Blu Tuesday: The Drop, Lucy 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 Facebook and Twitter with your friends.

“The Drop”

WHAT: When the Chechen-owned drop bar that he works at is robbed by a pair of amateur thieves, well-meaning bartender Bob Saginowski (Tom Hardy) and his cousin Marv (James Gandolfini) are tasked with finding those responsible. Meanwhile, Bob finds a wounded pit bull in a trash can and decides to adopt it, but when the previous owner (Matthias Schoenaerts) resurfaces looking for trouble, he must decide how far he’s willing to go to protect the mutt and the woman (Noomi Rapace) helping him care for it.

WHY: Adapted by esteemed crime writer Dennis Lehane from his own short story, “The Drop” doesn’t have the same cynicism as past adaptions of the author’s work, but it’s a grimy little crime drama that harkens back to the great Sidney Lumet films of the 1970s. This is a movie that places mood and character above all else, and though it comes with the undesirable label of being James Gandolfini’s final screen appearance, “The Drop” is a well-paced and expertly acted film that serves as a fitting end to one actor’s career and the exciting emergence of another. Gandolfini shines as the wannabe tough guy who thinks he deserves more respect than he gets, but this is Hardy’s movie through and through, delivering an unusually subdued turn that becomes more impressive by the minute as he carefully peels back each layer of his character. Director Michaël R. Roskam and Lehane also deserve a lot of credit for their respective parts in crafting the movie, because although it hits all the familiar beats of a slow-burning crime thriller, there are just enough small nuances that allow it to stand on its own. Hollywood doesn’t make too many movies like this anymore, but “The Drop” is a perfect example of why it should.

EXTRAS: In addition to an audio commentary by director Michaël R. Roskam and author Dennis Lehane, there’s a collection of deleted scenes with option commentary and five production featurettes, including a profile on the late James Gandolfini.

FINAL VERDICT: RENT

“Lucy”

WHAT: An American student (Scarlett Johansson) living in Taiwan is forced to become a drug mule for the mob. But when the experimental substance implanted in her stomach accidentally leaks into her system, it grants her the capacity to tap into her brain’s full potential and unlock new abilities.

WHY: On the surface, “Lucy” sounds like a typical Luc Besson film, complete with a kickass heroine and goofy premise. But while the movie starts off that way, it eventually devolves into a metaphysical mess that’s equal parts “Tree of Life,” “Limitless” and “Transcendence,” with a not-so-subtle nod to “2001: A Space Odyssey.” Though Besson is clearly intent on exploring deeper, philosophical themes with “Lucy,” he doesn’t seem to know what they are, or at the very least, able to convey them in a manner that doesn’t come across as just a bunch of gobbledygook tacked on at the end of a lifeless action thriller. The material prevents Johansson from doing anything other than look like a deer in headlights for 90 minutes, while Choi Min-sik is wasted as the one-dimensional villain and Morgan Freeman’s only purpose is to explain all the bullshit sciencey stuff. The film is also surprisingly short on action, which makes you question why Besson felt the need to package it like one of his usual genre movies at all, because although it’s nice to see the director stepping out of his comfort zone and taking bigger risks narratively, the problem with “Lucy” is that it none of it really works.

EXTRAS: There’s a making-of featurette and a look at the science behind the film, namely the debate about the idea that humans only use 10 percent of their brains.

FINAL VERDICT: SKIP

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Movie Review: “Annabelle”

Starring
Annabelle Wallis, Ward Horton, Tony Amendola, Alfre Woodard
Director
John R. Leonetti

If “Annabelle” had any sense of when to let up on the throttle, it could have been one of the truly great horror movies of the past few decades. Instead, it chooses to mentally exhaust the audience by turning every single thing on screen into a weapon of one form or another, and it ramps up the already unnecessary tension with sound design that turns a sewing machine into a thunderstorm. It makes sense, in a way: they’re trying to make the audience as paranoid as the protagonist, but the one thing that “The Conjuring,” the film in which evil doll Annabelle made her feature debut, did so well was balance the light with the dark. “Annabelle” is nothing but darkness, and a lot of that darkness is been-there-done-that darkness. Indeed, the story line is largely borrowed from “Rosemary’s Baby,” with nods to “The Omen,” “Witchboard,” and even “Poltergeist.” Those are good to great sources, but Annabelle deserved a story of her own, not one stitched together from the carcasses of others.

