Colin Farrell: Superstar Collection [3 Discs]Colin Farrell: Superstar Collection [3 Discs]

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DVD FEATURES:
  • Region: 1
  • Number of Discs: 3
  • Audio: Dolby Digital 5.1
  • Screen: Enhanced Wide Screen Letterbox for 16x9 TV
  • Features:
    • cc
AWARDS
  • National Board of Review
  •     Won Special Recognition for Excellence in Filmmaking - 2004
  • Venice International Film Festival
  •     Film Presented - 2004
ADDITIONAL INFORMATION:
REVIEWS:
  • Quite the cheery revisionist history of the life of Jesse James, the delayed release American Outlaws doubles as a Young Guns for the next generation, both in its righteous-outlaw structure and matinee-idol function. Whether the moviegoing public needs either project is doubtful. After a brief revival in the 1990s, westerns had again become a yawn by the early 21st century, especially those featuring a cast of poor man's alternatives to charismatic stars. Director Les Mayfield treats every robbery, shootout or narrow escape from the gallows as a chance for the actors to crack jokes and peddle their charm. This framework prevents the movie from developing a sense of weight or momentum, which might be okay if it were funny enough. It also entirely recasts James as an essential pacifist and darn fine gentleman to boot, a decision designed to propel Colin Farrell toward maximum heroic stardom. But Mayfield's dishonest interpretation of the character panders to the audience, undercutting Farrell and doing little for the other small-timers (Ali Larter and Scott Caan) trying to leapfrog to the next level. As the action goes, only one clever stunt along the outside of a train stakes claim to original choreography. American Outlaws was pushed back from a spring 2001 release to the dumping grounds of late August to avoid competition with Texas Rangers -- a worse disaster of a movie that ended up getting shelved for more than a year anyway. ~ Derek Armstrong, Rovi
  • The title A Home at the End of the World gives off both an optimistic and a pessimistic vibe, simultaneously, which is appropriate for a film that can't figure out what its tone should be. For example, the plot follows the protagonist (Colin Farrell's Bobby) through the deaths of a half-dozen important family members and friends, yet Duncan Sheik's dopey score is better suited to an annoyingly whimsical romantic comedy. That dopiness is, however, well suited to Farrell's performance. Despite the succession of traumas his character endures, his attitude rarely changes from that of a pseudo-hippie naif. It's hard to tell whether that's a reflection on director Michael Mayer's vision for the character, or Farrell's limitations as an actor, but it rings terribly false. Other than these traumas, the plot focuses almost exclusively on a soggy love triangle between Bobby, his childhood best friend/love interest, Jonathan (Dallas Roberts), and the wacky artist (Robin Wright Penn) Jonathan lives with sort-of platonically, whose hair is dyed a different color in every scene. The only performer among these that registers, even remotely, is Roberts, while Wright Penn throws out all her best instincts, playing the character as absurdly indistinct and shallow. Meanwhile, the action gets side-tracked by red herrings, such as the apparent physical attraction between Bobby and his surrogate mother (Sissy Spacek). While this never goes anywhere, the occasional presence of Spacek does distract us from the self-indulgent vagaries of the central trio. There are interesting ideas about sexuality, free love vs. monogamy, family and the AIDS crisis buried somewhere in A Home at the End of the World, screaming to get out. But since they are nullified by the film's overall banality, they remain homeless, as it were. ~ Derek Armstrong, Rovi

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