Bad-boy filmmaker Abel Ferrara ("Bad Lieutenant") returns to the New York streets for the first time in a decade with "4:44 Last Days on Earth." Like "Melancholia," the film imagines the end of the world as we know it -- and if you thought Lars von Trier's vision was understated, just wait till you see Ferrara's. Willem Dafoe stars alongside the director's real-life girlfriend Shanyn Leigh as a couple who spend their final hours hanging around their roomy loft in the Lower East Side. "Likely Ferrara's most personal work," Eric Kohn wrote in his review of the film, "it's also ironically the most life-affirming in a career defined by anger and grime. Ferrara has gone soft without selling out."
Extras: Unfortunately, a trailer is all you’ll find.
In the latest feel-good dramedy from Lasse Hallstrom (“Chocolat”), “Salmon Fishing in the Yemen,” Emily Blunt plays Harriet, assistant to a sheik who wants to bring salmon fishing to the desert. To make the sheik's dreams become a reality, Harriet is paired with Britain’s leading fisheries expert, Fred (Ewan McGregor). Complications ensue when Fred, a married man, falls for Harriet. The two leads make for a charming and dynamic pair (it's a wonder that this marks their first time onscreen together), but a hilarious Kristin Scott Thomas steals the film as as the prime minister's press secretary.
Extras: “The Making of Salmon Fishing In the Yemen” featurette that runs a little over 13 minutes with interviews and behind-the-scenes clips; and a three-minute conversation with Paul Torday, author of the book the film is based off.
Take a trip back in time via "The Beat Hotel," Alex Govenar's feature documentary that tracks the evolution of the infamous Beat Hotel, the epicenter of Beat writing, that produced some of the most important works of the Beat generation. Run by Madame Rachou, the hotel attracted the likes of Allen Ginsberg, Peter Orlovsky, Gregory Corso, William Burroughs and Ian Somerville, all of whom left their mark on the institution.
Extras: Two short films (“Harold Chapman on His Photography” and “The Dreamachine”); Elliot Rudie drawings; and a deleted scene featuring William S. Burroughs and Ian Sommerville.