ON BLU-RAY/DVD/VOD
The Age of Adaline : Lee Toland Kreiger’s drama was mostly dismissed as a gender-swapped Benjamin Button when it hit theaters last spring, but it’s worth a look: crisply photographed, intelligently written, and nicely played by Blake Lively, Ellen Burstyn, and Harrison Ford (more heartfelt and connected than I’ve seen him in a movie for years). The middle hour gets too bogged down in our heroine’s unexceptional romance with a nice fella (Michiel Huisman, from Treme), but the logistics and explanation of the opening scenes are fascinating, and by the time her meeting with his dad becomes an unexpected reunion, the emotional complications and implications are overwhelming. The conclusion is either beautifully poetic or over-the-top silly, depending on your disposition; I found it the latter, and Adaline to be a little lumpy, but lovely all the same. (Includes audio commentary, featurettes, and deleted scenes.)
ON BLU-RAY
Dressed to Kill : It’s very easy to get wrapped up in the #problematic elements of Brian De Palma’s 1980 cause célèbre (new on Blu from Criterion); it’s just as easy to recognize that, as with any film whose opening credit is “Samuel Z. Arkoff presents,” it’s proudly disreputable and leave it at that. DePalma takes on the puzzle of female sexuality as he took on most themes: by liberally borrowing from Hitchcock (in this case Psycho, from the wink-wink shower scene to the dispatching of our ostensible heroine early on to the “cross-dressing killer” to even the thudding exposition of the resolution) and overwhelming the viewer with his virtuoso style. Pound for pound, this may be the most De Palma-ish of De Palma movies, so marvel in the sheer inventiveness of his deep-focus compositions, the obsessiveness of his surveillance scenes, the ingeniousness of his split-screens, and the holy-shit deliciousness of his set pieces; the elevator and the subway sequences are among the best he ever did, which is to say among the best anybody ever did. (Includes new interviews, featurettes, trailer, and a 44-minute “making-of” documentary.)