On DVD & Blu-Ray: February 11, 2019

Ford v Ferrari is what one would call a well-rounded picture. Meaning, that it is wholly and completely a feel-good movie while also carrying a significant amount of weight. In other words, it will break your balls and your heart at the same time. It is big, flashy and somewhat indulgent large-scale studio filmmaking in the most classic sense of the idea as director James Mangold (Walk the Line, Logan) casts two larger than life personalities to portray two larger than life personalities against the backdrop of an historical event that is globally appealing yet couldn’t feel more American at its core. This is somewhat ironic given the type of racing Matt Damon’s Carroll Shelby and Christian Bale’s Ken Miles are seasoned in and the kind the Ford Motor Company is interested in engaging in is far more popular in the rest of the world than it is the United States, but like I said...well-rounded. While Ford v Ferrari boasts an impressive ensemble cast and truly immersive racing sequences that sometimes almost literally put you in the driver's seat the film is at its best when focusing on those two larger than life personalities and dissecting these men who, in many ways, are rightfully convinced of their own certainty but who take blows to their egos when they have to deal with things they aren’t expressly exceptional in. Whether it be Shelby coming to terms with his fragile mortality, Miles dealing with the bureaucratic nature of corporations as his intelligence and skill come face to face with entitled money and extending even to Henry Ford II (Tracy Letts, who's terrific) as he-someone who has every reason to believe he's in full control of every aspect of his life-is humbled in an instance where he comes to not only realize, but understand that there are things he simply can't understand and will never be able to control. Ford v Ferrari isn't necessarily about the tampering of men's egos and it doesn't aspire to explore the manifestations of as much through these cars and the amount of risk being taken by their drivers, but more it seems to seek to better understand these people through this thing they've given their life over to whether it be out of passion or inheritance. With such strong attitudes and strong points of view on display these characteristics are naturally lent to the film itself giving the entirety of the production this sense of confidence and control; both of which a good movie and a good driver require in order to be successful. Video review here. A-

Writers/directors/stars Jocelyn DeBoer and Dawn Luebbe have crafted a truly insane, but perfectly pitched representation of braces and how, despite their ultimate goal being perfection, they couldn't look more glaring and futile. Greener Grass is satire of the highest order and Luebbe, but especially DeBoer-in the role of the uncertain dissenter-devours every moment for what it's worth; taking every opportunity to bite down a little harder on the complete wackness of the type of drama suburbia elicits.

After the opening scene one of my first thoughts was, "This would be perfect for Beck Bennett's sensibilities," and then BOOM! there he was in the next scene delivering just as you'd imagine he would in this setting. I loved it and fell even more in love with it as the film played on.

While Greener Grass will straight-up be too weird for some/most it feels achingly hilarious to a kid who grew up in the boonies, now lives in peak suburbia and can't help but to recognize a fair amount of what DeBoer and Luebbe are commenting on and lampooning here. At a mere 96-minutes, it's well worth the time to take a trip to the greener side. B

Roma is what one would call a hard sell. Despite being writer/director Alfonso Cuarón's follow-up to his Oscar-winning Gravity (Cuarón won Best Director for this effort) it couldn't be more different and because of this, more daring. It's daring based simply on the fact it is a two-hour personal opus, shot in black and white, and featuring English subtitles. In going ahead and acknowledging the elephant in the room, it's not difficult to see why the production companies who gave Cuarón $15 million to make the project also decided to go with Netflix as their distributor. And while, based on nothing more than its pristine aesthetic, Cuarón's most personal film to date certainly deserves to be seen on the big screen, given the content of the film and the types of people whose lives Roma explores it also makes perfect sense that the film be released to audiences in the most accessible way possible. It is a fine line to walk and while, as someone who loves going to the cinema, will always believe seeing a movie in the theater is the best way to see a movie it's hard to argue that the majority of mainstream audiences don't see many a films until years after they've been released and on their own televisions or other devices. Is it a shame some viewers will only experience the beauty of Cuarón's cinematography (yes, he serves as his own cinematographer here too) on their smart phones? Of course, but by making a film like Roma available to those who aren't within driving distance of a theater, but have a subscription to Netflix allows for the film to connect with what Cuarón is illustrating as well as connect with a bigger, more diverse audience than it likely would have if limited to a traditional theatrical and home video release. The key word here though, is illustrate. Roma doesn't so much as tell a specific story or drive home a certain narrative as much as it does illustrate a contemplative yet precisely executed observation of a year in the life of this upper-class family in Mexico City in the early seventies and more pointedly, on that of the family maid, Cleo (Yalitza Aparicio, making her acting debut). Full review here. B-

From acclaimed horror director Peter Strickland (The Duke of Burgundy) comes In Fabric, a truly nightmarish story of a lonely woman (Oscar nominee Marianne Jean-Baptiste) recently separated from her husband, who visits a bewitching London department store for a dress that will transform her life. She is fitted with a flattering, blood-red gown -- which, in time, will unleash a malevolent curse and unstoppable evil, threatening everyone in its path.

The Wave follows Frank (Justin Long), an opportunistic insurance lawyer, thinks he’s in for the time of his life when he goes out on the town to celebrate an upcoming promotion with his co-worker, Jeff (Donald Faison). But their night takes a turn for the bizarre when Frank is dosed with a hallucinogen that completely alters his perception of the world, taking him on a psychedelic quest through board meetings, nightclubs, shootouts, and alternate dimensions. As Frank ping-pongs between reality and fantasy, he finds himself on a mission to find a missing girl, himself… and his wallet.

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