UNCUT GEMS and the Relentless Ride

UNCUT GEMS (2019)

Starring Adam Sandler, Laketh Stanfield, Julia Fox, Kevin Garnet, Idina Menzel, Eric Bogosian, Judd Hirsch, Keith Williams Richards, Abel Tesfaye (aka The Weeknd). Directed by Josh & Benny Safdie. (135 min)

ON BLU-RAY FROM LIONSGATE

Review by Fluffy the Fearless😸

If you’ve never been to Six Flags Magic Mountain, let me assure you it has more roller coasters than any park in the world...big ones, small ones, fast ones, slow ones, new ones, old ones...a coaster for every age and level of bravery. My wife and I went one summer, and since coasters are my favorite ride at any park, I was up for the challenge.

Then I rode Goliath. At the time, it was the longest, tallest and fastest coaster in the world. Some poor lady even suffered a heart attack and died on the ride just a few years earlier. As for this would-be thrillseeker, Goliath turned out to be a bit more than I bargained for...not only scary, but loud, overwhelming and relentless. While I didn’t have a coronary or toss my cookies, when the ride was finally over, the main thing I felt was relief. 

Uncut Gems is kind-of like riding Goliath, which isn’t intended as criticism.

The film is getting a lot of attention because of Adam Sandler in a role that’s certainly atypical of the man-children he’s made a career from. Some say he was snubbed during awards season, but I don’t know if I’d go that far. Sure, it's the best thing Sandler has ever done and he's mesmerizing as fast-talking gambling addict Howard Ratner. But is his performance really a huge stretch? As a comedian and actor, Sandler’s generally loud, brash and - in my opinion - obnoxiously overbearing. Since Ratner displays all these traits and more, it’s a character he was born to play (albeit with a lot more F-bombs).

"How'd I smuggle this baby into the country? Let's just say I couldn't sit for a week."

As for the film, Uncut Gems is 135 minutes of relentless anxiety as we watch Ratner’s downward spiral. Arguably the film’s protagonist and antagonist, he’s his own worst enemy. An unscrupulous gem dealer, Ratner has gambling debts all over town and is barely a step ahead of those trying to collect, including brother-in-law Arno (Eric Bogosian), who appears to have mob connections. After acquiring a rare stone that could solve all his financial woes, Ratner still can’t get out of his own way, trying to dupe others into paying more than its worth (such as NBA star Kevin Garnett, playing himself) so he can settle his debts. But even then, Ratner is literally unable to stop gambling with money that isn’t his.

I was immediately reminded of Bad Lieutenant, another film featuring a remorseless main character whose downfall is the entire plot. Uncut Games isn’t nearly as off-putting, but cut from the same cloth. Ratner isn’t a likable character, neglecting his own family, alienating everyone close to him and growing increasingly narcissistic. Yet we watch with fascinated dread as he repeatedly digs himself deeper, to the point we’re certain everything’s gonna end badly. The most powerful moment comes late in the story when Ratner’s sitting in his office, bawling helplessly as the walls close in, yet he still doesn't take responsibility for his own actions. That scene might be the best of Sandler’s entire career.

Howard Ratner’s descent into self-destruction is morbidly compelling and Sadler knocks it out of the park with a manic performance that – for once – suits the character perfectly. Extremely well-written, directed and performed, Uncut Gems is a character study that plays like a thriller (though the grating score is awful). Similar to riding Goliath, it’s an exhausting, uncomfortable ride that doesn’t let the viewer off until the end credits roll. As good as it is, I gotta say I was kind of relieved when it was finally over.

EXTRA KIBBLES

"MONEY ON THE STREET: THE MAKING OF UNCUT GEMS” - 30 minute featurette.
DVD & DIGITAL COPIES

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

GHOST KILLERS VS. BLOODY MARY vs. Your Intelligence

GHOST KILLERS VS. BLOODY MARY (2018)

Starring Danilo Gentili, Leo Lins, Murilo Couto, Dani Calabresa, Barbara Bruno, Pietra Quintela, Jose Suqueira Barros, Digao Ribeiro. Directed by Fabricio Bittar. (103 min)

ON DVD FROM DARK SKY FILMS

Review by Josey, the Sudden Cat😾

I’m sure some viewers out there will find the idea of a demon-possessed turd absolutely hilarious. And yeah, I suppose there are those who’ve always wanted to see a resurrected fetus lasso a poor rube with its umbilical cord and piss on his face.

