Labelled a “dream cause” by marketing experts, breast cancer marketing has reached a fever pitch. There are hand mixers, cars, bras, Kleenex, band-aids, teddy bears, makeup, beverages and more than you can possibly rationally imagine. There are weekends of walking and running, and whole foundations dedicated to raising of money for research. Yet, after all this support and all the money raised there are two things that are indisputable: the only risk factor currently identified is that in order to have breast cancer, you need to have breasts (and everyone has breasts) and it appears that no one has ever asked a single person with breast cancer if they actually want this kind of support. Pink Ribbons, Inc., inspired by the book of the same name by Samantha King (who also appears in the film), takes a long at both of these issues.

I walked into this film already being a believer and hoping for a film that would be witty and cutting and explosive, since this is an issue I get pretty fired up about. I was hoping for something more along the lines of “Breasts for Columbine” or “An Inconvenient Breast” — something women could really get upset about, maybe even inciting a call for our worldly sisters to boycott all makers of pink ribbon products and a rally to demand that all the time and energy put into making marketing campaigns that target us because of our gender be channeled into figuring out just what the heck is, in fact, attacking our breasts and taking our lives in the first place. Instead, I was disappointed to find that the film takes a soft start, gently bringing the viewer into the world of walking, running and buying for a cause.

It took me about 45 minutes to adjust, but this is actually the right choice. Director Léa Pool clearly understood that those who already know and dislike these tactics of selling products using a disease will be patient, but those who don’t are actually facing a full-on attack on their belief system and they’re not going to take it very well. In fact, she opens the film by looking at the upside of many of these activities (community, powerful fundraising tools) and gently begins to show the cracks in the veneer of the public image for the disease.

In my opinion, the most rewarding part of this film is a group of Stage IV women who have come together to support one another through the end of their lives, being bound together by the disease. Their stories are incredible and added to the film with such tenderness and poignancy as I have never seen in a documentary. But that’s what makes Pink Ribbons, Inc. special. It is both an exposition and the story of a disease at the same time, and diminishing neither. You will not feel attacked or stupid for wearing a pink ribbon, but you’ll probably be mad at some of what you find.

Unfortunately, the disease and its marketing can no longer be separated, but the call — no, demand — for responsibility in the use of funds raised to support reasonable, useful research in order to actually find a cure must happen and it must happen soon. It will be a long road to being heard, but this film takes us a huge leap towards getting this message to the right people — the women who make those same buying decisions everyday.

Pink Ribbons, Inc. is now open in the city. Check your local listings for showtimes. And, really, don’t miss this film.

Claire (Sara Paxton) and Luke (Pat Healy) are two employees working the last few days at the soon-to-be-closed Yankee Pedlar Inn. They also happen to be eager amateur ghost hunters determined to unlock the haunted past of the inn; but will they be able to find any actual ghosts inhabiting the inn? Kelly McGillis also stars as Leanne Rease-Jones, a former actress staying at the inn for the weekend.

The film builds a great amount of tension without having to resort to too many cheap jump scares; most of the fear a viewer experiences comes from those extended moments of waiting for something to happen, even if it never actually does. The “less is more” approach works perfectly in ghost movies, and these are also the kinds of films that can often send chills up the most hardened viewer’s spine. A filmmaker can show  very little and still have viewers trembling in their seats. Every little sound causes heads to twist in an attempt to pinpoint its source, and the slightest movement can send a scream throughout the audience. The Innkeepers uses all of these (and many other) opportunities to frighten, causing even the most simple of scenes to put viewers on the edge of their seats.

The writing is sharp and the interaction between characters comes off as sincere and, at times, also quite hilarious. They all fit together, complementing each other with their traits and actions, and one finds oneself genuinely caring about them. West has a knack for writing realistic characters for whom an audience can cheer. An audience can easily lose themselves in the world of the characters because everyone seems so familiar, and this only makes the experience of fear more intense.

