‘Fast’ trips on track, ‘Master’ is mysterious and ‘Nobody’ gets out alive on DVD

Among the movies that became available Tuesday, Feb. 26 on Blu-ray and DVD at retail stores and rental outlets throughout the Valley are a sports drama imported from the U.K., a drama that marks the official return of Joaquin Phoenix and an independent horror flick from writer/director Jason Christopher.

‘Border Run’

Sharon Stone plays an American reporter who searches for her missing brother against the backdrop of violence and human smuggling across the US/Mexican border. (R - 96 minutes)

It was only about 20 years ago that Sharon Stone was one of Hollywood’s hottest commodities. However, since roughly the new millenium, the actress has been absent save for several direct-to-DVD properties and an unsuccessful sequel to her most notable motion picture “Basic Instinct.” For anyone who dares ask why Stone’s stock has plummeted, there is the new thriller “Border Run,” in which her performance is on par with that of the Taco Bell chihuahua. Granted, daft dialogue and preposterous plot points are this movie’s true downfall but, suffice it to say, Stone does not do the film any favors. (Grade: F)

'Chasing Mavericks'

Jonny Weston plays a teenager who discovers that the mythic Mavericks surf break, one of the biggest waves on Earth, exists just miles from his Santa Cruz home and enlists the help of a local legend (Gerard Butler) to train him to survive it. (PG – 115 minutes)

It says an awful lot about a surfing flick when, despite being based on a true story, it is bested by an animated adventure about a bunch of penguins that like to hang ten. Granted, “Chasing Mavericks” means well and it features some simply spectacular cinematography with which you can almost feel the waves, but it wades in shallow waters for the vast majority of its nearly 2-hour runtime and only reveals any real depth during its climactic conclusion. Needless to say, by then, that ship has certainly sailed while director Curtis Hanson's drama comes across as cheesy and boring. (Grade: D)

'Escape Fire: The Fight to Rescue American Healthcare'

Filmmakers Matthew Heineman and Susan Froemke follow dramatic human stories as well as leaders fighting to transform healthcare, examining the powerful forces trying to maintain the status quo in an industry designed for quick fixes rather than prevention and for profit-driven care rather than patient-driven care. (PG-13 – 98 minutes)

Filmmakers Matthew Heineman and Susan Froemke start strong with their new documentary “Escape Fire: The Fight to Rescue American Healthcare,” showing the impact that their issue has on a very human level. However, their project quickly falls apart as they try to take an overreaching approach to a subject matter that simply cannot be summarized in one single cinematic leap. The movie does not have enough of the personal stories that made Michael Moore's “Sicko” - which essentially tackled the same topic albeit with much more success – feel important, immediate and above all intimate. (Grade: D)

‘Fast Girls’

Lenora Crichlow plays a street smart runner who develops an intense rivalry with an equally ambitious wealthy young athlete (Lily James). (NR - 91 minutes)

“Fast Girls” proves that a movie need not be made in America to be predictable, formulaic and full of cliches. The new sports drama originates from the U.K. and it covers those three qualities with ease. Moreover, it may even be difficult for cross-country runners - the ideal audience for this film - to tolerate this trite tale as it is completely devoid of any humor whatsoever, instead taking itself seriously in spite of its own stale stereotypes. In other words, those hoping for a “Bring It On” or “Stick It” for the track team set will definitely be disappointed. (Grade: F)

‘Holy Motors’

Denis Lavant plays a shadowy character who journeys from one life to the next, accompanied only by a slender blonde woman (Edith Scob) behind the wheel of the vast engine that transports him through and around Paris. (NR - 115 minutes)

For the most part, “Holy Motors” has received generally positive reviews from critics. However, if any of those critics who praise this perplexing motion picture for being open to interpretation have ever criticized a movie for lacking any sense whatsoever, their reliability instantly comes into question. Writer/director Leos Carax’s French import is nothing more than a messy mishmash of overindulgent performing arts exercises, of which none are particularly entertaining without the narrative structure that typically gives viewers a reason to stick around. That is, of course, other than to see what cockamamey caricature star Denis Lavant will portray next. (Grade: F)

'The Master'

Joaquin Phoenix plays a Naval veteran who arrives home from war unsettled and uncertain of his future until he is tantalized by The Cause and its charismatic leader (Philip Seymour Hoffman). Amy Adams also stars. (R – 148 minutes)

“The Master” is just one enormous enigma. That is to say that writer/director Paul Thomas Anderson's new drama is too ambiguous, failing to either entertain viewers or leave them feeling psychologically satisfied. Fortunately, though, it serves as an exhibition of excellent acting, which is enough to sustain those who mistakenly walk into the movie expecting “The Will Be Blood.” Star Joaquin Phoenix commands the screen, profoundly portraying a complicated character that is like a walking, talking, ticking time bomb. His performance alone makes this puzzle worth trying to put together. (Grade: C)

‘Nobody Gets Out Alive’

Brian Gallagher plays a man whose devastating story evolves into a local legend - a myth that many consider to be just that until a group of partying teenagers accidentally find themselves trapped in a brutal fight for survival. (NR - 78 minutes)

“Nobody Gets Out Alive” is the kind of flick that is not a particularly solid piece of cinematic entertainment but is still worth watching because its writer/director Jason Christopher is sure to one day make a horror movie that the whole world will be buzzing about. Here, his production budget is simply too small to sincerely capitalize on his violent vision. Having said that, he uses what little money he does have wisely, giving life to gruesome special effects that will truly turn your stomach. Moreover, money is irrelevant when it comes to conceiving a character as tragic and as trenchant as this one. (Grade: C)