Ghost in the Shell: The New Movie is an anime film, which serves as a prequel to the previous Ghost in the Shell movies and the well known TV series. In the world of anime, that is. The setting is the future, in a post World War III world (without nuclear weapons, fortunately). Many people have cybernetic implants and body prosthesis to enhance their bodies, as well as communication skills. Some even have full body replacement. The ‘Ghost’ essentially refers to someone’s mind, spirit, or soul, if you will, and the Shell implies the artificial body that a Ghost will occupy. There’s a significant amount of hacking done in the background, where the right people can hack into peoples’ brains, if there is a need. The series and movies have taken place in Japan.

The film starts with a hostage situation. The government is intent on disbanding the military, and focusing instead on privatizing that function. The hostage takers are from the 501st division, and they do not want this to happen. The film starts with the prime minister authorizing the funding of a special antiterrorist unit to take care of the situation. This team is led by Major Motoko Kusanangi (dubbed by Elizabeth Maxwell), who has hand-picked her team. As they go on the offensive, the Public Security Section 9, let by Aramaki (voiced by John Swasey) sits by, guarding the facility for any external action. He wants the major’s team to work with him, but they eye him as a rival competing for funding. The major’s team is mostly successful, capturing all but one of the soldiers alive. The other one gets away. Before they can be questioned, someone hacks into some of the hostages’ minds, who are then coerced into killing the soldiers. After the fight is over, the prime minister is assassinated with a bomb while meeting with advisors. Spurred on by the prime minister’s son, the Major and her team try to find out who’s behind it all.

I’ve read that the series has undergone a reboot in recent years called Ghost in the Shell: Arise. I was not aware of that until after I’d some research before I started composing this review. This movie is a continuation of that effort, and is essentially retconning what has come before. In my opinion, it falls very flat. It’s an ‘origin story’ of a sorts, replacing what had been covered in the series. It retells a bit of the original concept, but not in an interesting way.

I was fairly disappointed by this movie. The original movie, the multiple sequels, and the TV series were all very innovative for what they were doing. The first movie went into a discussion of what it means to be a person, and the animation behind it was unbelievably photorealistic at times. The followup films were interesting, as well, and exceptionally stunning for their beauty. The seasons of the TV series delved into filling out the world, and presented some eclectic and appealing music. These stories from the franchise’s universe were unlike anything I’d seen before, and kept me wondering where it would go. However, in this film, the visuals are pedestrian, the music is a bit dull and completely forgettable, and the story is a little confusing. Perhaps this is due to my lack of awareness of the reboot beforehand. Even the film’s title is boring and nondescript. Perhaps now I will go back to the rebooted movies in this franchise, and it may change my opinion of this film, but I doubt it.

I also found it irritating that some of the franchise’s original American voice cast have been replaced. I found it disconcerting that the original voice actress for the Major, Mary Elizabeth McGlynn, was is doing a different character in this film. I guess that’s the way it will be for this franchise, now.

Love the Coopers was tonight’s selection at the ArtHouse Film Festival. It’s a holiday film, and could potentially replace Love, Actually as the modern go-to Christmas movie. It’s a chaotic character stew that works, in its own way.

The film opens with a narrator (Steve Martin), who sets the scene. Charlotte (Diane Keaton) and Sam (John Goodman) have been married for 40 years. As usual, they are hosting dinner on Christmas Eve and all the family’s coming. What the rest of the family doesn’t know is that they are getting a divorce, but don’t want to ruin Christmas for everyone else, so they’ve put on their brave faces and will pretend nothing’s wrong. Their son, Hank (Ed Helms), is divorced, and living locally, and they pick up his youngest, while he goes on a job interview and his two sons do some last minute shopping. Meanwhile, their daughter Eleanor (Olivia Wilde) hangs out at the airport, wasting many hours until dinner, so she doesn’t receive the annual look of pity from her parents. She bumps into Joe (Jake Lacy) at an airport bar. He’s stuck at the airport because all flights are grounded.