Like any great ghost film, it’s the moments of silence that really carry the film, even if the writing is well done. If a filmmaker can convince an audience to pay attention when nothing is happening, then those moments when a real scare is unleashed hit even harder. When an entire theatre falls silent as viewers strain to hear the slightest rustle, you know you’re in for something great. A film like this should be seen with a large crowd for maximum enjoyment. The atmosphere is electric, and you’re able to feel the tension from those around you. It’s hard to beat the feeling of an entire audience jumping from their seats at the same time.

Sure, you may not spend the entire movie hiding behind your hands, but there’s sure to be a few moments that make you jump. The film is perfectly paced, funny when it needs to be, and scary when it wants to be. The story manages to take a few twists and turns before reaching an ending that will leave you discussing it for days to come. The only thing left to do is make plans to stay with The Innkeepers! You can catch it at the TIFF Bell Lightbox, Feb. 3 – 9.

Directed by James Watkins, The Woman In Black stars Harry Potter alum Daniel Radcliffe alongside Ciarán Hinds in this story of an earnest young lawyer, Arthur Kipps (Radcliffe), who journeys to the tiny market town of Crythin Gifford in order to settle the estate affairs of the recently deceased and reclusive Mrs. Drablow. Kipps, however, has no knowledge  of the Drablow family’s disturbing and mysterious history, one which involves a curse that sits heavily on the entire town and all those who may be unfortunate enough to catch sight of the mysterious “woman in black”.

Hammer Films has always been known as the home for atmospheric horror that features stellar acting and supernatural phenomena. In that context, The Woman In Black is certainly a fitting addition to this British company that made an illustrious mark in the annals of horror. Susan Hill’s novel is captured  so beautifully in Watkins’ cinematic adaptation (assisted by Jane Goldman’s screenplay) that it mirrors precisely what I had imagined when reading the book. From the neatly-kept look of the market town to Mrs. Drablow’s ominous and intoxicatingly bereft residence, Eel Marsh House, this adaptation certainly captures the kind of ambiance that is so important in a film of this genre.

Much of the film takes place in only two locations: the town of Crythin Gifford and Eel Marsh House. As a result, we are left with no choice but to pay close attention to the sets and, of course, the actors (both equally exceptional). Daniel Radcliffe approaches the role with a wounded air of confidence as a young lawyer trying to provide for his son after the death of his wife during childbirth. Ciarán Hinds plays Sam Daily, a local who meets Kipps on the train into town. Daily is a no-nonsense individual who scoffs at the town’s wild hearsay about witches and curses, and both characters dominate the screen appropriately. In fact, if Radcliffe isn’t on the screen,  Hinds is, and their centrality works well since both actors play their roles handsomely.It is easy to see how this narrative has been performed on the stage since 1989; at times, the film can feel appropriately “theatrical”, as its scale and scope is very confined.
Certainly, the film has its faults. In fact, there are some moments in which one finds oneself shaking one’s head, in response to, for example, one particular technique that some directors choose to use under the assumption that their audience is incompetent: the flashback. No, not a character’s flashback that shows the audience some piece of information of which they were previously unaware, but a flashback that shows the audience something they already witnessed 30 minutes ago. This particular technique completely detracts from the steady pace of the film.  Also present in the film is the often relied-upon gimmick of “jump scares”. The suspense and tension are well-established, so why rely on the cheap scare? Perhaps the director should have considered Hammer productions from the past as a template for fear-creation rather than turning to the kind of “jump scares” that are better suited for teenage horror fare; and teenage horror fare, this is not. There is too much of a story in The Woman In Black to categorize it as a consumable adolescent thrill.

The film is definitely one that fans of the history of cinema should see, since there’s something very reminiscent of horror days gone by that fans of the genre would surely appreciate. There is no obscene violence or strong language, simply a concise and very entertaining ghost story.

Visit the film’s Official Site.

Moon Point, the first release from new kid on the block distributor IndieCan Entertainment, is waiting to be your new favourite movie. It’s a hip little film, with all the baggage that word may imply. Moon Point is self-aware, extremely cool, and comes complete with a catchy indie-stocked soundtrack; director Sean Cisterna has obviously studied indie cult classics and sleeper hits (think: Garden State, Juno, Little Miss Sunshine). Moon Point will remind you of those small and charming movies, and in the best possible way. After seeing it, you’ll be left with the feeling that you just spent an hour and forty minutes with an old, familiar friend. And you’ll be wishing you had more friends just like that one.

