Blu Tuesday: X-Men: Apocalypse, The Purge: Election Year and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on social media with your friends.

“X-Men: Apocalypse”

WHAT: When a powerful mutant named En Sabah Nur (Oscar Isaac) reawakens in 1983 after thousands of years in hibernation, he recruits Magneto (Michael Fassbender) and three other mutants to join his side as he attempts to destroy the world and remake it in his image. Standing in his way his Professor Charles Xavier (James McAvoy) and his X-Men, including Mystique (Jennifer Lawrence), Hank McCoy (Nicholas Hoult) and new students Jean Grey (Sophie Turner) and Cyclops (Tye Sheridan).

WHY: “The third one is always the worst.” That’s an actual line of dialogue from Bryan Singer’s “X-Men: Apocalypse,” and though it’s technically referring to “Return of the Jedi,” it could just as easily be applied to the latest installment in the long-running superhero franchise. Messy, overstuffed and generally dull, there’s so much wrong with “X-Men: Apocalypse,” beginning with its titular villain. Not only is the all-powerful mutant surprisingly unimposing, but the movie completely wastes Oscar Isaac by burying him under layers of makeup and giving him very little to do. The same goes for stars Michael Fassbender, James McAvoy and Jennifer Lawrence, none of whom look particularly interested this go-around, as well as the young X-Men, who are well-cast but get lost in the shuffle of the crowded ensemble. What initially seemed like the franchise’s biggest asset (its deep roster) has quickly become its Achilles’ heel. There just isn’t enough time to service all of these characters, and yet that doesn’t stop Singer from cramming as many as possible into the story. Although “X-Men: Apocalypse” has a few good moments (including yet another fun Quicksilver set piece), it’s so far behind what Marvel is doing with their movies that Fox would be better off handing over creative control (see: Sony and Spider-Man) and reaping the benefits.

EXTRAS: In addition to an audio commentary by director Bryan Singer and writer/producer Simon Kinberg, there’s an hour-long making-of documentary, deleted scenes, a gag reel and more.


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Missing Reels: “Bigger Stronger Faster*”

Missing Reels examines overlooked, unappreciated or unfairly maligned movies. Sometimes these films haven’t been seen by anyone, and sometimes they’ve been seen by everyone… who loathed them. Sometimes they’ve simply been forgotten. But in any case, Missing Reels argues that they deserve to be seen and admired by more people.


It will come as a shock to no one that I’m not much of an athlete or sports nut. Sidelined by asthma and an almost comical lack of coordination, I’ve always been an indoor kid who preferred his comic books and movies to getting out in the field and playing a game. And yet, even with that propensity for introversion and solitary activities, there’s one sport that I do follow: football. The season has just begun and already injuries are piling up, with the shadow of chronic traumatic encephalopathy (CTE) looming over the proceedings. Much like football is a battle of strategy and toughness, so too is the dichotomy for passionately loving the sport with the all too real thought that we’re watching men destroy their bodies and lives for our pleasure.

We ask a lot of our athletes, putting their health at risk on the field while maintaining some semblance of “role model” actions off it. But why? And for what? In the end, it’s a moral struggle about expectations, bloodthirsty crowds and entertainment that leaves us all with some serious questions. These questions don’t just extend to the (very real) possibility of CTE but also of performance enhancing drugs (PEDs). If we want our professional sports players to be at their best, then why do we chastise them for taking something that helps them reach that goal we (unfairly) demand?

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Movie Review: “American Honey”

Sasha Lane, Shia LaBeouf, Riley Keough, McCaul Lombardi
Andrea Arnold

Andrea Arnold’s “American Honey” is a nearly three-hour film that, on the surface, doesn’t add up to a lot. This coming-of-age tale is extra light on plot, but it has no shortage of energy or passion. This is the kind of movie where every shot and scene is tangible. The director behind “Fish Tank” and “Red Road” has crafted a hypnotic experience, presenting a world and characters that keep your eyes glued to the screen for 163 minutes.

