After the daring rescue of a spider, a young boy named James gains possession of some magic crocodile tongues.  When James spills them in the garden, out sprouts an enormous peach!  Climbing inside, he meets an astonishing cast of characters and embarks on a magical odyssey full of thrills and adventure.  Voiced by an all-star cast, including legendary actors Richard Dreyfuss, Susan Sarandon, Simon Callow and Jane Leeves, and featuring the celebrated music of Randy Newman, this classic story is delicious entertainment for the whole family!

This wonderfully strange tale of a young man named James (Paul Terry) who escapes the clutches of his evil aunts and finds himself among giant insect friends in a giant peach is odd indeed. The beauty here is that as often as his aunts had put him down, the talking insects open their hearts to him and show him unconditional love. In fact, they show the young man that he is a very important part of the world around him.

The rest of the cast is a very inspired choice. Susan Sarandon plays Miss Spider. Jane Leeves is the ladybug. David Thewlis is the Earthworm. Richard Dreyfus is the Centipede. And there are plenty more that make for a strong cast including Simon Callow with Joanna Lumley and Miriam Margolyes as the live action aunts.

The Blu-ray presentation maintains a nice texture for the movie that lets the live-action and animation blend well together.  The Blu-ray also comes with a fun, interactive “Spike the Aunts” game based on the post-credits sequence of the movie, as well as the production featurette and Randy Newman music video from a DVD released in 2000.

Blu-ray Bonus Features
 
• Spike the Aunts Interactive Game – New BD Exclusive! Inspired by the game that plays
after the end movie credits, try your hand at spiking the evil aunts with the rhino and ring up
major points!
 
• Production Featurette – A look at the making of the film.
 
• “Good News” Music Video performed by Randy Newman
 
• Still Frame Gallery
 
• Original Theatrical Trailer

Before I begin discussing why I enjoyed The Losers so much, I have to make it very clear that nobody would ever consider this to be “a good movie.”  The plot is convoluted, the action sequences preposterous, and there is no substance to be found.  It’s just that sometimes an action movie is so over-the-top, it becomes easy to buy into the false reality of the situation.  It doesn’t hurt that the ensemble cast all seem to be having the time of their lives. 

For those who don’t know, The Losers is based on a very popular graphic novel.  Personally, I’ve never read it, so I don’t know how strictly the filmmakers have adhered to the source material.  What I do know is that stylistically, the film feels very much like a comic come to life.  Every action beat and every conversation seem to come from a hyper-kinetic frame of reference.  The story, as much as there is one, revolves around a team of Special Forces Operatives who are framed by a man named Max for the deaths of several children.  Several years later, a woman named Aisha presents them with an opportunity for revenge.  Their hunt for Max ends up taking the expected twists and turns, featuring all the doublecrosses and betrayals the genre is known for.

We’ve seen this plot a thousand times.  We’ve even seen it done in the over-the-top comic book style that director Sylvain White shoots the film.  However, this film stands out among the rest because of it’s extremely enthusiastic cast.  Every character is memorable, and the actors seem to relish the opportunity to just have fun.  While the action never stops, the actors help bring a degree of humor to everything that is happening.  This keeps anything from ever becoming too serious.

Standing out among the cast is Chris Evans as Jensen.  For example, he has a sequence where he tries to convince a room full of armed men that he has the power to shoot bullets out of his fingers.  The scene is dumb, but his enthusiasm is infectious.  I found myself really drawn into these little moments.  As Aisha, Zoe Saldana also does a great job.  She’s been having a terrific year, coming off of Star Trek and Avatar.  This film might not have as much exposure as those two, but I found her performance just as compelling this time around.  She’s made some really smart moves in her career, and I think that we’re going to be seeing a lot more of her.  Rounding out the cast are Jeffrey Dean Morgan, Idris Elba, and Jason Patric as the villainous Max.  He really hams it up in his performance, but I enjoyed his schtick.  Nobody will be winning any awards this time around, but sometimes all a movie needs to be is fun. 

For the most part, the film isn’t very well known.  It came and went from the theaters pretty quickly, and as such, the Blu-Ray release isn’t all that great.  In fact, the longest feature is a “first look” at an upcoming animated Batman film.  Other than that, there’s just a sampling of short documentaries.  My favorite was called “The Losers: Action Style Storytelling.”  This feature analyzed the film from the perspective of those who created the original graphic novel.  As I said, I’ve never read any of the material myself.  Still, it was really interesting to learn about the adaption process and how the two mediums lend themselves to each other.  There are a lot of comparisons of the original comic to the film adaption, and it’s pretty amazing how the filmmakers didn’t simply recreate the images, but captured the tone as well. 