Furthermore, though I’m probably rearranging the sequence of events, Sam’s father Bucky (Alan Arkin) visits the diner he goes to regularly, because his favorite waitress Ruby (Amanda Seyfried) is there. She informs him that she’s moving away to start a new life, and they argue. Charlotte’s sister, Emma (Marisa Tomei) is arrested for shoplifting at the mall that Hank’s two sons are at. Charlie (Timothée Chalamet) and Bo (Maxwell Simkins) are oblivious to Emma’s plight because Charlie is fawning all over Kendra (Michelle Veintimilla) who works at the mall, and Bo is looking for that “perfect gift” for his brother. Oh, Sam and Charlotte have a large, sweet dog, and they’ve brought home Aunt Fishy (June Squibb) for dinner, too. The narrator fills in missing details throughout.

Got all that? Good, because every one of them has their part to play in this movie. There are some brief flashes of previous events that are touched upon, much like in The Fall and Rise of Reginald Perrin (predating Family Guy and Dream On by decades), but are not comedic. Some of the film is comical, some of it sad, and some bits rely on standard holiday tropes, which, for the most part, are not as stale as one would expect. Other tropes play out to their unavoidable and predictable conclusion. Diane Keaton and Marisa Tomei do not really seem like sisters, separately, but together, they do mesh well and you get ‘it’. The ending does seem a bit drawn out, but it does come together in the end.

That said, I still liked this movie. If you’re looking for holiday schmaltz, this is it.

Spectre is the latest film in the James Bond series. This story continues with elements of the plot of Skyfall. In the previous movie, M (Judi Dench) was killed, and was replaced by the new M (Ralph Fiennes), who has decided that James Bond (Daniel Craig) needs to be reassessed.

The film begins with James in Mexico City, where they are celebrating the Day of the Dead. He mingles with the crowd, tailing someone of importance. They break off of the main celebration, where Bond observes his mark negotiating a deal to set off a bomb in a local stadium during the festivities. He manages to dispatch several of the people involved, but his mark manages to escape back into the crowds. Bond chases him and sets off a thrilling chase and fight sequence.

Back at home, M is furious. The loss of the previous M has forced a merger between Mi-5 and the 00 program. Bond meets the leader of Mi-5 and dubs him ‘C’. Bond’s supposed to be on lockdown, and is told to stay in England, but this is the thing that usually forces 007 to step into action, and he goes for it. We find out that the previous M has made a final request. Some evidence from Mexico City leads him to a gathering in Rome, which gets him right in the midst of a worldwide conspiracy that he has to untangle and resolve. That conspiracy has some direct relevance to how Bond’s been handling himself in the recent past.

As with any Bond movie, there are exotic locales that lead him to the heart of the situation. It’s all connected, and there are more direct links between each of the destinations involved. While previous Bond movies have run by a sense of absurd situations and ludicrous stunts, the ones with Daniel Craig have been more down-to-Earth and plausible, if we ignore the action of the last film’s scenes involving the London Underground. Here, everything is thrilling, but also believable in a way not found in previous films. Just remember that this is a James Bond movie, and go with it. The writing is reasonably decent, and women are not the props they’ve been in the past, for the most part. For example, Moneypenny’s role is not restricted to fawning over James, and it’s a welcome change.

I recommend Spectre. It’s thrilling without insulting your intelligence. The climax has a certain finality to it, but not an absolute one. The runtime of the film itself is 148 minutes by itself, so be prepared for a long stay…

Friends and Romans was another film screened for the Arthouse Film Festival. It’s a hilarious farce that’s meant to explode a few stereotypes, and it works.

Nick DeMaio (Michael Rispoli) lives on Staten Island. He sells and delivers fruits and vegetables, but his passion is for acting. Unfortunately for him, he’s been typecast, and his whole film and TV career revolves around being an extra, usually playing mobsters, but rarely in a speaking role. He auditions for a Broadway play, but manages to offend the director. His best friend, Dennis, also an extra, gets him a gig in a car commercial, but manages to mess that up, too.

At home, his daughter Gina (Katie Stevens) is distraught. She wants to be in her high school’s rendition of Guys and Dolls, but feels overshadowed by another girl who is a true drama queen. Nick’s wife, Angela (Annabella Sciorra) is trying to make Gina feel better, but Nick isn’t helping, given that his career is crumbling, too.

Nick comes to realize that the only way he’s going to realize his dream is if he puts on his own play. He walks into a theater in Staten Island, managed by Bobby (Tony Sirico), and rents it for the play. He wants to follow in Marlon Brando’s footsteps, and Angela says the way to do it is to go to Shakespeare, and since Brando played Mark Antony in Julius Ceasar, that’s the play he’s going to do. Unbeknownst to him, the theater is actually owned by Joey ‘Bananas’ Bonano (Anthony DeSando), who’s hiding out after killing someone. The FBI has the place staked out, and are listening in, but they don’t know who Bananas actually is. They decide they should send someone in to audition for the play, and while he may look Italian, he really isn’t. Joey Bananas is, at first, against the play, but we find that he’s quite an accomplished actor, himself, and gets a starring role in it.

This movie is a farce. Much of the acting is totally over the top, and most of the cast is lamenting their status as stereotypes, while playing up to them. Gina gets a part in the high school play because of it. The FBI thinks that Nick might be the murderer, but isn’t sure. Everyone’s struggling to overcome what they are, and it’s all a big mess. I will say that the must go on, but how it unfolds is left for you to discover.

I rather enjoyed this movie and I definitely recommend it. It was hilarious, while at the same time, was on the mark about the stereotypes. Angela could have easily been a confrontational, annoying wife, but she actually encourages Nick and Gina. She’s also an English teacher, so she properly understands Shakespeare and is able to pass that along to Nick, who then teaches his cast. It’s a very entertaining movie, and will begin a limited release this weekend.

Recommended.

This week, the Arthouse Film Festival showed us the documentary My Nazi Legacy: What Our Fathers Did. Philippe Sands, a European Lawyer, became acquainted with a German man, Niklas Frank. Niklas was born in 1939, and was the son of Hans Frank, a lawyer for Nazi Germany during World War II. Niklas, in turn, was also friends with Horst Wächter, also born in 1939, and was the son of Otto Wächter, who was also a lawyer for the Third Reich.

The documentary opens with Horst giving Philippe a tour of the home he grew up in. He talks about his father, who he rarely saw. Horst then shows several photo albums, indicating that Otto was a high ranking member of the Nazi Party, and there are photos of him in uniform with many others. Horst laments that he never really spent time with his father, as he was so young and his father was a busy man.

Meanwhile, Niklas similarly tells of his childhood. His life was different, and quite privileged. Their family moved to Poland after the start of World War II. Hans was given the rank of Governor-General of one of Poland’s territories. Niklas was raised by a nanny and his mother had very little to do with his upbringing. His father wanted to divorce his mother, but she wrote to Hitler, who ordered they stay married.

During the war, Frank was directly involved in the extinction of many Jews and others, as well as keeping the remainder of the Polish population under control. Otto Wächter worked with him as an administrator. He was the governor of Krakow, but then became the governor of Galacia in the Ukraine. It is known that he organized the ghettos where Jews and others were kept. After the war, Frank was captured by the allies, tried at Nuremberg, and executed. Wächter hid in the Salzberg mountains, eventually sought sanctuary in the Catholic church in Rome, where he lived until his passing in 1949.

All of this is known history. Philippe lets on that all of his family, save one person (his grandfather), was killed as a result of the actions of the Nazis in Poland, and specifically, Hans Frank. Niklas freely admits that his father is guilty of crimes against humanity. Horst, on the other hand, does not accept that his father had any direct involvement with the Holocaust. The evidence is all circumstantial, in Horst’s eyes, and there is no specific proof his father was the cause of any atrocities.

The rest of the documentary is spent digging in further into that history. Niklas and Frank are guests at a talk in England, with Philippe acting as host and moderator. Later they visit Poland, and later, the Ukraine. This movie is heartbreaking. Horst steadfastly believes his father is innocent, while Niklas and Philippe present evidence that would suggest otherwise.

This documentary is not something that I can say I liked or disliked. It relived some very ugly truths that many will find distressing. I know it did that, for me. The documentary does attempt to correlate the events of World War II to modern ones. As this film was being made, Russia had already invaded Ukraine, so there is a timeliness to it. I don’t believe that part of this documentary was properly fleshed out, but the connections were made.

Our Brand is Crisis is the latest movie starring Sandra Bullock. She and George Clooney are producers for this movie. I’m told both had been considered for the lead, but Sandra was the one to do it. This is a fictionalized version of the documentary of the same name. It does not resemble the original story, except maybe on a basic level.

Sandra Bullock stars as Jane Bodine, a political strategist who has retired from the ‘game’. When she was ‘on’, she was a miracle worker, able to revive the campaigns of several candidates (in the U.S.) who wouldn’t have stood a chance if not for her skills. Unfortunately, after a string of failed bids for election, she was given the nickname ‘Calamity Jane’, and so she gave up, and went into seclusion.

The film starts with two strategists approaching her to help run the campaign of a presidential candidate in Bolivia. Senator Castillo (Joaquim de Almeida) was previously president, but decided to privatize some of the country’s industry and resources, leaving a bad taste in the country’s mouth. The country’s in turmoil. He’s attempting to regain the position, but his campaign is rather simple and ineffectual. The polls place him at less than 10% approval, with several other candidates polling at much higher numbers.

Jane is a bit unsure about the situation. It hasn’t helped that she’s affected by altitude sickness. Jane is thrown a curve ball, in that the most popular candidate’s campaign is being managed by an old rival, Pat Candy (Billy Bob Thornton), who just so happens to be the one that she lost to, all those previous times. This inspires her to dive in and rediscover her mojo. She realizes that the ‘story’ about Castillo has to change. They need to shift the focus of the campaign to one of declaring the current political atmosphere to be one of ‘crisis’, where the future is uncertain, and a strong hand is what’s needed to get the country back on track. She intends to make Castillo the right person for the job.

Pat has other plans. He and Jane spar verbally, and that gives each other ideas. Jane intends to go negative, but Castillo is against it. She brings in a dirt-digger, and sets her to task. Meanwhile, people are saying that Castillo is disconnected from the common people. Jane realizes that after giving a ride to one of the campaign volunteers, Eddie (Reynaldo Pacheco) and visiting his home. This causes a shift in the strategy that drives them towards the election itself. There is a bit of bickering between Pat and Jane. The election occurs, of course, and the outcome ends with a little epilogue that you wouldn’t necessarily see in such a movie.

I’m on the fence with the film. I enjoyed it, but I’ll have to admit I’m a sucker for anything Sandra Bullock is in. This is best described as a black comedy. There are humorous moments, but this is first and foremost a drama. The story is good, but not great. There were a couple of flaws that I won’t spoil, but they’re not major faults.

I personally liked the film, but I can’t say that everyone will enjoy it.

The Wonders is the latest film from the Arthouse Film Festival. It’s a film with both Italian and German dialogue, with English subtitles, and it’s directed by Alice Rohrwacher.

This is a coming-of-age story. It focuses on Gelsomina, played by newcomer Maria Alexandra Lungu. Her father Wolfgang (Sam Louwyck) and mother Angelica (Alba Rohrwacher) have four daughters, with Gelsomina being the oldest. They have a meager existence in farm country. The family raises sheep, sells honey, and Wolfgang and Gelso are the main beekeepers. They rarely socialize, but they do interact with the nearby farmers, but it seems like an adversarial relationship. Wolfgang is a bit domineering, indicating there’s work to be done and little time for such frivolity. Angelica’s sister Cocó (Sabine Timoteo) is there, and they are living off of some money she’s had, but it’s running out.

Gelso is slowly realizing that there’s more to life than what she knows. At one point, the family is relaxing at a lake, and manage to disturb a tv crew, who is shooting a promo for a reality show that’s essentially a local farm competition. The host, Milly (Monica Belucci), invites Wolfgang and his family to participate. He turns them down, as he considers it frivolous. He’s driven to become self-sufficient, for when it all comes crashing down. Besides, there’s work to be done and they can’t spare the time.

You see a lot of what it takes to succeed at beekeeping. I’m told there were insurance concerns in getting the film made, as they opted for using actual bees instead of some sort of digital trickery. The fact they did made me both fascinated and uncomfortable at the same time.

Gelsomina wants more than the life she has. Secretly, she enters the competition. Meanwhile, the family takes in a boy, Martin (Luis Huilca). He’s a German boy, who’s had a troubled life. He doesn’t say or do much, and Wolfgang sees him as more of a source of income, as the family’s to be given a subsidy to host him. Martin can also be another farmhand, if they can get him to do anything.

It all starts coming to a head when the reality show’s producer arrives to investigate the legitimacy of Gelso’s application for the show.

I’ve got mixed feelings about the film. It’s certainly not for everyone. The movie’s pacing is a slow walk, almost a plod. You get a sense of what Gelsomina’s life would be like. She’s barely a teenager, and is responsible for a lot of things, including minding her sisters, as well as her beekeeping duties. She almost never has time alone, as one would expect. She doesn’t even know what she wants, and is incapable of expressing that. She just knows it’s more, or something else.

The end of the film is intentionally vague, leaving open several possibilities. It’s not clear to me what will happen, but I’m certain that was the point.

Rock The Kasbah is the latest movie from Barry Levinson. It stars Bill Murray, and is most definitely NOT a comedy, as the trailers may have you believe. It is very loosely based on the documentary Afghan Star, but in concept only.

Murray stars as Richie Lanz, a guy who’s on the lowest end of the show business food chain. Working out of a motel in Van Nuys, California, he’s acting as a talent scout and manager. It’s clear he’s scamming the people that come to him. Even his assistant Ronnie (Zooey Deschanel) is looking to him to get her career off the ground, but he has her singing Karaoke at a bar, performing standard songs instead of her own. He bumps into a friend, who says there’s money to be had bringing singers to Afghanistan, to tour with the USO.

Somehow, he convinces Ronnie it’ll be a sweet and profitable gig. He says goodbye to his estranged daughter (who reminds him that there isn’t a Kasbah in Afghanistan), and we cut to he and Ronnie on a plane landing in Kandahar, and she is very much airsick. She just wants to leave, but Richie prevails over her as they check into their cheap hotel, as the good, safe one is overbooked. They’re in the bar, and bump into Bombay Brian (Bruce Willis), who’s a security contractor just out on bail for roughing up some of the Afghanis. She heads upstairs for a nap before her first show and he stays at the bar. When it’s time to leave, he’s found that Ronnie has left, taking all his money and his passport, leaving him stranded.

The US consulate won’t immediately help, so he’s stuck. He ends up with two other Americans, played by Danny McBride and Scott Caan. They’re both arms merchants/war profiteers, who set up Richie as a negotiator for an arms sale. After a lot of money is literally tossed his way, he takes the job. He’s escorted by a team, lead by Bombay, and begins to realize this isn’t the cakewalk he was promised. He does manage to seal the deal, and is a guest of the Pashto village’s leader Tariq (Fahim Fazli) for the night.

Late at night, he manages to hear a woman singing. Her voice is perfect, and he discovers Salima (Leem Lubany) in a cave, where she’s got a TV and some magazines stashed. Naturally, she’s the daughter of the village leader, and when Richie asks to be her manager, he’s warned that women are forbidden from singing, so he’s asked to leave. Unbeknownst to him, Salima has hidden in the trunk, so he has effectively kidnapped her. Richie realizes that his only chance is to get her onto the show Afghan Star, no matter the cost.

Oh yeah, somewhere in here, Richie meets Merci (Kate Hudson), the hooker with a heart of gold who steps in at opportune moments. Yes, in Afghanistan, and yes, it’s a bit contrived.

I suspect that this was intended to be a comedic film. However, it’s not. Much like other Barry Levinson movies (Toys, Man of the Year), the film stars a comedic actor in a not-so-funny story, and in theory, the humor is supposed to fall from that. It generally doesn’t. Murray makes some wisecracks, which were smirk-worthy, but it was clear that the comedy falls to the wayside. If you’re expecting a lot of laughs, you will be disappointed. There is a point when you finally see what the movie will become, and it’s not a comedy. It’s sad, because Murray starred in last year’s St. Vincent, and the comedy worked, much better there than it did here.

Sadly, I don’t think a lot of people will like this film. I’m not entirely sure I do, either.

Brooklyn is the latest film from the Arthouse Film Festival Fall season. It is a screen adaptation of the novel of the same name, written by Colm Tóibín.

In the 1950s, Eilis Lacey (Saoirse Ronan) is the younger of two daughters living with their mother in Ireland. She has a part time job in a shop, and her job prospects are poor. Her sister Rose (Fiona Glascott) has arranged with a priest, Father Flood (Jim Broadbent), to sponsor her in the United States, in, as you guessed it, Brooklyn. Eilis makes the journey, and is set up at a boarding house, run by Mrs. Kehoe (Julie Walters), with several other Irish girls. Eilis gets a job as a Department Store ‘shop girl’, and is overseen by Miss Fortini (Jessica Paré), a somewhat cold, but encouraging manager. She emerges from her mousey self, and becomes quite good at her job. She and Rose exchange frequent letters, but is clear she’s homesick. Father Flood reaches out to her, and has Eilis help at a church function or two to overcome her fears. He also gets her to Enroll in Brooklyn College, where she studies bookkeeping, feeling that she can follow in her sister’s footsteps, although in America.

