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MANHATTAN: SEASON 1 (Blu-ray)

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ManhattancoverGrade: A-
Entire family: No
2014-15, 622 min. (13 episodes), Color
Not rated (would be TV-14 for sexual situations, brief nudity, language, some violence)
Lionsgate
Aspect ratio: 1.78:1
Featured audio: English DTS-HD MA 5.1
Includes: Blu-ray, Digital HD
Bonus features: B+
Trailer/Amazon link

Fact: On August 6 and 9, 1945, the United States dropped a pair of atomic bombs—each with the force of 10 million tons of dynamite—on the Japanese cities of Hiroshima and Nagasaki, killing at least 130,000 civilians but also abruptly ending the war and its daily body count. It was a morally questionable decision then, when the U.S. was racing a team of German scientists to become the first nation to develop a nuclear weapon that would guarantee victory, and it remains so many years later.

Fact: Under the direction of Major General Leslie Groves and physicist J. Robert Oppenhemer, the Manhattan Project had components scattered across the U.S., but its main facility was located at Los Alamos National Laboratory in a remote part of New Mexico, where top minds were recruited to work on the design and construction of the bombs.

Fact: Because it was top secret, Los Alamos was never referred to by name, only as “Site Y” or “the Hill.” Recruits and their families went there with only a post office box to guide them and found a primitive, heavily restricted community of Quonset huts and wood frame buildings. The birth certificates of children born there list only P.O. Box 1663 as their place of birth.

Fiction: Manh(a)ttan, an original WGN period drama, has a Mad Men vibe to it, not only because it drops you so believably into a different era, but also because of its similar use of music and camera angles, its emphasis on old guard vs. new, and a cast of characters that all seem to face moral dilemmas. It also has a West Wing feel because of the high stakes, crisp dialogue, and scenic constructions that somehow manage to squeeze tension out of seemingly “normal” conversations. Director Thomas Schlamme is a veteran of The West Wing, and Manhattan is just as strong of a series.

ManhattanscreenWe don’t know if it’s fact or fiction that the Army created a competition at Los Alamos between a better funded “A” team of scientists under the direction of Dr. Reed Akley (David Harbour) and a “B” team run by the maverick Dr. Frank Winter (John Benjamin Hickey). But we don’t care, because the situation itself is rooted in history and it’s believable, given the urgency of the situation and the U.S. Government’s practice of making sure that no one knows more than what their compartmentalized section is working on. Loose lips sink ships. And atomic bomb projects.

Manhattan is a taut drama because so much is in play, often at the same time. The Americans are racing the Germans and an imaginary clock, the A team of scientists is competing with the B team and their alternate vision of what will make an A-bomb work, newcomers like wiz kid Charlie Isaacs (Ashley Zukerman) are competing with jealous colleagues, the scientists are sometimes at odds with the military establishment responsible for maintaining security and secrecy, the scientists find themselves facing new tension and resentments from the suddenly bored and “captive” women they brought with them to the base, those who feel the project should forge ahead at all costs are at odds with those who want to exercise some caution because of the contaminants they’re working with, and when it’s clear that a spy is among them more tension ensues when a government official (West Wing veteran Richard Schiff) conducts his own version of a McCarthy witch hunt.   More

THE BOOK OF NEGROES (DVD)

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BookofNegroescoverGrade: B+/A-
Entire family: No
2015, 265 min. (6 episodes), Color
Not rated (would be TV-14 for disturbing content)
Entertainment One/BET Networks
Aspect ratio: 1.78:1
Featured audio: Dolby Digital 5.1
Bonus features: B
Trailer/Amazon link 

The Book of Negroes sounds like a politically incorrect Golden Book, but it was really a 150-page document recorded in 1783—a list of black loyalists who escaped being returned to slavery after the Revolutionary War because the British evacuated 3000 of them to work as freemen in their colony of Nova Scotia. In 2007, Canadian novelist Lawrence Hill tweaked and embellished that history to write The Book of Negroes, a still-cringeworthy title that was changed for U.S. audiences to Someone Knows My Name. He invented a central female character and a plot line loosely inspired by historical accounts, and Canadian director Clement Virgo adapted the book into a six-part TV miniseries that premiered first in Canada, then on the BET network in February 2015 for Black History Month.

