Sophia Coppola’s “Lost in Translation” was one of the most critically acclaimed films of 2003, but the movie never achieved its rightful status with members of the public.

The film was largely released solely in large cities or arthouse theaters, but is now getting a second life on DVD and is just as amazing on the small screen as it was in theaters.

The film revolves around Bob (Bill Murray), an aging actor sent to Japan to collect a handsome paycheck for a whiskey commercial, and Charlotte (Scarlett Johansson), a bored wife of a photographer in Tokyo on business. Both characters are lonely, out of touch and unhappy with their respective lives.

Although taking place in Tokyo, and shot almost entirely on location, the film is largely filled with generic hotel and bar shots that add an element of “this could be anywhere or everywhere” to a film built primarily on feeling.

Although “Translation” is in some sense a love story, the romance is played down entirely in favor of the awkward moments and uncertainty of love.

The real strength of the film is in its desolate depiction of isolation and a sort of comically sad, omniscient wisdom about the fleeting nature of many of life’s relationships. In a bustling metropolis, within the confines of marriage,in the midst of a shifting career or life, it is still possible to feel so solemnly alone and adrift.

Because Coppola’s characters seethe with this sort of isolated loneliness, it’s easy to make the leap of faith it takes to see these characters finding one another. While some consider the pacing too slow or the plot too weak, neither of those attributes is the point. Rather than lavish plot twists or top-heavy character studies, Murray and Johansson simply provide an ethereal view of the human condition.

What is truly “lost in translation” of the film is untold, but that may have been the directive. The film depicts elements of life often as they are: confusing, moving and sometimes too fast to properly decipher.

The extras on the DVD, including conversations with Murray and Coppola and deleted scenes, offer little insight into any real meaning, but rather just enough to keep the viewer thinking. While it would have been nice to have everything wrapped into a neat little package, the beauty of the film is that it doesn’t bother to answer all of the questions it poses.

The characters are entirely unglamorous; their discomfort is rarely played for laughs and the final scenes leave ends more than loose enough to keep the film as a whole from feeling too contrived, controlled or overtly Hollywood.

The DVD features could have been more extensive, but the reason to own this DVD is for the film, not some self-congratulatory extras. Even without greater insight into the film, “Lost in Translation” is a wonderful film transferred well to DVD.

‘Comic Book’ a fitting tribute to geek culture

“Comic book: The Movie” is a testament to nerdiness in an era where the word geek has finally become somewhat socially acceptable in certain circles.

The film, which was released solely on DVD, is finally seeing the light of day after more than two years of rumors and a lengthy production.

Starring Mark “Don’t call me Luke Skywalker” Hamill, “Comic Book: The Movie” offers a comical and insightful look into the sometimes bizarre but perennially geeky world of comic books through a series of interesting characters alongside some of the best known and most beloved names in the comics industry.

It is only fitting after being a primary player in “Star Wars” geek culture that Hamill, a self-confessed comic book geek of the highest order himself, pay homage to the “geek” culture he helped spawn. And make no mistake, the term geek, as used herein, is merely an adjective to describe someone with astounding knowledge of a single subject, and is not merely an insult.

In “Comic Book,” Hamill plays Donald Swan, a man on a quest to ensure his favorite comic book character, Captain Courage, is not maimed or defamed in a movie being made based on the 1950s comic in which Courage appears.

Swan is everything one might imagine an archetypal comic book geek to be. He is obsessive, reactionary and completely hardcore in his love of everything comics. In his journey to ensure his beloved character is portrayed with the proper dignity and respect, Swan meets with studios and campaigns to keep Captain Courage pure.

While it helps to be an unabashed comics fan to enjoy this film, it isn’t at all necessary. Any viewer need not know of Paul Dini’s work with Wonderwoman, Superman, The Justice League or Batman comics, or be knowledgeable of Kevin Smith’s work with Daredevil and Green Arrow, but it surely brings the undercurrent of geek culture portrayed in the film to life.

Each of the aforementioned comic book writers appears in a cameo in the film, and this level of authenticity lends an air of respectability to a film that could easily be taken simply as a joke.

The film itself is entertaining and very funny, but the real magic of “Comic Book” is that it was created by one of the science fiction and animation world’s biggest cult favorites in Hamill for other sci-fi, comic and animation “geeks.” More than merely a movie, it is a statement on the acceptance of geek culture.

It may not be cool to “geek out” over varying covers and crossover characters merging from the D.C. to Marvel universe or a CGC mint edition, but that market does exist and those individuals almost solely support entire industries devoted to their rabid fandom.

“Comic Book: The Movie” is a humorous, if not over the top, look at the world of comics and the nature of geek culture. It sheds much needed light on one of the most devoted subcultures in the entertainment industry.

‘Phantom Planet’ surpasses kitsch labels despite mediocre effort

Phantom Planet made a name for itself on the thespian reputation of drummer Jason Schwartzman and the indie hit “California,” but surpass one-hit-wonder labels and kitsch value with the self titled follow up to 2002’s “The Guest.”

With more garage-rock flare and NYC-inspired strumming than mellow California groove, one can’t help but recall The Strokes’ thoroughly mediocre “Room on Fire” while listening to “Phantom Planet.” This gripe not withstanding, however, the album is melodic and catchy if not entirely derivative.

It’s hard not to recall the nasally warble of Julian Casablancas throughout much of the album, but it’s clear Phantom Planet has become a much tighter band, as tunes like “Badd Business” and the layered “Big Brat” cut to the quick with meat and potatoes rock.

Likewise, “Making a Killing,” with its bass-driven groove and the trippy “By the Bed” expand the band’s horizons while maintaining a solid rock aura. Even the mellow “Knowitall” and the singsongy “After Hours” still have a quirky, quaint charm that’s far more endearing than more bludgeoning or pompous rock.

“Phantom Planet” may not be a huge breakthrough for the band or even a very original record, but it should be more than good enough to draw fans on more than the name of the group’s drummer. With solid, if somewhat forgettable, songs and enough catchy hooks to draw even the most jaded music snob, “Phantom Planet” is catchy in all the right places without the kitsch.

It would have been nice to see something more than another tepid Strokes clone, but it’s tough to blame the men of Phantom Planet for trying. If a complete inability to play one’s instruments or sing intelligibly is fashionable, why not go with it, right?

While the album or its songs won’t change the world, or even spawn imitators, its enough to ward off the derision often associated with bands know, more for their members than music.