We first meet Darryl Strozka (Nick McKinlay) at a family barbecue in his mother’s backyard. Ostensibly a celebration of his cousin Lars’ (James Hartnett) engagement, the soirée devolves into a pile-on-Darryl session as each family member pops up, like a Greek chorus of criticism, to point out what’s wrong with his life. To quiet that cackling chorus, Darryl declares that he will bring actress Sarah Cherry (Kristen Gutoskie),  his grade school crush, to Lars’ wedding as his date. Thus Darryl and his paraplegic best friend Femur (Kyle Mac) set out to cover the few hundred kilometres to Sarah’s film set on Femur’s souped-up electric wheelchair.

It’s a hero’s journey! It’s a road movie! Both are familiar cinematic territory, for sure. Darryl and Femur pick up a cute girl, Kristin (Paula Brancati), along their route and the trio ends up encountering exactly the motley crew of quirky, odd, and downright psychopathic personalities you might expect. But Moon Point is charming (it almost dares you not to like it) and instead of feeling tired, the road movie/hero’s journey construct feels comfortable, like a favourite t-shirt. Cisterna did not design his movie to confront this familiar yet difficult terrain, but rather to guide viewers through it.

What is that terrain and what exactly are Darryl’s problems? Nothing special, really. Just the same disaffection and wandering aimlessness found in every twenty-something who stands poised between a seemingly halcyon childhood and the complicated realities of adulthood. Cisterna does a superb job of illustrating this tension with soft and golden flashbacks of young Darryl’s love for Sarah Cherry, juxtaposed with the grotesque and distorted faces he encounters on his road trip. Moon Point ultimately provokes a profound nostalgia in the viewer. However, this is not a nostalgia for an over-idealized childhood, but rather for that moment in time just before adulthood moves in and makes itself at home when it was still possible to believe in a daydream. Darryl, like all twenty-somethings, eventually learns that success might not take the shape of riding in on a white steed and winning the girl, but might actually be something like landing a low-paying PA gig on the girl’s film set.

Moon Point is a small movie with small characters who are trying to carve out a small niche in the world. This is may sound like a kind of criticism, but it isn’t intended to be. In a time of contracted economies and contracted expectations, in time in which many people are realizing that, even in aggregated groups, they don’t mean very much individually, the scope of Moon Point feels exactly right. Darryl has to travel a long way on his friend’s electric wheelchair to learn that you rarely get what you want, that you occasionally find what you need in unexpected places, but that you always have to make the most of what you do find. Moon Point is a reminder that things do generally turn out okay, if not spectacularly great.

At one point in the film, Femur says to Darryl: “It’s always about what we can’t do!” That’s a generally true statement about life, but this film not only articulates that peculiar longing we all feel but can never articulate, it is also designed to be a kind of shared reference point. You can go see Moon Point and you can bring all your best friends. It’s well-stocked with the kind of quirky dialogue and funny references you’ll repeat in late-night conversations, at least until you find your next new favourite movie.

Moon Point opens February 3, 2012 at AMC Yonge and Dundas. The cast and filmmakers will be available for a Q&A session after the evening screenings on February 3 and February 4, 2012.

Brought to you by WalkMyCampus.com, stuFF opens its online doors for submission applications Monday, February 6. Shorts must be under 15 minutes in length and fit into the drama, comedy, documentary, animated, musical, or experimental genres. Only one winner will be chosen.

That lucky filmmaker not only will be the first ever stuFF winner, but will receive a cash award of $1000 and a mentoring session with Brothers on Fire Productions as well. The application process is open until March 20, but don’t delay. If you’re a post-secondary student in Ontario between 18-35 years of age with filmmaking aspirations and a solid short film, bring it to the table. The online table.

For further details, application forms, and info on WalkMyCampus.com, please check out the website here.

Veteran film producer Avi Federgreen, the man responsible for productions like Score: A Hockey Musical, George Ryga’s Hungry Hills, and the upcoming release Moon Point, has launched a new film distribution company, IndieCan Entertainment. IndieCan’s goal, and Federgreen’s personal mission, is to highlight up-and-coming Canadian filmmakers and shine a light into one of the darker corners of independent filmmaking: namely, those films with budgets less than $1.25 million.

