Friday, November 18, 2011

Bad Boys [Blu-ray]

  • Condition: New
  • Format: Blu-ray
  • Color; Dubbed; Subtitled; Widescreen
Studio: Sony Pictures Home Ent Release Date: 12/29/2009Bad Boys
Slick to a fault, this glossy action flick takes place in sunny Florida, where Martin Lawrence and Will Smith play two cops--one married with kids, the other a swinging bachelor. The two are forced to trade places to foil criminal mastermind Fouchet (Tchéky Karyo) who has stolen $100 million worth of heroin from a police lockup. Violent, illogical, and filled with wall-to-wall profanity, Bad Boys was the last film produced by the hit-making team of Don Simpson and Jerry Bruckheimer before Simpson's untimely death, and marked the directorial debut of Michael Bay who followed up with The Rock. Bad Boys will be of interest to action buffs and fans of Téa Leoni, who makes one of her early screen appearances ! in the central supporting role. --Jeff Shannon

Bad Boys II
No one goes to a movie directed by Michael Bay for delicacy and grace; you go because Michael Bay (Armageddon, The Rock) knows how to make your bones rattle during a high-speed chase when a car flips over, spins through the air, and smacks another car with a visceral crunch. Bad Boys II fulfills this expectation and then some. Will Smith and Martin Lawrence may be mere puppets amid all this burning rubber and shrieking metal, but they actually provide a human core to the endless cascade of car wrecks and gunfights. Their easy rapport makes their personal problems--a running joke is Lawrence's attempts at anger management--as engaging as the sheer visual hullabaloo of bullets and explosions. The plot is recycled nonsense about drug lords and dead bodies being used to smuggle drugs, but orchestration of violence is symphonic. If that's your thing, then this is for! you. --Bret FetzerMiami cops Marcus Burnett, a family ! man and Mike Lowry, a ladies' man are given 72 hours to regain drugs stolen from their police station; matters are complicated when they have to pretend to be each other.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 27-MAY-2003
Media Type: DVDA cheerfully over-the-top action film, Bad Boys is notable chiefly for the rapport between its two stars, Will Smith and Martin Lawrence, as two Miami cops on the trail of a drug kingpin as they try to protect a witness (Tea Leoni). Smith is the swinging bachelor and Lawrence the family man, and both must juggle their personal lives as they baby-sit the one chance they have to recover a stolen drug shipment, save their jobs, and take down the drug dealer. While the film is almost always implausible and its story is something seen many times before, director Michael Bay (The Rock) keeps things moving stylishly and at a feverish pace, as Smith and Lawrence prove themselves a te! rrific comic pairing. Their odd couple banter flies at a faster clip than the bullets and explosions, and becomes the best reason to see this hyperbolic but entertaining action flick. --Robert Lane From director Michael Bay (The Rock, Armageddon) and the production team of Don Simpson and Jerry Bruckheimer (Beverly Hills Cop, Top Gun) comes a thrill ride of explosive action from beginning to end. Will Smith and Martin Lawrence team up as partners in crime, crime-fighting that is, in this action-packed flick about a couple of good guys who are real Bad Boys One hundred million dollars worth of confiscated heroin has just been jacked from police custody. Once the career bust of Detective Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence), the missing drugs now threaten to shutdown the narcotics division of the Miami Police Department. When the drug investigation turns deadly, the murderers kidnap the only witness, a beautfu! l police informant (Tea Leoni) and close friend of the boys, w! hich mak es things get personal! Fast cars, a gorgeous woman and non-stop action make Bad Boys a guaranteed good time!A cheerfully over-the-top action film, Bad Boys is notable chiefly for the rapport between its two stars, Will Smith and Martin Lawrence, as two Miami cops on the trail of a drug kingpin as they try to protect a witness (Tea Leoni). Smith is the swinging bachelor and Lawrence the family man, and both must juggle their personal lives as they baby-sit the one chance they have to recover a stolen drug shipment, save their jobs, and take down the drug dealer. While the film is almost always implausible and its story is something seen many times before, director Michael Bay (The Rock) keeps things moving stylishly and at a feverish pace, as Smith and Lawrence prove themselves a terrific comic pairing. Their odd couple banter flies at a faster clip than the bullets and explosions, and becomes the best reason to see this hyperbolic but entertaining actio! n flick. --Robert Lane

Grand Theft Parsons : Widescreen Edition

Coraline (Two-Disc Blu-ray/DVD Combo w/ Anaglyph 3D)

