Warner Bros. created the modern gangster movie in the early thirties, when they were the kings of high-energy, street-smart filmmaking. The genre remained dear to the studio throughout its history.

 

They pay tribute the best of their gangster films, yesterday and today, with two Blu-ray box sets: "Ultimate Gangsters Collection: Classics" (Warner) and "Ultimate Gangsters Collection: Contemporary" (Warner). Both debut on Tuesday, May 21.

 

Bing: 'Ultimate Gangster Collection' Blu-ray

 

To celebrate the release, MSN and Warner Home Video are giving away a gift set of both volumes: nine films in two sets.

 

"Classics" offers the respective Blu-ray debuts of four landmark gangster movies -- "Little Caesar" (1931) with Edward G. Robinson, "The Public Enemy" (1931) with James Cagney, "The Petrified Forest" (1936) with Bette Davis and Humphrey Bogart, and the incendiary "White Heat" (1949) with Cagney -- plus a bonus DVD with the documentary "Public Enemies: The Golden Age of the Gangster Film."

 

"Contemporary" collects five films that have previously been released on Blu-ray, including three by Martin Scorsese -- "Mean Streets" (1973), Oscar-nominated "Goodfellas" (1990), and Oscar-winning "The Departed" (2006) -- plus Brian DePalma's "The Untouchables" (1987) with Kevin Costner and Robert DeNiro and Michael Mann's "Heat" (1995) with DeNiro and Al Pacino.

 

See a clip for "Heat" below.

 

Enter to win by following these steps:

 

1.      Like MSN Movies on Facebook and Twitter

2.      Tweet and comment the following message: I want to win the @MSNMovies #ULTIMATEGANGSTERS giveaway!

3.      Email msnmovies@hotmail.co​​m with the following message: I want to win @MSNMovies # ULTIMATEGANGSTERS giveaway!

4.      Stay in touch with MSN Movies Facebook to see if you’ve been selected as the winner

 

Entries are accepted until Monday, May 27. Good luck, MSN Movies fans!

 

In the meantime, enjoy a clip from "Heat" after the jump. Click on "More" below.

And then... the sun came out. Just as the rainy waits had made the frequently good-not-great selections of the festival so far seem all the more disheartening, Friday's mostly gorgeous weather outside and the solid films inside had combined to finally make Cannes feel like... Cannes.

"Mel Brooks: Make a Noise" (Shout! Factory), the new profile of the legendary writer / director / actor / producer / all around funnyman from filmmaker Robert Trachtenberg, premieres on the PBS arts showcase "American Masters" on Monday, May 20, and debuts on DVD the next day. "A raconteur of the first order, Brooks is also gifted with near-total recall, and a wit that hasn’t ebbed with the passage of time," writes Variety TV critic Brian Lowry. "In Robert Trachtenberg’s film, Brooks concedes every bad review is like “a knife through your heart.” In savoring this valentine, that organ and every other can rest easy."

Shout! Factory has been doing right by Brooks, with its deluxe five-disc set "The Incredible Mel Brooks" (featuring some other standout documentaries and specials on Brooks) released in 2012. This joins the ongoing tribute, and the disc features bonus segments filmed for but not included in the documentary.

 

"Citizen Hearst" (HBO) profiles William Randolph Hearst, the legendary media mogul and yellow journalist, and the empire that continues on in his wake. "Sometimes "Citizen Hearst" feels as breezy and electric as the newsreels Hearst pioneered," observes Village Voice film critic Alan Scherstuhl, "other times it feels like the video they'll make you watch during orientation on your first day at 300 West 57th." Leslie Iwerks directs and William H. Macy narrates. DVD, with 30 minutes of bonus footage and the "Heart Castle" episodes of the A&E series "America's Castles."

 

Theatrical:

"Gregory Crewdson: Brief Encounters" (Zeitgeist) profiles the acclaimed photographer as he worked on his magnum opus, a collection of massive prints he called "Beneath the Roses." "For those unfamiliar with Crewdson’s oeuvre, the docu serves as a delicious eye-opener, while for fans it furnishes an unprecedented look at his long-secret methods, utilizing crews and budgets suitable for independent features, by which his eerily frozen moments of Americana come into being," writes Variety film critic Ronnie Scheib. The DVD includes deleted scenes, bonus interviews, and a Q&A at a screening at LACMA with director Ben Shapiro, Crewdson, and writer Jonathan Lethem.

