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A vagabonds musician finds meaning to his life when he starts a friendship with dozens of parrots.

I managed to miss Four Brothers when it was in the theaters and
initially released on DVD.  A Mark Wahlberg urban drama just didn’t
sound like something I’d be interested in.  When it came out on Blu-ray
however, I thought I’d give it a shot and to my surprise found an enjoyable
and emotionally striking film that, while it is flawed, is better than
one would expect from seeing the trailer.

Evelyn Mercer (Fionnula Flanagan) is a local hero in her lower income
Detroit neighborhood.  An ex-hippy, Evelyn is a tireless fighter for
social justice, especially for children.  Working to get orphaned
and abused kids placed into foster homes, there were only four children
that she encountered who she felt were too far gone and beyond saving. 
These children she adopted herself.  They still turned out bad, street
thugs and petty thieves, but they were much better than they would have
otherwise been.

Years later after these four lost causes have left home; Mama Mercer
is brutally gunned down during a convenience store robbery.  Her four
wayward sons, Bobby (Mark Wahlberg), Angel (Tyrese Gibson), Jeremiah (Andre
Benjamin), and Jack (Garrett Hedlund) return home for the funeral and to
see that her murderers are made to pay.  As they look into it however,
they discover that what appeared to be a simple gang related robbery is
no such thing, and that their mother’s murder was anything but a random
event.  Mama Mercer wasn’t in the wrong place at the wrong time, someone
had her assassinated.

This film was surprisingly good.  There was a good amount of characterization
that helped breath life into the movie and the four lead actors had a lot
of onscreen chemistry.  You could feel the bond that these four abused
and neglected people had and they acted like real brothers rather than
four people who are after the same results.

It was the smaller scenes that really made the film more than just a
mediocre revenge flick.  After the funeral when all four return to
their mother’s home and Bobby goes into the bathroom to cry so his brothers
won’t see him made the character seem real.  The scene at dinner when
each of the brothers remember their mother in their own way, recalling
her kindness and yet insistence that they obey the rules was very powerful
and moving.  The movie didn’t just tell you that this lady was a great
person, it showed you.  The fact that they otherwise useless members
of society would risk their lives to avenge her seems natural.  After
all, she was the only person in the world who ever gave a damn about any
of them.

Though the movie quickly and very efficiently sets the emotional ground
work for the film, it does have its flaws.  The way Bobby walks around
Detroit waving a gun around looks good on camera, but is a little hard
to buy.  When he enters a basketball court during the middle of a
game and pulls out his gun, identifies himself, and then threatens everyone
in the gym, it’s difficult to suspend your disbelief.  If you can
manage to overlook some of these, including the rather contrived ending,
the action scenes and emotional background more than make up for it.

The DVD:

I was very pleased with the 1080p/2.35:1 image.  This film doesn’t
have any eye-popping explosions or really cool space battles that jump
off the screen so it would never be used to show off a system, but it is
a very good transfer never the less.  This disc has a lot of fine
detail that really brings the film to life.  You can see the fine
lines of mortar in the brick building in the background, and the whole
picture is just crisp and sharp.  The black levels were nice as solid
and the digital noise that seemed to plague early Blu-ray releases is not
present.

One of the most pleasing things about this disc is the fact that the
image quality is consistent throughout.  Many early Blu-ray releases
would have several excellent looking scenes followed by sequences that
were plagued by excessive noise or grain and inconsistent black levels
weren’t uncommon.  This disc does not have that problem.  The
picture looks excellent from start to finish.

I’ve seen a lot of comments in various mass media outlets that claim
there isn’t a great difference between DVD and the new HD formats. 
I would argue that there is a large difference, but it is more subtle than
the VHS to DVD gap.  This disc is a perfect example.  It doesn’t
have many impressive sequences that show off the extra definition, but
the whole movie is much more detailed and there is a lot more depth to
the picture.  This isn’t anything that you’ll notice right away, but
watch enough HD programming and it’s hard to go back to SD.  I don’t
have the regular DVD of this movie, but when compared to other high quality
DVDs, the difference is very apparent.  (Okay, I know I’m preaching
to the converted here, but I’m getting sick of the constant “most people
won’t see the difference” myth that is being spread around.)

