Starring: Jamie Bamber, Lachy Julme and Sam Parsonson
Directed by: Kelly Dolen
Rated: R
Released by: ARC Entertainment
Release date: April 14, 2015
Running time: 1 hour 33 mins

Film: 4 out of 5 stars
Extras: 4 out of 5 stars

Vigilante films have been around for many years. The most popular, “Death Wish,” made Charles Bronson a star and spawned four sequels over 2 decades. Even more subtle films, like “The Star Chamber,” made the question of whether vigilantism is acceptable. Now a new film takes on that question, and your answer may not be what you think it is.

John Doe (Bamber) has been put on trial, charged with killing 33 people. The trial is over and the verdict is about to be read when suddenly an explosion rocks the courthouse area.

A violent film with a compelling message, “John Doe: Vigilante” is a well made, thought provoking film that asks viewers to put away their black and white definitions of right and wrong and truly ask themselves “what would you do?” The film begins with John Doe sitting down with a journalist to answer any questions he may have. John’s first crime was killing a pedophilic former priest. He videotapes the killing and sends it to the mainstream media. They run it, but edit it, so it looks like John killed an innocent old man. No mention is made of the crime or the fact that the tape contains an image of the man giving piano lessons to a young girl with his fly literally open. A woman who’s boyfriend abuses her refuses to leave him. After another horrific beating John Doe beats the man to death. Murderers who’ve escaped justice. Abusers. Rapists. Anyone who has committed a horrific crime and escaped punishment, be it by no prosecution or being released with a slap on the wrist by the court, is told to watch their backs.

Eventually John Doe grows a following, calling themselves “Speak for the Dead.” This faction begins imitating John Doe’s actions, though not as successfully as the real thing. As the interview progresses we see how the media also had a hand in promoting John Doe. A station manager says he was against running the footage supplied at first, but agreed when assured it would be exclusive.

The film is well written and well cast. Bamber, who I’m very familiar with through “Battlestar Galactica” and the UK version of “Law and Order,” steps out of the proper comfort zone he’s been in and gives a dark, yet enlightened performance. He’s an even more crafty Clyde Shelton, Gerard Butler’s character from “Law Abiding Citizen.” The direction is first rate as well, with filmmaker Dolen mixing up the source materials (film, surveillance camera, hand-held video) cleanly.

The EXTRAS are also enjoyable, featuring (2) audio commentaries by the director and screenwriter as well as one by Jamie Bamber, three “behind the scenes” featurettes and cast and crew interviews.

Starring: James Franco, Jonah Hill and Felicity Jones
Directed by: Rupert Goold
Rated: R
Running time: 1 hour 40 mins
Fox Searchlight

Our Score: 3.5 out of 5 stars

In a remote village, two young men are talking to a journalist, explaining to him the horrible conditions they endure at work. The reporter introduces himself as “Mike Finkle – New York Times. Meanwhile, in Mexico, a woman tourist strikes up a conversation with a man she meets at a museum. Surprisingly, he also introduces himself as “Mike Finkle – New York Times.” Whaaaaaaaaaat?

A film with performances much better than its material, “True Story” tells the, presumably, true story of Christian Longo (Franco), a seemingly nice man who may or may not have murdered his family and his relationship with Mike Finkle (Hill) who is, you guessed it, a reporter for the New York Times. Their meeting comes when both are down on their luck. Finkle has been dismissed by the paper for, at the advice of his editor, jazzing up a recent story. Finkle visits Longo in prison to see why he impersonated him, with Longo telling him that he is a longtime admirer of his work. Longo agrees to chat with Finkle about his case, with the reporter figuring that “everybody deserves to have their story told.” Longo agrees to give Finkle an exclusive while Finkle agrees to help Longo write. However, as with most deals made with the devil, things don’t always go as planned.

As stated above, Franco and Hill do well, even though the story does neither of them any favors. I found it incredulous that a reporter with the reputation pointed out in the film as Finkle would lose his job over mis-identifying one of his subjects in his story. It wasn’t like he was Jayson Blair, a real NY Times reporter who plagiarized and fabricated dozens of stories (also made into a much better film called “Shattered Glass”). The more Finkle investigates the more you know Longo’s stories don’t make sense yet Finkle is so set on selling the story as a book that he just disregards any journalistic instinct he may have. The supporting cast is also strong, with Jones scoring as Finkle’s fiancée’.

Starring: Michael Fassbender, Kodi Smit-McPhee, Ben Mendelsohn, Caren Pistorious, Rory McCann
Directed By: John Maclean
Running Time: 84 mins
A24/DirecTV

Our Score: 4 out of 5 stars

There’s a surprising streak of gallows humor coursing through Slow West, available now on DirecTV and having its NY premiere at Tribeca this week. The terrain is merciless and bloody but plenty meet their doom with a darkly ironic twist. Coupled with stunning visuals and a plethora of perfectly cast outlaws, John Maclean’s tale of star crossed lovers in the old west is an unexpectedly quirky entry into the genre.

We meet Jay Cavendish (Kodi Smit-McPhee), an upper class young Scotsman riding through the deep Colorado woods on a mission to find his lost love, Rose (Caren Pistorious). Jay is way out of his depths, bearing with him too much luggage and the old west equivalent of a Frommer’s guide. He narrowly avoids being shot when a lone bounty hunter named Silas intervenes on his behalf. “You need chaperoning,” the rugged Silas says, “and I’m a chaperone.” Naturally Silas has his own agenda regarding Rose, but Jay pegs Silas as a lonely man in need of company and accepts his help.

Naïve Jay is an interesting romantic lead insofar as his flashbacks to his time with Rose in Scotland reveal him to have been ye olde friend-zoned. It puts a nice tragicomic edge on his mission and earnest dealings with Silas. It’s also entertaining to watch the wide-eyed McPhee wear down the gruff Fassbender. The addition of Silas to Jay’s mission comes with its own baggage in the form of Ben Mendelsohn’s Payne. Payne, in an outrageous large furry coat, leads Silas’s old gang each of them looking every inch the old-timey outlaw. They bring with them absinthe and their own absurd tales from the road where Maclean is not afraid to cull some laughs from deadly stories even as Payne’s gang looms ominously over our leads.

Ultimately of course finding Rose is going to come down to a good old fashion shoot out as the west demands. Like the rest of the film, its gorgeously shot (New Zealand subbing for Colorado) and gives all the players a chance to shine before the bullets begin to really fly. It’s a satisfying climax to top off this brief offbeat journey through the west.

Starring: Jerry White, Jr and John Ryan
Directed by: Jeremy Royce
Not Rated
Running time: 1 hour 30 mins

Our Score: 4 out of 5 stars

“20 Years of Madness” is a look back at a local cable access show that aired in the early 1990’s in Michigan called ’30 Minutes of Madness’. It was “Jackass” meets “Tom Green” before either of those shows existed. “30 Minutes of Madness” was written, produced, directed, and starred a group of teen-age friends whom all came together to create madness and insanity, and recorded it on VHS, then put it out for public consumption.

The show was created and overseen by Jerry White Jr., a talented writer/director with a few anger issues. Very controlling and not open to other people’s input, the show hit well with a local audience, but fell apart when tempers would rise as each show was made, and slowly the friendships of those involved broke apart.

Twenty years later Jerry White Jr attends his twentieth high school reunion and uses the opportunity to reach out to those friends, to come back and make one more episode of “30 Minutes of Madness.” Having crowd-sourced funding to make the episode, Jerry returns to Michigan, rents a house, and collects all the previous cast members that he can. From here we see just how much twenty years can change people, and how grudges can remain.

What I really liked about this documentary was that it is extremely honest. You are able to openly like and dislike everyone involved. It doesn’t arbitrarily paint anyone in an unfavorable light, although quite a few of them are behaving in ways that make them hard to care about. But in the end: you do.

“20 Years of Madness” is about that teen-age sense of invincibility. Feeling that you have the entire world within your grasp, and that you can do anything. It’s about doing whatever you want whenever you want as a teen-ager because you can’t see the future repercussions. It’s about ego driving out rational thought, and tempers flaring over art that ruins friendship. It’s also definitely about dreaming larger than what you have the ability to create on your own. Then realizing you have to looked past yourself and ask for forgiveness and for the help of others.

“20 Years of Madness” isn’t about two decades of insanity captured on video; it’s about anger between people whom were once friends trying to come back together and reclaim that sense of innocence and fun that they lost. Director Jeremy Royce has crafted a great story out of the very interesting person that is Jerry White Jr. The film is very well-balanced, and is worth seeing in the theatre.

Voices: Jason O’Mara, Stuart Allen, Jeremy Sisto
Director: Jay Oliva
Rated: PG-13 (Parental Guidance Suggested)
Studio: Warner Home Video
Release Date: April 14, 2015
Run Time: 72 minutes

Film: 3.5 out of 5 stars
Blu-ray: 4 out of 5 stars
Extras: 3 out of 5 stars

“Batman vs. Robin” is the latest DC Universe animated original movie. It is based on Scott Snyder and and Greg Capullo’s “Court Of Owls” story. This is an exciting film for an DC Universe fan. They have been really stepping up their games with their animated films. As far as their films go, this is no “Dark Knight Returns” but it is another good step forward for DCU, with a good story and some classics Batman baddies. Can’t wait to see what they have planned next for “Justice League: Gods & Monsters” out later this year!

The voice cast is quite impressive with both Jason O’Mara and Stuart Allan reprise their respective roles of Batman/Bruce Wayne and Robin/Damian. The rest of the voice cast includes Jeremy Sisto as Talon, musician Weird Al Yankovic as The Dollmaker, David McCallum as Alfred, Grey Griffin as Samantha, Sean Maher as Nightwing, and Kevin Conroy as Thomas Wayne. Cool to see Kevin Conroy return to the franchise and sticking with the Wayne name.

