This week on home video, we again have a wide variety of films to choose from, ranging from the highly acclaimed to the widely panned. First off, we want to let you know that Universal is celebrating their 100th anniversary with a ton of Blu-ray reissues, like The Blues Brothers, Charade, Duck Soup, and The Deer Hunter. There’s also a new Blu-ray for the Hitchcock thriller To Catch a Thief, and Season 1 of the hugely popular HBO series Game of Thrones is available. As for other new releases, we’ve got Tarsem Singh’s Greek myth actioner, Craig Brewer’s ’80s remake, and Adam Sandler’s latest Razzie nominee. Then, we’ve got a highly acclaimed documentary, a Certified Fresh romance, Pedro Almodovar’s psychodrama, and a couple of cult classics on Blu-ray for the first time. See below for the full list!



Immortals

48%

One thing is for sure: former music video and commercial director Tarsem Singh has an uncanny knack for visual flair. Unfortunately, most critics agree that if he were equally as adept at telling a story, his feature films would be at least twice as impressive. As it stands, last year’s Immortals, his third film, is his lowest-rated effort thus far, and the criticisms leveled against it were familiar ones. The story, loosely based on Greek myth, follows the efforts of mortal king Hyperion (Mickey Rourke), who embarks on a destructive campaign in hopes of locating a powerful bow once wielded by the Gods, and the outcast warrior Theseus (Henry Cavill) who sets out to stop him with the help of an oracle (Freida Pinto). Recalling the hyperstylized graphic novel aesthetic of 300, Immortals contains a wealth of evocative imagery and technically impressive cinematography, but most critics found the story largely inert, with slack pacing and thin plotting that served primarily to fill the gaps between battles. In other words, it’s a jumble of a tale told with spectacular visuals, and in still other words, it’s par for the course for Tarsem Singh.



Footloose

68%

Yeah, we know; we were thinking it too: “A Footloose remake? Why?” If there was any saving grace to the idea, it was that the film was to be helmed by the man who brought us Hustle & Flow and Black Snake Moan, two movies steeped in the music and culture of the American South. As it turns out, much to the surprise of moviegoers who initially balked at the remake, Craig Brewer’s updated Footloose isn’t half bad. Following cues from the original film relatively closely — with a few tweaks — the story revolves around a big city high schooler (Kenny Wormald) who moves to a small, conservative Southern town where, due to a past teenage tragedy, loud music and public dancing have been outlawed. Throw in a star-crossed romance with the local reverend’s (Dennis Quaid) rebellious daughter (Julianne Hough), and you’re looking at a pretty faithful remake. Critics felt that Brewer did a respectable job both paying homage to the original film and updating the story for a new generation, infusing Footloose with the same kind of energy he harnessed for his previous films. At 70%, this probably won’t blow your socks off, but it may surprise you.



Jack and Jill

3%

By now, enough has been written about Jack and Jill that there’s really no reason to beat up on it any more; that horse has been dead for a while. The most recent condemnation came when the Adam Sandler vehicle racked up a whopping 12 Razzie nominations, a feat made even more (un)impressive by the fact that there are only 10 categories. Directed by Dennis Dugan, who has inexplicably cobbled together a career out of several terribly-reviewed films (including seven starring Sandler), Jack and Jill is a screwball comedy about an advertising exec (Sandler) who receives an annual visit from his twin sister (Sandler in drag), who happens to drive him crazy. Despite an amusing extended cameo by Al Pacino — playing himself — Jack and Jill failed to impress almost every critic who saw it, earning a miserable 3% Tomatometer rating. If you’re a big fan of Sandler’s other films, you may get somewhat of a kick out of it, but if not, it’s probably best to steer clear.