  • Format: AC-3, Animated, Color, Dolby, DTS Surround Sound, Dubbed, Subtitled, 3D, Widescreen
  • Language: English, Spanish, French
  • Aspect Ratio: 1.85:1
  • Run Time: 100 minutes
  • Actors: Dakota Fanning, Teri Hatcher, John Hodgman, Jennifer Saunders, Dawn French
From the Director of The Nightmare Before Christmas comes a visually stunning stop-motion animated feature! Coraline Jones is bored in her new home until she finds a secret door that leads her into a world that's just like her own...but better! But when this fantastical adventure turns dangerous and her "other" Mother tries to keep her forever, Coraline must count on her resourcefulness and bravery to get home. Critics are hailing Coraline as "a remarkable feat of the imagination" (Kenneth Turan, Los Angeles Times). Directed by: Henry SelickIncludes: 3D Glasses (4 pairs) From the Director of The Nightmare Befor! e Christmas comes a visually stunning stop-motion animated feature - the first to be originally filmed in 3-D! Discover how the filmmakers and artisans created the magical handmade world of Coraline, exclusively in this 2-Disc Collector's Edition! Coraline Jones is bored in her new home until she finds a secret door that leads her into a world that's just like her own...but better! But when this fantastical adventure turns dangerous and her "other" Mother tries to keep her forever, Coraline must count on her resourcefulness and bravery to get home. Coraline is "A visual marvel." (Claudia Puig, USA TODAY). Directed by: Henry SelickA dark and creepy film about family relationships directed by Henry Selick of Nightmare Before Christmas and James and the Giant Peach fame, Coraline is based on the haunting book Coraline by Neil Gaiman. The first stop-motion feature shot in stereoscopic 3-D, Coraline features big-headed, stick-bodied animated! characters with huge eyes and demonic grins set against menac! ing back grounds and an undercurrent of spooky music. Coraline is a teenager who has just moved to an old house in the middle of nowhere with her writer parents and she is bored, bored, bored. Her only companions are an annoyingly talkative boy Wybie (short for Why Born), some eccentric neighbors from the theater and circus, and a strange, button-eyed doll with a marked resemblance to Coraline which Wybie found in an old trunk of his grandmother's. When Coraline finds an old door hidden behind an armoire and papered over with wallpaper, she convinces her mother to unlock it, only to find a wall of bricks. When Coraline revisits the door later that night, the bricks magically disappear and she discovers a strange pathway to another world where everything is just what she wishes for. In stark contrast to the real world where Coraline's parents just don't have time for her, her "Other Mother" and "Other Father" in this alternate world are the perfect loving, attentive parents who antici! pate her every need and desire. Initially comforted and quite happy in this new world, suspicion that things may not be quite as they seem grows inside Coraline and her disquiet is furthered by the mute "Other Wybie" and a strange-talking cat that seems to move between both worlds. Eventually, Coraline discovers some dark secrets about her "other parents" and the seemingly perfect "other world," but it may be too late for her to escape back to the real world. Teri Hatcher is especially effective in her dual (voice) role as Mom and "Other Mom" and Dakota Fanning also gives a great performance as Coraline. Coraline is a disturbing, intriguing film that both captivates and frightens. (Ages 11 and older) --Tami Horiuchi

Stills from Coraline (Click for larger image)

Estwing E24A Sportsman's Hatchet Metal Handle

Duma (Full Screen Edition)

  • Carroll Ballard (The Black Stallion, Fly Away Home) directs the exciting story of 12-year-old Xan (Alexander Michaletos), who decides to return the cheetah he raised from a cub to the wild instead of allowing pursuers to place it in captivity. Harsh South African landscapes, stalking lions, crocodiles, river rapids and a mysterious drifter (Eamonn Walker) who may intend to turn the big cat in for
Carroll Ballard (The Black Stallion, Fly Away Home) directs the exciting story of 12-year-old Xan (Alexander Michaletos), who decides to return the cheetah he raised from a cub to the wild instead of allowing pursuers to place it in captivity. Harsh South African landscapes, stalking lions, crocodiles, river rapids and a mysterious drifter (Eamonn Walker) who may intend to turn the big cat in for cash - all will test Xan's courage and resolve. Join him in this tale of growing up and letting go. It's ! a journey you won't want to miss.This African tale follow the rhythms of director Carroll Ballard's earlier films The Black Stallion and Fly Away Home, namely a child is drawn into the mysteries and magic of an animal. Xan (newcomer Alexander Michaletos) is a 12-year-old living in South Africa with his parents (Campbell Scott and Hope Davis, who appeared as a much different couple three years earlier in The Secret Life of Dentists) when they find an abandoned baby cheetah. They bring it up as their own and name it the Swahili word for cheetah, Duma. After some time, the creature is too big to stay domesticated and Dad tells the boy they will have to journey back to Duma's home to set him free. A sickness makes the family pull up stakes and head to the city where Xan and Duma don't fare well. Xan must take Duma on his own to set him free. To tell more would be a crime. As with any Ballard film, the story is subtext, the visuals rule. First-time cinemato! grapher Werner Maritz fills the screen with the desert landsca! pe and i s able to capture the magnificent speed of the cheetah. Ballard's films seem to build on their own inertia, creating scenes that seem to be simply happening instead of scripted, although this often suffers in the balance of wonderment versus all-too-lucky occurrences. Based on the children's picture book/memoir How It Was with Dooms by Xan and Carol Cawthra Hopcraft, this is a film worth seeking out, especially for families and kids above 5 years old. --Doug Thomas

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Food, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.

Q&A with Producer/Director Robert Kenner, Co-Producer/Fo! od Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.

How many years did it take to do this film and what wer! e the ch allenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ years.  It has taken a lot longer than we expected because we were denied access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing ! and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even thoug! h he’s not guilty of anything.  Then we realized there’s ! somethin g going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise.

So, what does our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what ! we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant ! that is producing contaminated meat.  The FDA and the USDA ha! ve had t heir inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contemplating whether or not to label meat and milk from cloned cows.  It seems very basic that consumers should have the right t! o know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year.  The typical meatpacking worker ha! s a similar background but earns about twice that amount.  A ! very lar ge proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speaking workers?
Kenner:
The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives.  And ! these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desperate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists ar! e trying to create things that will taste good and can be made! cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that science is used … and for whose benefit.

Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast food is very reasonably priced.  Coke is selling for less than water.  So when these things are happening, it’s easi! er for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to ! eat healthy food on a budget but it takes a greater investment! of time .  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch program! s in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food system in a generation.

For most Americans, the ! ideal meal is fast, cheap, and tasty. Food, Inc. examin! es the c osts of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat ! non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy