the actors in this film are professional actors. Before shooting the film, we are like a theater and we do a lot of rehearsals. What we rehearse is not the screenplay. The screenplay is done. What we actually practice are things that are not in the movie, at all. For example, the two actors, Peyman and Simin (Leila Hatami), were already rehearing things before they had access to the story. The two children, Termeh and Somayeh, in the movie itself do not talk to each other much. But in the rehearsal, they were encouraged to talk to each other a lot about the adults’ issues.

The reason why I treasured this kind of rehearsing for several months was to achieve this purpose—that the professional actors would come to act very naturally, as if they were not professional. Maybe the reason why I do this is because my background is theater. In the theater, it is very common that people will actually do a lot of rehearsals and not focus specifically on the script. What I do not like is that once the screenplay has been finished, is to go to the actors and explain what the character is like; what he or she will do or not do. The same process that this character was an embryo and then grew in me and became a character. I am trying to have this process happen for my actors too—the same process of growing in the character.

We see many films about mothers and daughters or fathers and sons, but not many about a father and a daughter. They have a very unique relationship here, whether quietly doing homework together or things around the house. It’s really quite special.

This is based on my own personal experience. As a matter of fact, (the actress playing) Termeh, the child, is actually my child. And the relationship I have with her had a big influence on the movie. The reason also why this relationship seeped into the movie is because for several years, I was the one taking her to school and bringing her home. And on the way I would have a lot of talks with her. This relationship affected the movie.

What is the most important thing a father can do for child?

It might be different for other fathers, but my point of view is to give the capacity to the child to understand the concept of responsibility and freedom. The fact that freedom comes with responsibility. When we give someone freedom, it doesn’t mean we are actually making this person more comfortable. We are actually giving him or her more suffering. Because freedom comes with responsibility. That is why in the last scene of the movie, Termeh is very upset—because she has been given this heavy responsibility to make her own decision; because they gave her this kind of freedom.

Yes. One of the film’s themes is the experience of an adolescent seeing her parents fall from grace; her loss of innocence. Much like the boys in Terrence Malick’s Tree of Life, as they gradually come to see their father as he is.

That is true. Little by little, this girl, Termeh, is entering the world of adults. What I mean is that her initial point of view, that was dream-based, is transforming to a reality that is more universal.

You mention the decision she is given to make, which is the pivotal moment in the picture, the turning point where she is released from childhood.

As a matter of fact, throughout the movie you can see that this child is saying goodbye to her childhood. She is practically moving from the world of dreams to the world of reality. The first image we have of her is almost through a glass, almost a dreamy image of her. And then little by little, as the events of the story go on, her eyes are opened to the world.

Special thanks to Asghar Farhadi for this interview

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How old were you when you first saw your parents as real human beings? When you said goodbye to naiveté, and probably too soon? Iranian filmmaker Asghar Farhardi’s A Separation, nominated for the Best Foreign Language film and Best Original Screenplay Oscars this year, is a remarkable domestic tapestry that takes place in modern day Iran, the story of a separation between a husband and wife that sets off a series of events in two families. It is, simply, an exhilarating movie populated with people we care about, people we see ourselves in and a look at a young girl who comes to see the human flaws in her parents.

In the first of many remarkable scenes, A Separation opens with a court proceeding between a husband and wife in a disagreement about a potential divorce. We learn that the husband, Nader (Peyman Moadi) had once planned to move to America with the wife, Simin (Leila Hatami), and their adolescent daughter, Termeh (Sarina Farhadi, daughter of the filmmaker).

Subsequently, his aged father was diagnosed with Alzheimer’s and rendered invalid, and his decision to stay in Iran, rather than emigrate to the U.S., has split the family in two. When Simin leaves the house to live with her sister, daughter Termeh stays behind with her father, a kind and supportive parent.

Things quickly get complicated when Nader realizes that the demands of work, daughter, father and household are more than he can handle. Enter Razieh (Sareh Bayat), a lower caste, devout and very pregnant woman who, unbeknownst to her demonstrative husband, Hodjat (Shahab Hosseini), takes the job of Nader’s housekeeper, charged with caring for the stricken old man every day.