The Skin I Live In

81%

Spanish director Pedro Almodovar isn’t known for delving into the realm of horror or psychological suspense, but his 2011 film, The Skin I Live In, his first film with longtime collaborator Antonio Banderas since 1990’s Tie Me Up! Tie Me Down!, proved he could craft an effectively bizarre and uncomfortable mystery. Based on the French crime novel Mygale by Thierry Jonquet, The Skin I Live In focuses on a cosmetic surgeon (Banderas) who, having lost his burn victim wife and traumatized daughter to suicide, strives to develop a fire-retardant skin. With the help of his childhood caretaker, Marilia (Marisa Paredes), he conducts experiments on a captive patient (Elena Anaya), until a visitor from his past shows up and unravels deep family secrets. Critics conceded that the film lacks Almodovar’s typical romantic flourish, but makes up for it with a stylish and engaging foray into arthouse psychodrama. For what it’s worth, The Skin I Live In is Certified Fresh at 80% and it won the BAFTA for Best Foreign Language Film, a pretty good indication of its quality.



Like Crazy

72%

Looking for a little romance to fill your Friday night with the significant other? If you don’t mind them in the bittersweet variety, Like Crazy may be right up your alley. After two little-seen films, director Drake Doremus achieved some significant buzz for this third feature, which took home the Grand Jury Prize at Sundance in 2011 and achieved a Certified Fresh 73% Tomatometer. Based loosely on Doremus’s real life experiences, the film stars Anton Yelchin as American college student Jacob and Felicity Jones as Anna, the British exchange student he falls in love with. After a passionate summer together, Anna overstays her student visa but returns to London; when she attempts to return to Jacob, she is denied reentry into the States, and a difficult long-distance relationship ensues. Critics agreed that, while Like Crazy sports a lot of the elements one would expect to find in a romance, the film succeeds in portraying real characters and genuine emotion, crafting a true, intimate study. It’s not your average happy-go-lucky movie, but if you relish the ups and downs of rapturous joy and deeply felt heartache, this could be the movie for you.



Monty Python and the Holy Grail – Blu-Ray

97%

Monty Python and the Holy Grail is, on many levels, a timeless comedy, crafted by some of the most creative comic minds of the last generation. Endlessly quotable and full of memorable gags, Holy Grail marked the first film by the legendary comedy troupe that was comprised entirely of new material and essentially followed a single plotline. Loosely based on the legend of King Arthur — but packed with absurdist humor — the story centers on the famous king’s (Graham Chapman) quest for the titular chalice, as he journeys across his kingdom, rounds up the Knights of the Round Table, and encounters various obstacles along the way. This week, the film, arguably the most beloved of the Monty Python canon, receives the Blu-ray treatment for the first time, and fans will be happy to know that there are a lot of bonus features to be found. Some of the extras are ported over from previous DVD editions, but a few, like never-before-seen animations that weren’t used in the film, an interactive iPad behind-the-scenes experience, and new outtakes and extended scenes, are brand new for this hi-def version. Definitely worth a pickup for anyone who ever uttered the line “It’s only a flesh wound.”



Plan 9 from Outer Space – Blu-Ray

66%

Recently, Plan 9 From Outer Space‘s status as the worst movie ever made has been challenged from several fronts. First, cult audiences have embraced other so-bad-it’s-good fare like The Room, Troll 2, and Birdemic: Shock And Terror with a passion that’s taken some of the luster off Ed Wood’s anti-masterpiece. Second, it turns out that Plan 9 isn’t bad enough; it’s Fresh on the Tomatometer, and more than a couple highbrow critics praised Wood for having a unique cinematic vision, however misguided it might have been. Still, this is the granddaddy of bad movies, and for aficionados, a new Blu-ray edition of Plan 9 comes loaded with goodies, including a colorized version, commentary from Mystery Science Theater 3000‘s Mike Nelson, and commercials and home movies shot by Wood.

This weekend, Greek Gods conquered the North American box office as the 3D adventure epic Immortals opened at number one while Adam Sandler’s new comedy Jack and Jill and two-time chart-topper Puss in Boots fought over second place with virtually identical grosses. The new FBI biopic J. Edgar opened more like a Clint Eastwood film than a Leonardo DiCaprio one, settling into fifth place in its first weekend. Overall the marketplace saw healthy double digit gains over last year, thanks in part to the Veterans Day holiday falling on Friday instead of Thursday this year. Multiplex activity is set to go even higher very soon with the Twilight juggernaut right around the corner.