Eilis settles into a routine. On Fridays, she ends up at church dances, and manages to meet a guy, Tony (Emory Cohen), who is Italian, but has managed to get in to what is presumably an Irish-only event. She’s reluctant at first, but warms to him over time. The other boarders coach her on how to behave, and how to deal with someone from an Italian background. She meets his family, which is more traditionally Italian (Irish and Italians rarely interacted in those days).

One day, Eilis receives some unhappy news, and has to return to Ireland abruptly. When she returns home, everyone treats her well, far better than when she was growing up. She had only intended to be there for a short time, but circumstances force her to stay longer than planned. She’s pleased, but torn. Does she stay, or return to her love and the home she’s made in the US? Aye, there’s the rub.

It took me more than a while to determine what period this movie took place. There was no mention of World War 2, which threw me, until I remembered that Ireland was neutral, so it’s understandable that those events did not cast a shadow over what happened in the movie. The cast is full of fresh faces, one or two of which made me think they were someone else. The tone of the film is one of carrying on and endurance, in the face of solitude and internal reflection. There’s a scene in the film where Eilis is presented with a harsh reality, but is practically expressionless, however, Saoirse manages to emote without words. You’ll know it when you see it, as her face is one of many, but you are drawn to hers.

Our host, Chuck Rose, was implying Saoirse Ronan will receive an Oscar nod, but the competition will be tough.

I recommend this movie.

The Martian is the latest film from Ridley Scott. It is adapted from the book of the same name, written by Andrew Weir in 2011.The cast is full of well-known actors, more than you’d expect in any feature film.

Earth has sent several manned missions to Mars. The Ares III crew is in an established basecamp, and are performing their duties. A strong sandstorm develops, and is causing trouble for their lander, so they are forced to abort their mission. As they collect themselves and make their way to the lander, some debris smashes into the team’s botanist, Mark Watney (Matt Damon), and his spacesuit’s signal has gone dead. The mission’s leader, Melissa Lewis (Jessica Chastain) tries to look for him, but time has run out, so they all abandon the station, and begin the trip back to Earth.

As fortune would have it, Watney survives. He wakes the next day, half buried in the sand. The equipment that struck him was the communications array, which destroyed the transponder in his suit and pierced his suit. By some miracle, he’s alive, and makes his way back to the habitat, where he does a little self-surgery, and realizes he’s on his own. Help may be coming, but the next planned mission is more than a year off, at least. He has to find a way to survive that long, so he goes about finding what he can do, on his own, with the limited resources he has.

Back on Earth, they mourn the loss of Watney. The Ares mission commander, Vincent Kapoor (Chiwetel Ejiofor) wants to mount a search for what happened, but is rebuffed by NASA’s Chief Administrator Ted Sanders (Jeff Daniels). Ted says he wants NASA to focus on the next Ares mission instead of searching for bad news, which would be made public. Vincent ignores him and sets one of the overnight NASA mission control staff to take a few images of the camp. She discovers Watney’s alive, but NASA is powerless to do anything but observe from afar, until he can find a way to communicate with them.

Once Mark has overcome (more or less) the basic needs of food and air, he then focuses in on the long term goal of lasting until the next rocket arrives. How he accomplishes that is totally plausible, and is properly played out. It is scientifically believable, and within the realm of possibility, as are the events that follow. It’s quite an engaging experience, through and through.

I highly recommend this movie.

Ridley Scott has done his research, as did Weir, when writing the book. The visual presentation of the movie is flawless. Scott has captured the essence of being a scientist without being overly hamfisted or comical in portraying them. There isn’t one scientist who has all the answers, but instead the story clearly demonstrates that real science is a collaborative effort, with all the players doing their part. It’s rare to see it done properly on screen, and this is one of the few times it actually happens.

I do have a few quibbles with the film, because some events are missing from the movie. I suspect that more than a few of them were either planned or actually shot, but this movie is 144 minutes long, so they were not part of the main release of the film. I hope they’re provided and/or discussed when the movie is released on video, considering how thorough has been with his movies in the past.