Warning: This post contains spoilers about J. Edgar. For the past few years, I haven’t been much of a fan of Clint Eastwood’s work. While he no doubt possesses storytelling skills as a director and certainly maintains an incredible presence as a movie star, I’ve found that critics who constantly praise his work often overlook its general lack of finesse, tired and sometimes visionless formal approach, and habitual ham-fistedness. When watching Eastwood’s work, I get the impression, supported by stories of his uniquely economic method of filmmaking, that he thinks of himself as something of a Woody Allen for the prestige studio drama, able to get difficult stories right in one take. The end product, for me, says otherwise. While I was a fan of the strong but still imperfect Mystic River (2003) and Letters From Iwo Jima (2006), the moment that I stopped trusting Eastwood came around the time the song “Colorblind” appeared in Invictus two years ago, throwing any prospect of nuance and panache out the window. Eastwood, despite having helmed several notable cinematic successes, has recently been coasting on a reputation that doesn’t match the work. He is, in short, proof of the auteur problem: that we as critics forgive from him transgressions that would never be deemed acceptable with a “lesser” director. As you can likely tell, my expectations were to the ground in seeking out the critically-divided J. Edgar. I was prepared, in entering the theater to watch Eastwood’s newest, to write an article about [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

As you might imagine, This Week in Blu-ray is usually one of my favorite things to write during the week. It’s my chance to wax intellectual about something highly technical and lay down my absolute authority on the world of new-fangled home video releases. It’s an easy job, one that requires watching a bunch of great movies in high definition. Until we get to weeks like this one — weeks that are simply slow and for the most part, uninteresting. So I’m going to use it to debut a new article format. Here’s what is new, for those of you keeping score: we’ll begin with my Pick of the Week, because there is always that one movie that really deserves your attention. We’ll then move on to the usual sections (Buy, Rent, Avoid). Inside these sections you’ll find the titles I’ve had a chance to review (these will be the ones with pictures to accompany the reviews) as well as titles I wasn’t able to review, but feel confident recommending anyway (that confidence will come from having seen the movie in question). And at the bottom, you’ll see the list of other releases that, as always, are to be bought or rented at your own risk. My hope is that the new format will provide even more insight so that you can make informed Blu-ray buying decisions. You’ll have to let me know what you think. Red After seeing this movie for the first time this week, I cannot for [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

The living legend is going to be celebrated at this year’s Austin Film Festival in late October. Hopefully, there’s an Opie retrospective.