Relativity Media shot to number one with Immortals, which bowed to an estimated $32M from 3,112 theaters for a muscular $10,283 average. It was the third biggest opening this year for an R-rated film — and best for a non-sequel — trailing The Hangover Part II and Paranormal Activity 3, which debuted to $85.9M and $52.6M, respectively. Opening above industry expectations, Immortals received mixed reviews from critics but connected with action and fantasy fans who powered the opening day Friday to $15M. Saturday sales dropped a sharp 32% from Veterans Day and Sunday is estimated to slide by another 33% to $6.8M.

Original action films that are not part of an existing brand like James Bond or The Lord of the Rings rarely open above $30M during the football season when millions of males are occupied on Saturdays and Sundays. Studio research showed that the stylishly violent war epic played to an audience that was 60% male, and 75% was under 35. 70% of the business ($22.4M) came from non-white audiences while the CinemaScore grade was a B. 3D was a popular option for Immortals as 66% of the grosses came from the higher-priced format.

Produced for $75M, Immortals also opened overseas in 35 territories this weekend including Japan, Germany, the U.K., China, and Russia grossing an estimated $36M for a global debut of $68M.

If estimates hold, Adam Sandler’s latest laughfest Jack and Jill will open in second place with an estimated $26M, a figure that rival studios believe is too optimistic. The Sony release averaged $7,563 from 3,438 theaters and did not make it into the $30-40M range that the funnyman usually finds himself in with broad comedies. Friday started with $9.9M, Saturday eased 2% to $9.6M while Sunday is estimated to drop by only 32% to an estimated $6.5M. That would be a small Sunday drop for a Sandler comedy during the football season, although this PG-rated pic is hoping for family business which would yield a stronger-than-usual Sunday performance.

Critics slammed Jack and Jill with some of their harshest words of any film this year. Moviegoers were only somewhat satisfied with what they got as the pic got a B CinemaScore grade. Studio research showed that the childish humor played broadly as the audience was 52% female, 57% 25 and older, with 53% being families. Despite the atrocious reviews, Jack could continue to bring in respectable grosses as no new mainstream comedies will open over the next three weeks.

Following close behind according to estimates but hoping to finish in second place when final figures are tallied on Monday was two-time box office leader Puss in Boots, which dipped only 23% to an estimated $25.5M. The 3D toon smashed the $100M mark on Saturday in its 16th day of release and has grossed a stellar $108.8M to date. Tougher competition will start on Friday with the arrival of the rival 3D animated kidpic Happy Feet Two followed five days later by The Muppets, but a final domestic haul of $160M or more still seems likely. Paramount has had a red hot year in 2011 and has now seen eight of its eleven wide releases join the century club, while the ones that didn’t have performed well too.

Only $500,000 separated Jack and Jill and Puss in Boots according to studio estimates. Final numbers to be released on Monday will include actual sales figures for Sunday and could see the two films switch positions, making Jack that rare broad comedy from Sandler that opens outside of the top two positions.

Universal’s action-comedy Tower Heist fell a moderate 45% to an estimated $13.2M in its second weekend and has raised its ten-day tally to a decent $43.9M. The $85M Ben Stiller-Eddie Murphy vehicle could end its domestic run at about $70M meaning a strong overseas run will be needed.

Clint Eastwood’s latest film debuted in fifth place. The biopic J. Edgar headlined by Leonardo DiCaprio bowed to an estimated $11.5M from 1,910 locations for a solid $6,005 average. The opening was on par with the nationwide debut of the director’s last film Hereafter which opened to $12M and a $5,510 average in October of last year on its way to a disappointing $32.7M final. Reviews were mixed with many top ones being negative and audiences also were not too thrilled as the R-rated drama earned only a B grade from CinemaScore. J. Edgar platformed in seven theaters in top markets on Wednesday to get a jump on the weekend, putting the total at $11.6M for Warner Bros.

