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2016 Father’s Day Gift Guide: Entertainment

Everyone loves watching a great movie or TV series, so we’ve compiled some of our favorite releases from the past few months that most guys will enjoy. And for more great suggestions, be sure to check out the other categories in our Father’s Day gift guide.

Star Wars: The Force Awakens

“Star Wars: The Force Awakens” is an exciting return to form for the franchise that recaptures the childlike sensation of watching the original trilogy for the first time. It’s thrilling, funny and surprisingly emotional. While the inclusion of familiar faces like Han Solo, Chewbacca and Leia is great fan service that also functions as a passing of the torch to the new characters, director J.J. Abrams never lets you forget that this is their movie. Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver all shine in their respective roles, although it’s playful droid BB-8 who ultimately steals the show. If there’s one complaint, it’s that Abrams packs too many characters into the story, resulting in several unanswered questions that are dangled in front of the audience like a carrot on a stick. But those kinds of mysteries have always been a part of the “Star Wars” ethos, and “The Force Awakens” is “Star Wars” to the core, blending the old with the new to produce an excellent continuation of the saga that leaves you wanting more.

The Hateful Eight

Quentin Tarantino’s first crack at making a Western may have resulted in the slightly disappointing “Django Unchained,” but his second attempt is a much-improved genre piece that represents his most accomplished work behind the camera to date. While Kurt Russell, Jennifer Jason Leigh and Walton Goggins all deliver excellent work, Samuel L. Jackson’s show-stopping turn is the real standout, chewing up scenery with every juicy monologue and sly look. Granted, the first half of the film moves like molasses as Tarantino gets all of his pieces on the board, but the pacing is intentional, slowly building to a boil that spills out into a flurry of violence in the final hour. Though “The Hateful Eight” is filled with the same self-indulgent tendencies that fans have come to expect from the director’s movies, this Agatha Christie-styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65mm film format, and riotous performances from the cast.

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Don’t Hate the King

With the Cleveland Cavaliers losing the first two games of the NBA Finals by a combined 48 points, everyone has already written their eulogies and buried the Cavaliers. It’s crazy how fast things change in the NBA. Not too long ago, the Warriors were down three games to one to the Oklahoma City Thunder and everyone had prematurely punched the Thunder’s ticket into the NBA Finals.

LeBron has climbed out of an 0-2 series hole before and can do it again. In 2007, the Cavs lost the first two games on the road to the Detroit Pistons, and in Game 3 of that series, King James scored 32 points, grabbed 9 rebounds and shot 57% from the field. He then went on to average 31.3 points for the rest of the series and the Cavs went onto win that series and advanced to their first NBA Finals.

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Blu Tuesday: 13 Hours, Zootopia 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.

“13 Hours: The Secret Soldiers of Benghazi”

WHAT: On the evening of September 11, 2012, Islamic militants in Benghazi attacked the poorly guarded compound where the U.S. Ambassador resided, prompting a six-man security team led by Tyron Woods (James Badge Dale) to launch a perilous rescue attempt before returning to the nearby CIA annex to defend against wave after wave of rebel attacks until support arrived.

WHY: Michael Bay has wasted the better part of the last decade making shitty “Transformers” films, so it’s nice to see him return to form with “13 Hours: The Secret Soldiers of Benghazi,” an exhilarating and surprisingly apolitical military thriller that reconfirms why he’s one of the best action directors in the business. It takes nearly an hour before the first attack occurs, but Bay uses that time to establish the characters, provide an overview of the geopolitical landscape and build tension, because once it kicks into action mode, Bay rarely lets his foot off the gas, pummeling the audience with one explosive firefight after the next. This is Bay’s bread and butter, and he doesn’t disappoint with some expertly shot action sequences that drop the audience right into the middle of the combat. Though the movie isn’t without the typical Bayisms (from the overuse of slow motion and lingering shots of the American flag, to the corny dialogue), “13 Hours” is a marked improvement compared to his recent output that harkens back to earlier films like “The Rock.”

EXTRAS: There’s a trio of featurettes on adapting the source material, filming the battle sequences and the CIA’s real-life Global Response Staff.

FINAL VERDICT: RENT

“Zootopia”

WHAT: After proving her detractors wrong by becoming the first rabbit police officer in the animal city of Zootopia, Judy Hopps (Ginnifer Goodwin) must team up with a con artist fox named Nick Wilde (Jason Bateman) to uncover a conspiracy that’s causing some of the city’s predators to revert back into savage beasts.