That’s the background of this excellent miniseries, which rivals Roots for its character development, plotting, and production values. It’s a little more melodramatic than the 1977 Alex Haley miniseries and features a more upbeat (and, many would say, unlikely) story. There’s more idealism here than realism, but that also means it’s not as difficult to watch—though any depiction of slavery doesn’t exactly make for a cheery evening in front of the TV set. Still, for families who are into history and who want their children to gain some understanding of the baggage that many North American blacks carry, The Book of Negroes is a good place to start.

It covers slightly different ground, too. Roots tended to demonize whites and focus on the cruelties that the slaves had to endure and the things they had to do to survive, whereas The Book of Negroes strives for slightly more moral balance. As with every slave movie or miniseries, we see bad slave owners and good. But in Negroes the rapes and consensual sex aren’t nearly as graphic, and neither is the violence. Negroes primarily spotlights a strong heroine, whose journey we follow.   More

WITHOUT A CLUE (Blu-ray)

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WithoutaCluecoverGrade: B
Entire family: Yes . . . but
1988, 107 min., Color
Rated PG for some violence, smoking, and drinking
Olive Films
Aspect ratio: 1.66:1 (says the box, but it looks more like 1.85:1)
Featured audio: English DTS-HD MA 2.0
Bonus features: D (trailer only)
Trailer/Amazon link

From 1982-1987 Stephanie Zimbalist starred as the assistant to private detective Remington Steele, whom she had invented because no client would trust a female detective. He got the credit, but she was the sleuth. TV writers Gary Murphy and Larry Strawther took that concept and applied it to the world’s most famous detective, Sherlock Holmes. And TV veteran Thom Eberhardt made the leap with them to direct the 1988 PG-rated crime comedy-mystery Without a Clue.

It’s a PG-rated light comedy that tries for slapstick at times and satire other times and often gets caught in-between. The result is a kind of tongue in cheek (or maybe bubble-pipe in mouth) parody that has a warm, tea cozy feel to it.

Ben Kingsley and Michael Caine make a good pair as Dr. Watson and the third-rate actor he hired to play the part of Sherlock Holmes so that he could be free to practice medicine and deduce all he wanted, without criticism or scrutiny. Of course, when you hire a bad actor it should come as no surprise that he turns out to be a ham who hogs the spotlight and has any number of habits that annoy the real detective—including drinking too much and clumsy attempts at womanizing.

By film’s end, of course, they’ll end up becoming a real team, but the fun comes from watching them get there. Without a Clue is a light mystery that features famed Holmes nemesis Professor Moriarty (Paul Freeman, who played Indiana Jones’ nemesis René Belloq) masterminding a plot to flood the market with counterfeit British money and cause the collapse of the British economy. The £5 printing plates have disappeared, and so has the printing supervisor. Scotland Yard’s Inspector Lestrade (Jeffrey Jones, who was the principal in Ferris Bueller’s Day Off) is jealous of Holmes and competes with him to solve the case, standing in the wings every time adoring reporters surround Holmes.

WithoutaCluescreenThere’s a kidnapping and several skirmishes, all of which are handled with the same light touch as elsewhere in the film. Any potential trauma from the kidnapping, for example, is muted by a comic sequence that has Holmes pinned behind the door so that all we can see is his scrunched face as he threatens to pounce on the ruffians and urges a woman to keep a stiff upper lip. A few gunfights and an explosion are the only exceptions. Otherwise, moments of tension are defused by similar humorous devices, so that there’s never much in the way of serious peril—only comic danger. There’s no language, and the only sexuality comes from the unmasking of a transvestite and a little keyhole peeping in which a woman is seen taking off stockings. Overall, it’s a relatively wholesome film that relies on some familiar, but softened elements from private detective mysteries—including a woman in distress (Lysette Anthony) and a housekeeper (Pat Keen) who sees more than anyone thinks.   More

EMPIRE RECORDS (Blu-ray)

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EmpireRecordscoverGrade: B
Entire family: No
1995, 90 min., Color
Rated PG-13 for sexual situations, language and drug use
Warner Bros.
Aspect ratio: 2.40:1 widescreen
Featured audio: English DTS-HD MA 5.1
Bonus features: D
Trailer/Amazon link

Sometimes you’d swear that critics and audiences seem to be watching two different movies. Empire Records was liked by only 24 percent of the Rotten Tomatoes critics, whereas 84 percent of the audience liked it. But I can see where a person’s reaction could go either way.