“About 250 independent films are made in Canada every year,” says Federgreen. “But less than 10% get distribution deals. It’s kind of disgusting. You put your blood and sweat into a movie and then you can’t get anybody to take it.”

Federgreen knows the story all too well, having been on the wrong end of the production-distribution imbalance over the course of his 20-year career in the Canadian film industry. He knows the frustration filmmakers encounter after a movie is made by hook or crook, then generates attention at film festivals, and then… hits a wall.

“People make movies because they want people to see them. I’ve been making movies for a long time, some of them notable. Yet, they don’t make it to screens and no one sees them,” says Federgreen. “That’s exactly why I created IndieCan.”

IndieCan aims to adjust the imbalance in the industry with a focus not only on Canadian content, also on but lower-budget independent productions that struggle to see daylight after the festival circuit. Federgreen stresses that the qualification for an IndieCan movie is not just that it was made by Canadians, but that it is also an engaging, well-told story. Is there an appetite among movie-goers for these kinds of movies? Federgreen is positive that there is demand.

“Indie films matter, Canadian content matters, and people want to see it,” says Federgreen. “Those kinds of cult-classic films [like] Say Anything (1989), Some Kind of Wonderful (1987), [and] Garden State (1997) are easing back into theatres. People want to go to a movie theatre and watch a good story for 90 minutes.”

Of course, others have tilted at the same windmill. IndieCan steps into a Canadian indie film distribution market dominated by heavies like Alliance Films, Entertainment One, and Mongrel Films. To win the competition for Canadian theatre screens, Federgreen knows IndieCan has to bring a new approach to the table. To that end, IndieCan is deeply invested, both financially and philosophically, in the grassroots power of online social media, the novelty of distribution channels like TV, Netflix, and iTunes, and cross-promotions with the involvement of the similarly-struggling independent music industry.

IndieCan’s latest endeavor, Moon Point, is a good illustration of the intended approach. Moon Point has been the subject of intense social promotion online; you can’t turn around in cyberspace without bumping into it. And Moon Point’s soundtrack features some the best singer-songwriters Canada has to offer, with bands and musicians staging promotional events in conjunction with the film’s release.

“We know how to do this. We know how to reach the movie bloggers, Sean [Cisterna, director of Moon Point] has been doing a video diary, [and] we’re all over Twitter and Facebook. I want independent filmmakers to look at this example and think, ‘Anything is possible,’” says Federgreen. “But it’s about getting people into the theatres. We need people to see this movie in the theatre. We have a one week run, but we want to get a second week.”

For IndieCan, putting bums in seats is the bottom line. Finding a theatrical audience is crucial for first-time or second-time filmmakers. If a movie doesn’t find an audience, doesn’t get traction, and doesn’t make it to the big screen, it’s unlikely a young filmmaker will be able to scare up the funds for their next project. It’s exactly this kind of situation that spurred Federgreen to launch IndieCan.

“The situation is heavily weighted to big names, the Cronenbergs and Egoyans. They get the budgets and the screens,” says Federgreen. “But what happens when those guys are gone and we haven’t invested in the infrastructure to nurture young talent?”

Film distribution is a notoriously tough racket. But if personal passion is a qualification for success, IndieCan Entertainment has an edge. Federgreen is adamant that there is a market for the kind of movies that IndieCan is bringing to screens. It just takes a lot of perseverance and a bit of cleverness to find the audience and draw them in.

“Seeing Canadian films should be a regular thing, not a one-time event,” Federgreen says. “We support Canadian production but we also have to encourage the viewing of Canadian films by Canadian audiences. We owe it to our industry and our culture.”

IndieCan Entertainment will premiere Moon Point at AMC Yonge and Dundas on February 3, 2012. IndieCan release Peace Out is currently screening in theatres across western Canada.