Razieh also has a young daughter, in tow for the long bus journey each day. The young girls become fast friends in the household. But when the father suffers a mishap on Razieh’s watch and confrontation between Nader and Razieh ensues, an unfortunate turn-of-events, pivoting on an accident, lands the two families ad odds, in court.

In the middle of this is Termeh, fiercely loyal to her sensitive father. At its heart, what the film is really about is the separation from childhood to adulthood. It’s true we see many films about mothers and daughters or fathers and sons, but this year we’ve see The Descendants with George Clooney raising two daughters on his own, and now this movie, where a very close relationship between a father and daughter is tested. Director Farhardi mounts the most delicate scenes where Nader and Termeh interact in their motherless household, doing homework together, having dinner and sometimes just talking about the day’s events. When an ethical mishap is revealed the girl experiences a poignant fall from grace, eyes opened. Farhardi told me recently that much of the father-daughter dynamic is autobiographical, and the depth of feeling certainly shows.

To say more about the plot, which is impressively complex and gives each of the characters fully dimensional wants, needs and desires, and is human drama at its richest, would be to give away many of A Separation’s pleasures.

In addition to a fascinating look at the legal procedures in Iran, adjudicated by a single arbiter where a hearsay accusation can quickly lead to a murder indictment, this is a supremely sensitive look at family dynamics in middle-class, modern day Iran. There are no heroes or villains here. This is a human drama of errors and consequences. A story of desperation between classes. A picture of a young girl whose heart breaks.

Star Peyman Moadi displays great strength and command in his household and unwavering conviction in what he knows to be right and just. And privately, he shows vulnerability and fear, which is surprising, upending our notions of Iranian men, whatever they are. The film also depicts very independent and modern women who work, think for themselves, are not afraid to speak up and have equal voice in their families.

As a cultural document, A Separation is invaluable—it really is a bridge to modern Iranian society that very purely focuses on the dynamics of one family, any family, just like yours and mine.

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Is evil born, bred or both? Scottish filmmaker Lynne Ramsay’s We Need to Talk About Kevin is an upscale horror picture about the relationship between a former career woman and her all-but demonic son, who the film suggests was born bad and only got worse, moving like a speeding train toward an act of carnage all but unstoppable. Or was it? The mother, played by Tilda Swinton in another of her great, emotionally inward etched anti-heroines, reflects during the aftermath of her child’s atrocious act. And this picture, which floats freely in time, back and forth in the mind of a woman who had it all and then lost everything, is a flat-out masterpiece.

It’s possible that Eva Khatchadourian (Swinton) was never cut out to be a mother, try as she did, nor that she should have even gotten married. A former world traveler and something of a renowned explorer and author, Eva and husband Franklin (John C. Reilly) settle down in suburbia to give birth to first child, Kevin, and she becomes stay-at-home mom to the toddler, who cries incessantly, refuses to play with her and just seems “off” in some way Eva can’t pinpoint. Reassured by doctors and her husband that nothing is wrong, she’s still uneasy.

In an early scene of manipulation, the boy refuses to toss a ball back to her and then does so, once, to placate her. He is cold and calculating, with utter contempt for his mother, loathing even—indeed he works hard to make her desperately unhappy. With his father it’s a different story, and he plays the game of a “normal” teenager, which both he and his mother know is a ruse. When a younger sister arrives years later, he extends his subversive torment to the child—including an unfortunate execution of the family pet.

A healthy suspension of disbelief is necessary here, because anyone who can’t see that Kevin is a full-throttle psycho in training (he wears diapers until he’s 10 and willfully vandalizes mommy’s office shrine to world exploration), is asking for what he gets (and boy, do his parents). At one point in the film, Eva breaks the boy’s arm (intentionally?), and even this is treated as a game of one-upsmanship on the part of the boy.

On and on it goes, as the teenaged Kevin (Ezra Miller) works overtime to destroy his mother’s peace of mind and sense of sanity, undermining her kindness and in one psychological take-down, reduces her to nil during what was supposed to be a friendly dinner out between mother and son. His vitriol, all done with a sadistic malice that comes easy to him, is for years taken in stride by a mother who, after everything, still loves her son. Amazing.