Empire Records (1995) is deliberately quirky, with a cast of teens whose quirkiness and iCarly-style random dancing will make you either smile . . . or roll your eyes. It’s the kind of movie you’d get if you crossed a mainstream teen dramedy like The Breakfast Club with an indie film that, like so many indie flicks, seems to operate by the philosophy that the weirder the better. And if you’re familiar with the classic chick-flick Mystic Pizza (1988), which featured Conchata Ferrell as the lone adult presiding over a small business overrun by teens and their problems, you’ll see plenty of similarities, starting with the basic premise and structure.

Mystic Pizza featured a young Julia Roberts, and the attraction here is a young Liv Tyler and Renée Zellweger.

Like Mystic Pizza, Empire Records is a coming-of-age story in which a wholesome character (Tyler) is looking to lose her virginity, a young man (Johnny Whitworth) wants to overcome his shyness and tell a girl he loves her, one girl wrestles with the “promiscuous” label (Zellweger), and another (Robin Tunney) is feeling so down on herself and life that she’s tried to cut herself as a cry for help. And a running contrast between promiscuity and wholesome behavior blurs at some point.

EmpireRecordsscreenThe business itself is facing a make-or-break moment, though it almost seems incidental compared to the personal problems of the employees that take center stage—or rather, center aisle. Empire Records is an independent store that feeds off the energy of its young and crazy employees, who like to play loud music and rock out in the store with customers of all ages. At times, you’d think you were in an Elvis movie, the whole place is so up and random dancing. Even the benevolent boss, Joe (Anthony LaPaglia) gets into the act by locking himself in his office and playing a drum set he keeps there for stress relief. He’s a father-figure to this group, the “cool dad” before cool dads became a thing. He doesn’t even get overly mad when a young employee (Rory Cochrane) entrusted to close and deposit the day’s receipts has an Uncle Billy moment, and he’s just as tolerant with a space cadet employee who wants to be in a band (Ethan Embry), a young shoplifter (Brendan Sexton III) whose attitude is 50 shades of obnoxious, or a boyfriend (Coyote Shivers) that hangs around too much.   More

ISLAND OF LEMURS: MADAGASCAR (Blu-ray combo)

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IslandofLemurscoverGrade: B
Entire family: Yes
2014, 39 min., Color
Rated G
Warner Bros.
Aspect ratio: 1.78:1
Featured audio: English DTS-HD MA 7.1
Includes: Blu-ray, 3D Blu-ray version, DVD, Digital HD
Bonus features: B-
Trailer/Amazon link

Island of Lemurs: Madagascar is a nature film made for IMAX theaters, not for a PBS viewership—meaning it’s geared for a popular audience rather than one looking to learn every detail they can about animals and their environment.

IMAX movies are typically experiences—movies shot in higher definition on 70mm film that can then be shown on screens way larger than anything you’d see in a standard movie theater, and with no loss of detail if you sit in the front rows. Shots have tended toward the dramatic—aerial panoramas, whales breeching, fires blazing out of control, and wilderness adventures—with early short films including The Eruption of Mount St. Helens!, Fires of Kuwait, and Alaska: Spirit of the Wild. So it’s somewhat of a deviation for a less naturally dramatic nature film like Island of Lemurs: Madagascar to get the IMAX treatment.

Featured primatologist Patricia Wright worked tirelessly to establish a 107,000-acre national park on the island of Madagascar to protect the 12 species of lemurs that live there. Maybe she has connections (or fans) in high places, because there isn’t a better way to raise awareness of a cause than with a 3D IMAX movie.