Well, here’s the movie you’ve been waiting for. No brain required.

Ghost Killers vs. Bloody Mary is an uninhibited take on a classic urban legend. A batch of phony ghost hunters are offered a job ridding a local high school of the titular demon. Desperate for cash, they accept the job. However, Bloody Mary turns out to be real, capable of possessing people at random so they can kill on her behalf. Trapped inside the building with a few other staff members, they try to find a way out while recording everything for their YouTube show.

"Hey, kid. Does this look infected?"

Not even remotely scary, the film aims for both the funny bone and the gag reflex, suggesting director Fabricio Bittar drew considerable inspiration from early Peter Jackson films. As such, his own little opus is loaded with geysers of blood, gore and a variety of other gross-out gags involving bodily functions. The cast is game and does their job admirably, but there’s an air of desperation in the film’s constant attempt to shock the viewers, as though over-the-top outrageousness is inherently funny.

Peter Jackson – and even Lloyd Kaufman, on occasion – managed to counter their excesses with clever touches and engaging characters. Conversely, simply tossing-in heavy-handed self-awareness and pop culture references doesn’t elevate this film above any other calculated bid to amuse 15 year old boys.

But I suspect I had some of you at “demon-possessed turd.” If that’s the case, Ghost Killers vs. Bloody Mary has a shitload of such humor (pun intended). Admittedly, many of these scenes are pretty well executed and the make-up effects are decent for a low-budget film. Still, the entire thing is relentlessly juvenile and grows repetitive pretty quickly.

KITTY CONSENSUS:

MEH...LIKE SHARING THE BED WITH THE DOG.

KANSAS CITY and the Old Stomping Ground

KANSAS CITY (1996)

Starring Jennifer Jason Leigh, Miranda Richardson, Harry Belafonte, Michael Murphy, Dermot Mulroney, Steve Buscemi, Brooke Smith, Jane Adams. Directed by Robert Altman. (116 min).

ON BLU-RAY FROM ARROW ACADEMY

Review by Fluffy the Fearless😸

Maybe it’s the way I’m wired, but I personally prefer some of Robert Altman’s less lauded movies to his acknowledged classics. Sure, MASH remains his greatest film, but you’re also looking at the one guy who liked Quintet more than Nashville.

That being said, while Kansas City didn't garner the accolades of his recent “comeback” films - The Player and Short Cuts - it’s less pretentious and more enjoyable than both. I could be wrong, but as the story unfolded, I couldn’t help but feel Altman was more personally invested in this one since the setting is his old stomping ground.

Speaking of which, it’s quite a story, should one choose to pay attention to it. I say that because the characters and music are enough to drive the film, which Altman - with co-screenwriter Frank Barhydt - culls from childhood recollections of his hometown (though by his own admission, somewhat romanticized). During the prohibition era, Kansas City was apparently the midwest hub for gambling, booze and organized crime, a perfect setting for one of Altman’s better ensemble casts to inhabit a variety of unique characters.

Miss Pouty Puss.

The film tells concurring stories, the primary one depicting the kidnapping of Carolyn (Miranda Richardson) by Blondie (Jennifer Jason Leigh), the opium-addicted wife of powerful politician Henry Stilton (Michael Murphy). Since the narrative isn’t initially linear, Blondie’s motives are unclear at first. Then we meet her husband, low-level crook Johnny (Dermot Mulroney), who stupidly robs a big-shot gambler that happens to be friends with Seldom Seen (Harry Belefonte), the city’s most powerful – and ruthless – black mobster. Johnny’s caught almost immediately and “Seldom” holds him in the back room of his popular jazz spot, the Hey Hey Club. These stories converge when Blondie threatens to kill Miranda unless Henry uses his own questionable mob connections to spring Johnny.

Guess who's in it for the chicks.

Several other peripheral characters drift in and out of the picture, sometimes to complicate or clarify the plot, but mostly to enhance the film as a whole. Every character, no matter how minor, is uniquely interesting, with potential backstories that would make engaging movies themselves. Offering additional respite are numerous musical set-pieces featuring some stunning performances by real-life modern artists portraying jazz legends of the era. That they are filmed live gives Kansas City are level of authenticity that Coppola’s similarly-themed Cotton Club never quite achieved.