Calvet recounts past scenes from his life, taking the cameras from the South of France to New York, Miami, Costa Rica, and Nicaragua. The film chronicles his descent into a world of violence, drugs, and alcohol, where eventually, Calvet hits rock bottom. In the midst of the worst period of his life, tortured by guilt and self-loathing, he unexpectedly discovers paint. And it transforms him. Director Dominic Allan has crafted an understated, fascinating portrait of Calvet and his road to redemption. You can read the Toronto Film Scene review here.

As usual, this Doc Soup screening will also have the director in attendance to introduce the film and answer questions. For all the details or more information, including film trailers, please visit the Doc Soup website.

Gone with the Wind (1939)
Considering its PR hoopla and huge ensemble cast, it isn’t surprising that Gone with the Wind received a cubic ton of Oscar nominations. What is surprising is that statue didn’t go to Olivia de Havilland for her role as Melanie, but went instead to Hattie McDaniel for her role as Mammy, making her the first ever African-American actress to win an Academy Award. If you haven’t seen this epic, you should, but save it for the next long weekend when you have 222 solid minutes (excluding overture, intermission, and exit music!) of couch time to spare.

Mildred Pierce (1945)
HBO’s 2011 mini-series remake of Mildred Pierce netted a Golden Globe for Kate Winslet. But the classic film noir earned Best Supporting Actress Oscar nominations for Eve Arden as Mildred’s hard-bitten bestie Ida and for Ann Blyth as Mildred’s vile, spoiled daughter Veda. Sadly, they were both bested by Anne Revere for her role in National Velvet. But Mildred Pierce is a must-see for both lovers and haters of Joan Crawford (who did take home the Best Actress award), and it features one the finest uses of light and shadow ever committed to celluloid.

All About Eve (1950)
Joseph L. Mankiewicz’s dark look at the life, relationships, and insecurities of an aging stage actress earned both Celeste Holm and Thelma Ritter Best Supporting Actress Oscar nominations. It’s almost impossible to conceive that the smart and wry Ritter, in her role as Birdie, was beat out by Josephine Hull in the perennially weird Harvey. All About Eve should be on everyone’s must-see list for the smart writing, fine direction, and the incomparable Bette Davis.

Tom Jones (1963)
This British comedy/adventure adaptation of the classic Henry Fielding novel might not be the greatest movie ever made, but it is notable for drawing not one, not two, but three Best Supporting Actress Oscar nominations for Diane Cilento, Edith Evans, and Joyce Redman. You might think stacking the category would guarantee a win, but the prize went to Margaret Rutherford for The V.I.P.s. When you run out of Downton Abbey episodes, find your Brit fix with Tom Jones.

The Fighter (2010)
This year’s dual nomination tops off a 4-year streak in dual supporting actress nominations, including last year’s The Fighter. Melissa Leo and Amy Adams slugged it out, but it was Leo hoisting the trophy for her role as the boxing version of an overbearing stage mom. The Fighter features an excellent ensemble cast, but Christian Bale stole the show (and took home the Best Supporting Actor Oscar) as Dicky Eklund, the strung-out older brother of the title character.

It remains to be seen who’ll take home this year’s Best Supporting Actress Oscar, but The Help‘s Chastain and Spencer are both heavily favoured (what with Chastain’s meteoric rise and Spencer’s recently-acquired Golden Globe). We’ll just have to watch carefully to find out whose name the hallowed envelope contains.

Canadian darling (and Oscar nominee) Monsieur Lazhar continues playing this week, while the retrospective on Turkish auteur Yilmaz Güney goes on as well. The “Family Classics” screening series features The Black Stallion this week, surely a film that has caused the horse-adoring fervour of so many young girls that have seen it. The series on Nicholas Cage, however, continues with The Rock this week, surely a film that has caused the cult-like Nic Cage-adoring fervour of so many impressionable hipsters who have seen it.

Finally, the screening series exploring the cinema of the African diaspora continues this week with the Canadian premiere of Better Mus’ Come, a harrowing look at the 1978 Green Bay massacre by debut filmmaker Storm Saulter.

The Big Year (Blu-ray)
Three men (Steve Martin, Jack Black and Owen Wilson) from very different walks of life – facing a mid-life crisis, a work-life crisis and a no-life crisis – engage in the biggest competition of their lives. They undertake an unforgettable trek through North America, engaging in hilarious and bizarre adventures and forming friendships that will last a lifetime.