Official Premise: The shadows of Gotham City are no place for a child but Damian Wayne (Stuart Allen) is no ordinary child. Now bearing the mantle of Robin, he blazes a headstrong and sometimes reckless trail alongside his father, Batman (Jason O’Mara). While investigating a crime scene, Robin encounters a mysterious figure, Talon (Jeremy Sisto), who leads him on a life-altering course through the depths of Gotham’s secret society, known as The Court of Owls. It’s a dangerous journey that will force Batman and Robin to face their most dangerous adversary: each other.

Warner Bros is releasing this as a Blu-ray/DVD/Digital HD combo pack as well as a Deluxe Edition gift set (which includes a Batman figurine). The 1080p transfer is on par with the rest of the DC Univere animated movies. Like expected from a Batman film, it is dark but it looks great and the shadowing is impressive. The DTS-HD Master Audio 5.1 surround track is also powerful and very entertaining.

The special features included are not bad either. “Gotham’s City Secret: The Mythic Court of Owls” look into the background of the secret society and their connection with Gotham. “Talons of the Owl”  takes a look at the Owls and their assassins called The Talons. There is an audio commentary track included, as a Blu-ray exclusive. Like past Blu-rays, there are bonus cartoons from the DC Comics Vault. Lastly there is a sneak peak at “Justice League: Gods & Monsters”.

Own it on Blu-ray™ Combo, DVD & Digital HD April 14

Starring: Josh Gad, Kevin Hart, Affion Crockett, Kaley Cuoco-Sweeting, Jorge Garcia, Dan Gill
Director: Jeremy Garelick
Rated: R (Restricted)
Studio: Sony Pictures Home Entertainment
Release Date: April 28, 2015
Run Time: 101 minutes

Film: 3 out of 5 stars
Blu-ray: 4 out of 5 stars
Extras: 2.5 out of 5 stars

I am sure the studios thought that this film would be an instant win taking one of comedies biggest names, Kevin Hart and putting him with the voice of Olaf from Disney’s Frozen in an R-rated comedy?! Well it might have sounded better on paper I guess. The duo are funny together but the film itself is quite forgettable and what I call a one-timer. It is funny to watch once and there are in fact some good moments but overall, I will not remember this film next year.

Official Premise: Doug Harris (Josh Gad) is a loveable but socially awkward groom-to-be with a problem: he has no best man. With less than two weeks to go until he marries the girl of his dreams (Kaley Cuoco-Sweeting), Doug is referred to Jimmy Callahan (Kevin Hart), owner and CEO of Best Man, Inc., a company that provides flattering best men for socially challenged guys in need. What ensues is a hilarious wedding charade as they try to pull off the big con, and an unexpected budding bromance between Doug and his fake best man Jimmy.

Sony is releasing this film as a combo pack with a Blu-ray + UltraViolet included. The 1080p transfer honestly looks quite amazing. I rather laughed when I saw that this film was mastered in 4K but it does pay off and the transfer is quite solid. Usually, I would expect this for the big budget films but the colors are quite vibrant in this. The DTS-HD Master Audio 5.1 track also works well with captured the film’s craziness and jokes.

In terms of special features, there isn’t a whole lot of substances here. There is a audio commentary track (on select scenes) with Director Jeremy Garelick and Actor Josh Gad. Pretty decent and quite funny even though limited. There are 15 Deleted/Extended scenes, as well as a few outtakes as well. “Line-O-Rama” is about 15 minutes of non-stop ad-lib and more outtakes. “Going to the Chapel of Love” is a short feature with the cast/crew chatting about their real life wedding experiences. Lastly there is a music video for “Can You Do This” by Aloe Blacc.

Starring: Britt Robertson, Scott Eastwood, and Alan Alda
Directed By: George Tillman Jr.
Rated: PG-13
Running Time: 139 minutes
20th Century Fox

Our Score 1.5 out of 5 stars

The mere mention of Nicholas Sparks when heading to the theater will make any guy consider cancelling his date night or drive off the nearest overpass. Luckily for me. I have never actually watched a movie based off a Nicholas Sparks book. I guess I’ve been fortunate, but I’ve heard the horror stories. Generally my male counterparts recount the tales of being dragged by their significant other to the movies to watch them like war veterans recount a bloody dog fight in a foreign country. Well I’ve come back from battle and I’m here to tell you my tale.

“The Longest Ride” could be broken down into two stories. One is a legitimate love story that I actually wouldn’t have minded following and the other is simply, wishful thinking. Let’s go over the abysmal second story that has given me the most war scars. Luke (Eastwood) is a good old fashioned country boy dingleberry. He’s good hearted, but thick headed. He nearly dies while bull riding, but despite the doctors warnings, his mother’s wishes, and a handful of people shaking their head, he continues participating in the “sport”. His caution to the wind attitude towards death because he simply wants to spend eight second riding a creature that has just a few less brain cells than him has earned him the nickname Dingleberry for the rest of this review.

Painfully wooing this rugged Southern charmer, is Sophia (Robertson). She has a promising future; she’s very creative and level-headed, but once again, thick headed to the obvious. Against her best judgement, she’s dragged to a professional bull riding event by her sorority sisters who simply want an excuse to drink commercial beer and hopefully hook up with one of the cowboys. The phrase, “I want a cowboy,” is uttered so much, you’ll wish the ticket taker had given you a doggie bag to vomit in.

