There are some movies that are certainly benefited by Blu-ray editions, an easy option would be action movies that captivate audiences with the large spectacles they hold. A crisper, clearer picture helps drive home that this is a big event movie. Yet, why add a movie, albeit a classic, that carries subtler methods of drawing in an audience? Is it worth the extra money, the extra time spent re-treading a film you've previously seen or even already own? This is the question that has perplexed me since Warner Brothers earlier this year announced it would be re-releasing another Blu-ray collector's edition of Orson Welles' classic Citizen Kane, in honor of the film's 70th anniversary. The answer is still not fully clear, but let's look to see what could be a determining factor if you should be adding the set to your Christmas lists this year (no, its never too soon to start).For the uninitiated, those who hear the word Rosebud and simply presume we are talking about the bud of a rose. Citizen Kane follows the story of young Charles Foster Kane, a boy taken early in life from his mother to be educated and groomed for presumed success by becoming the ward of a successful industrial magnate. Once Kane leaves the care of his handlers, he sets out to get involved in the news business and soars to great heights of success. Yet, his tale is continually undercut by harsh lows and blows to his ego by the family he tries to develop on his own. This is depicted through an interview format with those seemingly closest to Kane following his death, a conceit setup early in the film, as a group of reporters seek to understand the meaning of Kane's last word, "Rosebud."
Each of the performers, mostly members of Welles' Mercury Theatre Company in their big screen debuts are a finely tuned instrument. Each actor understands the role they play in telling the bigger story, and service the greater picture rather than detract from the focus on Kane's life. This is Kane's story and Welles' ball to drop. The young, svelte, and dashing Welles takes us in a steady progression through the decades that are depicted, the beats of Kane's life, with aplomb. It is remarkable to consider how Welles did not strictly rely on makeup, but changed his physical makeup to demonstrate this man's life and body breaking down and failing him till his dying breath. The screenplay by director-star Welles and Herman J. Mankiewicz cleverly engages the audience, pulling you into the seedy underbelly of this man who seemed to have all he could desire in life, but suffers from a constant feeling of ennui and detachment from those surrounding him. Welles' direction is subtle, each shot carefully constructed to add a piece to the puzzle of Kane that is not always directly stated. Welles beautifully captures the atmosphere of the fast-paced New York, crammed with people and power for Kane, and juxtaposes it nicely with the largese mansion, Shangri-la, Kane moves into with his second wife that demonstrates how hollow his life becomes. For those solely interested in seeing classic New York films this is a must see. The movie is also particularly dynamic for those interested in a good mystery, classic film techniques (oh the black and white contrasts of light and dark are beautifully transferred here on Blu-ray), and those who wish to see one of the most critically lauded/ controversial films of all time.
The real reason to get the boxset for those who already own the previously released standard DVD and Blu-ray editions of the film would be for the collection of special features included for this genuinely ultimate collector's edition. All of the features from previous releases are included (the dryly acerbic audio commentary by Roger Ebert still holds up well, a decade after it was originally recorded). There are also a few other minor documentaries that provide fresh insight into what the film's significance is to today's audience. Sadly as would happen with a film made seventy years ago, the entire cast has since passed on and there are very few interviews with the filmmakers available. Still the interviews and commentary that is given, provides context to a film that is captivating on its own terms and explains its unique positioning in film history. The American Film Institute has twice declared it the greatest American Film of All Time, and with good reason (the movie is technically groundbreaking and has a story that contains themes that are still palpable to contemporary audiences). Yet, due to how closely and controversially it satirized to the near-point of mocking then newspaper magnate William Randolph Hearst (who was still alive when the film was made) the movie was blackballed during its initial release. When the Academy Awards rolled around in 1942 the movie only managed to win in the Best Screenplay category; allowing for the far less controversial How Green Was My Valley to snatch the Best Picture. This was a film that took time for audiences to realize just how ahead of its time it was (for the non-classic film scholar, a contemporary comparison might be to consider just how well-regarded and cultish Fight Club has become).So should you get the giant fancy 70th Anniversary Edition of Citizen Kane? Do not hesitate if you have somehow managed to live your life this long without ever getting a copy, it is a film worth seeing and revisiting without a doubt. If you already own previous editions, it might be advisable to wait or steal a friend's copy to glimpse at the few features that were specially created for this edition. Yet, if you are a hardcore Blu-ray enthusiast then this edition is certainly worth the dollar and time. It is a movie that looks great and manages to dazzle without a single explosion erupting on the screen. Good luck deciding and hopefully this provides a better insight into the decision.
