FemaleFirst.co.uk: DVD: It's The Rage [DVD] [2000]

It's The Rage [DVD] [2000]
enlarge	Director: James D. Stern Actors: Joan Allen, Jeff Daniels, Robert Forster, Andre Braugher, Gary Sinise Studio: Uca Category: DVD List Price: ~~£5.99~~ Buy New: £0.08 as of 22/11/2009 04:59 GMT details You Save: £5.91 (99%) New (29) Used (12) from £0.01 Seller: born_in_the_usb Rating: 1 reviews Sales Rank: 71589 Format: Dubbed, PAL, Widescreen Languages: English (Original Language), French (Original Language), English (Subtitled), French (Subtitled), Swedish (Subtitled), Danish (Subtitled), Hungarian (Subtitled), Icelandic (Subtitled), Dutch (Subtitled), Finnish (Subtitled), Bulgarian (Subtitled) Rating: Suitable for 15 years and over Region: 2 Discs: 1 Aspect Ratio: 1.85:1 Number Of Discs: 1 Running Time: 95 Minutes Shipping Weight (lbs): 0.2 Dimensions (in): 7.1 x 5.4 x 0.6 EAN: 5035822098435 ASIN: B00005225C Theatrical Release Date: 2000 Release Date: February 7, 2005 Availability: Usually dispatched within 1-2 business days


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Editorial Reviews: Amazon.co.uk Review Mixing a superb cast with a serious salting of dark humour "gun culture" comedy IIt's The Rage/I is that rare thing, a genuinely outstanding film which went straight-to-video. Like IMagnolia/I (1999) it makes coincidence a virtue in telling the stories of a group of disparate characters, and how their lives are entwined and sometimes ended because of America's obsession with firearms. When Jeff Daniels shoots his business partner, his wife, Joan Allen, leaves for a job with a software billionaire, Gary Sinise, and the film expands to encompass brother and sister punks (Giovanni Ribisi and Anna Paquin), a video store assistant, a pair of detectives and a gay couple. Adapted from his own play, Keith Reddin ensures the script remains pointed, while Sinise delivers a wonderful performance of supreme eccentricity recalling Peter Seller's IDr Strangelove/I. Indeed, there is much akin to Kubrick's tense, pitch-black humour in this anti-gun parable, while in various ways, from the central Daniels/Allen couple to the sardonic detachment of the music to Paquin's "almost-relationship" with an older man IIt's the Rage/I parallels the contemporaneous IAmerican Beauty/I (1999). It's actually the more powerful film, and though made for cable deserved all the praise it received on its festival screenings.p bOn the DVD/b: The trailer doesn't capture the spirit of the film at all, while the 13-minute making-of documentary is routine promotional material. The commentary by first time film director (but veteran stage director) James D. Stern is exceptionally good, both enthusiastic and packed with information; the fact that IIt's The Rage/I really bites can almost certainly be attributed to Stern's college roommate being shot dead. The sound is Dolby Digital 5.1 and while this isn't the sort of film to show-off a sound system,it's atmospheric and the diverse music score becomes almost a character in itself. The anamorphically enhanced 1.77-1 image is good but a little grainy and shows occasional compression artifacting. I--Gary S Dalkin/I

Customer Reviews: Someone get me a gun, quick! September 21, 2008 crimecatuk (Norfolk, UK) 1 out of 3 found this review helpful Note to director, cast and anyone else involved in this debacle: If you are aiming for a very funny, very black comedy and the only very funny, very black comedy moment turns out to be the credit sequence, it's a tragedy. If you are aiming for a thought-provoking movie with a strong anti-gun message and people end up cheering when your characters finally get shot, go and never, ever make a film again. br / br / br /"It's the Rage" (aka "All the Rage") is based on a play and it certainly doesn't try to hide its origin. Everything has a staged and, more importantly, a stagey feel to it - that's alright, tells us the director again and again in the bonus features, we were aiming for a hightened reality. Well, they missed. This is a succession of emotionally un-involving, quasi-surreal scenes centered around an array of interconnecting characters who have two things in common: Guns and the fact that most of them should be receiving inpatient psychiatric care. The dialogue, if you can call it that, is made up out of one-liners (no, not the funny variety) alternatingly intoned by the actors without much exchange going on, particularly and most gratingly in all scenes involving Gary Sinise's character, Morgan. You could argue that's what it is all about, that we are doomed to spout platitudes, utterly incapable of connecting in any meaningful way, which would be a very fitting 90's message (the play was first staged in 1997). Or maybe it is just badly written dialogue, made even more unbearable by the ineptitude of a first time movie director with too much stage experience and absolutely no feeling for timing, comedic, cinematic or otherwise. All of which is a huge shame, because the film boasts one of the most impressive ensemble casts you can hope for, with most of the actors aquitting themselves well, in some cases far better than expected (Swimmer, to name but one). But they cannot save this dire diatribe, as none of the enthusiasm they exude in the featurette ever shows on film. I would love to see the movie they all rave about, this hilariously funny, ultra black comedy-cum-"cautionary tale about America's fascination with the handgun" (quote Andre Braugher). As it stands, though, the comedic highlight is a scene in which Jeff Daniels askes video store clerk Josh Brolin for an adult movie and gets handed "Pépé le Moko" - "Adult? You mean something more sophisticated, sir?" Oh, so very funny. Actually, Reddin (script) and Stern (James, sadly not Howard; director) could have learned a lot from the one movie they make continuous and disparaging references to: "Pulp Fiction". Tarantino, at least, created characters which resonated emotionally with the audience and, because of that, the violence in the movie was exposed as an utterly nihilistic, destructive force. Reddin and Stern, in their "Anti-Pulp Fiction" (quote Joan Allen), could not come up with one single character which you didn't feel like shooting within two minutes of their first appearance. Halfway through the film I was clamouring for an Uzi to go postal on the panel of the Milan Film Festival which showered this dud with an obscene number of prizes.

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