One would think it impossible that a seemingly boring hobby like bird watching could be turned into an engaging movie, but director David Frankel accomplishes the impossible. The film is not only charming, it’s funny and even a little exciting. There is a surprising bit of drama built in to The Big Year, considering its subject matter. In addition, the competitiveness between bird watchers as they race against each other to expand their lists and get a glimpse of rare species before they leave their resting spots is unexpected. Finally, John Cleese’s narration is an added source of enjoyment as he provides facts of nature and guides the viewer through the intricacies of the activity.

Special features include: an extended version of the film; 12 deleted scenes; “The Big Migration” featurette; and gag reel. (Fox Home Entertainment)

Breakaway (Blu-ray)
Rajveer Singh (Vinay Virmani) has the talent to be one of the nation’s top hockey players, but he has one problem: his father’s devotion to work and family forbids him to play. Now, with the help of an unlikely new coach (Rob Lowe) and the coach’s ‘off-limits’ kid sister (Camilla Belle), and in spite of being constantly undermined by his entitled cousin (Russell Peters), he’s putting together an unlikely all-Sikh hockey team behind his father’s back. But when his team makes an unexpected run for the Cup, inspiring the entire Sikh community, Rajveer has to choose between playing on or respecting his father’s wishes.

This is your typical underdog story, but David is brown and Goliath is a bunch of prejudice guys on skates. It’s also an interracial love story and an ethnic comedy. In other words, it’s trying to be too many things and unfortunately doesn’t present any of them especially well. Breakaway is in need of more hockey, as the included highlights fail to create the emotional intensity associated with fans of the sport. Nonetheless, the incorporation of a Bollywood-style courting fantasy was an interesting first for the genre.

Special features include: a making-of featurette. (Alliance Films)

Cell 211 (DVD)
The story of two men on different sides of a prison riot – the inmate leading the rebellion (Luis Tosar) and the young guard trapped in the revolt (Alberto Ammann) who poses as a prisoner in a desperate attempt to survive the ordeal.

This film is gripping from start to finish. It drags viewers through the lows and deeper lows of being trapped in an unpredictable situation in constant fear of being killed. The twists and turns are volatile, but not unbelievable. The prison authority attempts to juggle all of the life-and-death concerns with which they must deal, while the SWAT team stands at a ready. Tosar’s character is headstrong and intimidating, able to instill fear in his subordinates with a single look; and if that is not enough, he coolly uses physical coercion to convince them of his being correct. Ammann, on the other hand, faces a drastic transformation from the beginning to the end of the movie.

There are no special features. (Entertainment One)

The Double (Blu-ray & DVD combo pack)
When a United States Senator is brutally murdered, the evidence points to a Soviet assassin code-named Cassius, who was long-thought to be dead. Paul Shepherdson (Richard Gere), a retired CIA operative is paired with Ben Geary (Topher Grace), a young FBI agent, to stop Cassius before he finds his next target.

This movie’s trailer reveals an integral plot point, but it turns out that’s not as a big a deal as it seems. The same twist is unveiled within the first 30 minutes of the movie. There are many more secrets with which to contend and the biggest is saved for the concluding climax. At this point, the spy thriller aficionado may figure out the last piece of the puzzle, but the average viewer may still be taken aback.

The performances are adequate though a little dry. Gere shows little emotion, even when it’s called for; and he’s difficult to believe in the role since it just doesn’t seem compatible with his current demeanour. Grace provides a little humor to the story, which he is able to balance with a stalwart determination to find the truth.

Special features include: commentary by writer/director Michael Brandt and writer/producer Derek Haas; a behind-the-scenes featurette; and trailers. (VVS Films)

Dream House (DVD)
Successful publisher Will Atenton (Daniel Craig) quit a job in New York City to relocate his wife, Libby (Rachel Weisz), and two girls to a quaint New England town. But as they settle into their new life, they discover their perfect home was the murder scene of a mother and her children, and the entire city believes it was at the hands of the husband who survived. When Will investigates the tragedy, his only lead comes from Ann Paterson (Naomi Watts), a neighbour who was close to the family that died.

