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TO [Funimation] – DVD Review

7 Jun

“TO” as a standalone 2-part feature takes the idea of what “Vexille” showed with the new 3D anime software and brings it to space in the vision of an almost “2001/Star Trek” motivation. What is distinctly different here in the inset is the use of pace and not necessarily action that had been essential to the previous outing.

“Elliptical Orbit” begins the idea with a comparative fluidity prevalent in “Vexille” but what seems to have been accomplished in this outlay is a massive sense of scale which has become even more and more defined as the CG tools have become more realized. Detail is a given but senses of space and depth (which in the real world is determined by lenses) seem wonderfully envisioned here, especially with the docking mechanisms and use of sun flares. The story itself begins with a notion of “Blade Runner” which, even with some of the music using vocalists, harks to our oncoming future. The narrative involves a crew who travels back and forth from Alpha Centauri over a 15 year period in cryogenic sleep to bring back an energy source from a faraway and uninhabitable world. This is the only possible way to bring it back. There is an undeniable connection from the skipper of the transport vehicle (who looks no more than 32) and the older captain of the orbiting Earth station (which has the ability to fire cargo containers at the moon at high velocity). The orbiting station is attacked by terrorists looking to heist the energy and destroy the moon dwellings who are taking resources away from the Earth. While the motivation in the story has its holes, the revealing relationships, especially with the skipper and the captain, make this integral upon repeated viewings. While the resolution happens a bit too quickly making the plot points a little flimsy, overall the intention of the anime is sound. In terms of extras, the extended video segment with Director Funihiko Sori and stars Akio Ohtsuka (“Ben”) and Romi Park (“Maria”) show the similarities and differences in the actual production process of this kind of anime using live action mimicking of the physical form which makes the motion very different from classical anime. This is represented in more lingering shots, silences and glances which gives the animation a more emotional core. The teasers and spots seem to play up more to the action element of the terrorists which, while true, is the lesser of the strengths because of the depth structure allowed by the process of the animation. In terms of trailer, “The Last Exile” which is an older title sticks out simply because of its historical backdrop and fluidity.

“Symbiotic Planet” exists in a slightly different world where life is not as separated by thoughts of conquering as one might think. Again the backdrop functions on the basis of mankind depleting all their resources and being forced to move outward into the cosmos in order to survive. In a jump of technology and logic from “Elliptical Planet”, a trip to a nearby planet that boasts exceptional promise is only 21 light years away and journeyed to in 5 hours. The crux at the center of the story is a love affair between a man (“Ion”) and a woman (“Alena”) in two conflicting colonies. One is an American and one is a Eurasian, both bent on tapping the necessary permissions to mine the world’s possibilities. Other life exists on the planet but seems fairly benign. Ion, an American scientist, finds that the beings floating in the atmosphere (called Picards) are sentient and intelligent but doesn’t quite understand their full possibilities. One of his jobs is to figure out why the planet seems to be covered in white spores. After the fungus finds its way out in a lab explosion, Ion is infected which causes heightened tension between the two colonies leading to a would-be air strike. The resolution paints towards certain ideas of hope hich will not be revealed because of its spoiler potential. Sori’s use of music and scale in terms of large moving ships, either taking off or crashing show what the medium of this type of CG optimizing an anime structure is capable of. However, it seems that its ability in space to give objects weight is its most interesting current capability though the emotional depths in the eyes continues to get better. The accompanying special program interview like “Orbit” talks about the elements on the planet and the love affair between the character sbut is not as dense as the previous outing. The trailers play more to the strength of “Orbit” though the “Symbiotic” episode seems much more mythic for whatever reason. In terms of trailers, “Summer Wars” has the most impact with its online/”Wargames”-like sttructure which allows for a balance of old school with neo-modern thinking but “Samurai Champloo” shows some of the coolness that people like Tarantino have been speaking about for ages.

“TO” is a wonderful piece of work that keeps pushing anime upwards and forwards, both embracing its heritage and improving what it is capable of, both in stories and in visuals. Out of 5, I give it a 3.

The Hit List [SPHE/Stage 6] – DVD Review

25 May

“The Hit List”, as a conceptual thriller, introduces the ideal of a reverse “Collateral” where the assassin, tired of his rigamarole, decides to take a down-on-his-luck schlub and attone against people for his sins. Cuba Gooding Jr. as the hitman has that darkness and yet a sense of intelligence down pat. While his selections of the past couple years reflect a lack of great roles that reflect his interests, the idea of these types of people obviously fascinates him.

