Digital Week – May 1

If a menage a trois among a female tennis player turned coach and the tennis pros in her life, each on opposing career trajectories, sounds like fun, director Luca Guadagnino and writer Justin Kuritzkes make sure it’s anything but. The flimsy, impossibly cutesy rom-com is crammed with flashbacks within flashbacks to try and present some variety, but even that doesn’t help—something that Guadagnino is obviously aware of, since he uses a surfeit of camera tricks and ridiculous angles to keep things bouncing. Then there’s the awful use of Trent Reznor and Atticus Ross’ pounding electronic score, which always seems to begin and end at the wrong time, as if the music cues are slightly but obviously off. The threesome enacted by Zendaya, Josh O’Connor and Mike Faist is impressive on the court (they all look and move like tennis players) but off the court the trio is saddled with stilted dialogue and must deal with desperate symbolism like a windstorm of Biblical proportions that actually happens twice. It’s all about as sexy as a celebrity doubles match.

Lena Dunham’s shallow confessional fingerprints are all over this feature debut by Joanna Arnow, which is both self-effacing and extremely self-absorbed in its leaden look at Ann, a 30ish Brooklynite, whose boring life is also meaningless. It’s one thing for Arnow to show Ann’s roundelay of overbearing parents, dull corporate job, robotic S&M play with male doms and a tentative new romance quite different from her other relationships—but it’s quite another to provide neither insight into nor an explanation for how Ann ended up here. Maybe a 15-minute short would have handled the material more succinctly and less tediously than 85 minutes do.

In this daring piece of advocacy filmmaking, writer-directors Alireza Khatami and Ali Asgari brilliantly dramatize how Iranian officialdom (governmental, cultural, even religious) tamps down individualism through several self-contained vignettes that pit ordinary persons—a man registering his baby’s name with the authorities; a woman wearing a hijab and a tattooed man each interviewing for a job; a young girl in a store who must wear a school uniform that completely covers her—against a person of authority. Each segment is shot with a fixed, unmoving camera and begins normally, even informally, then soon morphs into a theater of the absurd as the invisible interlocutor pushes back at each individual’s individuality. The resulting horror grows cumulatively until the end, when an impending, if symbolic, event becomes all too awfully real.

The life and career of photographer James Hamilton—whose masterly portraits were done mainly for the “Village Voice” but also other publications like “Harper’s Bazaar” and the “New York Observer”—are recounted in D.W. Young’s richly entertaining documentary, in which Hamilton narrates his own fascinating story from his beginnings at the Voice to the esteemed elder statesman he is considered today, an influential chronicler of pop culture and alternative journalism in new York. There are interviews with his wide circle of friends and admirers, from Sonic Youth’s Thurston Moore and director Wes Anderson to journalists Joe Conason and Alexandra Jacobs, all adding anecdotal detail to his legendary journey, along with a copious amount of his classic photos.

Italian director Tinto Brass, in his titillating, not-quite-hardcore sex comedies, relied on finding a young beauty with screen presence to shoulder the load, so to speak. For this 1998 entry, he cast the beguiling Italian actress Anna Ammirati as the free-spirited Lola, a magnet to every man in town, from her boyfriend to local priests; Ammirati’s refreshing naturalness unsurprisingly dominates this slight but amusing film, whether she’s clothed or unclothed. The UHD transfer looks excellent; a Blu-ray disc also includes the film, and extras comprise an interview with Brass and an audio commentary.

In Jason Statham’s latest revenge flick, he plays Adam, who takes care of the bees on the farm of retired teacher Eloise, who kills herself after an online scam robs her of her considerable life savings and charity funds. Adam immediately jumps into action, tracking down the scammers and destroying their offices—but that’s just the beginning, for he is part of a dangerous group, the Beekeepers, secret and highly skilled operatives. It’s all risible, which Statham and director David Ayer know, so they keep upping the ridiculous ante as the hero takes care of wave upon wave of bad guys—including the corrupt son of the U.S. president. There’s a first-rate hi-def transfer, but no extras.

In this creepy 1999 horror entry, Father Andrew (Gabriel Byrne) fights the church hierarchy as he tries to help atheistic hairdresser Frankie (Rosanna Arquette), whose mystifying stigmata stems from a rosary she got from her mother. Director Rupert Wainwright puts his cast through its paces well enough; Nia Long, Jonathan Pryce and Rade Šerbedžija lend able support, while Byrne and Arquette intermittently make this silliness—Frankie tries to seduce Andrew at one point—watchable. There’s a fine hi-def transfer; extras include Wainwright’s commentary, making-of featurette, deleted scene and an alternate ending.

The definition of a guilty pleasure, Bert I. Gordon’s 1960 B-movie take on Edgar Allan Poe’s chilling short story, “The Tell-Tale Heart,” follows jazz pianist Tom Stewart, who sees his ex Vi fall to her death and is haunted by her ghost (in the form of her disembodied head) as he tries to resurrect his music career and marry Meg, his current girl. It’s borderline inept at times—and the cheesy effects don’t do justice to Vi’s ghostly presence—but those who are the target audience for this sort of thing will get something out of it. The film looks decent on Blu; extras include Mystery Science Theatre 3000’s 1992 version of the film, archival Gordon interview, documentary about Gordon, visual essay on the film and an audio commentary.