Set in California one year before the opening scene of “The Conjuring,” Mia (Annabelle Wallis. Yes, the lead actress in this movie is named Annabelle, God love her) and her husband/doctor-in-training John (Ward Horton) are expecting their first child. Soon after we meet John and Mia, their next door neighbors the Higgins are murdered by their daughter Annabelle, now a member of a satanic cult. Annabelle and her accomplice friend try to kill John and Mia as well, but are not successful. Annabelle kills herself in their nursery, holding one of Mia’s porcelain dolls. Annabelle’s blood spills into the eye socket of the doll. The doll, naturally, is now a conduit to evil.

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Coming Soon: A Moviegoer’s Guide to October

october

October has never really been known for its quality, but in recent years, studios have been a lot more open about releasing potential awards contenders alongside the usual array of horror flicks. In fact, 2013 saw two of the year’s most-nominated movies – “Gravity” and “12 Years a Slave” – released during this time, and that trend appears to continue this year as well, with no fewer than six potential Oscar hopefuls debuting throughout the month. The October lineup is certainly tasty, which is only good news for moviegoers, because that means you can see some of these prospective gems that much sooner.

“Gone Girl”

Who: Ben Affleck, Rosamund Pike, Neil Patrick Harris and Tyler Perry
What: When his wife’s disappearance becomes the focus of an intense media circus, a man sees the spotlight turned on him when he’s suspected of foul play.
When: October 3rd
Why: With the exception of “Aliens 3,” David Fincher’s body of work is almost flawless, and there’s little reason to believe that “Gone Girl” will change that. Though this marks his fifth film in a row to be adapted from preexisting source material, Gillian Flynn’s best-selling novel is tailor-made for the edgy director. The decision to hire Flynn to also write the screenplay was certainly a bold move, but Fincher has a history of making offbeat choices that work surprisingly well, and that extends to the cast of “Gone Girl” as well. Ben Affleck probably wouldn’t be most people’s top pick for the lead role, and the supporting cast is even stranger, but if anyone deserves your blind trust, it’s Fincher.

“Annabelle”

Who: Ward Horton, Annabelle Wallis, Alfre Woodard and Eric Ladin
What: A couple begin to experience terrifying supernatural occurrences involving a vintage doll shortly after their home is invaded by satanic cultists.
When: October 3rd
Why: It’s not often that a horror movie finds so much success both critically and commercially, but “The Conjuring” is without a doubt one of the best horror films of the past 20 years. And while fans wait for the inevitable sequel, they can dive deeper into the film’s mythology with this spinoff featuring the creepy Annabelle doll. Though it’s hard to imagine an immobile doll carrying an entire movie on her own, the trailer suggests that Annabelle isn’t responsible for a bulk of the scares, but rather the spirit that’s attached itself to her. The whole thing feels more like a cheap cash-in than a necessary addition to the “Conjuring” franchise, but with James Wan’s longtime DP behind the camera, we’re hoping for the best.

“The Judge”

Who: Robert Downey Jr., Robert Duvall, Vera Farmiga and Billy Bob Thorton
What: Big city lawyer Hank Palmer returns to his childhood home where his father, the town’s judge, is suspected of murder.
When: October 10th
Why: Now that Robert Downey Jr. is a huge movie star (thanks again, Marvel), the actor can pretty much do whatever he wants, including producing smaller, character-driven dramas like “The Judge” under his new company with wife Susan Downey. But while the film boasts an interesting premise and a superb cast of actors, the decision to hire David Dobkin, who’s best known for directing comedies like “Wedding Crashers” and “Fred Claus,” is extremely odd, particularly because he has zero experience handling serious material like this. Warner Bros. is obviously angling for awards consideration with its Oscar-bait plot, but reactions were very mixed after its debut at the Toronto International Film Festival, with many praising the actors but damning Dobkin and the clichéd script.

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