Star (Sasha Lane) is an 18-year-old girl who’s looking for a new life, and she might just find it with Jake (Shia LaBeouf) and his crew, who travel the country selling magazines. One day while out with her younger brother and sister, she spots Jake and his young gang out and about, doing whatever they please – sing, dance, or whatever else would draw attention – as they shop. Their sense of freedom, and Jake’s charisma, catches Star’s eyes. Jake offers her a chance to travel the country with him and the rest of the team, going from motel to motel, town to town, trying to sell enough magazines to get by. Star agrees to go with them and embarks on the first big journey of her life. Along the way, maybe she’ll learn an important lesson or two, but Andrea Arnold isn’t the kind of storyteller that’ll tell you if she does; she’s the kind of filmmaker that shows you.

Arnold avoids most narrative conventions. Because of that, her movies tend to truly live and breathe. There’s rarely any doubt they’re authentic. In “American Honey,” she’s even less interested in a three-act journey, although her script and Star’s journey clearly has a beginning, middle and end. Most of “American Honey” feels like the most personal and cinematic home videos you’ve ever seen. There’s always an immediacy and intimacy to what we’re watching, and that’s partially because the actors are so present.

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Movie Review: “Miss Peregrine’s Home for Peculiar Children”

Asa Butterfield, Eva Green, Samuel L. Jackson, Ella Purnell, Terrence Stamp, Judi Dench, Chris O’Dowd
Tim Burton

Author Ransom Riggs’ “Miss Peregrine’s Home for Peculiar Children” is right up director Tim Burton‘s alley. Riggs’ story is about a loner trying to find his place in the world – a story that the filmmaker behind “Edward Scissorhands,” “Big Fish” and “Ed Wood” is certainly no stranger to. It should come as no surprise, then, that Burton works up some small, charming wonders with this heartfelt piece of spectacle.

Jake’s (Asa Butterfield) grandfather, Abraham Portman (Terence Stamp), was a great man – an adventurer and soldier who battled fantastical beasts. These stories, according to Jake’s dad (Chris O’Dowd) and everyone else at school, were nothing but fairytales and lies, so Jake stopped believing they were real a long time ago. One night, the teenager goes to visit his grandfather and discovers his body outside the house with his eyes removed. Although everyone tells Jake that he’s crazy for supposedly seeing the mystery man and beast that ripped out his grandfather’s eyes, he wants answers. Remembering the stories his grandfather told him, Jake goes searching for Miss Alma LeFay Peregrine (Eva Green) and her orphanage for peculiar children in Wales, where he uncovers a “loop” created by Miss Peregrine that allows her and the children to live the same day in the 1940s over and over again. Later on, a threatening figure played by Samuel L. Jackson enters the picture, but up until then, “Miss Peregrine’s Home for Peculiar Children” is a character-driven tale with a nicely intimate scope.

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Movie Review: “Deepwater Horizon”

Mark Wahlberg, Kurt Russell, Gina Rodriguez, John Malkovich, Kate Hudson, Dylan O’Brien, Ethan Suplee
Peter Berg

Everyone remembers the images of the BP oil spill that dominated the TV news cycle back in 2010 – the Deepwater Horizon drilling rig engulfed in flames, the rivers of black crude oil spreading across the Gulf of Mexico – but not many people know the details of what actually happened. It remains the worst oil disaster in U.S. history, and director Peter Berg recreates it in stunningly authentic detail for his latest film. But while “Deepwater Horizon” is a pretty effective disaster movie with some decent thrills and enough explosions to make even Michael Bay jealous, it doesn’t seem to have a purpose. It works just fine as a dramatic reenactment of corporate greed gone horribly wrong, but unlike the real-life incident, it will quickly be forgotten.

There were a lot of heroes aboard the Deepwater Horizon on that fateful day, but Berg centers on a quartet of Transocean contractors – including chief electronics technician Mike Williams (Mark Wahlberg), crew chief Jimmy Harrell (Kurt Russell), bridge officer Andrea Fleytas (Gina Rodriguez) and floorhand Caleb Holloway (Dylan O’Brien) – to tell the harrowing tale. When Mike, Jimmy and Andrea arrive on the offshore drilling rig for a three-week shift, they discover that an important safety procedure has been ignored due to the project falling behind schedule. Adamant about the safety of his crew, Jimmy insists that they run some additional tests before anyone begins drilling, much to the annoyance of BP executive Donald Vidrine (John Malkovich). After the tests prove inconclusive, Vidrine pressures the workers into starting the job anyway, leading to the tragic accident that claimed the lives of 11 men and caused irreparable damage to the surrounding waters.

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