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.
First with “Red” and now with “The Debt,” Helen Mirren has cornered the
market on films with senior-citizen assassins. Whereas “Red” was goofy
and spoofy, “The Debt” is stone-cold serious — the rare thriller that’s
actually smart. Would you expect less from a director as literary-minded
as “Shakespeare in Love”’s John Madden?
The way “The Debt” is structured, it’s as if audiences get two movies in one: a late-’90s-set spy movie with its mid-’60s prequel already attached, both roughly an hour apiece. In the ’90s half, essentially the wraparound story, Mirren plays Rachel Singer, one of three Mossad agents who, in the ’60s half (when she’s played by Jessica Chastain, “The Help”), hunkered down in a dingy Berlin apartment to track down a German gynecologist (Jesper Christensen, “Quantum of Solace”) wanted for Nazi war crimes.
I won’t spoil what Madden quiet effectively keeps secret from moviegoers until their need-to-know point, somewhere after the halfway mark, even if plot summaries and marketing materials do. The colder you are going in, the richer your experience will be. After all, how often does a spy movie with an Oscar winner rely more on story than shrapnel and sex?
The script — written in part by “X-Men: First Class” director Matthew Vaughn, remaking the 2007 Israeli film “Ha-Hov” — presents itself in a nonchronological manner at first, so confusion over the dual time periods’ counterparts may have you scratching your head for a bit. Don’t worry: It’s only for a bit — all is cleared up by the time the plot requires it to be.
While Mirren is front-and-center on the poster and in the credits, “The Debt” really belongs to Chastain, who’s quite remarkable. So compelling is her role in the mission, that I wish the film were all about that. She has some scenes opposite Christensen, where she visits his practice under the guise of being unable to conceive — that’ll make you cringe. In a good way, of course. —Rod Lott