So why do these two different people become smitten with each other? The heuristic process of deduction would conclude that it’s simply because they’re both physically attractive to one another. Their “deep” conversations in which they bond on an intellectual and emotional level mainly consist about their favorite comfort food. The chemistry between them, as well as our actors portraying them, is non-existent. Unless giggling, remarks about each other naked and lots of staring each other up and down is considered a form of meaningful bonding in Sparks stories.

The other story that enters the fray, luckily, is the one surrounding Ira (Alda). He’s rescued by our two nitwits after his car goes off the road. In his concussed state, he asks Sophia to grab a box from his vehicle. Because she’s just a nosy young adult, she snoops through it and finds stacks of letters written to Ruth, the love of Ira’s life. Their relationship is the stereotypical love at first sight, but their relationship and love has never been easy. Each makes personal sacrifice after personal sacrifice to keep their enduring love going. This story is there to help create this idea that if Ira and Ruth can work even though they were completely different, so should Sophia and Dingleberry. That’s just not the case at all.

What makes Ira and Ruth’s relationship believable is that they both want the same things, but the challenges that life throws at them individually is what causes them to falter, but they continuously refocus on the rewards of their marriage. As for Sophia and Dingleberry, they’re just not meant for each other. Sophia is ambitious, caring and has a career that can fulfill her wild fantasies. Dingleberry, on the other hand, is obsessed with rising to the top in a sport that could kill him and harbors the secret that his doctors have told him to stop from Sophia. Dingleberry is just pompous and selfish. There are no sacrifices on his end. He simply smiles and caresses Sophia hoping that his good looks will simply whitewash the fact he’s a bumbling Neanderthal.

“The Longest Ride” is the most painfully long romance movies I’ve seen. While the themes and ideas behind what Ira speaks ring true, they don’t ring true for the predicament in which Dingleberry is involved. Maybe Sparks should have just cut out the one good story and let it be a standalone. So. That’s my war story. I’ve done my time. Now heed my warning. You’re better driving off the overpass on your way to the theater.

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Starring: Helen Mirren and Ryan Reynolds
Directed by: Simon Curtis
Rated: PG 13
Running time: 1 hour 49 mins
The Weinstein Company

Our Score: 4.5 out of 5 stars

It’s amazing the things you never know, even when you know some things. As someone with a vague interest in art, I was familiar with the famous painting referred to as “Woman in Gold” (actual title – “Portrait of Adele Bloch-Bauer 1”) painted by Gustav Klimt. What I found amazing about the painting is that the artist not only used oil paints, but actually used thin pieces of actual gold. But it’s the story that takes place after the painting is completed that makes up the well-crafted “Woman in Gold.”

The film, through flashbacks and the periods’ modern day, tells the story of Maria Altman, an Austrian girl who is forced to leave her home country as the Nazi’s come to power. Maria has a favorite aunt, Adele (Antje Traue), who dotes on her constantly. Maria loves her and loves admiring the painting of her, which hangs in their home. We also meet modern-day Maria (Mirren, in a performance that should be remembered come Oscar time). Maria is hoping to have the painting returned to her. It currently hangs in the Austrian State Gallery, having resided there since it was stolen by the Nazi’s in the 1940’s. When the country’s Minister of Arts refuses to return it, Maria asks the attorney son of a friend of hers (Reynolds) to help her. The rest, as they say, is history.

Sharply directed by Simon Curtis, the film is an intriguing mystery as, little by little, more and more information comes across the viewer’s desk. As we watch Maria (both of them) we learn what events made them the woman they are. We learn of the injustices felt not only by Maria but by the family she left behind. We also learn of her plight in the United States. With her attorney’s help, Maria finds a way to sue the Austrian government in the hopes of righting a 60 year wrong. Mirren is at the top of her game here, making you understand with only a few words or gestures the horrors Maria felt about those times and still feels today. The only drawback of the film is Reynolds, who is almost TOO subdued in his portrayal. But don’t let that opinion detract you from seeing it. The story the film tells is too important to miss.

Now available on Video On Demand and opening Friday April 10^th in New York City, “Kill Me Three Times” is an Australian dark comedy thriller from director Kriv Stenders. The film centers around sniper Charlie Wolfe (an amusingly malicious Simon Pegg) who’s being paid to execute a hit on Alice (Alice Braga), the cheating wife of Jack (Callan Mulvey). Little does Wolfe know that Jack is not the only person out for his target and bloody mayhem and blackmail ensues.

Luke Hemsworth takes on the role of Dylan the tough mechanic with whom Alice is carrying on her affair. I got a chance to speak with Luke on a phone call from LA about the film, working in Australia and his recent stint on Saturday Night Live with younger brothers, Chris and Liam.

Lauren Damon: The film is kind of crazy, who first introduced you to the project?
Luke Hemsworth: That’s a good question, I think someone sent the script and said ‘have a read of this, if you like it, let’s talk more about it’. And of course I read it you know in one go—which  is always a good sign—and then I jumped on Skype with Kriv and you know, we were all on the same page and then from that point we went on and did a chemistry reading with Alice Braga and that obviously went pretty well and here we are!