WHY: “Zootopia” might just be the best Pixar movie that Pixar never made. It’s smart, funny and works both as a delightful family film on the surface and a rich allegory for race relations on a much deeper level. In fact, it handles the subject of racism and prejudice better than most live-action movies, and that in itself is really impressive. The dynamic between Ginnifer Goodwin’s go-getting bunny and Jason Bateman’s sardonic fox is excellent, while the vibrant world that directors Byron Howard (“Tangled”) and Rich Moore (“Wreck-It Ralph”) have created is incredibly imaginative, opening up numerous possibilities for sequels that would not only be warranted but welcome as well. Though the movie runs a little long at 108 minutes, there are so many great moments littered throughout that it’s hard to imagine another animated film providing much competition at next year’s Oscars. Sister studio Pixar may get all the love, but recently, Walt Disney Animation has been on a real winning streak, and “Zootopia” is its finest achievement yet.

EXTRAS: The Blu-ray release includes a making-of featurette hosted by star Ginnifer Goodwin, three additional featurettes on developing the story, finding inspiration from real-life animals, and composing the score, a behind-the-scenes look at the film’s many Easter eggs and more.

FINAL VERDICT: RENT

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Unsaved Progress: The failure of video game adaptations in film

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It should be a slam dunk – a known property with recognizable characters, an established story and plenty of excuse for spectacle. So why has it been so hard for Hollywood to successfully adapt a video game into a good film? Since 1993’s “Super Mario Bros.,” movie studios have tried to capitalize on the billions of dollars of success of video games by bringing them to the big screen. Yet time and again, what lands is a loud thud of a movie, boring to major audiences and befuddling to the devoted fanbase.

Despite the constant critical and/or financial drubbings the films take upon release, producers continue to attempt to adapt video games into successful franchises. “The Angry Birds” movie opened well, but was generally despised by critics, and soon there will be movie versions of “World of Warcraft,” “Assassin’s Creed” and a revamping of “Tomb Raider” franchise. It makes sense why filmmakers and companies are chasing these properties, for all the reasons stated above, but why have they always been such terrible dreck with only occasional flashes of innovation?

The first issue is that video games are immersive properties. Gamers are actively participating in these adventures, instead of watching them unfold passively on the screen. That creates the first hurdle for these films to overcome: how do you create something engrossing enough that it wraps people up in the events and makes it feel like it’s happening to them? Even the best blockbusters struggle with this ability to get audiences to identify and empathize with what’s happening on screen, let alone those made simply for cash-in purposes. Therefore, in order to do justice to these video game properties, filmmakers are already facing an uphill climb.

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Drink of the Week: Buona Sera, Mrs. Campbell (TCM Fest Salute #4)

Buono Sera, Mrs. Campbell.A truly smart and well-written sex comedy is a thing of beauty and not an everyday occurrence — rare in the past and rarer still in the present. Indeed, my film-besotted compatriots and I had relatively modest hopes for Melvin Frank’s 1968 near-farce, “Buono Sera, Mrs Campbell,” at this year’s TCM Fest. For the most part, we were expecting an entertaining but possibly rather routine 1960s romp and were there largely to check out its legendary star. That would be Italian bombshell-turned photographer and sculptor Gina Lollobrigida, a rather amazing woman on numerous counts who, at 88, still has a few thoughts on her mind and an innately humorous sensibility. The movie, much to our delight, turned out to be nearly as extraordinary as its star.

It’s the story of an Italian single mother who finds herself suddenly in the embarrassing position of reuniting with three men from her war-torn past, any one of whom has pretty much an equal shot of being the father of her now grown-up daughter in those days well before the arrival of easy DNA testing. If the setup sounds familiar, it’s because the plot was appropriated — without credit, so far as I can tell — for the jukebox musical and film, “Mamma Mia.” The difference is that this version is funny, enjoyable and occasionally quite witty and heartfelt.

For my liquid tribute, I thought something with a certain diversity of ingredients that might have been consumed in both Italy and the U.S. was apt. Also, since the cast mixed actors known more for conventional light comedy and drama with burlesque-trained comic Phil Silvers and true thespian wildcards like Shelly Winters and Telly Savalas, a hodgepodge of ingredients seemed appropriate.

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