, a landmark comedy that ran from 1951 to 1957 on CBS, she did enjoy a long career on contract with MGM with mostly comedies. Let's though look towards two of her later classic films for those who may be interested in watching this fine comedienne's skills in rememberance today.
. Based on the hit 1966 Broadway musical, the movie follows an orphan named Patrick (Kirby Furlong for young Patrick and Bruce Davison for his older counterpart) who is sent to live with his eccentric Auntie Mame (Ball). There he is also introduced to Mame's best friend Vera (played by Bea Arthur, who won a Tony for her playing the role in the stage-version), and Beauregard Burnside (a talented Robert Preston). While Ball's comedic talents are used full heartedly, some of her songs are downright painful to listen to. Which is sad since some of the songs, such as "Bosom Buddies" and "We Need a Little Christmas" have become classic musical numbers. Yet, her delightful glee during the foxhunt that finds her Auntie Mame falling in love with Beau is where she shines. It's fascinating to see how even at sixty-two, Ball was still willing to take on a challenge for a good role.
) is inundated with requests for night's out by all his friends who have all since paired off. Each evening out puts both the couple of the evening under a microscope, how their marriage works, and forces Bobby to consider if he can truly be happy by himself. There are no clear cut answers, and that's what it should be; it allows the audience to determine which side they choose to believe in each round.
) and Stephen Colbert (
) as Sarah and Harry. They provide some remarkably deft and comedic fight sequences that need to be seen to be understood. Both hit each note during the song and dance numbers, and find small bits in the choreography to play up for effect. Their strength is as a pair, there is a comfort to them that enhances their dynamic, certainly the best coupling of all the actors in the cast. There is also Jenna Laura Thompson (first replacement Glinda in 
) and Jon Cryer (
), who play the other standout pairing of conservative and tragically unhip Jenny and David. Thompson throughout the evening proves to be a deft singer, and gifted physical comedienne. Cryer, who is mostly known for comedy, ends up being a surprise here because he has one of the more dramatic moments in the entire show and pulls the audience out of the humor of it all with force without being outlandish. It's a risky moment, during a mostly comedic scene and show, but it ends up being one of the bigger lessons learned in this show. Although most will sadly just wonder when Charlie Sheen's former co-star and/or Ducky from 
(depending on your frame of reference) learned how to dance. 
, who gets probably the most difficult song in the entire show "I'm Not Getting Married," a patter song for a performer with lungs of steel. Somehow Finernan not only hits every note, but gesticulates a humorous grace with aplomb. It's the highlight of the entire movie. The one time it seemed the entire audience was laughing in harmony rather than at various moments. Finally there is Patty LuPone as the drunken and solemn Joanne. The woman conveys more with the raise of an eyebrow than most would with a ten minute monologue. Yet, there are times when her performance does not quite gel with the rest of the cast, she's so dark and twisty without mirth, which is equally important to a show working. Yet, when she finally gets to her number "The Ladies Who Lunch," all may need to be forgiven for this critical lament on the pains of aging. 
of this show. Director Lonny Price effectively keeps the evening running smoothly with limited space to stage the show, thanks to the use of rolling love seats from set designer James Noone, and the jokes precise without taking away from the story at hand. The camera work for the filmed production is crisp and unobtrusive. Thankfully, most shots are wide enough that you still get a good scope of the action and can appreciate the choreography.