Ultimately, the plot ends up being of secondary importance. With only minor tweaking – and a director with a different agenda – the same story could have just as easily been a crackling thriller or funny farce. Instead, like many Altman’s films, Kansas City is more concerned with the characters he creates to populate a specific place and time. It feels a lot more personal than his other films of the same era, making it one of the late director’s most criminally overlooked efforts.

EXTRA KIBBLES

"GEOFF ANDREW ON KANSAS CITY” - An appreciation by Geoff Andrew, who affectionately discusses some of Altman’s quirks, with obvious emphasis on Kansas City.

"GARE, TRAINS ET DERAILLEMENT” - From 2007, this is a video essay by French critic Luc Lagier. In French with English subtitles.

FEATURETTES - “Robert Altman Goes to the Heart of America”; “Kansas City: The Music”

ELECTRONIC PRESS KIT INTERVIEWS – Short promotional interviews with Robert Altman, Jennifer Jason Leigh, Miranda Richardson, Harry Belefonte, Joshua Redman. Soundbites in the featurettes are pulled from these interviews.

AUDIO COMMENTARY – By Robert Altman.

TRAILERS & TV SPOTS

SUPPLEMENTAL BOOKLET – Annotated essay, “Dream Boogie: Visions of the Past,” by author Dr. Nicolas Pillai from the Jazz Studies Research Center; Interview excerpt from the book, Altman on Altman; Original production notes; cast, crew and Blu-ray transfer credits.

REVERSIBLE COVER – With new and original artwork (the original is far cooler).

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

Rest in Peace, Max von Sydow

Max von Sydow (1929-2020)

BLU-RAY GIVEAWAY: THE SONATA

FREE KITTENS MOVIE GUIDE is giving away a Blu-ray copy of THE SONATA, featuring one of Rutger Hauer’s final performances, courtesy of SCREEN MEDIA.

A gifted musician (Freya Tingley) inherits a mansion after her long lost father (Rutger Hauer) dies under mysterious circumstances. She discovers his last musical masterpiece riddled with cryptic symbols that unravels an evil secret.

"The Sonata is a wonderfully moody supernatural thriller, establishing its dark tone in the very first scene and maintaining it through atmospheric production design, a haunting score and effective performances.”

-Free Kittens Movie Guide

TO ENTER: Simply drop us a message at freekittensmovieguide@gmail.com.  

CONTEST ENDS 3/23.

BEAU BRUMMELL and the Royal Bromance

BEAU BRUMMELL (1954)

Starring Stewart Granger, Peter Ustinov, Elizabeth Taylor, James Donald, Rosemary Harris, James Hayter, Paul Rogers. Directed by Curtis Bernhardt. (113 min)

ON BLU-RAY FROM

WARNER ARCHIVE COLLECTION

Review by Mr. Paws😸

George “Beau” Brummell (Stewart Granger) seems to know what’s best for everybody...except himself, of course. Witty, charming, arrogant and outspoken, he’s influential on British high society despite having no wealth of his own. In fact, he’s heavily in-debt, exacerbated by extravagant living.

Brummell’s brashness initially gets him in hot water with the Prince of

Wales (Peter Ustinov), a vain, vindictive man who makes Beau resign his military commission. However, their cantankerous relationship becomes one of respect and trust as Brummell encourages the prince to assert himself and supplant his crazy father, George (Robert Morley), as Britain’s next king.

"The scallops are f**king awesome."

For a movie with no real action, nothing terribly monumental at stake and a romantic subplot that essentially goes nowhere, Beau Brummell may be dramatically slight, but is consistently enjoyable. When centered around the bromance between Beau and the prince, the story is engaging and sometimes highly amusing, aided immeasurably by Granger – exuding cool confidence despite his recklessness – and Ustinov as a kinder, gentler version of his Nero character in Quo Vadis.

Less vital is Elizabeth Taylor as Lady Patricia. She’s radiant, as usual, but mostly exists to create sexual tension during Beau’s down-time and ultimately isn’t essential to the story. Other than that, Beau Brummell is handsomely-produced, well-acted and briskly-paced. The film has fallen into relative obscurity over the years, but it’s a solid historical drama worth rediscovery.

EXTRA KIBBLES

TRAILER – Kind-of amusing, since it touts Beau Brummell as one of the most important films of all time.