What’s provocative here is how Eva’s mind reaches far back to the boy’s infancy to determine her own culpability in both his condition and actions. She doesn’t assign blame to the child, though we certainly do. The question the film asks is whether Eva really wanted the boy to begin with, transferring these feelings to the infant, and he somehow read those signals and decided to make her pay with a lifetime of pain.

She has also become a pariah in the town where they once happily lived, unable to find work except at a store front travel agency, and when she rebuffs a male coworker’s unwanted advances at the office holiday party, she’s confronted with a doozy of a line. Swinton plays the shell-shocked woman as a walking zombie, face slapped by strangers on the street, home vandalized, living a step up from nothing; a ghost oscillating between past and present.

By the time the film concludes and we witness Kevin’s shocking act at the local high school, we’ve seen Eva’s disintegration, akin to Michael Fassbender’s similar self-destructing exercise in the excellent Shame. Swinton, catatonic throughout and functioning at the bare minimum when she has to in the present scenes, reminds you just how resourceful an actress she is, after her diametrically opposed recent turns in Julia and I Am Love. Much ballyhoo was made about Kirsten Dunst’s glorified sleepwalking through Lars von Trier’s depression epic Melancholia, but Swinton gives us shadings that Dunst’s Cannes-winning turn doesn’t approach.

This is bold, striking filmmaking, the kind that reminds you that yes, there are still real directors in the world who use the frame, the palette and the lighting to create imagery, incorporating color and symbols into visual language. Ramsay, whose previous efforts include the distinctly self-conscious Ratcatcher and Morvern Callar, delivers a beautifully shot film about some very ugly things.

From Kevin’s opening images of Eva rolling around in red paint, tomatoes, whatever it is, a sea of bodies lifting her atop as if expelled from a hemorrhaging mosh pit, to the paint splashes vandalizing her home and car, to the twinkling police lights that reoccur throughout the film right up to the bitter end, Ramsay is highly expressionistic in nearly every frame. Shaky cam realism, this isn’t.

As a portrait of woman on the verge of collapse, We Need to Talk About Kevin, rendered by a director and actress at their respective peaks, is a masterful character study. If Kevin remains an evil incarnate cipher throughout, Eva is a portrait of a person who probably realized too late that she didn’t want the life she signed up for, and a kid who knew it.

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It’s a let-down to see a film like Albert Nobbs, made by so many talented people, not take flight as it rightfully should. In telling the story of a cross-dressing butler and waiter living a secret life in 19th Century Ireland, Glenn close delivers an emotionally solid performance as a rather bland character. It’s obviously a labor of love for the star, who played the role on stage and helped bring the material to the screen. As directed by Rodrigo Garcia, it’s a respectable film if not a great one, featuring a character that lives so far beneath the radar it’s hard for even us to get a good look.

Albert Nobbs (Close) is employed in a quaint Dublin hotel, one with a restaurant where she also works. Notice that I said “she” because Albert, unbeknownst to anyone, is a woman pretending to be a man, a necessity the movie argues is for economic security. We gradually come to realize this incognito is as much a product of Albert’s past and identity as it is to eke out the meager sustenance she keeps hidden beneath the floorboards of her tiny room, the only place she can privately be herself, though it’s clear even when alone that she identifies as a man, a dimension explored in a chaste, third-act romance.

The hotel is run by the flamboyant Mrs. Baker, played by Pauline Collins, so wonderful as Shirley Valentine not too long ago, and its denizens include a randy, hard-drinking aristocrat (Jonathan Rhys Meyers) and his entourage, and a doctor (Brendan Gleeson) who has his own secrets, becoming a sort of kindred spirit with Albert as the film progresses.

But Albert’s world is turned upside down when a mysterious painter beds down—in her room—for the night. Hubert Page (Janet McTeer), hired to refresh the hotel, is the opposite of Albert. Tall, gangly, talkative and charismatic, even Albert is shocked to discover that Mr. Page is indeed, as much a woman as herself. And thus the two begin a special friendship, keeping the other’s most private secret.

McTeer, a previous Oscar nominee for her earthy turn in 1999’s Tumbleweeds, performs with the confident brio Albert so lacks, comfortable in her skin and full life, including a wife. Whether this wife knows the truth or not, we do not know, but on a trip to their home, Albert is fascinated by the real-world possibilities she herself might achieve. She dreams of marrying, opening her own tobacco shop and for a minute, sees a life of more than just cowering between her four walls.

