Since it’s been about a year since we’ve seen the “Ocean’s Trilogy” released on physical format, Warner unleashes the trilogy of crime thrillers once again for physical media collectors. Yes, this time the individual movies from the “Ocean’s series was released in individual Steelbooks and a pair of specially packaged movies for the hardcore base of these trilogy of crime drama comedies. Oddly missing from the whole shebang is the original Frank Sinatra “Ocean’s Eleven,” as well as the abysmal female led “Ocean’s 8.” Maybe someday the fans will get a complete, ultimate edition with the whole series for their library, but for now this covers the basic trio of movies that gave us back the ensemble vanity project.
Author Archives: Felix Vasquez
Every Bugs Bunny Ever: High Diving Hare (1949)
High Diving Hare (1949)
Directed by Friz Freleng
Written by Tedd Pierce
Animation by Gerry Chiniqiuy
Music by Peter Burness
You wouldn’t think you could do much with a short that centered on almost nothing but gags of Yosemite Sam falling off a high dive, but you’d be wrong. While short on variety, “High Diving Hare” is a blast because it feels like a return to form. Like previous shorts, there’s a three act structure, a perfectly funny set up, and a lot of really funny gags between Yosemite Sam and Bugs Bunny. I remember watching this short a lot during the “Bugs Bunny and Tweey Show” back on Saturday mornings but with a lot of the opening set up cut out to fit commercials. While the opening set up to the ensuing mayhem isn’t detrimental to enjoying the entire short, it does give the whole concept a lot of context,
Every Bugs Bunny Ever: Rebel Rabbit (1949)
Rebel Rabbit (1949)
Directed by Chuck Jones
Written by Michael Maltese
Animation by Ben Washam
Music by Carl W. Stalling
This is probably the most unhinged I’ve ever seen Bugs Bunny and probably the closest that he’s ever come to transforming in to a super villain of a sorts.
Like previous exploits Bugs Bunny tends to be a victim of his own ego, which is something that’s often overlooked in future shorts. In “Rebel Rabbit,” he’s not so much battling a predator as he is, well, having a virtual mental breakdown on screen. Sadly none of it is really all that funny. Save for some sharp animation, “Rebel Rabbit” has no structure or much of a three act narrative to begin with. It’s basically just a string of skits with Bugs Bunny wreaking untold havoc on various states and ecolosystems all for the simple fact that he’s not deemed too worthy by the US Government.
Abigail (2024)
In a year filled with a ton of very serious horror, it feels good to see Radio Silence offer up a quick, breezy bit of survival horror that I could get behind. In fact the compactness can even tend to work toward the film’s detriment as it feels like an extended version of an anthology horror show, right down to the fact that it’s all one big chamber piece. “Abigail” watches a lot like the classic EC Comics, where our ensemble of ne’er do wells get what’s coming to them in a remarkable twist.
The Departed (2006): Limited Edition Steelbook [4K UHD/Digital]
In Stores April 23rd from Warner Bros.
I do not make it a secret that I don’t like “The Departed.” I never have liked it. I think one of the main reasons why I dislike it so much is that I had seen Andrew Lau and Alan Mak’s 2004 original much earlier and was surprised with how cerebral and taut it was. “Infernal Affairs” was about betrayal, and loss of identity, and completely losing not only who we once were, but our own morality code. It’s shocking to me to know that “The Departed” is not only so infinitely dumbed down from its source material, but that Scorsese is capable of so much better than what he offers us.
A24 Has A lot of Apologizing to Do to the Art Community
For many years now I’ve become a fan of A24 and have loved so much of their content. Have their titles all been winners? No, but their output of above level films that managed to mix mainstream sensibility with arthouse appeal as been amazing. For many years they’ve given us absolutely incredible films that have allowed filmmakers that normally wouldn’t be seen to final garner some respectable platforms. They’re not low budget or indie like Troma but they’ve allowed some unique artists to give us gems like “The Zone of Interest,” “The Whale,” “Bodies Bodies Bodies,” Ti West’s “X” movie series, “Midsommar,” “Skin” and so much more.
Rebel Moon – Part Two: The Scargiver (2024)
Now streaming exclusively on Netflix.
After being thrown a bone by Warner being able to bring his version of “Justice League,” he’s announced that these versions of his alleged “Star Wars Killers” known as “Rebel Moon” as more or less unofficial. They’re still movies in a sense, but not in his mind. He’s allegedly planning to release Director’s Cuts for both films, which includes potentially longer scenes and alternate takes on various scenes. So what is even the point of this whole shebang? Snyder is less an auteur and feels so much more like a brand manager trying to figure out an algorithm for a great movie–and he can’t quite synthesize the formula. He seems to base so much of his films around focus groups and buzz rather than instinct which make him such a terrible filmmaker through and through.