Spartacus: Gods of the Arena is a l mini-series to Starz’s Spartacus: Blood and Sand. The story follows the rise of the House of Batiatus before the arriaval of Spartacus. It focuses primarily on Quintus Lentulus Batiatus (John Hanna), his wife, Lucretia (Lucy Lawless), and her shameless confidante Gaia (Jaime Murray), Batiatus, having just taken over his father’s ludus of gladiators, looks to climb the social ladder while the old guard tries to keep him and his gladiators, led by Gannicus (Dustin Clare), out of the arena’s spotlight.

Gods of the Arena came about when Spartacus: Blood and Sand star Andy Whitfield was diagnosed with Non-Hodgkin Lymphoma forcing the second season of Blood and Sand to be delayed while the actor sought treatment. Not wanting to lose the momentum and fan base Blood and Sand had established the producers expanded a single flashback episode from the second season into a six-part mini-series.

For those unfamiliar with Spartacus, the series is essentially a soft-core soap opera drenched in blood. It’s sex, violence with a little bit of plot to keep the action moving. Behind all the mayhem and titillation Blood and Sand featured a decent storyline that kept my interest. Gods of the Arena doesn’t fair quite as well as its story feels bloated and unfocused. Had the series been closer to 200 minutes in length, rather than 300, it could have been more focused. Considering the filler tends to be sex scenes or gory gladiatorial sequences I doubt that many fans are going to complain. I would have preferred a little more restraint as it all starts to look a bit too much like 1979’s Caligula.

When the bank threatens to foreclose on his mother’s house Paul (Kevin Zegers) masterminds the perfect plan to kidnap three socialites and extort their parents into paying for their release. But perfect plans have a way of unraveling as Paul enlists the help of outcasts Dean (Devon Bostick) and Jenna (Tatiana Maslany) who want more than money; they want to make a statement.

With a supporting cast that includes Ray Liotta, Victor Garber and Stephen McHattie The Entitled proves to be a better-than-expected thriller that offers up a few unexpected twists along with its clichés and cookie-cutter characters. William Morrissey’s script isn’t nearly as sharp as it needs to be as some of the characters feel too manic and one-sided but it has some interesting ideas inspired by the current state of the economy. The performances are decent, but Bostick and Maslany are a little too over the top to feel real. This might be a product of the writing but director Aaron Woodley should have reeled them in. The Entitled is a good direct-to-video release that is worthy of a rental.

Anchor Bay has included a brief behind-the-scenes featurette and a slightly different alternate ending. Neither are essential viewing.

After spending numerous years at the top of the “Best Unproduced Screenplay” list Seth Locheand and David Farr’s Hanna finally made it to the big screen with Joe Wright (Atonement, The Soloist) at its helm. The film stars Saoirse Ronan (The Lovely Bones) as Hanna, a young girl raised in isolation by her father (Eric Bana). Hanna has been trained as an assassin so that she might one day track down Marissa (Cate Blanchett), the intelligence agent responsible for her mother’s death.

Hanna feels like it takes place in a parallel world where violence is constantly lurking behind the heightened reality. It’s not quite as gritty as Leon: The Professional or as comic book as Kick-Ass but it is equally as quirky and occasionally bizarre. It is these strange, seemingly Terry Gilliam influenced, moments that the film works best. The rundown fantasy theme park being my favorite setting as it effectively balances the violence of Hanna’s world with the childlike innocence that she also possesses.

I loved Hanna when I saw it in theaters. Watching the film a second time wasn’t nearly as exhilarating as the middle section of the film where Hanna travels with a bohemian family seemed slower and less interesting when compared to the rest of the movie. That complaint aside, Hanna is a wildly entertaining ride.

Bonus features include a great audio commentary with Joe Wright that covers just about everything you’d want to know about the making of the film. There is also an alternate ending that is more or less an additional scene that could have easily been added to the theatrical release or as an after-credits scene. It doesn’t change the story; it just briefly expands it. The rest of the extra content is made up of brief behind-the-scenes featurettes and glossy promotional material.

A man (Adrien Brody) wakes up in a wreck car in the middle of a forest. His leg is pinned beneath the dash, there’s a dead man in the backseat and he has no recollection of how he got there or who he is. As the hours pass the man is haunted by snippets of memories and hallucinations as he slips in and out of consciousness.