Cole Hauser, who most remember from the Vin Diesel sci-fi picture “Pitch Black”, plays Allan who has been continually passed over for promotion as well as cheated on by his wife because he has no will or drive of his own to speak of. Life hasn’t treated him badly. He simply has not taken advantage of it despite his lofty ambitions. While people begin dying close to him as a result of the erstwhile killer Jonas, it creates the necessity of him to take action. There are glaring plot holes and functions in logic but playing to this notion of a genre film within a made-for-a-price formula, the personalities are allowed a bit of leniency in their approach for their crimes. While the central car chase of the film offers a stunning bit of stunt work with the flipping of a police car, the rest of the film fails to live up to the cinematic structure of that (which is played tongue-in-cheek directly after its occurrence). The final storming of a police station (not unlike “The Terminator”) has been seen in films before and the reveal of the assassin’s real identity does not provide any awe.

No extras placate the disc and the trailers promote the element of Stage 6 which is Sony Home Entertainment’s low-budget genre division which, considering its straight-to-dvd sequels such as “Sniper: Reloaded” and “SWAT: Firefight” promoted here, understands the necessities of its audience. That said, out of 5, I give “The Hit List” a 2.

Middlemen – DVD Review

13 Feb

The idea of the launch of “pay-per-click” and view promoted sites on the internet seems like a simple aspect of the internet now but when it started, it was not simple and the reasoning is that no one wanted to fund it. The reality, like any other point of civilization, is that the smut industry motivated it into being. “Middlemen”, as a movie, does nothing to dispel that.

Capitalizing on a frenetic pace of filmmaking with an actual story behind, “Middlemen” with its backstage dealings, great actors, guerilla-style filmmaking, high productions value and overlying voice over propels the story similarly in many ways to Martin Scorsese’s “Casino”, if not for its connection to Vegas.

Luke Wilson as the primary focus of the film as a “fixer” (who is brought on to keep the aspects of the two “click inventors” played with vicious and funny scitzophrenia by Giovanni Ribisi and Gabriel Macht) descends further into covering up the different aspects of their business and eventually results in the attention of the FBI as well as organized crime.

While the movie spins back and forth from the allure that is placed in front of our hero to the unwanted focus that comes down on him because of different deals (including ones with Russian mobsters gone wrong), the story plays very much like the Rise & Fall Of The American Dream (as seen before the Great Recession of 2007 — which is funny because it was made after that).

The commentary by Director George Gallo (who wrote the original “Bad Boys” with Will Smith) along with his editor and cinematographer is great for how specific they are on how things were done. The production, despite its frenetic pace and shooting, seems to have come out collaboratively because, even though Gallo is an encyclopedia, he seems very good at working with others in high stress situations.

This efficiency shows even in the deleted scenes. While good, they provide almost too much of a slowdown in exposition with one relating to Wilson’s character as a young boy in terms of his motivation and the discussion of his character later relating to the impending divorce from his wife. Both play well but were ultimately unnecessary.

The outtakes primarily revolve around James Caan and Luke Wilson. Caan, as an old pro, doesn’t cut his co-stars any slack. Wilson, as much as he wants to, looks a bit intimidated by the man. Having met him, Caan does have a power about him but also knows when to laugh at the situation.

The slap montage is a wrap party gem that was seen back when the film was released. Lots of them in the film. The previews are a little more indie than usual with “The Traveler” starring Val Kilmer showing that the actor is keying in more to character structure now which is good while “The Romantics”, based on a play, fares a little better in terms of cohesion on a Saturday afternoon.

“Middlemen” as a film and a DVD release has its ducks in a row as a vividly entertaining film about a segment of life that is right in front of our face but also defines an occurrance that altered the Internet is a very basic way. To make an angle like that interesting with a story mixing sex, drugs and rock n’ roll is the true stuff of movies. Extras work perfectly in congruence with that. Out of 5, I give it a 3.