LD: Was Alice already signed on at that point when you did the chemistry read?
LH: She was signed on. She had been signed on for like five years or ten years or something, she was signed on since she was a little kid I think! [Laughs]

LD: How would you describe your character Dylan?
LH: I would describe him as a loyal, humane puppy dog who is forced to deal with revenge and deals with it pretty well!

LD: Was it more appealing for you that Dylan is one of the characters that is decent and can have a happy ending versus everyone else?
LH: Yeah, it’s an added bonus I think. I haven’t even looked at it from that point of view—the journey is you know, that’s the fun part.

LD: Your journey mostly includes scenes with gunfights and you get a car chase. Did you have  fun making that? Had you experienced that before?
LH: Soooo much fun! I’ve experienced a little bit of that, but yeah…it was a complete blast. I got to do some really good, heisty you know, funny stuff. There wasn’t a day on set I didn’t enjoy and think ‘gee I really wanna be here.”

LD: Particularly was it fun having a big standoff with Simon Pegg’s character?
LH: Yeah, I mean it was great. It was really at the start of what we were doing. I think it was one of my first days was the stand off with Simon Pegg. And we kinda hung out and got to know each other, so yeah, it’s just such an interesting dynamic when that happens. And fortunately Simon is like the coolest guy in the world so we got on really well and we had an awesome time.

LD: Contrary to the bloody fights, you’re really in the most beautiful settings, how was it to shoot on these locations and was that an intentional juxtaposition?
LH: Oh for sure, yeah. The locations became a character in a way, so it was very intentional. For me, it was a huge added bonus to work not only as an actor, but also a human being I got to spend time surfing and you know, playing in an area of my native country, which is exceptionally rugged and beautiful with amazingly grounded people.

LD: Are you still based in Australia generally or have you also moved to Hollywood?
LH: I’ve been here for two years now, yeah, I’d moved before this all happened. And of course you when you make the move, then something’s happening back in Australia or somewhere else. So I spent a little bit of time back in Australia.

LD: So you were in LA when you got this part in Australia?
LH: I was yeah I got taken back two or three times, I did another project called Infini with Shane Abbess, who directed Gabriel, which also drops very soon—comes out in May I think—which is amazing, another amazing Australian kind of phenomenon which I’m sure we’ll be talking about soon.

LD: I noticed up until recently, you have a lot of television credits, does that affect at all how you approach a project? Do you prefer one or the other?
LH: No, I definitely don’t have—I don’t care one or the other, you kind of approach them both the same. Yeah, definitely approach them both the same. There’s a level of you know, pre-production work and research which goes into each character which goes into each and every day. I think that kind of falls away and hopefully you’re left with something which looks presentable [laughs].

LD: Do you foresee pursing more films going forward?
LH: Umm, yes and no, you know I don’t rule out one or the other. I’m about to start shooting West World for HBO so you know that’s TV but it’s…kind of—

LD: Their slogan is ‘it’s not TV, it’s HBO!’
LH: Yeah! It’s the pinnacle of TV. You know it’s Jonathan Nolan, Lisa Joy, Bad Robot are producing so you know it’s a huge project.

LD: If you’re allowed to talk about about that at all, what’s your Westworld role like?
LH: I’m like the head of tech security for the army and it’s the robot part. The human technological side. I can’t give much too away other than that I think.

LD: Thanks! Of course the last time I saw you on US TV, you were on SNL a last month with your brothers, what was that like?
LH: [Laughs] It was great! I mean hilarious. You know a huge kind of notch on the belt for me, definitely. For all of us. Chris did such a wonderful job, incredibly honored to be a part of that process. It was fun.

LD: Is SNL as iconic to Australian viewers as it is here?
LH:  To certain Australians, definitely. Maybe not as much as Americans, but you know I know of it, I definitely hear of  a lot about SNL. Maybe not the same kind of love and mystery that it does here, but definitely a huge honor, absolutely.

Once again, Kill Me Three Times premieres this week at NYC’s Landmark Sunshine Cinema and is still available on VOD. Meanwhile, as Luke said, you can next look for him in Infini, opening on May 8^th.

BURBANK, Calif. – April 6, 2015 / PR Newswire / — As anticipation builds for the December release of Star Wars: The Force Awakens, the first new film in the Star Wars Saga in a decade, The Walt Disney Studios, Lucasfilm Ltd., and 20^th Century Fox today announced the upcoming release of The Star Wars Digital Movie Collection. For the first time ever, all six epic films in the Saga, from The Phantom Menaceto Return of the Jedi, will be available on Digital HD throughout the galaxy – or at least here on Earth – globally beginning Friday, April 10.

Burbank, CA, April 6, 2015 – From the creators of “The Matrix” Trilogy comes “Jupiter Ascending,” an original science fiction action adventure from filmmakers Lana and Andy Wachowski, arriving onto Blu-ray 3D Combo Pack, Blu-ray Combo Pack, DVD and Digital HD on June 2 from Warner Bros. Home Entertainment.