Audio:

The film comes with a 5.1 English DTS track as well as DD 5.1 tracks
in English, French and Spanish.   I screened the film with the
DTS track and checked the English DD track also.  While they both
sounded good, I thought the DTS track had a bit more force in the low end
of the sound spectrum.  This movie is very front speaker based and
I was surprised the rears weren’t used to greater effect.  They kicked
in during the big shootout in the middle of the movie, and quite effectively
too, but other than that they were pretty quite.  I was disappointed
that this is basically a stereo mix, with only a few scenes making full
use of the whole soundstage.

Aside from that, the quality was very good.  There was excellent
dynamic range, very good imaging when the rears were used, and the dialog
was easy to hear.  Audio defects were nonexistent.  This was
a nice sounding disc, though the movie would have been helped by a more
dynamic sounding disc.

Extras:

Four Brothers offers a very good selection of bonus items, especially
for a Blu-ray release which have been rather anemic in the past.  
This disc has all the extras that you’d expect for a mainstream DVD release
(and these were all included in the SD DVD.)  There’s a commentary
by director John Singleton which is rather dull.  He does relate what
he was trying to do with most scenes, but it was never that engaging. 
The nine deleted scenes run about 12 minutes all together and were all
cut with good reason.  There are also a series of four featurettes
which run between 5 and 10 minutes each are entertaining enough though
not really meaty.  They cover the writing of the script, the casting,
the look of the film and how the big shoot-out scene was filmed.

Final Thoughts:

This was a surprisingly enjoyable film.  The main actors had a
good amount of on screen chemistry, and this made up for some of the more
unbelievable aspects of the movie.  The 1080p transfer is excellent,
with a good amount of detail and a nice smooth but sharp look.  While
the soundtrack isn’t consistently active, when it does use the full soundstage
it puts it to good use.  Recommended.

 

Reviewed by Dennis Schwartz

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Perhaps the greatest film ever made had a disasterous Paris opening
in 1939, as it was greeted by a hostile audience and became a box-office
failure. The Rules of the Game was taken out of circulation, recut and
trimmed off at least 30 minutes from its 106 minutes, and it eventually
was banned by the German occupying forces for its “demoralizing” effects.
It was made available again in its orginal form and length in 1959 under
the supervision of Jean Renoir after the original negative was destroyed
during WW11, and was not shown again in its complete form until 1965 when
it became reevaluated by critics and was almost universally praised as
a masterpiece (it was voted the second greatest film of all time, with
Citizen Kane first, in an international critics poll held during 1992).
The version my review is based on is the Criterion Collection’s new DVD
release, in which they did a superb job restoring the video especially
for its subtitle’s clarity and greatly improved the overall print quality. 

The brilliant social comedy delights in its playful phrase “everyone
has their reasons,” which might begin to explain how the film is settled
in such a way that clearly shows that the rich and poor play by a different
set of rules when it comes to matters of the heart. It offers a scathing
critique of corrupt French society, where if you don’t play by class-based
rules bad things can be expected, and points to France as a nation mired
in deep class differences. There are many other distasteful things to observe
of the upper-crusts including their casual anti-Semitism, their empty lives
and their lack of understanding art as anything more than another possession.

“The rules of the game,” said Jean Renoir, “are those which must
be observed in society if one wishes to avoid being crushed.” Renoir called
his elegant and pessimistic film “an exact description of the bourgeosie
of our time.” It was filmed in 1939 after the surrender of Czechoslovakia
to Hitler at Munich had “saved the peace.” Soon it seemed evident that
this move would not bring peace and a doom spread over Europe. Renoir (“Grand
Illusion”/”The Human Beast”), anticipating war and deeply upset by current
events, thought he might best interpret that delicate state of mind by
creating a story in the spirit of the French comic theater, a tradition
in which the force that sets every character in motion is love and the
characters are not distracted by their occupations in this pursuit. The
result was The Rules of the Game as a comedy of manners that turns to tragedy,
something that was both absurd and profound. It is directed and written
by Jean Renoir, son of the Impressionist painter Auguste Renoir. Also working
on the screenplay was writer Carl Koch, as he adapted it as an updated
version from Alfred de Musset’s “Les Caprices de Marianne.”