 

Continue reading at Videodrone

Last year saw a distinct uptick in films about the unwitting and ultimately nebulous roles that characters themselves would play, a theme epitomized by the likes of "Holy Motors," "Cloud Atlas," "Ruby Sparks," the long-delayed "The Cabin in the Woods," hell, even "Wreck-It Ralph." I'm happy to report that Ari Folman's piece of satirical sci-fi, "The Congress," is very much of that theme, committing to Big Ideas of identity and integrity with Robin Wright remarkably anchoring it all as... well, herself. (Sort of.)

As major American filmmakers, the Coen Brothers -- Ethan and Joel -- have had their share of distinctly minor films, while others have earned a greater reputation following repeat viewings and prolonged consideration. To call "Inside Llewyn Davis" a minor work doesn't render it any less a pleasure to watch; it's to admit that the film's melancholy depiction of the '60s folk scene in Greenwich Village (and beyond) may only improve in the interim.

"French Masterworks: Russian Émigrés in Paris 1923-1928" (Flicker Alley) presents of the DVD debut of five silent classics from Film Albatros, a French studio founded by Russian artists: "The Burning Crucible," "Kean," "The Late Mathias Pascal," "Gribiche," and "The New Gentlemen."

 

Three of the films star Ivan Mosjoukine, the great Russian actor who fled the revolution and landed in Paris, and the other two are directed by Jacques Feyder. All of them are examples of the sophisticated filmmaking coming out of France in the twenties.

 

Which is not to say that they are all masterpieces -- "The Burning Crucible" (1923), which not only stars Mosjoukine but is written and directed by the actor, is inventive and full of lively images and playful techniques but is all over the place and jumps willy-nilly through styles and episodes -- but they are all tremendously entertaining and full of filmmaking energy. Mosjoukine plays eleven roles in "The Burning Crucible," including the leading role of Detective Z, a man of many disguises, and Mosjoukine the director rolls Russian formalism, German expressionism, and French surrealism together in a simplistic but richly imaginative story that at times borders on craziness of Louis Feuillade's serials of the previous decade.

 

Mosjoukine also stars in "Kean" (1924) as the great 19th century stage actor Edmund Kean and in "The Late Mathias Pascal" (1926), the fantasy epic directed by Marcel L'Herbier that Flicker Alley released on Blu-ray earlier this year. I reviewed it for Videodrone here.

 

The final pair of films in the set are from Jacques Feyder.

Continue reading at Videodrone 

For more releases, see Hot Tips and Top Picks: DVDs, Blu-rays and streaming video for week of May 14

Another colleague -- a different one from he of my first dispatch -- had greeted me at the Nice airport earlier in the week with a smile and a word of warning: "Everything in Cannes is hard." I suppose that a reality check might be better appreciated by a first-timer than delusions of convenience, but as the days went on, each new hurdle only seemed to further validate that notion.

The rainy weather continued as I made my way down to the Palais for a press screening of François Ozon's "Jeune et Julie (Young & Beautiful)," due to take place in the Grand Lumiere, perhaps the most iconically featured of the festival's venues. (The steps of the nearby Debussy are similarly clad in red carpet, but each is devoted to different arenas of programming.) The film was fine, a slight yet enjoyable coming-of-age tale concerning 17-year-old Isabelle (a very good Marine Vacth), whose loss of virginity results in a voluntary year-long stint as a supposedly 20-year-old prostitute in a discreet effort to earn some extra money and satisfy her burgeoning sexuality.

The Lumiere's mandate that all bags and umbrellas must be checked before entering the auditorium resulted in a lengthy post-movie wait at the coat check counter, forcing one to hastily relocate to the umbrella-friendly Debussy, proceed through identical security procedures and scamper for a seat in time for Sofia Coppola's "The Bling Ring" (my review) to begin. I joked after the film that it was tempting to follow the gang's lead and rob the celebrity yachts of Cannes as their owners walked the red carpet at pre-listed call times, but then someone went and beat me to it.