Channing Tatum (“Magic Mike,” “Foxcatcher”) and Mila Kunis (“Oz the Great and Powerful”) lead a cast that includes Sean Bean (“The Lord of the Rings” Trilogy), Eddie Redmayne (“The Theory of Everything”), Douglas Booth (“Noah”), Tuppence Middleton (“The Imitation Game”), Doona Bae (“Cloud Atlas”), James D’Arcy (“Hitchcock”) and Tim Pigott-Smith (“Alice in Wonderland”).

From the streets of Chicago to far flung galaxies whirling through space, “Jupiter Ascending” is written and directed by the Wachowskis. Award-winning producer Grant Hill, with whom they have collaborated since “The Matrix” Trilogy, produced the film, together with Lana and Andy Wachowski. Roberto Malerba and Bruce Berman serve as executive producers.

“Jupiter Ascending” will be available on Blu-ray 3D Combo Pack for $44.95, Blu-ray Combo Pack for $44.95 and 2-disc DVD Special Edition for $28.98. The Blu-ray 3D Combo Pack features the theatrical version of the film in 3D hi-definition, hi-definition and standard definition; the Blu-ray Combo Pack features the theatrical version of the film in hi-definition on Blu-ray; and the DVD features the theatrical version in standard definition. All versions include a digital version of the movie in Digital HD with UltraViolet. Fans can also own “Jupiter Ascending” via purchase from digital retailers.

SYNOPSIS
Jupiter Jones (Kunis) was born under a night sky, with signs predicting that she was destined for great things. Now grown, Jupiter dreams of the stars but wakes up to the cold reality of a job cleaning other people’s houses and an endless run of bad breaks. Only when Caine (Tatum), a genetically engineered ex-military hunter, arrives on Earth to track her down does Jupiter begin to glimpse the fate that has been waiting for her all along—her genetic signature marks her as next in line for an extraordinary inheritance that could alter the balance of the cosmos.

BLU-RAY AND DVD ELEMENTS
“Jupiter Ascending” 3D Blu-Ray and Blu-ray Combo Pack contains the following special features:
· Jupiter Jones: Destiny Is Within Us
· Jupiter Ascending: Genetically Spliced Caine Wise: Interplanetary Warrior
· The Wachowskis: Minds Over Matter
· Worlds Within Worlds Within Worlds
· Bullet Time Evolved
· From Earth to Jupiter (And Everywhere in Between)

“Jupiter Ascending” Standard Definition DVD contains the following special features:
· Jupiter Jones: Destiny Is Within Us
· Jupiter Ascending: Genetically Spliced

Joe Hahn is probably best known as member of the multi-platinum selling rock group Linkin Park. However Joe is an accomplished music video director who recently made the jump to feature film directing. Hahn’s first full length film titled “Mall” is an adaption of the Eric Bogosian book of the same name. The film stars Vincent D’Onofrio, Gina Gershon and Cameron Monaghan and is currently available via Netflix. Media Mikes had the chance to speak with Joe recently about the film and his move to directing full lengths.

Adam Lawton: Can you give us some background on how you got involved with this project?
Joe Hahn: I had come across the script through a mutual friend who was a producer on the film. They worked with Vincent who was working on this project with Eric Bogosian who wrote the book the film is based on. He also was the writer on one of Oliver Stone’s early films titled “Talk Radio” and a bunch of other great things. I think Eric has a very punk rock perspective of Americana. When I read the script I loved it and really thought it was great. I then went and read the book and loved that as well. I liked how the screenplay made since of what was going on in the book without being a carbon copy. I couldn’t put it down and I had all these ideas running through my head. I called my friend up and told him this was perfect and that I knew how to do the film and that it would be very easy for me to do.

AL: Were you able to be free with your direction or did you stay more to the original script?
JH: I definitely stuck to the essence of the script. I think the visual interpretation was my thing. Every person you meet and work with on a film project acts as collaboration. Everyone who touches it is part of the process. There is always added development that each person brings to the table. We all worked together from day one. The templates were all there in screenplay. We did however have to make some tweaks along the way just to have things make a little more sense. It’s all about fine tuning the process.

AL: What do you feel is the defining characteristic of this film that showcases you as the director?
JH: Film is a great way to get someone’s attention for 90 minutes or so. With a full length film you can really get into the details of the story and its characters. With a lot of the music videos and short form things I have done you have to get in and get out as quickly as possible. There is something that is exciting about full length film experience where people can unwind and enjoy themselves. I am a fan of films and the experience so that’s something I want to try and carry over with these long form projects.

AL: Did you notice any major differences when you first started working on this film having come from working mostly on shorts?
JH: I think on the creative side a full length is just a longer version of everything that goes in to a short or music video. With a full length you often have multiple story lines happening and a variety character dynamics. You have to figure out how to make all of that fit in with how the film is written. I think when something is really well written you can use that as your master template and then the details come along to help make sense of everything. The biggest difficult I think in all of this is the logistics portion of things. The creative stuff is the fun part and something that comes naturally for me. The business side of things is where it becomes difficult for me. There’s just so much going on and so many different people involved on that front that it can be hard at times.