Initially Wrecked feels very much like Buried and 127 Hours but eventually strays from that formula for much of the second half of the film. Director Michael Greenspan does a commendable job with Christopher Dodd’s screenplay but the film, even at only 91 minutes, feels entirely too long. The tension that exists at the beginning of the film isn’t sustained throughout. I assume that Greenspan and Dodd expected the mystery of the man’s identity and what exactly happened before he woke to carry the second half of the film but it doesn’t quite work. Brody gives a nice performance but ultimately he isn’t given enough to do. Wrecked is interesting but never as compelling as it needs to be. The film is worth a rent but I don’t see it having much replay value.

Bonus features are limited to some behind-the-scenes footage and the crew discussing the difficulties of filming in the middle of a forest. The theatrical trailer is also included but I highly recommend not watching it because it reveals too much and robs the film of its biggest twist.

Mike Flaherty (Paul Giamatti) is a lawyer and high school wrestling coach struggling to hold his life together as the economic downturn threatens to take his practice and rip apart his marriage. When an unethical way to make money off of an elderly client presents itself Flaherty risks it all for a little financial stability. But when his client’s teenage grandson shows up unannounced Flaherty is forced to take him.

Writer/director Thomas McCarthy’s (The Station Agent) Win Win mixes an ample amount of humor with a dose of reality to create one of the better films from 2011’s Sundance Film Festival. Along with Giamatti, the wonderful cast includes Amy Ryan, Jeffery Tambor and a breakout performance from Alex Shaffer as troubled teen Kyle.

Win Win could have taken the easy way out and offered up a more “crowd pleasing” ending, but it would have robbed the film of its credibility. Win Win is a great film because it feels honest rather than contrived and that’s refreshing and rare, even in an indie film.

Bonus features two deleted scenes, a pair of fluffy promo pieces, a music video for The National’s “Think You Can Wait” and an amusing walk down Main Street in Park City. Considering how celebrated the film has been I’m a little shocked that there isn’t an audio commentary.

In some ways Princess Leia and Carrie Fisher, the actress that portrayed her, couldn’t be more different. Fisher is brash, outspoken and a crusader. Then again, so is Leia. Maybe they aren’t so different after all.

Watching Wishful Drinking, a live taping of Fisher’s one-woman show where she lampoons her origins and herself, is a little awkward at first. You can’t help but feel like you’re reading someone else’s diary. The problem is that this particular diary is too intriguing to set down. After awhile you stop feeling guilty for intruding because its quite clear that Fisher wants you to know the absurdity of her story. She welcomes you in with a smile, a witty joke and an unspoken promise to not exaggerate the truth too much. She talks about her celebrity, the unwanted attention, the metal bikini, life-sized dolls and Pez dispensers. She also talks about addiction, mental illness and finding a way laugh at it all. Wishful Drinking could have been a miserable experience filled with self-pity and excuses. Instead it is a pop icon demystifying herself for herself, she’s just invited us to come along for the ride in hopes that we can do the same. Leia may have stolen Fisher’s persona but over the years Fisher has, in her own rebellious way, co-opted Leia’s strength. As a Star Wars fan its nice to see that being Princess Leia didn’t destroy Carrie Fisher’s life after all.

Bonus features include a trio of deleted segments and a surprisingly insightful 50-minute interview with Fisher’s mother Debbie Reynolds. 

The William Shatner directed documentary The Captains helps celebrate Star Trek‘s 45th anniversary with is DVD debut.