Enter young maid Helen (the wonderful Mia Wasikowska), who also has big dreams, which include going to America with handsome, strapping ne’er do well Joe (Aaron Johnson). Once Albert herself begins courting Helen, the young lovers look at Albert as their ticket. Of course, Helen herself undergoes a reversal as she comes to understand, as much as she can, the seemingly timid man who cares so much for her.

Watching Albert Nobbs, I was aware that I was watching a serious, well-intentioned film with integrity in its screenplay, handsome production values and something clearly on its mind—the necessary subversion of identity and sexuality in a society unable to acknowledge or embrace it. Yet I never once felt that Close, or McTeer, for that matter, were convincing in their disguises; I never bought them as men, while everyone around them seems unquestionably convinced.

Enjoyable as it was, Julie Andrews never pulled off the same in Victor/Victoria either. It’s not an easy actorly thing to do, by any stretch. Probably best at this was Hilary Swank in Kimberly Pierce’s Boys Don’t Cry, as the tragic, gender-bending young man who fooled a town, and girlfriend, into accepting him at face value. Ditto Meryl Streep’s turn in Angels in America.

Watching Albert Nobbs, I was reminded of the brilliant performance Anthony Hopkins delivered in The Remains of the Day, also about a butler in love who subverted his own desires, life and dreams, in service of his trade. That gorgeous picture was emotionally vivid in its understatement. Similarly, Albert Nobbs also has faint echoes to Robert Altman’s Gosford Park, in its networked lives of working class servants.

But despite the care and talent involved, this is a chilly picture, surprising given director Garcia’s previous efforts, which include the emotional Mother and Child. Like Pedro Almodovar, Garcia always has a firm, compassionate grasp on the women in his movies. But here, it’s as if we watch Albert Nobbs as if under glass, removed, at a distance. There is little dramatic urgency to the story, which plods along to a not-surprising end.

Perhaps the issue is Close, straight-jacketed with a character who keeps everything so close to the vest (or under it), so on the down low and so minimal, that Albert is nearly inaccessible. It’s quite a performance in that Close’s signature is usually her largeness, her flamboyance, her emotionality, so seeing her all but strip her highly theatrical manner is a real coup. But she burrows down so deeply we never feel close enough to her construct. Maybe she’s just too good at keeping Albert away from us. And consequently, while we may understand Albert, we don’t come to care for him.

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Release Date: January 24th, 2012
Running Time: 127 minutes

The Film

It is no secret that I am a huge fan of the Transformers franchise. I was nothing less than giddy as Optimus Prime ravaged any and all enemies in Dark of the Moon. Due to my attachment to the heavily armed, super robots of Transformers, I wondered if I would be able to accept the smaller scale robot action of Real Steel. Much to my delight, Real Steel was one great filmmaking surprises of 2011. A pristine Blu-ray release featuring a perfect blend of action and heart will have you cheering from the opening scene to the end credits.

The film takes place in the near future of 2020, a time when humans have been replaced by robots in boxing due to the crowd’s increased desire for carnage beyond what the human body can sustain. Charlie Kenton (Hugh Jackman) is an ex-boxer who brings his fighting robot, Ambush, around the amateur circuit to try to settle his debts. After Ambush is destroyed in a match, Charlie is left with $20,000 of debt. He skips out on the debt and gets a message that his ex-girlfriend has died. He has to attend a hearing to determine what will happen with his estranged son, Max (Dakota Goyo).

At the hearing, Max’s aunt Debra (Hope Davis) and rich uncle Marvin (James Rebhorn) want full custody of Max. The only problem is that they are taking a second honeymoon for three months and want Charlie to watch after Max during that time. Charlie wants no part of it, but agrees upon striking a deal for $100,000—fifty now and fifty when they return. Unfortunately Max sees the exchange of the first fifty go down and knows that Charlie has essentially sold him.