AL: When it came time to edit the film how did that process work for you?
JH: We did do some rearranging during the editing process. We also did a bit of voice over work as well. We actually came back later and did a majority of that after shooting was completed. After seeing the first cut of the film I felt that the films main character was Jeff played by Cameron Monaghan. We see his experiences as the film progresses and you start to wonder if what’s happening could or could not be in Jeff’s imagination. As you watch this character you sort of see how he reacts in certain situations and it makes you wonder.

AL: Looking back on the finished product. What are your feelings towards it and is directing something you would do again?
JH: There are certain moments where things feel perfect. Being creative through music, art and film has a very Zen like feeling for me. I can totally dive into projects and enjoy myself while working with people I can challenge. The whole process is very enjoyable. I am fortunate enough to where I can do different things and I hope to be able to keep doing the things I love as time goes on.

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Victor Levin is a four time Emmy nominee whose work includes writing for such shows as “The Larry Sanders Show” and writing and producing the very popular “Mad About You” and “Mad Men.” This week his latest project, the romantic comedy “5-7,” which he both wrote and directed, opens. He was joined in our conversation with the two stars of the film, Anton Yelchin (“Star Trek”) and French actress Berenice Marlohe (“Skyfall”). They made a pretty formidable trio!

Mike Smith: Victor, what was your inspiration, if any, to write the film?
Victor Levin: I love to write about love, Michael. I think it’s the most interesting subject and one of the best things we have going as human beings. I can’t imagine life without it and I think it’s most inspiring wherever it goes. In this particular case, I was traveling in Paris in the late 1980s with my girlfriend at the time. We stayed at the home of some friends of hers who were older and married and they lived…they had…this kind of marriage. We went to a party and I saw the husband, I saw the wife. And I saw the girlfriend and I saw the boyfriend. I didn’t know what to do. I didn’t know who to talk to. My girlfriend to just keep my mouth shut and my eyes open and I might learn something new. And she was right. It was all very elegantly done. It was all very elegantly choreographed. Like the film says, there are rules and obligations. No one is ever embarrassed. And it was the way these people chose to solve what was, to them, the problem of monogamy. And I had to accept the fact, as a middle-American suburban kid, that there were other philosophy’s of life in the world. There were many, many ways to look at how we go about arranging our lives. It may not be for me, except for as a story, but it was a fascinating obstacle. It was a fascinating starting-off point for the story. And a real eye opener for me personally.

MS: You have quite a few writing credits but haven’t been behind the camera that much. Was this project something you felt you HAD to direct to preserve your vision?
VL: Yes. The film is, as you know, a little bit of romance and a little bit of comedy mixed together. And that is a very fragile mixture…it’s something that has to be done just so. The movie has to make you laugh but it also has to make you cry. You have to balance it just right. If it makes you laugh TOO much, it will not make you cry. There has to be a balance in very scene, with every joke. I knew what I wanted and I was not going to give it away to anybody else to direct. This was something that was either not going to be made or it was going to be made by me.

MS: Thank you. Anton, first off, a belated happy birthday (the actor turned 26 on March 11).
ANTON YELCHIN: Thank you.

MS: What attracted you to the project?
AY: The screenplay. I read it and thought it was really, really…wonderful. It was funny and also very moving. When you read a script and walk away from it having really enjoyed it and been moved by it…that’s the reason I did the film.

MS: Brian is a very change-of-pace role. Was that something you were trying branch into?
AY: I’m not consciously trying to branch out into any certain role. I just really loved this character a lot. His journey was entirely relatable. I think one of the things that all human beings have to learn is how to deal with things that end. What, if anything, do we try to hold on to? And how that decision constructs meaning in our lives. I found it both very moving and very relatable.

MS: Thank you. Ms. Marlohe, same question.
BERENICE MARLOHE: I loved the script. I loved the dialogue. I loved that the script was about relationships…about real human beings. I love that it was a love story. About relationships. And I loved that it made you question things in general. Here, the plot of “5-7” may seem unconventional but I think it shows relationships in another point of view. It deals with love and, as Victor said, there are many different ways of loving. Love can last. Even if it doesn’t LAST, it can be eternal. It’s an emotion that is pure and beautiful.

MS: Victor mentioned that he had come across this type of relationship while in France. Do you know anyone that has this type of relationship?
BM: (laughing) Everyone thinks this only happens in France. I’m sure it happens all around the world!

MS: What are you each working on next?
VL: I’ve written another romance that I hope will also have some good laughs in it. I’m also working on the STARZ comedy “Survivor’s Remorse,” which is a half-hour comedy on the STARZ network, loosely inspired by the life of Lebron James. He’s an executive producer on the show. It’s the only time that my office will be next to Lebron James’ office (laughs). I plan to enjoy that as much as possible. I’ll do some writing and directing for them, as well as producing.
AY: I have a couple films coming out. “Broken Horses” actually comes out the week after “5-7.” And I’m going to start “Star Trek 3” soon…ish. I also have a couple other films I just finished.