The film centers around a weekend hunt for the haute bourgeoisie
at the lush country-estate, La Colinere, of wealthy Parisian aristocrat
Marquis Robert de la Chesnaye (Marcel Dalio) and his Austrian wife of three
years Christine de la Chesnaye (Nora Gregor, the real-life Princess Stahremberg,
someone opposed to Hitler). Invited to the hunt on the special request
of Octave (Jean Renoir) is aviator André Jurieu (Roland Toutain),
who just returned to a hero’s reception after crossing the Atlantic on
a solo flight on the eve of WW11 and instead of being overjoyed at his
warm reception felt terrible that Christine, whom he has fallen in love
with and dedicated the flight to, does not greet him there. Octave is a
sort of playful court jester and loyal friend to the society couple while
a best friend of Andre’s. Also attending the hunt among the many society
guests is Robert’s married mistress Genevieve de Marrast (Parely), whom
Robert wants to dump since he realizes he loves his wife and doesn’t want
to lose her to the aviator. The servant class know all about the affairs
of the society people and in their crude way imitate their betters with
their own version of sexual musical chairs while mocking them in secret
with jeers. 

Warning: spoilers to follow in the next two
paragraphs.

By the time the rabbit and pheasant hunts take place, which are depicted
as nothing short of acts of barbarism, the film has slid from soap opera
melodrama to a bitter farce and from a sense of reality into a dreamworld,
as it intriguingly moves to the finale at a costume party where comedy
gives way to tragedy and where everyone’s flawed human nature is viewed
with an unblinking nonjudgmental eye. In what appears like a scene out
of the Keystone Kops a poacher (Carette), hired by the marquis to be upgraded
as a domestic, is being chased through the house with a gun fired at random
by the jealous game warden (Modot), whose domestic wife Lisette (Dubost)
has flirted with the sneaky poacher. The Germanic game warden is enraged
that his wife is not true to him, and later plans to shoot Octave whom
he thinks is kissing his wife in the greenhouse — but it’s Christine wearing
Lisette’s cape. The faithful wife Christine, who would not have an affair
if it were not for her hubby’s dalliance, is there with Octave only because
she is disappointed that the honest aviator failed to sweep her off her
feet as expected when she commits to him, instead asks her to live for
a month with his mother as a tribute to virtue and the common-man’s bourgeois
idea of morality. But she is still furious after discovering her hubby
lied about not having a mistress and in desperation falls into the arms
of her secret admirer Octave. 

The fantasy world of the guests abruptly changes to a frightened
mood of reality as the innocent Andre is shot by the game warden. He thought
he shot Octave because Andre was wearing his coat while rushing to the
greenhouse to see Christine–whom the game warden still believes is his
Lisette. Andre is sacrificed because he broke the rules of a society founded
upon a superficial display of manners that does not frown on infidelity
only on the inability not to lie about it and keep it covered up from the
public. While the lowerclasses resort to violence instead of lies to settle
their affairs, and when they cheat the consequences are therefore greater.
The aviator was a real hero who tried to live by his true emotions without
lying, and as a result he pays the price for not living by the rules of
the game of the upper-class society he is from. The marquis handles this
tragedy in a way that reflects his good breeding, as he apologizes for
the “accident” while the general (Magnier) looks upon him with deep admiration
and remarks that “he has class—and, believe me, the race is dying out.”
In that statement alone, Renoir couldn’t have said more about the disdain
he had for such a frivolous society and their superficiality.

The performances by the ensemble cast were outstanding, as professional
actors mingled with a cast largely made up of nonprofessionals. But, in
particuliar, Dalio, Carette and Renoir give inspired performances, as I
couldn’t keep my eyes off them when they were on the screen. Also, the
camerawork was dazzling while capturing in black and white the beauty of
life on an estate for the privileged and picking up on the moody aspirations
of the underprivileged kept divided from their betters by invisible boundaries,
as a very active camera got around the nooks and crannies of the hugh chateau
to catch them in unguarded poses. 

