The Great Gatsby
A visually stunning but emotionally flat adaptation of F. Scott Fitzgerald’s classic novel. Alas, Baz Luhrmann is far too literal in his approach, with Fitzgerald’s words swirling about the screen, just in case it’s escaped our attention that the movie is based on a Great Book. The intriguing relationship between enigmatic Gatsby (Leonardo Di Caprio) and flighty Daisy (Carey Mulligan) is constantly interrupted by a miscast and cloying Tobey Maguire, needlessly explaining the emotion and subtext. Spiritually and intellectually, it’s all tell, no show. Still, Luhrmann’s ringmaster sensibilities come to the fore during the wild, kaleidoscopic party scenes. His gift for spectacle lends itself well to the bacchanal of burlesque, Charleston and champagne. However, as an exercise in exploring the vapidness of materialism, the message does not land its punches. Indeed, Luhrmann appears thoroughly seduced by the excess. It’s a beautiful spectacle, but the fragile symbolism and introspective ideals are bludgeoned with a glitzy hammer. Fantastic extras explore visuals, fashion and soundtrack.

Kuma
The intrigues of domestic life, the importance of appearances in conservative cultures and an assortment of immigration-related ills are merely surface ripples atop a sea of difficulties facing Umat Dag’s characters. Innocent village girl Ayse (Begum Akkaya) is uprooted from her home in Turkey to live in Vienna, becoming second wife to an older man and acting as a substitute to matriarch Fatma (Nihal Koldas), who is succumbing to the ravages of cancer. As the family try to navigate both their scandalous secret and new domestic arrangements, a panoply of affections, humiliations, stigmas and resolutions present themselves. Dag directs with a steady hand, understanding how tiny interactions and ordinary tasks can become pregnant with meaning. It’s easy to see the influence of Asghar Farhadi in the emotionally immersive narrative, and the fully-rounded characters are brimming with utterly human contradictions. The results are thought-provoking at both a personal and socio-political level. A director to watch. Includes deleted scenes.

The Irish Pub
A sweet, if superficial, love letter to one of Ireland’s cornerstone institutions, Alex Fegan’s anecdotal film traverses the country, visiting countless watering holes on the way. Fegan echoes the interview style of Ken Wardrop’s His And Hers, allowing the natural charm of the publicans to shine through as they speak to camera. It’s a tender portrayal of an older Ireland, populated with mischievously grinning children and townsfolk who’d “go up your arse to find out who you are”. The eclectic characters are a joy, as is their conversation, which wanders in subject matter from playwrights, to religion, to history and back. An hour or so in, however, there is a desire for the film to go deeper. Our supposedly troubled relationship with alcohol, for instance, is never confronted. The Irish Pub is relentlessly feel-good. Shouldn’t it aspire to more?

Foxfire
Palmes D’or laureate and French autuer Laurent Cantent (The Class, Human Resources) adds depth and soulfulness to this adaptation of Joyce Carol Oates’ best-selling tale, bringing a distinct Euro sensibility to a coming-of-age story about a girl gang’s quest for empowerment, set against the backdrop of ’50s America. Cantent’s grasp of adolescent relationships and his ability to create a naturalistic ambience adds both psychological nuance and an engaging sense of place to a somewhat flawed plot.
The use of amateur actresses contributes to the film’s air of soft-touch realism. Raven Adamson is a subtly magnetic force as Legs, a young anarchist who urges her classmates to reclaim their self-respect by committing acts of vandalism and punishing the many misogynists and abusers who dominate their world. Cantent masterfully captures the actresses’ genuine youth and uninhibited naturalism. The film does lag in its final act; the being-wronged-wreaking-revenge formula is repetitive and increasingly unbelievable, as every single man the girls meet is unveiled as a predator. Still, as a tale about young women carving a place for themselves in the world, it’s an engaging and intelligent watch. Sparse extras include director interview.

Music DVD's

EMINEM: THE MARSHALL PLAN
It’s now almost 20 years since the artist formerly known as Marshall Mathers III entered the music industry and changed the face of rap. This two disc set traces Eminem’s career by way of firstly a DVD documentary covering his rise, then a second disc overflowing with video interviews. He speaks with honesty, and unexpected wisdom, and rarely without at least a hint of the humour for which he is famous.

THE SACRED TRIANGLE: BOWIE, IGGY AND LOU, 1971 – 1973
We’re remembering Lou Reed this month, and how better than to celebrate the best collaborations of his career? The meeting of Reed, David Bowie and Iggy Pop in 1971 was the catalyst for an extraordinary turnaround in the fortunes of all three musical geniuses. With interviews, rare and classic film footage, plus recently discovered archive material, this is a must-watch for fans.

JOE COCKER: FIRE IT UP
Recorded during Cocker’s recent Fire It Up – Live European tour, this concert DVD features newer cuts alongside timeless hits such as ‘With a Little Help From My Friends’, ‘You Can Leave Your Hat On’ and ‘Unchain My Heart.’ Director Nick Wickham has worked with Red Hot Chili Peppers, Foo Fighters, and Rihanna. Shot last April at Lanxess Arena in Cologne.