The other features were all pretty short (most running just over 5 minutes).  I enjoyed the feature showcasing how they recreated locations from around the world all within Puerto Rico.  However, I found the feature about how Zoe Saldana interacted with the cast to be a complete waste of time.  There is also a feature about the Special Ops influence within the film as well as a very short and pointless deleted scene.

I admit that this isn’t a film for everybody.  You have to be willing to suspend disbelief as well as logic when watching a movie like this.  If you aren’t somebody who can do that, then this definitely isn’t a movie for you.  However, if you are looking for a highly stylized, instantly disposable action film with a lot of fun characters and situations, than The Losers is definitely a winner.

What happened to Kevin Smith?  There was a time when his name was synonymous with intelligent humor and storytelling.  He hasn’t always had the sharpest visual style, but you could at least count on finding some good performances and witty dialogue in every one of his films.  The years have not been kind to Smith, with films like Jersey Girl and Zack and Miri Make A Porno cluttering up his resume.  But now, with Cop Out Smith has outdone himself.  Not only is this the worst film he’s ever made, it’s one of the worst films the buddy-cop genre has seen in years.

To be fair, this is his first time directing a film that he didn’t write.  That being said, he still read the script and made the decision that this was a film that he wanted to make.  I can’t fathom what appeal this story held for him.  There is not a single original idea to be found in the story of two mismatched cops trying to recover a stolen baseball card.  Bruce Willis and Tracy Morgan play the two cops, and I don’t think I’ve ever seen a pair of actors with less chemistry.  It’s the director’s job to bring out the best in their actors, and Smith blew it this time.

In watching Willis’ performance, I couldn’t believe this was the same actor who played John McClane in Die Hard.  He had an energy and charisma in that performance.  Here, he looked bored and miserable.  Tracy Morgan took the exact opposite approach.  For some reason, he thought it would be funny to shout all of his lines and to be as over-the-top as possible.  I love Morgan in 30 Rock, and even though he was playing a variation on the same character, it came across obnoxious here.

Ironically enough, the only actor who came out with some dignity was the one actor I normally can’t stand, Sean William Scott.  He wasn’t funny, per se, but it felt like he was trying.  Morgan didn’t trust the material given, and shouted his lines to compensate.  Scott seemed to appreciate his character, and tried to let the material provide the laughs instead of forcing them through his performance.  Don’t get me wrong, his character wasn’t actually funny.  I just appreciate that Scott tried to incorporate a little more subtlety, and seemed to be having a good time.

Overall, this was just a waste for all involved.  I don’t know if the film was supposed to be an homage or a spoof of the buddy-cop genre.  What I do know is that the original films this was referencing were vastly superior in every way.  This was just a cheap recreation, all the way down to the synthesized soundtrack.  Smith’s shooting was as bland as ever, and the story was pretty much non-existant.

Having said all that, I was kind of impressed with the Blu-Ray release of the film.  Presented in “Maximum Comedy Mode,” this is an elaboration of the standard audio commentaries.  Basically, Smith takes control of the film, and provides whatever insight he feels like whenever he feels like it.  He occasionally pauses the movie, fast forwards it, etc.  Sometimes, he’s providing audio commentary, and at other times, he’s actually on screen explaining things to you.  He also periodically cuts away to deleted scenes or raw footage, none of which is all that interesting.  In this format, the film runs about 2 hours, and 55 minutes, but it’s vastly more entertaining.  Smith genuinely seems excited to be presenting the film this way.  Perhaps he’s just a good showman, but at times, I started to believe that he actually likes the movie and had fun making it.

The other extras on the set are also presented in this “Maximum Comedy Mode,” but they aren’t part of the actual film presentation.  You press enter when given the cue, and that takes you out of the movie and into those features.  These segments are divided into two categories, “Focus Points” and “Wisdom from the S**t Bandit.”  The Focus Points are just little asides from other people involved in the production on various topics.  Some are interesting, and most aren’t.  The “Wisdom from the S**t Bandit” features are basically rip-offs of the classic Jack Handy segments from Saturday Night Live, only nowhere as funny.  You can watch all of these features independently from the film as well.

I wish this was a better movie.  I was excited at the prospect of a cop movie featuring Willis and Morgan, and directed by Smith.  There were so many ways this could have gone right.  Unfortunately, a buddy-cop film lives and dies with the chemistry of its leads, and this film is dead on arrival.