is coming out in theatres this June 3rd, directed by 
and 
auteur Matthew Vaughn. Even though the film is a prequel in this wildly successful franchise based on the comics by Stan Lee, it is advisable to take a peek at the earlier films. They each still hold up in their own ways. Let's review where to hit your DVD shelves this weekend:![X-Men [Blu-ray]](http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B001PPGAJE&tag=widgetsamazon-20)
Bryan Singer went from the avante garde brilliance of 
to the realm of tights and comics here with panache. The movie follows the introduction of classic Marvel character Wolverine (a then newcomer Hugh Jackman) to Professor Xavier's School for the Gifted (aka Mutant High). Joining him on the journey is a young Southern runaway known as Rogue (Anna Paquin). Exposition and introductions are quickly eschewed in order to tell an actual tale (thankfully) about how the evil mutant Magneto (a chilling Ian McKellan) has created a device that he plans to use to turn all humans into mutants. This is of course a matter of concern for Professor X (a perfectly cast Patrick Stewart) and his students for them to rally around stopping, and solidify their team. Really it is the final showdown of the film, taking place within the Statue of Liberty that really will appeal to not only fans of the series but general audiences. It has clear consistent action sequences that escalate the tension, clever dialogue (particularly a moment between Cyclops and Wolverine that perfectly typifies their dynamic), and by using an actual national landmark (a classic component of the New York skyline for natives and those who've only seen pictures) it grounds all the fantastical elements. The Statue of Liberty is real, it is something that concievably will be present in the reasonably distant future, and holds an emotional context of independence that the characters in this world also hold near to them. It's a concise and enjoyable introduction to the world (even if some of the jokes are stilted, we still don't need to know the punchline to what happens when you electrocute a toad).
There is some magical gift to the first sequel of a trilogy when you get the same team back together (for reference see: 
, 
), and Singer and company certainly pulled it off. The movie picks up not long after the first film, and follows the newly expanded team as a government agency (led by Bryan Cox's William Stryker) breaks into the school to kidnap Professor X for reasons the audience will soon find out in thriller-ish fashion. This divides the team pretty quick, allowing for the film to really highlight some of the story arcs and characters that didn't get much screentime during the last outing. In particular it is Jean Grey (Famke Jansen) who benefits from this method of storytelling as her powers take on a new foreign quality, that really the comic fans knew was coming but still wanted to see anyway. And even then, this classic arc was handled with deft hands for this installment (sadly not carried over nearly as well in the next film). Singer expanded the visual scope of the film and crafted some remarkable sequences, notably the one in the White House featuring a new character named Nightcrawler (a wickedly fascinating Alan Cumming). This is not to say that Rogue and Wolverine, or Professor X and Magneto, the previous films core pairings are thrown to the wayside, somehow they are there to thrill and entertain audiences admirably. This would in particular be the movie to look back at when comparing it to the new prequel, particularly the performances by McKellan and Stewart and how the younger incarnations of Magneto and Professor X (Michael Fassbender and James McAvoy) hold up in comparison. It's a beautiful and complex movie considering its runtime and source material, check it out.
: Many hardcore X-Men fans probably wish this movie did not exist, that it should not be a part of the canon. Yet, it is and we will all need to live with that fact. The film's basic plot follows the team as they find out a cure for mutants has been uncovered, and the government wishes to round up all the mutants to force them to take it and remove their gifts. This of course upsets Magneto and his Brotherhood, who seek to takedown the government for this metaphorical genocide. This leads to the introduction of many new mutants including Beast (Kelsey Grammar) and Angel (Ben Foster, who somehow went from dorky nerd to ripped action star for this role). The emotional arc and ramifications of this drug are best played out between Rogue and her boyfriend Iceman (Aaron Ashmore), which may be the only reason to revist this actioner that otherwise clumsily told a story to shock and annoy the fans otheriwse.![X-Men Origins: Wolverine (Two-Disc Edition + Digital Copy) [Blu-ray]](http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B001GCUO16&tag=widgetsamazon-20)
has already amassed a reasonably impressive 
: It would seem like a pretty boring premise, a buddy comedy about two men (Robert Downey Jr.'s Peter and Zach Galifianakis' Ethan) driving cross-country so that Peter can be present for the birth of his first child. Yet, the trip is funnier and more unexpected than that with some surprisingly somber moments. It's certainly Phillips' most mature work as a filmmaker as we follow Peter's emotional journey as the uptight man must begin to adjust to insanity and change while dealing with the irrational Ethan. Some may be frustrated that not every subplot is wrapped as nicely as you may be expect of a movie, but it hits the correct chords to its inevitable conclusion. This is certainly serviced by its two exceptionally funny leads who have such divergent energies and methods of comedic delivery that its a good film for people with diverging senses of humor to agree on watching.
: I 
If you like this movie about three adult men (played by Vince Vaughan, Will Ferrell and Luke Wilson) who decide to start their own fraternity then it is because you are a fan of its stars. Of the four films featured it has the most scattered tone and story arc because it seems to be more a film to give excuse for these equally talented comedians to be thrown together on the same screen. There are a number of laugh out loud moments, but they are buried in the synconicities of its performers rather than the story being told.
: You would think that any film prominently featuring