Wright and her work are showcased in Island of Lemurs, but the stars are, of course, the lemurs themselves. Lemurs tend to hop and jump a lot, using their strong hind legs, and there’s amazing footage of Sifakas, who naturally hop sideways so that it looks like they’re dancing, hopping across a beach. We also see Brown Mouse Lemurs, a little tinier and pudgier than the others, fearlessly flinging themselves from tree to tree. And we watch Indriids and their peculiar way they have of “singing.” You can look up information on these and find that their calls can be heard more than a mile away, but you won’t get that kind of specific information here. IMAX is a celebration of exotic places and phenomena, and the emphasis here is on these amazing creatures themselves.   More

INTO THE WOODS (2014) (Blu-ray)

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IntotheWoodscoverGrade: B+
Entire family: Not really
2014, 125 min., Color
Rated PG for thematic elements, fantasy action and peril, and some suggestive material
Disney
Aspect ratio: 2.39:1 widescreen
Featured audio: English DTS-HD MA 7.1
Includes: Blu-ray, Digital HD
Bonus features: B-
Trailer/Amazon link

I was surprised to see that more than 52,000 readers at the Internet Movie Database collectively rated Disney’s Into the Woods a mere 6.2 out of 10. And at Rotten Tomatoes, only 53 percent of some 85,000 viewers liked it. Obviously, these were people more familiar with the Disney formula than the Broadway musical penned by Stephen Sondheim and James Lapine, because the film version stays pretty true to the theatrical production.

In fact, despite the addition of greater visual depth and special effects, Disney’s Into the Woods has a very staged feel to it, except that the actors aren’t consciously playing to the audience. We’re not talking about the insertion of occasional songs, either. Like an operetta, Into the Woods features plenty of monologues and conversations that are sung rather than spoken. It’s a very theatrical film, in other words, and I can see where, if you’re not expecting that, it could throw you for a loop.

So could the encroachment of serious themes and an ending that undercuts the fairytale notion of happily-ever-after. You and your family may find yourself tearing up, and that’s almost unheard of with a Disney film. In the past, there may have been weepy Bambi’s mother and Old Yeller moments, but all was usually well that ended well. There’s a difference between a happy ending and a hard-earned optimism that reinforces the old adage about making lemonade when life gives you lemons, and it’s the latter that audiences encounter when they travel vicariously Into the Woods.

Disney’s film version may be rated PG, but the emotional content may make the film appropriate only for children old enough to understand and accept what was repackaged in The Lion King as “The Circle of Life.” If they can handle The Lion King, they can handle this. But they have to love live theater and musicals to love Disney’s Into the Woods. It’s that simple. They also need to be able to understand the basic premise, which is an intricate weave of familiar fairytales.

Everybody wants something, which is what the cast sings about in the long, opening title song that begins, “I Wish.” It might help to share ahead of time with smaller children that Into the Woods is a mash-up of fairytales, and that we jump from tale to tale and character to character.

The Baker (James Corden) and his wife (Emily Blunt) desperately want a child, and the witch next door who had put a curse on their family (Meryl Streep in her Oscar-nominated role) offers them a way to do that: they must bring her a milky white cow (from the Jack and the Beanstalk fairytale), a slipper of gold (from the Cinderella fairytale), a blood-red cape (from the Red Riding Hood fairytale), and hair as yellow as corn (from the Rapunzel fairytale).

All the characters go into the woods: Jack (Daniel Huttlestone) is sent by his mother (Tracy Ullman) to sell the cow, Cinderella (Anna Kendrick) goes there to talk to her dead mother and receive the gift of fine clothes that will allow her to attend the ball, Little Red (Lilla Crawford) skips to her grandmother’s house deep in the woods, Rapunzel (Mackenzie Mauzy) rebels against her witchy mother by secretly seeing a prince, the baker and his wife try to acquire their objects, and the giant and giant’s wife from Jack and the Beanstalk eventually wreak havoc.   More

EXODUS: GODS AND KINGS (Blu-ray)

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ExoduscoverGrade: C+
Entire family: No
2014, 150 min., Color
Rated PG-13 for violence including battle sequences and intense images
20th Century Fox
Aspect ratio: 2.40:1
Featured audio: English DTS-HD MA 7.1
Includes: Blu-ray, Digital HD
Bonus features: C-/D
Trailer/Amazon link

Last year two modernized biblical blockbusters came to the big screen: Noah, starring Russell Crowe in the title role, and Exodus: Gods and Kings, with Christian Bale playing Moses. Both films took so many liberties with the Old Testament version that if a bell rang every time they veered off-course, we’d all be deaf. But at least there are no fantastic rock monsters in Exodus, the superior of the two.

