DVD Zone: May 2008
Juno
Fox Home Video
Time was when an independent film simply meant a film released outside the studio system by an independent production company. However, once the Sundance festival became as much of a corporate-sponsored entity as any other film festival in the world, a vast majority of independent films have tried to one-up each other on the hipness scale.
This trend might well have reached its apex with Juno.
Writer Diablo Cody’s look-at-me script tries to throw in all the elements needed to assure its indie cred, and quite simply, the first half hour of the film is practically insufferable. Between the precocious dialog and scenes like setting up a living-room suite in the front yard, Juno doesn’t just try to hammer the indie vibe, it repeatedly bludgeons you about the head and ears with the fact that it’s an INDIE!!!
Yet after the initial barrage of hipster phrasing and hamburger phones, a funny thing happens: The story and acting take over, and the film settles into a solid groove. It’s as if Cody realized she could actually let the actors do their jobs without having to execute all of her verbal gymnastics.
In a breakout role, Ellen Page plays Juno, a 16-year-old who unwittingly gets pregnant during a one-night stand with her high- school pal, Paulie Bleeker. With the support of her father (played by the wonderful J.K. Simmons) and stepmother (Alison Janey, also quite good), she decides to give the kid to what she hopes will be a loving family — the painfully young urban professionals played by Jason Bateman and Jennifer Garner.
Across the board, the cast is spot-on, with only Garner drawing the short straw. Not that she isn’t good in the part, it’s simply that hers is the only underwritten role in the film. Michael Cera in particular shines as Paulie, perfectly exuding the awkwardness and befuddlement that comes with being an awkward and befuddled teen. It’s a role he has played in his other work such as Arrested Development and Superbad, so I really don’t see an extended career once he hits the mid-20s, but right now there’s no one better at playing this character.
Juno‘s two-disc set comes loaded with special features: Commentary by director Jason Reitman and Cody, screen tests from the cast, blooper reels, and the inevitable deleted sceens to name just a few. In all, a wealth of Juno minutiae.
Film: *** Features: ****
The Clash: Revolution Rock Live
Epic
When you think about it, there has really only been a handful of bands more storied and influential than The Clash. Having survived the initial rush of the late-’70s British punk movement, the foursome went on to inspired countless socially conscious D.I.Y. bands since. Of course, that statement is nothing new. It’s like saying The Who played loud.
Produced by Don Letts (Clash guitarist Mick Jones’ partner in the post-Clash Big Audio Dynamite), Revolution Rock presents The Clash in various live settings thoughout the course of their career: from the raw early days of ’77 for “White Riot,” to their sets opening for The Who at Shea Stadium for “Should I Stay Or Should I Go?”
Revolution Rock includes some great and not-so-great footage of the band at the height of their power, and the disc also includes the infamous guest appearance on Tom Snyder’s “The Tomorrow Show.”
You also have the option of watching the disc with or without the narration between songs. I recommend viewing without, as there’s nothing new offered.
Performances: *** Features **1/2
Also available . . . You may only think of Carlos Santana for the latin vibe, but Carlos Santana Plays Blues At Montreux 2004 (Eagle Eye Media) shows he can hold his own with some blues legends. Santana is joined at the Montreux Jazz Festival by Clarence “Gatemouth” Brown, Bobby Parker, and Buddy Guy for run-throughs of such standard as “Got My Mojo Workin'” with Brown, “Watch Your Step” with Parker, and a couple of extended jam sessions with Guy. The sound quality of the disc is excellent, and while the performances don’t break any new ground, there’s nothing like watching masters of their craft doing what they do best.
— Timothy Hiatt