The stoner threequel A Very Harold & Kumar 3D Christmas suffered an understandable 55% drop in its second weekend collecting an estimated $5.9M putting the ten-day tally at $23.2M. Produced for only $20M, the Warner Bros. release fared a bit better than its predecessor, Harold & Kumar Escape From Guantanamo Bay, which tumbled 59% in its sophomore frame, although it faced the opening of the superhero juggernaut Iron Man, which stole the attention of young men. Christmas looks set to finish with about $35M putting it just behind Guantanamo‘s $38.1M but ahead of the $18.2M of 2004’s Harold & Kumar Go To White Castle.

Fox’s sci-fi thriller In Time declined by 45% in its third round to an estimated $4.2M giving Fox $30.7M in 17 days. Paramount’s horror hit Paranormal Activity 3 joined the century club with its estimated $3.6M weekend, off 57%, putting the low-cost $5M chiller at $100.8M and counting. It should finish near the $107.9M of the first film in the highly profitable series.

The studio’s dance remake Footloose followed with an estimated $2.7M, down 39%, for a $48.9M sum. Rounding out the top ten was Hugh Jackman’s boxing hit Real Steel which dropped 42% to an estimated $2M and $81.7M to date for Disney. The robot flick is now the actor’s second-biggest non-Wolverine hit after 2004’s Van Helsing, which grossed $120.1M.

The top ten films grossed an estimated $126.6M which was up a healthy 18% from last year when Megamind remained in the top spot with $29.1M; and up 2% from 2009 when 2012 opened at number one with $65.2M.

Follow Gitesh on Twitter.

This week at the movies, we’ve got twin turmoil (Jack and Jill, starring Adam Sandler and Katie Holmes), mythical mayhem (Immortals, starring Henry Cavill and Mickey Rourke), and a multifaceted fed (J. Edgar, starring Leonardo DiCaprio and Armie Hammer). What do the critics have to say?



Jack and Jill

3%

Adam Sandler’s got a winning formula — lowbrow yuks plus sentimentality equals box office gold — but critics say Jack and Jill may test the patience of even the most loyal of Sandman acolytes, as its jokes are even more juvenile than usual. Sandler stars as Jack, a successful ad executive whose obnoxious twin sister Jill (also played by Sandler) moves to town; hilarity ensues. The pundits say Jack and Jill‘s gags are remarkably crass, and its relentless mocking of Jill is surprisingly mean-spirited, though Al Pacino scores some big laughs parodying himself. (Check out this week’s Total Recall, in which we present a list of actors playing opposite themselves.)



Immortals

48%

Director Tarsem Singh certainly has a knack for eye-popping images, but critics say the problem with Immortals is that its attention to blood-soaked visual detail always trumps character development and storytelling. Henry Cavill stars as Theseus, a humble stonemason who vows revenge against the tyrannical King Hyperion (Mickey Rourke) after the death of his mother, and soon our hero rounds up a posse to stop the tyrant and restore peace to the land. The pundits say Immortals looks great, but its silly dialogue and narrative shortcomings keep it from being an immersive sword and sandal thrill ride. (Check out co-star Freida Pinto’s Five Favorite Films.)



J. Edgar

43%

J. Edgar purports to explore the professional and personal life of influential (many would say too influential) FBI Director J. Edgar Hoover, but critics say Clint Eastwood‘s admittedly handsome biopic is ultimately too vague a portrait of its controversial subject, despite a committed performance from Leonardo DiCaprio. J. Edgar chronicles Hoover’s tenure at the bureau, as well as his oft-rumored but never substantiated love affair with Associate FBI Director Clyde Tolson. The pundits say the trouble with J. Edgar is that it’s a bit too cautious — it ticks off the events of Hoover’s life without exploring his motives and feelings, though DiCaprio is typically strong.