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

THE TEN COMMANDMENTS: Behold His Mighty Disc

THE TEN COMMANDMENTS (1956)

Starring Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne DeCarlo, Debra Paget, John Derek, Cedric Hardwicke, Vincent Price, John Carradine, Nina Foch, Martha Scott. Directed by Cecil B. DeMille. (231 min)

ON BLU-RAY FROM PARAMOUNT

Review by Mr. Paws😺

This is a first, folks…

Not that The Ten Commandments is on Blu-ray. It’s been widely available for some time with the same bonus features (including Cecil B. DeMille’s 1923 silent version). This particular 3-disc edition is a nicely-packaged Digibook with a colorful supplemental booklet.

But for the first time, I’m forced to watch it on a day other than Easter. It’s a sacrifice I’m willing to make for you, dear reader, who may be thinking about finally adding this classic to your Blu-ray collection. Don’t fret for me, though. I’ll probably still indulge in some Moses this Easter because the movie's so goddamn epic.

For as long as I can remember, I've sat down after Mom’s (then my wife’s) holiday ham dinner to watch The Ten Commandments. I'm not sure when that started...maybe as far back as 1973 when ABC began the tradition of airing it every Easter Sunday. For me, the holiday just wasn't complete without capping it off with a heaping helping of Hebrew heroics.

"Hey, what'd I tell you! 'Thou shalt not commit adultery!' It says that right here!"

I'm almost ashamed to admit that nearly everything I know about The Bible I learned from The Omen, Iron Maiden lyrics and this movie. I suppose that's all the churchin' I need since it's gotten me this far. Even then, can't all ten commandments be just as effectively summed up with "Don't be an asshole?"

But I don't watch The Ten Commandments every year to reaffirm my faith or remind myself of God's laws. I watch because I've always loved Charlton Heston. Growing up on films like this, Planet of the Apes and The Omega Man, Chuck was my definition of badass. Ditto Yul Brynner, so it's always awesome to see these two square off. I also watch because Yvonne DeCarlo and Anne Baxter are smoking hot in this movie; every year, I'm almost positive I can see Baxter's naughty bits under that nearly-transparent Egyptian gown. I watch because Hollywood horndog John Derek is not only hypnotically awful, it's an amusing reminder that his ultimate legacy would be directing future fourth wife Bo Derek (born when The Ten Commandments was released!) in a batch of soft-core sex films.

But mostly, I watch because the whole thing is absolutely epic in every sense of the word. The story is epic, the special effects are epic, the characters & costumes are epic. Hell, every single line of dialogue is epic, belted out by a cast that's...well, epic. Whether or not The Ten Commandments qualifies as a great film is certainly debatable (there is a lot of overacting and heavy-handed sermonizing), but it's unarguably Hollywood storytelling on the grandest of scales. As such, the film remains irresistible.

"You look like you wanna ROCK...AND...ROLLLL!"

But watching it for the first time on Blu-ray – which looks infinitely better than my antiquated DVD – has prompted a few nagging questions...

First, why is Easter the only day I ever feel compelled to watch The Ten Commandments? If I love a film that much, isn't anytime a good time? Still, during the other 364 days of the year, it always sat on the shelf next to my Holiday Fireplace disc, not giving the film a single thought until Easter rolls around again. Have I been so conditioned by ABC over the years that, even in this day & age of being able to watch virtually any movie ever made with the touch of a button, I'm powerless to make a different viewing decision on that particular day?

Second, why The Ten Commandments? I may know almost nothing about the Book of Exodus beyond what Hollywood has told me, but I'm pretty damn certain the Resurrection is conspicuously absent. Why not Ben-Hur? Or The Robe? Or even The Passion of the Christ? At least those are somewhat related to Jesus and the crucifixion, though you’d have to be one masochistic sumbitch to enjoy The Passion on Easter. Really, the story of Moses has as much to do with Easter as Happy Gilmore.

But, hey, that’s okay: a religious holiday, a movie featuring God. Yeah, that'll work. And after today, I’ll probably revert back to making the film an annual holiday tradition because, conditioned or not, it just ain't Easter without The Ten Commandments. This Blu-ray transfer is outstanding and if you don’t already own a previous edition, here’s a relatively cheap way to not-only get the best possible picture and sound, but skip 80 minutes of commercials on ABC.

EXTRA KIBBLES

THE TEN COMMANDMENTS (1923) – DeMille’s first stab at the story. Considering when it was made, the first hour remains a technical triumph, but in this writer’s opinion, you can shut it off once the narrative shifts to the present day. (136 min).

