Among the archival materials is a nearly hour-long making-of documentary that has a lot of good stuff in it, including some priceless footage of the differently abled actors inside those drone costumes. The film’s arresting middle section sees Hemlock and Bowman embarking on training sessions in Monument Valley, then cracking beers and ogling swimsuit-clad women back at Bowman’s Zion National Park ranch. Martin has a lot of interesting things to say about situating German Expressionist films in different contexts, each of which yields varied perspectives. Only the resident botanist with the notable name of Freeman Lowell (Bruce Dern), with his penchant for monk’s robes and choosing fruit over synthetic glop, seems to give a damn. Hemlock’s former WWII pal, Ben Bowman (George Kennedy), is slotted to oversee the treacherous climb that will enable him to execute Dragon’s “sanction” (or assassination) in Switzerland, and even when an early act of deception by Jemima, Dragon’s employee, exposes the shadiness of the entire deal, Hemlock is ultimately sucked back in by the prospect of some fraternal tomfoolery. Looking back, Gallipoli hardly carries the same specialized importance given to Mad Max and is, at the end of the day, generally overrated. When Eric Cartman grows older and goes to film school, his student films will resemble the early works of Michael Haneke. A few original marketing materials—a long promotional reel and TV and radio spots—round out the package. Silent Running isn’t terribly concerned with detailed, consistent world building. The star of the film is a young Arno Frisch...the same boy who coincidentally went on to play the lead role in his later work 'Funny Games.' A strict adherence to plot necessity might have kept this section under 20 minutes, but instead it stretches to a leisurely 40, and it’s clear that this is where Eastwood’s heart lies. The desensitising nature of popular culture is a theme that recurs throughout most of Michael Haneke's films, but rarely has it been more chillingly debated than in this almost nonchalant study of dysfunction and death. Arno plays Benny, the 14 yr old apathetic child of 2 seemingly successful well off parents. (Pop in the accompanying Blu-ray disc and you may do a double take when you notice how much darker the image there is in comparison.) Benny the Butcher Flexes His Street Cred on the Star-Studded Burden of Proof: Review Freddie Gibbs, Rick Ross, and Hit-Boy assist on this testament to pain, loss, and triumph And, yes, a small but significant chunk of the narrative is given over to the inexplicable romance between Michael’s naïve, innocent daughter, Mary (Sofia Coppola), and his belligerently violent nephew, Vincent (Andy Garcia). Pregnant with awful possibilities, this frightening, finger-pointing film feels less a provocation, more an attempt to eviscerate the medium from within. An interview with film music historian Jeff Bond covers composer Peter Schickele’s career both as a film composer and as his alter ego, P.D.Q. Michael (Al Pacino), having long ago legitimized his family’s underworld power by corporatizing it, speaks to the head of the Vatican Bank, Archbishop Gilday (Donal Donnelly), who timidly confesses that his poor, nepotistic investments have lost the Catholic Church countless millions. This muscular climax, which at one point finds Hemlock dangling from a rope against the distant backdrop of Grindelwald, was the main source of acclaim upon The Eiger Sanction’s release and remains potent evidence of the visual lucidity and highwire ambition of Eastwood’s filmmaking, qualities that undoubtedly shine through the film’s more inflammatory elements. Maybe it’s the cold-blooded efficiency of the slaughter that appeals to Benny and causes him to hypnotically rewind the footage over and over again, and maybe it’s the blunt force of the murder instrument that gives him a case of sticky fingers, but eventually the time comes for him to film a sequel. An unsettling if not entirely successful social-cum-psychological drama. 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