THIS OCTOBER, ENTERTAINMENT ONE LAUNCHES THE MISSION STAR TREK FANS HAVE BEEN WAITING FOR … JOIN WILLIAM SHATNER ON A VOYAGE AROUND THE GLOBE, SEEKING OUT MEMBERS OF THE ELITE GROUP WHO HAVE STOOD AT THE HELM OF THE STARSHIP ENTERPRISE AND BOLDLY GONE WHERE NO MAN HAS GONE BEFORE THE CAPTAINS Street Date: October 4, 2011 DVD SRP: $19.98 PROGRAM DESCRIPTION Since first soaring onto television screens in the mid-1960s, STAR TREK has become one of the most beloved franchises of all time.  As the iconic series celebrates its 45th Anniversary, Entertainment One presents THE CAPTAINS, a feature-length documentary written and directed by William Shatner that “boldly goes where no man has gone before,” giving viewers an exclusive behind-the-scenes look at one of the most durable and profitable franchises in entertainment history, as well as the men and women who have made the Star Trek brand an international phenomenon since 1966. Following one of the most engaging media personalities of our time, THE CAPTAINSchronicles Shatner’s quest to answer one burning question: why, in spite of his myriad stage, screen, and television credits, as well as his numerous Emmys and Golden Globe Awards, does one role in his career loom so large that it nearly eclipses all others?  To find the answer, Shatner enlists the help of the elite group of actors who have also assumed the mantle of Starship Captain.  In the process, coupling their own unique stories with compelling insights, the five Captains give Shatner a better understanding of his own life and solve this “mystery” once and for all. Featuring vintage Star Trekfootage and in-depth interviews with actors Patrick Stewart (Captain Jean-Luc Picard), Kate Mulgrew (Captain Kathryn Janeway), Avery Brooks (Captain Benjamin Sisko), Scott Bakula (Captain Jonathan Archer), and Chris Pine (Captain James T. Kirk, Star Trek), THE CAPTAINS was shot on location in Toronto, London, New York, Princeton and Los Angeles, where Shatner could capture his fellow Captains in their home environments.  The acclaimed HD film, which originally premiered as part of Epix’s “Shatnerpalooza” this summer, exposes the Captains in all their earthly humanity, offering a rare and candid glimpse into the inner sanctum of each actor and their time at the helm of the Starship Enterprise. CAST William Shatner (Star Trek franchises, “$#*! My Dad Says,” “Boston Legal”) Golden Globe nominee Patrick Stewart (“Star Trek: The Next Generation,” X-Men franchise) Kate Mulgrew (“Star Trek: Voyager,” Star Trek: Nemesis) Avery Brooks (“Star Trek: Deep Space Nine,” American History X) Scott Bakula (“Star Trek: Enterprise,” “Men of a Certain Age”) Chris Pine (Star Trek, Unstoppable ) PROGRAM INFORMATION Type: DVD Catalog #:  EOE-DV-7066 Running Time: 120 mins. Genre: Sci-fi/Documentary Rated:  Not Rated Aspect Ratio: 16 x 9

 

Going into this summer’s blockbuster season X-Men: First Class was not only one of the films I was most looking forward to but also the one I worried the most about. X-Men and X2 are two of my favorite films but the instant Bryan Singer left to focus on rebooting the Superman franchise everything seemed to fall apart. X-Men: The Last Stand was a disaster and X-Men Origins: Wolverine was hardly the apology that I was looking for.

The idea behind X-Men: First Class has been kicking around for ages but much like the purposed Star Trek series Starfleet Academy it never seemed like it would ever come to fruition. The problem was that The Last Stand ended in such a way that there was really no way to move the franchise forward. First Class isn’t a reboot; it is Bryan Singer’s attempt to salvage the series he helped make a critical and financial success. The story is essentially an extended version of the origin story of Erik “Magneto” Lensherr (Michael Fassbender) and Charles Xavier (James McAvoy) and the events that lead to the establishment of Xavier’s School for Gifted Youngsters that was hinted at in Stinger’s original X-Men (and long since established in the pages of the comic book). Set in the 1960s, the film is also a Cold War drama and director/writer Matthew Vaughn’s tribute to Sean Connery’s James Bond films. To some the setting might seem a bit unusual, but considering the X-Men made their comic book debut in 1963 and were a direct reaction to the racial and political tensions that defined the decade, it’s a perfect fit. It also allows the film to fit within the timeline established in the previous films. I could drone on and on about how much I enjoy this film but I’d rather you simply watch it and decide for yourself. It’s not perfect but if you haven’t given the film a chance because you were put off by The Last Stand you’re really missing out on something special.

Watching the film again on Blu-ray is as pleasing as it was seeing it in theaters. The picture and audio quality is excellent and recreates the cinematic presentation perfectly. The bonus are exclusive to the Blu-ray release and while I would have loved an audio commentary from Vaughn and Singer they both make appearances in the 69-minute documentary Children of the Atom as well as the additional 20 minutes of behind-the-scenes footage included in the X Marks the Spot viewing mode. There are also a handful of extended scenes and a couple deleted moments (Lensherr in the Argentina airport, Kevin Bacon’s Shaw on a boat with Cuban generals and Xavier trying to seduce Rose Byrne’s Moyra).

The Children of the Atom documentary is fantastic, particularly the “Pulling off the Impossible” segment that focuses on John Dykstra’s visual effects and “Sound and Fury” which focuses on Henry Jackman’s score. Either segment could have been extended into to a feature-length documentary and I wouldn’t have complained. They do at least include the option to listen to Jackman’s score without the dialogue getting in the way.