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An aging Scottish rocker finds he has a 16-year-primitive Welsh daughter in “I’ll Be There,” an exceedingly thin slice of withstand-good comedy that marks Glasgow-born comic Craig Ferguson’s anything else reservation in the helming chair, as well as doubling as evening star (and co-writer). Less extroverted than in both “The Tall Tease” and “Saving Grace,” Ferguson precisely surrounding saves the total souffle from collapsing at the mercy of its own flimsiness. However, the leisurely paced, rather gentle pic — which also gives Welsh model teen-headliner Charlotte Church her first movie position — lacks a drastic enough personality to demonstrate much B.O. printing. Following its preem in Blighty June 20, the Morgan Brook production gets a restrictive Stateside publicity through WB in August.

Pic’s twin marketing poles are set up from the start with cross-cuts between Church singing an angelic Celtic song in church, and Ferguson briefly doing some crazed shtick by getting blotto in his underpants and racing round his baronial manse on a motorbike. He plays Paul Kerr, a former U.K. rock star who wowed auds almost two decades ago; she plays Olivia, the daughter of a Cardiff hairdresser, who’s been clandestinely taking singing lessons behind mom’s back.

Film takes three reels to set up the plot nut that’ll be clear to auds when they buy their tickets. Meanwhile, the main characters are slowly sketched in: Olivia’s mom, Rebecca (Jemma Redgrave); Rebecca’s aging rockabilly father, Evil Edmonds (Joss Ackland); Digger McQuade (Ralph Brown), Paul’s former drummer; and Sam Gervasi (Anthony Head), Paul’s slimy onetime manager.

Evil suddenly reappears in Rebecca’s life when he hears Paul is in hospital after crashing his motorbike through an upstairs window. Though she’s done her best to protect her daughter from the whole rock-music world, Rebecca decides it’s finally time to tell Olivia she was conceived during a brief fling with Paul at the height of his fame (shown in grainy B&W with flecks of color). All that remains is to break the news to Paul himself, who’s been blissfully unaware he sired a child all those years ago.

Back at his country manse, where he keeps a llama in the garden, Paul is then descended upon by Digger, who’s also heard about the accident and is determined to wean Paul off the sauce. Against her mom’s wishes, Olivia also starts coming by Paul’s place to get to know him. When she just happens to find a new song he’s written lying around in his recording studio, the die seems cast for daughter to follow dad into the music biz.

There’s little forward momentum to the story, which keeps restating the obvious conflicts. There’s passing fun in seeing an esteemed veteran like Ackland play a long-haired, 70-year-old rockabilly, but most of the other roles, like Redgrave’s uptight Rebecca and Brown’s sanctimonious New Age Aussie, hang in a strange dramatic limbo. Church sings a few songs beautifully but doesn’t instill any life into the underwritten part of the daughter.

Thankfully, Ferguson has cast himself in the lead role, and it’s his small comic asides and verbal dexterity that largely prevent the laid-back pic from falling asleep on its feet. With his well-worked, expressive face, and genial sense of idiocy, thesp just about keeps things ticking until the manufactured finale in London. As the two-faced manager, Head also has some mild fun with the music-biz scene.

As a director, Ferguson shows no special signature, but he’s helped to a large extent by d.p. Ian Wilson’s excellent lensing, which is clean and well-textured. Running time could easily take 10 minutes of trims.

For the record, though set in southern Wales, whole film was shot around Slough, near London.

Director:


Paolo Virzi

From Time Out New York

About half of

Paolo Virzi

's middlebrow dramedy is a reasonably charming look at
the mutation the young title character endures after her classification moves from a
provincial town to Rome. Twelve-year-old Caterina (Teghil) is alternately
befriended by two cliques in her new class: grungy intellectuals and pampered
socialites. Meanwhile, her aspiring-novelist dad (Castellitto) has a very public
critical breakdown, in low less successful segments that are alleged to pass exchange for
a take-off of nepotism and favoritism in Italian high society. At least a cameo by
Roberto Benigni is mercifully brief.