When things begin to occur around the house, it’s difficult to determine whether you’re watching a haunted house movie or a home invasion picture. It turns out Dream House is neither. It delivers a completely unexpected plot twist that is surprisingly unique. The house goes through three remarkable transitions: from cheerful to rundown to falling apart. Craig’s character is far more complex, going through a number of phases as Will begins to understand what is happening in his home. Watts censors most of what she says, but communicates much more through her expressions – a skill in which she is well schooled.

Special features include: interviews; “Building the Dream House,” “Burning Down the Dream House” and “The Dream Cast” featurettes; and trailers. (Entertainment One)

Grand Canyon (Blu-ray)
When a lawyer’s (Kevin Kline) car breaks down in a dangerous Los Angeles neighbourhood, a tow-truck driver (Danny Glover) arrives just in time to save his life. The two men begin a deep friendship that sets off a chain of unsettling and surprising events involving their families and friends for years to come.

Produced in the early ‘90s in the midst of the Rodney King uprisings, this film attempts to paint a portrait of what it was like to live in L.A. It shows the rich suburbanites are no longer permitted to ignore the crime and degradation in their city. Meanwhile, things are only becoming worse in the ghetto and it’s spreading. Though 20 years old, this movie is practically a recruitment video for the Occupy Wall Street protests. It clearly illustrates the discrepancies between the haves and have nots – before becoming a feel good picture about making friends across status lines.

There are no special features. (Anchor Bay Entertainment)

In Time (Blu-ray)
In the future, time has become the ultimate currency and genetic alteration has allowed people to stop aging at 25 years old.  Upon reaching 25, a one-year countdown begins and in order to stay alive everyone must work to buy themselves more time or die within that year.  The rich can buy their way out of the situation, while the rest are left to negotiate for immortality. When a struggling young man, Will Salas (Justin Timberlake), comes in contact with a “millionaire,” he is gifted more time than he can imagine.  Falsely accused of murder, Will is a fugitive on the run and becomes determined to bring down the entire system by any means possible.

People often refer to the value of time, but this movie takes that idea to its literal extreme. The technology behind any of these concepts is unfathomable, though having a constant nightlight could be convenient. Even stranger is appearing to be the same age as your parents and their parents despite the significant age differences. On the other hand, it allowed for the casting of many of Hollywood’s hottest twenty-somethings in one film. Timberlake’s smooth, calculated performance allows his character to take on societal norms. Even when he doesn’t fit in, he does. Amanda Seyfried is quite forgettable, almost always looking as if someone surprised her in the dark. Wilde is able to show a softer side of herself, while Vincent gets to play an annoying socialite similar to his Mad Men character.

Special features include: deleted and extended scenes; “The Minutes” featurette; and a digital copy of the film. (Fox Home Entertainment)

Joe Somebody (Blu-ray)
Joe Scheffer (Tim Allen) is a mild-mannered single dad who’s overworked and underappreciated at the office. But when the company bully knocks him down in front of his daughter, this nobody decides to become “Joe Somebody” and kick some butt. With the support of his co-worker Meg (Julie Bowen) and some hilariously helpful training from a kung-foolish martial arts pro (Jim Belushi), Joe might score a knockout.

One of the things to look forward to when graduating high school is escaping the school bully. It seems unthinkable that someone in your adult life could hit you for no reason, but that’s the situation with which Joe has to deal. His challenge to a fight before work is not much more mature, but if it’s already gone this far with the regression why not go all the way. This was produced shortly after Allen’s Home Improvement heyday came to a close, instilling some of the same lighthearted humour. Belushi is a welcome addition to the cast, providing an extra source of comedy.

Special features include: deleted scenes; a making-of featurette; “Scarett’s Method”; and the trailer.  (Anchor Bay Entertainment)

Love, Hate & Propaganda – The Cold War (DVD)
After World War 2, two powerful blocs – a democratic and capitalist west led by the United States and a communist world dominated by the Soviet Union – faced each other. Each side claimed the other was an implacable ideological foe bent on the destruction of their way of life. This battle would never produce direct armed confrontation between the two countries, but it mobilized minds as never before.