Charlie and Max butt heads, though Max’s passion for robot boxing offers common ground. Charlie immediately uses the money to buy an old World Robot Boxing robot named Noisy Boy. His longtime friend, Bailey (Evangeline Lilly), is a gear head at the old gym where Charlie used to train and gets Noisy Boy in fighting condition. But Charlie is overzealous and, despite Max’s protests, puts Noisy Boy in a fight without knowing how to use him properly, destroying the robot. With tons of debt and no money, Charlie has Max help him scour a junkyard for a new bot. Max’s life is saved by the inanimate arm of Atom, an old generation 2 model built for sparring that also has a shadow program installed. Against all odds, Max and Charlie bond and turn Atom into a fighter. The underdog status, coupled with Atom shadow dancing to Max, creates a massive buzz in the robot boxing industry and draws the eye of the WRB champion.

The film has been described by Peter Hammond as “Rocky with robots,” and that is exactly how the film plays out. Even though it is futuristic, the core story is a heartwarming tale that feels grounded and relatable. Featuring quiet towns, fairs, and suburbs, the setting never detracts from the characters or story by being too sci-fi. What seems on the surface like a story about robot boxing or a faded athlete is actually about a down-and-out man reconnecting with his son and resurrecting himself from the ashes—it doesn’t get more iconic and universal.

As a boxing fan, I was very impressed with the action. I both love and was depressed by the idea of human boxers being pushed aside for robots, but I can’t deny that the end result is badass. The sheer spectacle of it, whether underground or in a huge promotion, feels like the natural evolution of boxing. It is simply intoxicating, reminiscent of the gladiatorial times of yore. All of the robots have solid styles that can be at times more MMA than boxing, but Sugar Ray Leonard’s involvement ensured proper tribute to boxing. The design of the robots are also very unique and easy on the eyes, a far cry from the impossible alien nature of Transformers. These are robots of gears, pistons, and steel, their existence a believable leap of faith. The methods in which they are controlled, from AI to remote to shadow, makes for great variety in the action as well.

The action and story would mean nothing if the actors didn’t bring their A game, and that’s exactly what they did. Jackman, one of Hollywood’s most consistent actors, knocks it out of the park. Whether he is being a cocky ass or on the verge of an emotional breakdown, he is always believable. Goyo holds his own in every scene as well, essentially making the film as the snarky, tough little kid dealing with the death of his mother and a father who doesn’t want him.

Real Steel is Hollywood popcorn filmmaking at its finest. Explosive action, palpable emotion, and brisk storytelling all merge in one of 2011’s most entertaining films.

The Disc

The video is presented in a thoroughly impressive 2.35:1, 1080p High Definition transfer. Fine detail reigns supreme in every shot, whether it is the gruff nature of Jackman’s clothes and facial hair, the impossible depth and detail of the junkyard, or the grimy atmosphere of the underground fight clubs. The robots look damn near pristine. Every scratch and iota of damage they receive is fully visible. Colors feature a lot of tans and browns in the more rural environments, but the robots are extremely vibrant with primary colors. Black levels are very deep with no loss of detail. Compression artifacts and video noise are negligible, rounding out an AAA transfer.

The audio is offered in English DTS HD 7.1 lossless, French 7.1 HD, English 2.0 DVS Dolby Digital, and Spanish 5.1 Dolby Digital surround mixes with English/French/Spanish subtitles. This is a hefty, explosive mix but atmosphere is never compromised for spectacle. Ambience is always present and brings every environment to life such as the fair, city streets, and massive fight arena with thousands of screaming fans. The robot fights are the highlight of the mix, featuring intricately detailed sounds of steel bending and crushing. Every blow has weighty power to accentuate the brutal impact. The music is also energetic, filling the soundstage with songs from Eminem and others. Finally, dialogue is always clear even in the most ruckus moments.

The Extras

A strong slate of extra content supplements the film.

Though it was not active at this time, the “Real Steel” Second Screen allows you to access extra content (featurettes, interviews, etc.) on your laptop or iPad. This is another trend I am not fond of; why not just create a Picture-in-Picture video commentary?

The Audio Commentary by Director Shawn Levy was only accessible on the DVD. I believe it will be integrated into the Second Screen feature on the Blu-ray once that is live. Levy is a passionate, engaging speaker who manages to balance discussion of just about every aspects of the film including story, production design, camera work, the CGI, and the fight sequences.

