New To Theaters And Disc

NOW IN THEATERS:

Disclosure Day (**) Steven Spielberg’s latest journey into sci-fi territory is a mixed bag at best and will mostly serve to remind the audience of better films with a similar theme from earlier in the director’s career (E.T. and Close Encounters).

The plot revolves around two humans who’ve been contacted by aliens in years prior (Emily Blunt and Josh O’Connor) and are now utilizing their skills to ‘disclose’ to the public proof of extraterrestrial life. Anyone with enough sense to tie their own shoelaces knows the powers that be (represented by Colin Firth, who pulls out every cliched villainous trick outside of twirling his mustache) aren’t going to let that happen without a fight. Thus, the film is littered with tired chase scenes that will likely make viewers wonder why the film wasn’t titled Disclosure Prevention Day instead of its actual title, being that’s the bulk of the film’s plot. When the film’s title event finally comes into play at the 130 minute (!) mark-with only fifteen minutes of the film’s excessive runtime to go-it’s a case of too little, too late.

Photo: Emily Blunt in Disclosure Day.

On the technical side things run hot and cold as well. John Williams’ score is serviceable and it’s commendable he’s still working well into his 90s, but it’s nothing earth shattering (no pun intended). The film’s CGI sometimes works and sometimes comes across as the computer-generated imagery it is-especially in scenes depicting animals.

The film’s script also feels choppy and, at times, unfocused and desperately in need of a couple more passes at the rewrite table. The implausibility factor a 9 out of 10 at various points throughout the film. One example being when the audience is asked to believe that seemingly everyone in the world watches news in real time on their phones. David Koepp (Jurassic Park), who wrote the film’s script, apparently didn’t get the memo that we don’t live in a monoculture anymore. That’s just one of the many problems with Disclosure Day.

NEW TO DISC:

Shout Factory:

Joe Dante’s (Gremlins) horror-comedy, The Burbs (1989), starring Tom Hanks and Bruce Dern, comes to 4K this week with mostly previously issued bonus materials.

Also being issued on 4K by the label is Frank Oz’s Bowfinger, featuring the unique pairing of Eddie Murphy and Steve Martin in the tale of a producer attempting to make a movie starring a down on his luck actor without his knowledge. Extras include a new featurette along with archival bonus material.

Also being issued on 4K by the label is Arcane: League of Legends Season 2.

Sony:

The label is issuing in 4K format the revolutionary war actioner, The Patriot (2000). The steelbook release retains previously issued bonus goodies.

The documentary film about playwright and filmmaker, Marcel Pagnol, A Magnificent Life, is also being issued on Blu Ray by the label.

Paramount:

The label continues its policy of reissuing previously issued 4K titles with nothing new to offer except steelbook packaging. The latest in this trend is Scream 4 (2011).

Arrow:

The only film to feature James Garner portraying Phillip Marlowe, Marlowe (1969), comes to Blu Ray from the label this week with a copious amount of extras.

Universal:

The delightful romantic comedy, Notting Hill (1999), starring Hugh Grant and Julia Roberts, gets a 4K makeover courtesy of the label this week. No new extras but archival bonus materials are retained.

The label is also issuing a twenty-disc set entitled, Steven Spielberg The Spotlight Collection, which includes 4K versions of Jaws, Close Encounters, Raiders of the Lost Ark, ET, Jurassic Park, Schindler’s List, Saving Private Ryan and War of the Worlds. Not much in the way of new material apart from the packaging but for those who don’t have these titles it may be worth it.