The Romantics – DVD Review

11 Feb

The essence of a film like “The Romantics” which premiered at Sundance in 2010 revolves around the essence that everyone has experienced a love that should have been but ultimately wasn’t. The initial conception of the film revolved around a stage play which inevitably gives the film its pace. What buoys it is the relatability of the stars in the form of Josh Duhamel and Katie Holmes. While the former does little but try to appear sorry in relation to the narrative, Holmes seems well perceoved with a kind of world weariness that suits the part. In this outing, she is the one who lost out to her more conventional, balance-minded best friend played with distinct aplomb and guile by Anna Paquin who directs the wounded bird functionality with considerable dexterity. While most of the action happens inside rooms doing make-up or under trees, there is an undeniable fragility to the proceedings that serves it well. The direction is not too sure-handed but evenly tones itself nonetheless because as a writer/director piece, the word becomes non-changeable which both restricts and structures the outcome. In one way the film becomes monochromatic cinematically because of its play-like structure but within another essence it survives succinctly because its characters are that inter-relatable. Ultimately the relationships plays a little bit too close to change but the ending effect is resoundedly vague in a good way. The extras (as in the effort of acquisition titles) fosters to its independent roots with a quick but effective behind-the-scenes progression that tends to require itself more in praising the director than the psychological tomes the film discusses. Out of 5, I give “The Romantics” DVD a 2.

Sekirei: Season One [Funimation] – DVD Review

10 Feb

In creating a notion of battlegrounds melded with an Eastern motif and modernism, nothing balances the structure more than women fighting in juxtaposition to the men around them. “Sekirei” offers an interesting parallel in that the men themselves cause the women to emerge making them more powerful than before. While the obvious fantastical and pseudo-psychological basis prevails, the relationship and comedy elements obviously play lighting offering fun but whimsical interplay.

Disc 1 The aspect of a gladiator-like competition where girls who have emerged fight in a city to win time with their “ashikabi” (those who have made them blossom) is, of course, a mixed metaphor with the best intentions. While the lead Minato who gets not 1 but 4 sekereis (those he has emerged) to be with him, the whole point is that all these beautiful women around manages to make him not know what to do. It is a little bit of a loser situation since they all want to “wash his back” (as it were) which creates a fun and light function. The narrative is not overtly structured but (like the earlier “My Bride Is A Mermaid”) works on the possibility of Eastern traditionalism with a new modern twist. Musubi who is the first Sekerei that Minato finds is the most interesting and tempts the most while the rest have their cool points. The ease is that they all fall under the same roof where Ms. Miya, whose connection is not quite known yet, keeps the progression swift but not overwrought or too serious. The music, works exceptionally well, especially in the menu system.

Disc 2 The second half of episodes begins with a problem that needs to be solved outside the structure of Minato’s inner circle. A weak Sekirei and her Ashikabi want to leave the system and not have to fight. At this point, the gamemaster locks down the city and proceeds to have the Sekireis fight each other, one at a time. The bigger threat is a group called the Discipline Squad who take down others for the Gamemaster. In addition to this, Uzume who also lives at the house is taking down other Sekireis at the order on the MBI (run by the gamemaster) in order to keep her ashikabi alive who is in the hospital. The progression displays a lot of holes, especially when #3, a high ranking Sekirei who just seems to be a drunk and obsessed with love, enters in and thwarts a would-be assassination of the weak Sekirei. Ultimately, foolishly not thinking of his own safety or his girls, Minato decides to try to help these lost souls cross the border. It is here that Musubi goes up against opponents more powerful than she. The final resolution is helped along by an angelic voice and an ally that up until the last moment was divided from her compatriots. The final battle is interesting just because of the consecutive actions going on but does not resolve any of the questions asked, except that Minato indeed loves his first Sekirei.

The additional extra scene is a nice bit that plays more comedy than anything else which is what gives the series, like “My Bride Is A Mermaid” its buoyancy but with a little more of an adult edge. The scene involves Shumi and Musubi helping the younger Ku participate in the shopping race by helping her. It shows a very consuming aspect of compassion. The textless opening and ending songs are both uplifting and sardonic at the same time. The trailers that stand out the most because of their melding of different animation styles are “Desert Punk” because of its fluid camera work and unusual backgrounds for an anime and “Birdy The Mighty: Decode” because its darkness and cutting style play all the more unusual.

Progressive and yet retroactively traditional, “Sekirei” has fun with its motifs affecting to a tongue-in-cheek progression while still balancing both excitement and emotional tones despite some story gaps. Out of 5, I give it a 2 1/2.

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