Special features include: “Bomb Shelters: CBC The Journal, January 1990”; “Opening up Diefenbunker: CBC The Journal, January 1994”; “Kids on the Moon – Apollo 11 Landing, CBC News, July 1969”; “Why the Kremlin Hates Bananas: United Fruit Company/CIA, 1950s”; “Fall Out Shelter (The McCallum Family) & Emergency Measures Organization (11 steps to survival)”; and “Duck and Cover: US Civil Defense Film, 1951.” (Entertainment One)

Malcolm X (Blu-ray)
The biopic of the controversial and influential Black Nationalist leader, Malcolm X (Denzel Washington).

Special features include: commentary by writer/director/producer Spike Lee, director of photography Ernest Dickerson, editor Barry Alexander Brown and costume designer Ruth Carter; deleted scenes with introduction by Lee; “By Any Means Necessary: The Making of Malcolm X”; Oscar-nominated 1972 feature-length documentary Malcolm X; theatrical trailer; and 40-page booklet. (Warner Bros. Home Entertainment)

It’s not surprising director Spike Lee asked Norman Jewison to hand him the reins to this picture. It is the culmination of all his works up to this point in his career. Malcolm X was the film that turned Lee into a real filmmaker; he took all the lessons he learned on his previous projects and produced a quality look into one man’s turbulent life that spanned a lifetime. It’s almost shocking he is able to so effectively depict so many events and influences in a 200-minute film. Washington is outstanding, embodying the role to near irrecognizability. In fact, while watching the 1972 documentary from which most of the film’s public addresses are taken, Washington’s mannerisms are almost identical to the man he portrays. The uncanny similarity results in an incredible portrait in history.

Monkeybone (Blu-ray)
After a car crash sends repressed cartoonist Stu Miley (Brendan Fraser) into a coma, he and the mischievous Monkeybone, his hilarious horny alter-ego, wake up in a wacked-out way station for lost souls. When Monkeybone takes over Stu’s body and escapes to wreak havoc on the real world, Stu has to find a way to stop him before his sister pulls the plug on reality forever.

In 1988, Who Framed Roger Rabbit made waves by combining live action and animation for an entire feature-length film. Monkeybone is not quite as revolutionary, but the sketched sidekick is cute. Monkeybone is the main animation, while the other characters are simply cartoon-like. Fraser’s dual personalities are in sharp contrast to each other, one being passive and the other exaggerated. Chris Kattan portrays a character less dramatic than his typical roles, though it’s still a sensational and amusing performance. The movie is over-the-top from beginning to end, featuring a twisted purgatory of unusual and disturbing characters that often resemble a nightmare.

There are no special features. (Anchor Bay Entertainment)

The Scout (Blu-ray)
A desperate Yankee scout (Albert Brooks) will do anything to sign a new prospect. Banished to Mexico to search for talent, he discovers the greatest young ball player (Brendan Fraser) he’s ever seen. But once he gets him back home, he finds this new recruit has a few unexpected problems that may just jeopardize both their jobs.

There are no special features. (Anchor Bay Entertainment)

Spork (DVD)
Spork (Savannah Stehlin) is a thirteen year-old, frizzy-haired outcast who’s not afraid to stand out despite the pressures around her to fit in. Luckily, a junior high dance competition provides the perfect opportunity for her unique talents to shine through.

Children are saddled with the most unfortunate nicknames, which often follow them into adolescence. Spork is the tale of a girl with a regrettable but descriptive nickname who learns to set the stage afire. More than an underdog story, this movie is about being yourself. She’s repeatedly rejected and dejected, but it never lasts long because she’s surrounded by people who accept and love her. Stehlin’s transformation for the role is impressive, disregarding any sense of teen vanity or self-consciousness. Most of the humour emerges from Spork and her fellow outcasts standing up to their bullies, though not all of it. Writer/director J.B. Ghuman Jr.’s feature-length directorial debut is a solid teen comedy for the not-so-popular kids that doesn’t try as hard Napoleon Dynamite.

There are no special features. (Entertainment One)