Also opening this week in limited release:

In just a few short years — following her luminous debut in Danny Boyle’s Oscar-winning Slumdog Millionaire — Freida Pinto has gone from a virtual unknown to one of movies’ most feted young actresses. Her handful of feature credits already boasts performances for such acclaimed directors as Woody Allen and Julian Schnabel, while she starred in the summer’s surprise hit Rise of the Planet of the Apes and will soon headline iconoclastic filmmaker Michael Winterbottom’s literary riff, Trishna. This week, Pinto lends her talents to Immortals, Tarsem Singh’s visually stylish, violent and sometimes quite surreal imagining of ancient Greek mythology in which the actress portrays the oracle (and future lover of Henry Cavill’s Theseus) Phaedra. We sat down with Pinto recently where she discussed her admiration for the director and the experience of working on her first big-budget film, and how it affects her performance. She also took a moment to recall her five favorite films.

The Shining (Stanley Kubrick, 1980; 88% Tomatometer)


I can give you them as they come to mind; right now, when you say “five favorite films,” the first one that came to my mind — and I’m trying to think of different genres as well — the first one that came to my mind is The Shining. I do not know why, but that’s been one of my all-time favorite films. I’ve seen it about four times. I think that’s a lot for someone who’s completely petrified by darkness and lonely places.

The Shawshank Redemption (Frank Darabont, 1994; 90% Tomatometer)



Shawshank Redepmtion… I don’t know, it’s very uplifting and there’s something about it that motivates you, you know, and gives you that sense of “Let’s go and do it.” I’ve seen it like a million times. It’s kind of like a book that you can go back to and read again and again. I find it easier to go back to films than books, though.

Gone With the Wind (Victor Fleming, George Cukor, Sam Wood; 1939; 95% Tomatometer)



In terms of romantic films, all-time romantic films, I really like Gone With the Wind. And I realize I sound so clichéd saying that, but there’s something so absolutely romantic about it. When I watched the film, I wanted to be in a situation like that — to feel that love that’s just basically, it’s crazy; it’s that kind of a crazy love.

Drive (Nicolas Winding Refn, 2011; 92% Tomatometer)



Recently I really enjoyed watching Drive, even though people seemed to be very mixed about it. I thought it was a well-done film. A really well-done film.

Ratatouille (Brad Bird, Jan Pinkava, 2007; 96% Tomatometer)



Help me out here! Can I give you an all-time favorite animated film? An all-time animated favorite is Ratatouille. I do not know why, but that film about that rat really got me. I loved Lion King as a kid, but as a thinking animated film [Ratatouille] really has something that I like about it. I thought it was amazing. And Peter O’Toole’s voiceover as Anton Ego is just brilliant.

Next, Pinto discusses working with director Tarsem Singh on Immortals, the challenges of acting in big-budget films and how performances differ across projects.

 

This was your first really big-budget film — what drew you to it?

Freida Pinto: It was actually Tarsem. I had never done a big-budget film before, so I was not sure what to expect and what not to expect, but that becomes partly the allure, as well — not knowing. You wanna know what it would be like to do a big-budget film. The way Tarsem sold the idea of the film in my first meeting with him — how he envisioned it and how he pictured it — was everything that I had, when I was a child and watched films that were larger than life, always imagined myself being in. So the way Tarsem sold it to me, the story he told me, it was like, “I need to see myself in that film.” And I hoped Tarsem saw me in that film as well.

What were some of the films you thought wanting to be in, on that scale?

From the recent past, I would think, the first thing that came to mind in terms of grandeur would be The Lord of the Rings, and Gladiator, in terms of the way he described the fight sequences. Harry Potter had some kind of influence as well — I mean they don’t really have anything in common, it was more the magic element of it that made me feel like I would want to be a part of it.

Tarsem also has a very specific visual style. What’s it like working with him on set?