Exodus: Gods and Kings is Ridley Scott’s attempt to retell the story of Moses and the Israelites’ flight from Egypt, but it’s significantly different from Cecil B. De Mille’s The Ten Commandments, which was closer to King James.

Exodusscreen1De Mille made an epic. Scott, like Noah director Darren Aronofsky, made an action movie. There’s no wandering the desert with staff and sandals in Exodus. Scott’s Moses rides a horse across the Red Sea narrows and the wilderness to Midian, with a sword in his bedroll. This Moses wears a breastplate and fights assassins, and when the time finally comes for him to return to Egypt and lead the Israelites to freedom, there’s more talk of rebellion than there is of a “promised land.” He teaches the Israelites to fire bows and arrows and leads them on commando raids. This Moses is more military leader than prophet, and there’s not a single “And the Lord says” to be found here. “They’re Egyptians,” Moses tells Ramesses, “they should have the same rights, they should be paid.”

Much of the language is contemporary, with liberal use of contractions—something my 17-year-old son assures me will go a long way toward appealing to the younger generation. So you have the Pharaoh saying things like, “Everybody but the Viceroy, OUT!” and another ancient Egyptian saying, “I didn’t say exiled. I said DEAD.” In Midian, Moses says, “Your daughters invited me here for food. They didn’t tell me there was going to be an interrogation”—a word that didn’t exist until the late 14th century.

Maybe that’s nit-picking, since Scott manages to create a visually interesting ancient world. He also uses today’s superior technology to wow us when God sends 10 plagues to smite the Egyptians—even though the Nile turns blood red [SPOILER ALERT] because of a giant crocodile that attacks everyone like an ancient Jaws. And later, when the Red Sea rushes over the Egyptians, we briefly see sharks swirling around them in a feeding frenzy. All that too will probably go a long way toward appealing to a new generation of teens and ‘tweens who’ve grown up playing action-filled video games.   More

THE BREAKFAST CLUB 30TH ANNIVERSARY EDITION (Blu-ray)

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BreakfastClubcoverGrade: B+
Entire family: No
1985, 97 min., Color
Universal
Rated R for language and sex talk
Aspect ratio: 1.85:1 widescreen
Featured audio: English DTS-HD MA 5.1
Includes: Blu-ray, Digital HD
Bonus features: B+
Trailer

In high school, which one were (or are) you? One of the popular kids, a jock, a disturbed misfit, a hood/criminal, or a nerdy brain? These days there are a few more sub-categories, but writer-director John Hughes pretty much nailed the stereotypes back in 1985. And though they’re stereotypes, as one cast member stressed they’re not caricatures. That’s a big reason why The Breakfast Club became such an instant classic film about teenagers and their problems. The other reason is that Hughes captured the way teens talk, and he made sure that his script worked by allowing his young actors to ad lib.

Hughes’ “Brat Pack”—Emilio Estevez, Molly Ringwald, Anthony Michael Hall, Ally Sheedy, and Judd Nelson—did a lot of that, as you’ll discover if you choose to watch the digitally remastered and fully restored (from hi-res 35mm original film elements) 30th Anniversary Blu-ray with pop-up trivia cards. It’s a great way to experience a film that looks terrific with the new transfer, even if the cards linger on the screen a little long (have reading levels dropped that much since 1985?).