VL: He’s very busy, Michael. He’s actually shooting a film now, during this interview! (laughs)
BM: I just finished a comedy produced by Will Ferrell, starring Will Ferrell and Kristen Wiig. And then I have a sci-fi movie coming out called “Revolt.” And I also have the next Terrence Malick film (“Weightless”) with Michael Fassbender and Christian Bale.

MS: Final question. Anton, I’m sure you’ve been sworn to secrecy so Victor, if you or Ms. Marlohe have any clues about what “Star Trek 3” is going to be about I’d love to hear them.
VL: (laughing) All I can tell you, Michael, is that I’ll be the first one in line.
MS: I’ll be standing right next to you!

Starring: Anton Yelchin, Berenice Marlohe and Frank Langella
Directed by: Victor Levin
Rated: R
Running time: 1 hour 35 mins
IFC Films

Our Score: 3.5 out of 5 stars

Meet Brian (Yelchin). A struggling young author living in New York, he spends many of his waking hours walking in Central Park and observing the various dedications placed by loved ones on the many benches that fill the park. Though he is alone, he can’t help but muse that, when you are out in public, you are always “20 feet from someone you know or want to know.” One day Brian meets someone he most definitely wants to know. And that introduction changes everything.

Cleverly acted by a cast that truly believes in the material, “5 to 7” is a true May-December romance with a twist. The person Brian meets, the lovely Arielle (Marlohe), can only see Brian between the hours of 5 and 7 nightly. Brian soon learns that Arielle is married (her husband is a French diplomat). He’s very surprised to learn that hubby is fine with Arielle seeing Brian, especially since he has his own “friend,” ironically a publishing editor. Even more surprising is that the four of them hit it off like old friends whenever they’re together. Ooh-la-la!

Best known for his role in the current “Star Trek” films, Yelchin is very genuine as a young, sometimes naïve man making his way in the world. Marlohe is equally good as the older, more secure Arielle. Veterans Frank Langella and Glenn Close show up as Brian’s parents and give the film a nice shot of humor. Director Levin, who also wrote the script, allows his cameras to capture the sights of the city, which sets the moods of the film. Though the film runs just over an hour and a half, to me it felt like it should have ended 10 minutes before it did. Still, that being said, “5 to 7” is a small romance that deserves your time.

Starring: Vin Diesel, Paul Walker, and Jason Statham
Directed By: James Wan
Rated: PG-13
Running Time: 137 minutes
Universal Pictures

Our Score: 3.5 out 5 Stars

You know what? You really don’t need to any of the other movies in “The Fast and The Furious” franchise. This a series that’s gone from being about petty street racing thieves to illegal street racers globetrotting and fighting villain’s born from the military’s disenfranchised. If your idea of fun is watching cars parachute out of a plane and attack like a swarm of Navy SEALS or a car driving through three skyscrapers, then “Furious 7” is going to make your pants explode.

So what’s the story? A die hard “Furious” fan could probably lay out the little intricate details better than I can because I haven’t watched all of them. But it’s not a deep story that requires cliff notes. It’s a fairly simple story that anyone can acquaint themselves with quickly. The crew, Dominic (Diesel), Brian (Walker), Luke (Dwayne Johnson), Letty (Michelle Rodriguez), Roman (Tyrese Gibson) and Tej (Chris Bridges) are all back in the states, trying to maintain normal lives. However, hunting them one by one is the baddie of the film, Deckard (Statham). He’s a highly trained, professional, killer. The crew needs to get back together once again to turned become the hunters. But they’ll need to get a computer program that will track down the illusive Deckard.

There’s more to it than that, but I mean, who cares? Sure there are some blasé subplots, but you didn’t pay for a movie ticket to watch Dominic and Letty rekindle their romance or Brian attempting to live the suburbanite lifestyle. Hell no. You came to watch a camera follow wet hot, dripping girls, do things in slow motion, and watch cars whiz by at stupid high speeds, with stupid big explosions, and other stupid action that will leave you looking thunderstruck. “Furious 7” delivers that and more.

The problem with a movie that’s so exciting in terms of its action, is that it makes the emotional or dramatic scenes that much more stodgy. Obviously this is Paul Walker’s last film and it was important for the franchise, the actors, and everyone involved to send him off in a respectable way. But it really does nothing for me. This is a movie that has a predator drone fly around L.A and unblinkingly fires off missiles and blast it’s machine guns wildly, possibly killing numerous off-screen civilians. I’m not too concerned that Brian’s character gets to walk off peacefully into the sun with a catastrophic body count taking place.

What “Furious 7” needs to do is trim some story fat so that we have nothing, but the prime cut. But is “Furious 7” the action movie of the year? That’s yet to be seen with “Mad Max: Fury Road” coming out on the horizon. “Furious 7” will probably be the most profitable. Since watching the first “The Fast and the Furious” movie back in 2001, it’s definitely transitioned away from the somewhat respectable street racing movie that set the trend for others that followed it. It’s been a slow transition to the insane ride of “Furious 7” that attempts to one up every outlandish stunt. What we have after 14 years of treading through frivolous story is an insanely cartoonish movie. And that’s not necessarily a bad thing.