He does. I think he’s so specific, visually. He’s so artistic that he knows how he wants his painting to look; but at the same time he is very much open and flexible to injecting things that he’s felt on the day, on the spot, into his scene, rather than being so specific and so stringent about it so as to not allow any freedom. That’s very nice. To have someone who has been given a palette to paint whatever picture he wants — and he knows what the boundaries are; he knows what story line he has to fit into — but to be able to splash those colors in ways different to how he’s done it earlier, or in ways no one has ever seen before, I think that truly is his gift. And I could see that happening on set as well. The amount of flexibility he gave us as actors in terms of performances was just absolutely amazing. If something happened by chance on set and that was not part of his idea initially, it made him realize, “Oh, that could be interesting,” and he would include that as well.

Which is surprising, because the compositions in his films look so precise.

There is a lot of precision in what he does; he knows what he’s going to do and it has to be to a “T,” you know, to the point.

Coming from relatively small films with independent directors before Immortals, how does your performance change in a film like this? How does one prepare for a role as a mythological Greek oracle, anyway?

[Laughs] I think with a role like this you have to come in with a lot more patience than when you go on to an independent project, ’cause on an independent project you have set hours that you’ve got to finish the filming in, and very little money — so you don’t have massive sets or anything like that. And with a film like this you’re not the only one on set. You’ve got to remind yourself that there are multiple things happening at the same time. One scene depends on 200-300 people working in tandem at that point in time, and if one of them doesn’t work you’ve gotta do it all over again — which seems like an enormous job to keep repeating over and over again.

So it’s much more technical.

It’s very, very technical. There’s a lot of performance aspect to it as well but it’s very technical. [Spoiler] I remember doing the scene where my sisters die. For almost two hours I was screaming and crying and losing my voice — actually it was more than two hours — but then I understood why I was doing it, because of the way they were shooting that scene from the different angles, with the wide shot and the 3D shot. There’s so much happening that you have to remember that you’ve gotta have patience and be able to pace your performance in such a way that you can deliver on every take. Working on big-budget films teaches you a lot about performing in an environment that is not necessarily for an actor.

But you must have given a great crying performance, being so exhausted after so many takes.

No, actually I was better in the first couple of takes. [Laughs] After that I was just like, “Aaaaaaaaaaaaarrrrrrgh!” and screaming for the heck of it.

You’re filming on barely-there sets and blank screens, so what’s it like when you finally see the finished film, and yourself, in enormous 3D projection?

So much bigger than what I expected it to be, you know. I think we all have different imaginations and Tarsem’s imagination is truly one that is unleashed. There is not the smallest, slightest boundary or limitation that I see to his imagination. So when he described that the shrine and the village was going to be at the edge of a cliff, I thought, a cliff, you can imagine that, but what lies beyond, and further out, was something that I could not imagine what?s gonna be there. But the way he’s put it out there in post-production is just magnificent.

This is, what, your sixth film?

In terms of filming, this was my fourth. Released, this would be my fifth.

And in that time you’ve worked for Woody Allen, Julian Schnabel, Michael Winterbottom, Danny Boyle, Tarsem — you could almost retire at this point.

No! [Laughs] I’m far from retirement!

I’m kidding. I guess the question is, where to now? Do you like working on big-budget films?

I do, I do. I like working on big budget films. The logic I use to explain to people is that I love being entertained by them, and I can see myself entertaining people doing the same thing; so why do I need to be afraid of taking on projects like that? That’s the reason I enjoy being on the sets of big-budget films and working on them. And honestly, in terms of performance, I don’t see that much of a difference. You have to come in with the same amount of conviction and dedication to your character.

You’re also working with directors who each have very strong visions.

I think that’s what it is. That’s exactly what makes the difference. Even working with Rupert Wyatt, the director on [Rise of the Planet of the] Apes, he came from a very independent film background, so one thing you knew for sure was not gonna happen was performances were not gonna get compromised. So that’s nice to have that feeling. What would I like to do next? I don’t know. It all really depends on what is written out there, you know; it’s a lot more difficult for people to write roles for minority actors. It’s not like I’m telling you anything new. So it’s going to be interesting to see wriggle my way into something that is not necessarily written for me.


Immortals arrives in theaters this week.

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