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Closed Caption; Director and crew commentaries; Anatomy of a scene (courtesy of Sundance Channel LLC); Storyboard comparisons; 5.1 music-only track; English and Spanish subtitles
Full Product DetailsSide #1 --
1. Glamour Shot [5:14]
2. Revitalize [4:37]
3. Ice Cold [3:17]
4. High Roller [5:17]
5. Zodiac [3:39]
6. Heating Up [4:48]
7. Reunion [3:28]
8. Mister Subtle [4:53]
9. Little Joe [3:50]
10. Offspring [5:29]
11. Grievance [4:58]
12. Feeling Lucky [5:44]
13. Old School [3:47]
14. Sure Thing [3:28]
15. Nine Lives [4:10]
16. False Companion [4:21]
17. Humanitarian [3:19]
18. Heartless [3:45]
19. Painful Truth [4:43]
20. Into the Mirror [3:39]
21. Men's Room [3:36]
22. Straight Up [3:53]
23. New Direction [4:00]
24. End Credits [4:12]
One of last year's most talked-about movies, this modest independent production crams more entertainment value into 100 minutes than most major-studio "blockbusters." The story, which fuses crime drama and black comedy, unfolds against the faux-glam backdrop of contemporary Las Vegas, the erstwhile "Sin City" gradually transformed into a family-friendly tourist spot. Shelly Kaplow (Alec Baldwin) manages a shabby remnant of the town's Mob-controlled past, the Shangri-La casino, where old-school high rollers feel right at home. Whenever a player starts to get hot, Shelly deploys his secret weapon, a "cooler" named Bernie Lootz (William H. Macy). Bernie is a lifelong loser whose bad luck is actually contagious -- a casual brush to the shoulder is usually enough to break a winning streak. But when Bernie inaugurates an improbable affair with sympathetic cocktail waitress Natalie (Maria Bello), his own luck begins to turn and his talent for "cooling" diminishes -- which makes Shelly very, very angry. The key to The Cooler's success is casting: Few actors play losers better than Macy. (Think Fargo and Boogie Nights.) Also, Bello projects a mature worldliness perfect for Natalie, and former leading man Baldwin -- not exactly known for being warm and fuzzy -- perfectly combines the arrogance, cruelty, and misplaced loyalty that makes Shelly such a compelling jerk. The minor roles are filled just as carefully, with Paul Sorvino registering solidly as a washed-up lounge singer and Shawn Hatosy scoring as Bernie's dishonest, disrespectful son. Deconstructing The Cooler scene by scene, character by character, you'd find very little that was new or striking. But from these common building blocks director Wayne Kramer erects a shining edifice that stands head and shoulders above most other big-screen entertainment these days. Like the Shangri-La's staff and clientele, Kramer has disdained the new and glitzy, using traditional storytelling methods to put over a genuinely engaging yarn. Ed Hulse, Barnes & Noble
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