Slumdog Millionaire Blu-ray

Slumdog Millionaire review To say that Christopher Nolan's THE DARK KNIGHT is the best comic book adaptation does the film a bit of a disservice. It may be a Batman film, but this isn't a kid-friendly action movie full of the bams and pows of the original series. This is a pitch-black thriller with enough drama and tragedy to please even William Shakespeare, but it will certainly keep both comics fans and uninitiated audiences equally happy. THE DARK KNIGHT starts in the wake of BATMAN BEGINS: with the appearance of Batman (Christian Bale), Gotham City's criminal underworld is unnerved. They're also plagued by the new D.A., Harvey Dent (Aaron Eckhart), who, in his quest for justice, remains above the city's corruption. Enter a new villain, the Joker (Heath Ledger), who wants to unite the criminals for a common purpose: to kill Batman. THE DARK KNIGHT is one of the most hyped movies to date, and a lesser film would be crushed under the weight of all that expectation. Some of the publicity stems from the early death of Ledger, who turns in an excellent performance. He provides moments of humor, but this Joker is terrifying, sharing more with classic villains such as Hannibal Lechter than with his comic book predecessors. Eckhart is equally good as Dent, and Maggie Gyllenhaal deserves praise for taking over the role of Rachel Dawes from Katie Holmes. Though there's more emphasis on plot and character development than in most comic book adaptations, that doesn't mean Nolan has skimped on any of the action sequences. Each set piece is done perfectly, leaving the audience breathless. THE DARK KNIGHT is filmmaking at its best; its subject matter may be dark and depressing, but it's tough not to feel exhilarated by its artistry when the credits begin to roll. This film reunites director Christopher Nolan and star Christian Bale. With the help of Lt. Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves effective, but soon find themselves prey to a rising criminal mastermind known as The Joker, who thrusts Gotham into anarchy and forces Batman closer to crossing the fine line between hero and vigilante. Heath Ledger stars as archvillain The Joker, and Aaron Eckhart plays Dent. Maggie Gyllenhaal joins the cast as Rachel Dawes. Gary Oldman, Michael Caine, and Morgan Freeman costar. This 2 disc set includes featurette, 2 documentaries, digital copy of the film, and more.

Slumdog Millionaire film While nearly all Will Ferrell's films are enjoyable on some level, they tend to fire on all cylinders when Adam McKay is involved. McKay co-wrote and directed ANCHORMAN: THE LEGEND OF RON BURGUNDY and TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, two of Ferrell's most popular and consummately hilarious films. McKay reteamed with not only Ferrell for STEP BROTHERS, but also Ferrell's co-star in TALLADEGA NIGHTS, John C. Reilly (who has steadily proven himself to be one of Hollywood's most versatile actors); and though STEP BROTHERS may be the most threadbare of the three movies on which the duo have collaborated, it's arguably their best. The plot is about as simple as they come: Brennan Huff (Ferrell) and Dale Doback (Reilly) are deadbeat man-children thrown together when the single parents with whom they live marry. The two initially despise one another, but become fast friends over a shared love of ninjas, COPS, porno mags, and the comforts of living in the fantasy world of a prolonged adolescence. What makes STEPBROTHERS so much fun, however, has nothing to do with story or script; rather, it's McKay's foresight to step back and let Ferrell and Reilly run wild. The duo kick and punch, fart and burp, laugh and cry, yet somehow elevate such banalities to a level of grotesque poetry, hitting upon what feels like an entirely new comedic language. When the pair act like children, they are not presenting themselves as immature adults, but are literally acting like children, meticulously duplicating everything from the fears and concerns to the speech patterns and awkward physicality of children. It sounds simple enough, but it requires a dexterity and sense of timing and delivery that is actually quite amazing. In the end, STEP BROTHERS is really nothing more than an absurd comedy; then again, isn't that what they called WAITING FOR GODOT? In this $100 million-grossing film, Will Ferrell and John C. Reilly star as two spoiled men who must live together when their single parents marry. Bonuses: extended cut of film, extended and alternate scenes, Line-O-Rama, gag reel, music video, featurette, commentary, digital copy, deleted scenes, featurettes, music video editor.

Slumdog Millionaire BRAY for sale From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results. Philip Seymour Hoffman plays Andy, an overextended broker who lures his younger brother, Hank (Ethan Hawke), into a larcenous scheme: the pair will rob a suburban mom-and-pop jewelry store that appears to be the quintessential easy target. The problem is, the store owners are Andy and Hank's actual mom and pop, and when the seemingly perfect crime goes horribly wrong, the damage sends them hurtling toward a shattering climax. Marisa Tomei, Albert Finney, and Rosemary Harris costar in this Sidney Lumet film.