"THE TEN COMMANDMENTS: MAKING MIRACLES” - Feature-length retrospective making-of documentary from 2011 featuring interviews with historians, authors, the sons & daughter of DeMille, Heston & composer Elmer Bernstein. Heston and Bernstein are also featured in archival interviews from 2002. All-in-all, an affectionate tribute.

AUDIO COMMENTARY – For both films, by author Katherine Orrison.

NEWSREEL – 1956 New York premiere.

PHOTO GALLERIES - For both films.

TRAILER – 1956 film

HAND-TINTED FOOTAGE – Semi-colorized scenes from the 1923 film.

SUPPLEMENTAL BOOKLET – Not a lot of comprehensive text, but plenty of photos.

KITTY CONSENSUS:

MEE-OW! LIKE TAUNTING A MOUSE TO DEATH.

THE WITCH: SUBVERSION: Kids Kill the Darndest Things

THE WITCH: SUBVERSION (2018)

Starring Kim Da-mi, Jo Min-su, Choi Woo-shik, Park Hee-soon, Go Min-si, Choi Jung-woo, Oh Mi-hee. Directed by Park Hoon-jung. (125 min)

ON BLU-RAY FROM WELL GO USA

Review by Tiger the Terrible😸

Have you ever known somebody who seems to be good at everything...and knows it? They can casually pick up a ball and nail a three-pointer, ace a test without bothering to study and beat you at Mario Kart their first time playing. They’re comfortable & confident in any social situation, effortlessly striking up engaging conversations with strangers and whose jokes are always funny.

Doesn’t just a small part of you secretly hate that guy?

19-year-old Ja-yoon (Kim Da-mi) is awesome at everything, too. She’s number-one in her class, extraordinarily knowledgeable and becomes a finalist in a nationally televised singing competition despite never having previously sung in her life. As we later learn, she can also levitate objects, is a skilled killer and damn-near indestructible.

But unlike that supercool douche canoe you’ve grown to resent, we genuinely like Ja-yoon. She’s empathetic, caring and cute as a button. Not only that, she loves and is loved by her elderly adoptive parents. Besides, none of her more lethal talents are her own doing.

She only came in for a cleaning.

Despite the title, The Witch: Subversion is not a horror film. Though the narrative tries to keep Ja-yoon’s true nature close-to-the-vest longer than it needs to, savvy viewers will have it figured out in the prologue, when an eight-year-old girl escapes from a monolithic facility, to the chagrin of maniacal geneticist Dr. Baek (Jo Min-su) and her #1 thug, Mr. Choi (Park Hee-soon). That girl, of course, is young Ja-yoon and she’s the enhanced product of genetic engineering, as are a small batch of other kids who grow up to be Baek’s cronies (including a pre-Parasite Choi Woo-shik). As a young adult, Ja-yoon's deadly skills come in handy as Baek tries to rein her in.

A bonkers cross between Village of the Damned and Lucy, the film throws way too much plot into a relatively simple story (and still doesn’t make-clear why these kids are being bred as killers). However, there are a few nifty twists and its gonzo approach to the action – particularly during the second half – is wildly entertaining. Hyperkinetic without ever becoming disorienting, The Witch is chock-full of bloodsoaked brawls, snapped limbs and explosive gunplay. At its center is Kim Da-Mi in a remarkable performance. As Ja-yoon, she evolves from “helpless” & meek to vengeful & menacing without ever losing the audience’s sympathy.

If the subtitle – Subversion – wasn’t already an obvious clue, the denouement leaves the door left wide-open for a sequel or two (which are apparently forthcoming). Still, The Witch tells a decent self-contained story in its own right. It’s a bit too plot heavy for its own good, but fans of crazy, violent action should be amused.

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

THE SONATA and the Fitting Coda

THE SONATA (2018)

Starring Freya Tingley, Simon Abkarain, Rutger Hauer, James Faulkner, Catherine Schaub-Abkarain. Directed by Andrew Desmond. (88 min)

ON BLU-RAY FROM SCREEN MEDIA

Review by Josey, the Sudden Cat😸

I’m sure gonna miss Rutger Hauer. Always a quirky, underappreciated actor, he added a touch of sly malevolence to his characters, even when they were protagonists. Hauer himself hardly appears The Sonata at all, but his presence is felt throughout the film. That’s quite the swan song.

