With his good looks, Liev Schreiber (TV's Ray Donovan) seems born to play an astronaut. In Magnet Releasing's The Last Days on Mars, he finally gets the chance. As chief systems officer Vincent Campbell, he's part of Aurora's six-month mission on the red planet with only 19 hours left to go before heading home. What could go wrong?
According to The Slumber Party Massacre, young women love to have group sleepovers so fun that the girls don't have the good sense to leave the house when their party is crashed by the arrival of a drill-wielding serial killer.
We vilify people for bad behavior in real life, yet celebrate it in our entertainment, particularly on the small screen. When the results are as strong as the current crop, all new (or new-ish) to DVD and/or Blu-ray, why question the disconnect?
Prior to his Spider-Man trilogy, director Sam Raimi cut his superhero-movie teeth on 1990's Darkman, a character of his own creation. Although it's clearly not the most polished of his works, the summer sleeper plays even better as the years tick by. Look no further than Shout! Factory's colorful re-release on Blu-ray.
Someday, celebrity cyclist Lance Armstrong may regret hiring Oscar-winning director Alex Gibney to document his 2009 "comeback," but I doubt it. As The Armstrong Lie demonstrates time and again for two mostly gripping hours, the athlete is still unable to tell the whole truth and nothing but.
Wuthering Heights 8 p.m. Friday-Saturday, 2 p.m. Sunday Oklahoma City Museum of Art 415 Couch okcmoa.com 236-3100 $5-$8
Costume dramas are not my thing. That goes double when they're staged with an epic sweep — true tests of patience and bladder resolve.
So there’s something admirable about directors tackling oft-adapted material with a decidedly different approach, which could account for two such pictures making many a critic’s 2012 best list: Joe Wright’s Anna Karenina and Andrea Arnold’s Wuthering Heights.
Whereas Wright (Hanna) opted to turn Leo Tolstoy’s novel into a highly theatrical piece that artfully celebrates its artifice, Arnold (Fish Tank) took a bare-bones approach in bringing Emily Brontë’s tragedy back to the screen. And whereas Wright went showy, Arnold went earthy, in essence seeming to have given her film over to the elements.
Wuthering Heights screens Friday through Sunday at the Oklahoma City Museum of Art, and when its love-struck characters run outdoors to the English countryside, we can hear the wind whipping in the mic; when they trot through the fog, we sense its dampness.
Arnold’s is a love story that finds intimacy by relishing in details. It’s a decades-in-the-making relationship between the beautiful Cathy (Kaya Scodelario, Clash of the Titans) and Heathcliff (newcomer James Howson), an African-American orphan rescued from the streets by Cathy’s family. Both actors realistically underplay a romance doomed by the times. It’s interesting how the mistreatment Heathcliff endures, both physically and verbally, mirrors that present inDjango Unchained.
While Heights grows too languid for its own good, its stripped-down nature is a welcome respite from stiff-upper-lipdom. —Rod Lott