Slumdog Millionaire movie Director David Wain (WET HOT AMERICAN SUMMER) capably mixes the saucy and the sentimental in the bawdy boys-to-men comedy ROLE MODELS. Stuck-in-a-rut Danny Donahue (Paul Rudd) and womanizing man-child Wheeler (Seann William Scott) work together promoting Minotaur energy drink to high school students. But when Danny's girlfriend Beth (Elizabeth Banks) dumps him because he lacks maturity, his lashing out threatens to land him and Wheeler in jail. Their only way out is to act as mentors at Sturdy Wings, a Big Brother-esque organization run by reformed addict--and unrepentant flirt--Gayle Sweeny (Jane Lynch). There, Danny is paired with the decidedly dorky Augie (Christopher Mintz-Plasse) while Wheeler is the latest victim to take on foul-mouthed Ronnie (Bobb'e J. Thompson). After a bumpy beginning, both Danny and Wheeler connect with their kids over everything from sword-and-sorcery role playing to the chick-scoring power of the band Kiss. But when these two presumptive adults put their charges' well-being in jeopardy, they face both jail time and the loss of everyone's respect. With their own friendship on the brink of ruin, Danny and Wheeler--not to mention a little help from the magic of Kiss--must reach deep inside to prove to the world how responsible they can truly be. In the spirit of films like KNOCKED UP and THE 40-YEAR OLD VIRGIN, ROLE MODELS features a healthy dose of sharp humor and juvenile gags balanced by a feel-good message that growing up doesn't mean giving up what makes each of us special. In this $64 million-grossing film, Paul Rudd and Seann William Scott star as two energy drink reps who mentor kids to escape a prison sentence. Bonuses: deleted scenes, alternate takes, bloopers, featurettes, game, commentary, BD Live, U Control.

Slumdog Millionaire video With their overtly comedic follow-up BURN AFTER READING, the Coen Brothers return--about a third of the way--from the dark, dank recesses of the human psyche they traversed in their Oscar-winning NO COUNTRY FOR OLD MEN. For those unfamiliar with the landscape of modern movie psychoanalysis, this puts the fraternal filmmakers square in the cruel, misanthropic, and farcical realm of their 1990s-era body of work, somewhere between the tragicomic crime thriller of FARGO and the disconnected noir-homage anti-storytelling of THE BIG LEBOWSKI, with 2007's NO COUNTRY retroactively adding new nihilism-tinged dimensions of smart skepticism to the proceedings. In a more linear trajectory, BURN AFTER READING also stands as the third entry, after BLOOD SIMPLE and FARGO, in what could be an unofficial Tragedy of Human Idiocy trilogy, wherein characters make the most outlandishly moronic moves to devastating consequences simply by adhering to true human behavior. Indeed, Carter Burwell's emotionally weighty score, which washes over biting scenes of explosive, anesthetizing belly laughs, is very reminiscent of his FARGO work. BURN is ostensibly structured and propelled by a spy-thriller plotline involving a classified CD lost by a disgraced CIA spook and found by two simple gym employees. But, in actuality, it's simply--amazingly--a collection of brilliant caricature studies interwoven by veracious, if Coenesque, social interactions, as epitomized by the pathos of the Frances McDormand character's precipitous quest for cosmetic surgery. The CIA superior who learns of the film's events (always second-hand and sometimes along with the viewer) doesn't know what to make of it, and why would he? This is the first Coen film in almost 20 years not shot by cinematographer Roger Deakins, yet the "new" guy, Emmanuel Lubezki (CHILDREN OF MEN), has created as visceral and emotionally fraught a high-definition cartoon as any since BARTON FINK. The Coen Brothers' $58.3 million-grossing film about a CIA agent's lost memoirs stars John Malkovich, George Clooney and Brad Pitt. Bonuses: featurettes, BD Live.

Slumdog Millionaire film At first, Clint Eastwood's CHANGELING could appear to be following too closely in the footsteps of his earlier Oscar winner, MYSTIC RIVER, since both films center on a missing child. But while his previous film was based on a Dennis Lehane novel, CHANGELING carries a particular weight because it is based on a true story, and one that isn't largely known. Angelina Jolie stars as Christine Collins, a single mother working in 1928 Los Angeles when her son goes missing. A boy is returned to her months later by the police, but she is shocked and disheartened when she realizes that the boy isn't her son. Joined by a crusading pastor (John Malkovich), Christine battles for justice against the corrupt L.A.P.D. while she continues to search for her child. Eventually her fight against the cops lands her in a mental hospital, where she is surrounded by others with a similar plight. At times, CHANGELING is incredibly difficult to watch. Jolie gives an authentic, anguished performance, and the on-screen tragedy is quite disturbing, largely because of its basis in reality. But Eastwood has crafted another Oscar-worthy film that is certainly worth sitting through, even if a tissue or two is required. Screenwriter J. Michael Straczynski had been best known for his work in science fiction (BABYLON FIVE) and graphic novels, but he makes an adept transition to feature drama with this film. Its unusual focus--on the victim and her struggle for justice, rather than on the criminal and the crime--brings further depth to the film. As always, Amy Ryan (an Oscar nominee for GONE BABY GONE) perfectly morphs into her role (this time as a prostitute imprisoned in the mental hospital), and the film's many child actors are compelling to watch. Widescreen; Additional Footage; Soundtrack English; Soundtrack French; English Subtitles; Spanish Subtitles; French Subtitles; Dolby Digital 5.1 Re