Before the release of Insomnia, I never would have imagined a film successfully pairing Robin Williams with Al Pacino.  With Pacino’s reputation for intensity and Williams’ image as the funny man, these two would seem very unlikely costars.  Yet director Christopher Nolan saw something in Williams; a subtle and unnerving calm hidden under the surface.  Deciding to cast Williams against type as the killer squaring off against Pacino ended up being a brilliant casting move, and one that elevates Insomnia to a level beyond other films of its kind.

Based on a film from 1997, Insomnia is your standard cat-and-mouse cop thriller, but with a twist.  This one takes place in the fictional town of Nightmute, Alaska, where for a brief period every year, the sun never sets.  As Nolan himself describes it, this leads to “a very dark film with everpresent light.”  Arriving in this town to investigate the murder of a local high school girl, famed detective Will Dormer (Pacino) is immediately caught off guard by the constant light, believing it to be 10 in the morning when it is actually 10 at night.
This sets the tone for his psychological reaction to being in this new type of location.  Finding it impossible to sleep, he goes deeper and deeper into his investigation while falling further and further into a state of sleep-deprived insanity.  As the days without sleep continue to add up, his mental state becomes a critical aspect of the story being told.  It is as he is slowly losing grip on his sanity that Robin Williams comes into the picture, and this is where things really pick up.

Williams’ character of Walter Finch is a local mystery author, and somebody who has experienced the same insomnia that is plaguing Dormer.  He knows what tricks his mind is playing, and he knows how to manipulate him to his benefit.  Having seen Dormer accidentally kill his partner in a chase sequence through the fog, he begins to plant seeds of doubt as to whether the shooting was even an accident.

At this point, the screenplay by Hillary Seitz is juggling multiple threads.  There’s the actual murder investigation, the insomnia itself, and Dormer’s coverup of his partner’s killing.  In theory, this should be too much going on at once, but the script very cleverly integrates all of these different aspects to create a very tight story, in which the integration of all these elements feels very natural.

Christopher Nolan’s directing is brilliant.  He manages to convey the darkness behind the constant light, while putting the audience into the slowly disintegrating mindset of Dormer.  Using several camera tricks, he manages to recreate the disorientation and altered state of someone who hasn’t slept in days.  At times, it can be unsettling to watch and this is exactly what he is going for.

Having said all that, a gread deal of the credit for the success of this film has to go to Nolan’s Director of Photography, Wally Pfister.  He always does brilliant work, but he really outdoes himself here.  He is able to convey so much with the way the light plays off a scene.  Early in the film, there is a chase through the fog.  In less capable hands, this scene could have been a disaster, but Pfister manages to light the scene in such a way that the audience always knows what is going on while simultaneously being as lost as the characters.  There is also a chase sequence across rows of floating logs, and as the camera leaps with the characters across these logs, eventually plunging into the freezing water below, the audience is forced to experience the claustrophobia and discomfort of being trapped in the water.

Nolan has proven himself a master director several times, beginning with Memento, and most recently with Inception.  Insomnia won’t go into the record books as his greatest film, but it’s a really good one.  The actual murder case itself is a little generic, but it’s all of the other aspects of the story that make it that much more compelling.  As mentioned above, Robin Williams is actually capable of being really scary, and him and Pacino end up a great team.

The recently released Blu-Ray has a decent set of extras, but nothing that really stands out.  Unfortunately, it’s all older footage as well.  The first is a feature where Nolan interviews Pacino for about 17 minutes.  While I usually love this sort of thing, I found this to be really dull.  It turns out that Pacino and Nolan are both very soft-spoken, and I found the conversation very dry.  There is also a making of feature called “Day for Night: The Making of Insomnia.”  This only runs a little under eight minutes, but it is pretty interesting material.  There is a lot of footage of Williams talking about his techniques, and it’s really interesting to see him discussing this dark character but with the trademark Williams humor.

Next up is “In the Fog,” a montage of behind-the-scenes footage from the fog chase mentioned above.  They have the footage twice, one with Pfister doing a commentary and the other with Director of Photography Nathan Crowley.  I really enjoyed getting these two perspectives on the same sequence.  The scene isn’t that long, but it’s pivotal, and I found it fascinating to see how much work goes into creating a singular moment in a film like this.

There’s also a very short deleted scene, a trailer, a commentary from Nolan as well as scene-specific commentaries from several people involved in the film, and a still gallery.  The only other extra is a documentary on insomnia (the condition, not the film), called “Eyes Wide Open.”

While not the most memorable movie Nolan’s made, this is still a really entertaining and unsettling film.  It’s rare that a filmmaker can bring an audience into an unsettling psychological state with a character, but he pulls it off. For this reason, and for Robin Williams performance, I would highly recommend this film.