There’s also a short featurette available to download or stream via BD-Live that extends off some of the “Dogfight” footage shown in The Children of the Atom.

All in all X-Men: First Class has been a wonderful way to spend a Friday afternoon. I suspect I’ll be returning to relive the experience in the near future.

The first episode of Star Trek aired on NBC on September 8th, 1966 – and who could have guessed at the time that the show would spawn a franchise that would in turn go on to be one of the world’s most popular science fiction universes!

I can still remember watching episodes of Star Trek and The Next Generation with my family when I was growing up. There were many nights when I was younger that we’d sit and watch an episode together after dinner. Honestly, there are so many things I love about Star Trek – the portrayal of what could be our own future society (I wish), the characters, the exploration, the endless possibilities that space travel could bring about – I could go on and on about my views of Star Trek from an anthropological perspective, too! Of all the Star Trek creations out there, First Contact and The Wrath of Khan are two of my all time favorite films (and the newest movie is right up there, too! It’s brilliant!).

https://youtu.be/Z8rOUVc2sCc

I honestly wish I had gotten to experience The Wrath of Khan in theaters like I did with First Contact!

https://youtu.be/MJZbCNexctc

In celebration of this occasion, the Science Channel is working with Gene Roddenberry’s only son, Rod Roddenberry, to produce the documentary, Trek Nation, set to air on Wednesday, November 30:

“The film shadows Gene Roddenberry’s son, Rod, as he explores his family legacy and the crusade his father’s passion and curiosity for exploration. Through interviews with his most devoted fans, including George Lucas and J.J. Abrams, Trek Nation follows a son searching for the wisdom of his father.  Trek Nation demonstrates that Roddenberry’s work has not only inspired legions of fans across the globe, but also generated a movement which has influenced entertainment, politics, space travel, social morality and much more. Trek Nation profiles how the Star Trek franchise helped foster a timeless understanding of the human condition and captured man’s constant search for a better world.”

For more information about the documentary, you can visit the Science Channel’s Facebook page or Twitter: @ScienceChannel and @Iamtreknation

What’s your favorite part of the Star Trek universe?

A Horrible Way to Die is in about Sarah (Amy Seimetz), a recovering alcoholic, trying to rebuild her life in a new town unaware that her ex-boyfriend Garrick (The House of the Devil’s AJ Bowen), a convicted serial killer, has escaped prison and is slowly making his way back to her. Its plot might not seem that unusual for a horror film but its presentation is less traditional.

When talking about the inspirations that shaped his film director Adam Wingard references the mumblecore movement. Its influence is evident in his haphazard visual style, the actors’ use of improvisation, the low budget sheen and the heavy use of Christmas lights. The presence of Seimetz (Tiny Furniture, The Off Hours) and Joe Swanberg (LOL, Nights and Weekends, Uncle Kent) doesn’t hurt either.

While mumblecore and horror might seem like an odd marriage A Horrible Way to Die was never intended to be a traditional horror film. From its use of extended takes, a technique Wingard settled upon while watching Lars von Trier’s Breaking the Waves, to its amiable psychopath, A Horrible Way to Die was meant to be something different. But even longtime collaborator Simon Barrett, who has written the majority of Wingard’s films, wasn’t interested in writing a screenplay about a serial killer. It wasn’t until Wingard pointed out the particulars of Ted Bundy’s life, his charming persona and multiple escapes, that Barrett agreed and the script came quickly after.

Using Bundy as a loose model Barrett has created a killer that is atypical in that he is personable and intelligent. A killer that suffers for the things he is compelled to do but continues to give in to his compulsions nonetheless. Giving a sense of humanity to a monster is risky but ultimately it makes for a much more interesting character.

The film’s narrative is told out of sequence, but Wingard insists it was never intended to feel random. The rough cinematography, which was all shot handheld by Wingard, the choppy editing and the ordering of the scenes, although slightly changed during the editing process when a scene was cut, was decided upon prior to shooting. This doesn’t make the film feel like it is comprised of found footage; it makes the audience a witness and at times a participant.

Despite its lofty goals A Horrible Way to Die isn’t always effective. The mumblecore elements are done well but the horror aspect is never as menacing as it should be. The film’s ending, which features a considerable twist, doesn’t have the impact that it should. This is partly because I never felt an attachment to any of the characters. Still, mumblecore fans should find plenty to feast upon. Horror fanatics will want to approach A Horrible Way to Die with fewer expectations.