“Countdown to the Fight: The Charlie Kenton Story” (14 minutes) is a fantastic ESPN faux documentary about the rise and fall of Charlie Kenton as a boxer and how he got involved in robot boxing.

“Sugar Ray Leonard: Cornerman’s Champ” (6 minutes) covers how Leonard was brought in to improve Jackman’s boxing skills and advise on the robot fights. Leonard’s input adds massive credibility to the boxing in the film, even if it is brutal, giant robot boxing.

“Making of Metal Valley” (14 minutes) intricately breaks down a single sequence in the film where Max finds the Atom robot and almost dies after sliding down a mountain of junk. This micro look at the production shows off multiple examples of Levy’s mastery in crafting action sequences from planning to editing.

“Building the Bots” (6 minutes) breaks down the Legacy Effects’ creation of the robots using both CGI and practical effects.

18 minutes of Deleted and Extended scenes with an intro by Shawn Levy consists of an extended opening and an entire nixed storyline. A 3-minute Blooper reel is also offered.

The set includes a standard definition DVD of the film, and a different 3-disc release also includes a Digital Copy.

Lastly, be sure to check out the awesome trailer for The Avengers.

Final Thoughts

Real Steel is an all-around entertaining and heartwarming affair that will appeal to a wide range of audiences. Whether you are a fan of Jackman, boxing, or sports movies in general, there’s a lot to enjoy on the stellar Blu-ray set.

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Movies about 9/11 haven’t exactly lit the box office on fire in recent years with moviegoers, nor have they found a way to deal with the events in a way that has attracted much of an audience. How could they? Extremely Loud and Incredibly Close is, as expected, a movie that’s about 9/11 in a peripheral way—it uses the tragic events of the day to prop up a personal story about a gifted nine-year-old’s loss of innocence, and his father, after fate intervened in their middle class Manhattan family. Directed by Stephen Daldry from the novel by Jonathan Safron Foer, it’s a movie that touches us even though ultimately it doesn’t quite get where it’s going.

It’s clear early in the picture that young Oskar Schell, played by the energetic and fascinating Thomas Horn, is living in a world of his own making, and one formed by a close relationship with his warm father, rendered by Tom Hanks in trademark likable mode. Mom (Sandra Bullock) is in the picture but outside their special relationship, which includes brain-teasing games in and around the city, and life lessons in the process. Theirs is a critical bond for the child, whose loquaciousness and hyperactivity suggests a possible social disorder, despite his highly functioning intellect.

When dad is killed in the World Trade Center, the boy and his mother grow very much apart. Indeed, in a painful scene he bluntly tells her that she should have been the one to go. In addition to the deepest loss, Oskar carries buried, guilty secrets from that awful morning. But a year later and after finding a mysterious key inside a vase that belonged to his father, he suddenly has purpose and potential opportunity for redemption—if he can only find the lock it fits, somewhere in a city of 8 million. Of course, the film isn’t really about a key to anything, that’s really just the MacGuffin driving its human agenda of family reunification.

The majority of the film’s running time involves Oskar’s trek around the boroughs, including musings on a sixth, imaginary one, meeting with a tapestry of citizens who may be able to unlock the mystery. During this process we meet an estranged couple (Viola Davis, Jeffrey Wright) that ultimately figure into the denouement and have some healing of their own to do. Expectedly, both are superb in their individual scenes. And there are frightening visions of 9/11, including those we expect—glimpses of the towers in jeopardy—and personal visions of terror visited on the child, who imagines his father’s terrifying demise.

We also meet an septuagenarian, mute lodger who lives with Oskar’s grandmother, played by the great Max von Sydow in wordless performance that consists of following the boy’s lead, with a series of written-down thoughts, which culminates in an simple, yet powerful scene between the boy, the old man and an answering machine. It’s in moments like this one, and two later scenes with Jeffrey Wright and Sandra Bullock, who is largely absent from the film but emerges with her own secrets near the end, that Daldry delivers the emotional wallop that doesn’t sweep through the film as much as it should. And there are narrative leaps that aggravate, even if some blanks are filled in by the film’s conclusion, including Bullock’s absence—a whopper—revealed in the final scenes.

I was moved by it and appreciated Horn’s most original performance. I’m glad I saw it.

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