Entertainment Weekly called The Breakfast Club “the best high school movie of all time,” and the R rating—for language (including F-bombs), sex talk, and marijuana use—hasn’t stopped generations of teens from watching it. Let’s be honest. Parents know that kids talk this way, or else they hear kids talking this way every day at school. And Hughes captures that part of the culture where everything revolves around the teen and his or her standing among peers. So let your teens watch, if they want. It’s nothing they haven’t seen before.   More

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES (Blu-ray combo)

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FiveArmiescoverGrade: B+
Entire family: No
2014, 144 min., Color
Warner Bros.
Rated PG-13 for fantasy action violence and frightening images
Aspect ratio: 2.40:1 widescreen
Featured audio: English DTS-HD MA 7.1
Includes: Blu-ray, DVD, Digital HD
Bonus features: B+
Trailer

The subtitle says it all. The Hobbit: The Battle of the Five Armies is pretty much non-stop battle action, from an impressive opening sequence when the dragon Smaug (voiced by Benedict Cumberbatch) torches a city, until the converging armies battle and the final arrow is shot. So yes, this 144-minute film is rated PG-13 because of “extended sequences of intense fantasy action violence and frightening images.” There’s no sex, no bad language, and no adult situations to speak of, except for warfare.

The philosopher Bertrand Russell once remarked, “War does not determine who is right—only who is left.” That wordplay aptly describes the third film in the Hobbit trilogy. With so much fighting and no build-up to speak of, the main suspense comes from seeing who will be the last ones standing and whether any major characters in J.R.R. Tolkien’s Middle-earth will die.

Of course, if you can keep all the characters straight and remember who appears in The Lord of the Rings, you’ll have more emotional investment in what happens and have more of a clue, since the book that inspired the film series was written as a prequel. Given the three Lord of the Rings and three Hobbit films that Jackson has made, it’s strange to think that Tolkien’s books are considered classics of children’s literature. But when you read of battles, the violence is whatever a young reader can imagine. That’s not the case with film, hence the PG-13 rating.

FiveArmiesscreen1For his last foray into Middle-earth, Jackson broke up a single book into three film installments, so the third film functions as a third act—meaning, unlike some trilogies or sequels, The Battle of the Five Armies will seem impossibly confusing to anyone who hasn’t seen (or remembered) the first two installments. It will seem like what it is: all climax and no plot development or complications. Yes, five armies are converging, but if you’re approaching this cold or have forgotten the first two films, what’s missing is why we should care. The only takeaway in this case is that old motivating force, greed—greed for power, greed for gold—and a genocidal undercurrent.  More

THE REWRITE (Blu-ray)

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RewritecoverGrade: B-
Entire family: Yes, but . . . .
2014, 107 min., Color
RLJ/Image Entertainment
Not rated (would be PG-13 for drinking and adult situations)
Aspect ratio: 2.40:1
Featured audio: English DTS-HD MA 5.1
Bonus features: C-
Trailer

Hugh Grant is known for his boyish good looks, casual charm, and dry sense of humor. Writer-director Marc Lawrence is known for casting him.

Thus far Grant has starred in four of Lawrence’s lightweight PG-13 comedies, and while Music and Lyrics remains the best of the bunch—partly because of the chemistry that Grant had with co-star Drew Barrymore—The Rewrite is better than Two Weeks Notice and Did You Hear About the Morgans?

There are some genuinely funny moments in this comedy about an Oscar-winning writer who can’t find work and quickly manages to upset the apple cart after arriving at SUNY-Binghamton to teach a screenwriting course as a visiting writer-in-residence.

Keith Michaels, a one-hit wonder known only for penning Paradise Misplaced, violates teaching ethics by bedding the “apple polisher” that flirts with him his very first night in upstate New York. He drinks too much at the classic wine-and-cheese faculty reception and insults their Jane Austen scholar (Allison Janney). He becomes the talk of the campus after selecting his students on the basis of their attractiveness rather than the strength of their screenplays. And he all but forces an easygoing department chair (J.K. Simmons) to reprimand him after he meets with his students for a total of five minutes and tells them to come back after a month, when they’ve written a complete screenplay.

Michaels isn’t quite at rock bottom, but he still needs to travel a pretty long character arc to reach a point of redemption. And that’s what screenplays are all about.   More

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