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‘A terrific action movie!’ – Pat Collins, WWOR-TV/New York. From the producer of The Hunting For Red October and the director of Red Dawn comes this explosive wartime adventure roaring with spectacular aerial exercise. Danny Glover (Lethal Weapon) plays commander Unreserved Camparelli, the battle-hardened squadron leader of an aircraft carrier during the Vietnam War. Brad Johnson (Always) is captain Jake Grafton, a disillusioned young renegade looking for payback. Willem Dafoe (Platoon) is Cole, the cynical, hell-bent bombardier Grafton recruits to jet flout an unauthorized mission behind enemy lines. The aim: a projectile depot in Hanoi. The Regular: the A-6 Trespasser, a low altitude bomber with no defensive weapons. The hazard: court martial at the hands of Commander Camparelli…if they live to return.

The Movie

Shot in 15 days for the cost of two hours’ production on your average Hollywood production, Dan Myrick’s Believers is a rough-edged, chatty, and scrappy little genre flick, but it also manages to tap into a fear source that few filmmakers touch upon these days: The cult!

You know the types I mean: You hear about them on the news every once in a while: “Heaven’s Gate,” for example, which is one of this movie’s most obvious influences. From the outside perspective, the groups are ‘quietly wacko’ at best and ’seriously disturbed’ at worst. So when a pair of average Joe ambulance drivers answer a call, only to be kidnapped by a religious cult, you can be sure it’s not for good reasons. (If you remember Myrick’s name from The Blair Witch Project, then you know you’re not about to get a flashy or over-kinetic horror story.)

So there’s the basic plot of Believers: Two guys get kidnapped by a cult that believes its members must ‘achieve a higher plane’ within a few short hours, which means poor Dave (Johnny Messner) and Vic (Jon Huertas) must find a way out of their makeshift jail cells before all hell breaks loose. (Basically because ‘achieving a higher plane’ means committing mass suicide before the Earth is swallowed by an inferno.) So if anything, Believers earns a little praise for coming up with a basic-yet-intriguing premise and following through with some conviction. (Oh, and the leader of the cult is played by the great Daniel Benzali, which certainly helps matters.)

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Keep in mind, horror freaks, that this is not even remotely a body-strewn or gore-intensive experience. Believers feels more like a feature-length episode of The Twilight Zone or The Outer Limits … right down to the third-act revelations that you’ll see coming a few miles away. Despite being overlong by about ten full minutes, the flick’s essentially pretty darn watchable. You’ll forgive the straightforward storytelling and the generally flat production design because, hey, we’re talking about a pretty low-budget project. And despite some obvious turns, there are a few grim surprises along the way. Still, one can’t help but think this 3-star movie would have made for a 4-star episode of Masters of Horror, with just a few trims here and there. As it stands, about half of Believers is stark, simple, and engaging — and the other half is an unnecessarily verbose (and somewhat redundant) affair. Overall it makes for a half-decent time-waster, but nothing you’ll be raving about tomorrow.

The Specs

The film is presented in an anamorphic widescreen (1.78) format, but here’s what the DVD case tells us: “Presented in a ‘letterbox’ widescreen format preserving the ’scope’ aspect ratio of its original television exhibition.” The picture quality is a little dingy, given the budgetary constraints and low-lighting directorial choices, but the movie’s more than watchable. Audio is delivered in Dolby Digital 5.1 (English only), passably. Optional subtitles are available in English.

Extras

First up is a dry-but-informative audio commentary with director Daniel Myrick and screenwriter Julia Fair that’ll please the fans and send anyone else right off to sleep. We also get a collection of deleted scenes: Extended Lina Vance Interview (3:53); Introduction to the Facility (3:35); The Teacher (2:48); Io Explains the Formula (3:39); and The Aftermath (4:42). The Believers trailer is also included.

Final Thoughts

A little slow and a lot “talky,” but there’s always something to be said for an indie horror flick that aims for the cerebral over the simply visceral. Worth a rental if “cult behavior” fascinates you, but beyond that is your call.