Hauer is definitely the villain here, playing Richard Marlowe, an infamous, reclusive classical composer who completes one last piece before committing suicide by setting himself on fire. He leaves everything – including the prerequisite creepy old mansion – to estranged daughter Rose (Freya Tingley), a respected musician in her own right. She discovers his manuscript locked away in a desk.

Hot blooded. Check it and see.

Interspersed among the notes are mysterious symbols and Rose enlists the help of her agent, Charles (Simon Abkarain), to help figure out what they mean. It turns out Marlowe was engaged in some pretty evil shit while writing his final piece, which he incorporated into the music through these symbols. Charles desperately wants to cash-in on this newly-found sonata, while Rose begins to fear what might happen it’s ever actually performed. However, surprise isn’t one of the movie’s virtues and it doesn’t take a psychic to figure what comes next.

"Where Ducky?"

Though fairly predictable, The Sonata is a wonderfully moody supernatural thriller, establishing its dark tone in the very first scene and maintaining it through atmospheric production design, a haunting score and effective performances. The story methodically builds dread without relying too much on special effects or jump scares (though one particular scene provides quite a jolt). And while not a particularly violent film, what’s implied is often disturbing enough.

As for Hauer, he shares no scenes with the other actors and is heard more than seen. But in those brief moments, he establishes a truly sinister villain, one of many elements that make The Sonata a chilling little winner. Despite an overall lack of originality, the film is a fitting coda to a wonderfully eccentric career.

EXTRA KIBBLES

BEHIND-THE-SCENES FEATURETTE

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

Out of the Past Comes MIDWAY

MIDWAY (2019)

Starring Ed Skrein, Patrick Wilson, Luke Evans, Tadanobu Asano, Aaron Eckhart, Etsushi Toyokawa, Nick Jonas, Jun Kunimura, Mandy Moore, Dennis Quaid, Woody Harrelson, Jake Weber. Directed by Roland Emmerich. (138 min)

ON BLU-RAY FROM LIONSGATE

Review by Tiger the Terrible😸

Thank God Midway is not a remake of the 1976 film depicting the same event.

Some of you might recall that one, which was mostly an excuse for Universal to promote their newest sonic toy, Sensurround. Most of the action scenes consisted of footage lifted from older – and better – movies, while the narrative was needlessly padded with fictional main characters and a sappy romantic subplot. Too bad, because Charlton Heston was one of my idols back then.

If nothing else, director Roland Emmerich knows such a decisive WWII naval battle is dramatic enough without such embellishments. Since the plot has already been written in history books, all that’s really needed is a solid cast depicting real-life figures and Emmerich’s distinctive brand of visual bombast. As such, what Midway lacks in dynamic characters is compensated by the intricacy of Japanese and American strategies, punctuated by some astounding action sequences as the scenario plays out.

"Alright...which one of you jokers messed with the volume?"

Typical of Emmerich’s biggest films, the special effects are the real stars. While there are some brief moments of truly terrible CGI, for the most part, the battle scenes are convincing, spectacular and creatively rendered. Midway needs them, too, because also like Emmerich’s biggest films, the screenplay is rife with dialogue that sounds like it was written in the 1950s. But while most of the characters are walking cliches from war movies of that same era, they are performed with workmanlike skill by a talented cast, making the movie’s cornball earnestness oddly endearing (though I kept expecting Woody Harrelson to say or do something really funny).

Ultimately, Midway is the kind of hopelessly old-fashioned war film people haven’t bothered to make for decades. But in a way, that’s also part of its charm. Just like he did with Independence Day, Roland Emmerich shamelessly pilfers standard characters & tropes of the past, then glosses over his thievery with state-of-the-art visuals & sonic fireworks. The result may not resonate much afterwards, but it’s an infinitely more entertaining depiction of the Battle of Midway than the 1976 film. Sorry, Chuck.

EXTRA KIBBLES

FEATURETTES - “Getting it Right: The Making of Midway”; “The Men of Midway”; “Roland Emmerich: Man on a Mission”; “Turning Point: The Legacy of Midway”; “Joe Rochefort: Breaking the Japanese Code”; “We Met at Midway: Two Survivors Remember”

AUDIO COMMENTARY – By director Roland Emmerich

TRAILER

DVD & DIGITAL COPIES

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS