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Boogie Nights [Blu-ray]

Mark Wahlberg (Actor), Heather Graham (Actor), Paul Thomas Anderson (Director) Rated:

Format: Blu-ray

4.5 5,491 ratings

IMDb7.9/10.0

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Genre	Drama
Format	Color, NTSC, Subtitled, Blu-ray, Dolby, Widescreen
Contributor	Nicole Ari Parker, Mark Wahlberg, Don Cheadle, Paul Thomas Anderson, William H. Macy, Julianne Moore, Burt Reynolds, Heather Graham, John C. Reilly See more
Initial release date	2010-01-19
Language	English, Spanish

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Product Description

Boogie Nights (BD) (NL)

From writer/director P.T. Anderson comes the turbulehnt behind-the-scenes story of an extended family of filmmakers who set out to revolutionize the adult entertainment industry in the seventies. Idealistic producer Jack Horner (Burt Reynolds) has always dreamed of elevating his films into an art form. When he discovers young actor Eddie Adams (Mark Wahlberg), Jack begins to turn his dreams into reality. Under the stage name of Dirk Diggler, Eddie soon gives the adult entertainment world a star the likes of which it has never seen. But the rise to fame has its costs, and soon Dirk finds himself sliding down the slippery slope of sex, drugs and violence. The only question: can he get himself back together before it's too late?

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Product details

Aspect Ratio ‏ : ‎ 2.40:1
Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ R (Restricted)
Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 1.6 ounces
Item model number ‏ : ‎ 794043132926
Director ‏ : ‎ Paul Thomas Anderson
Media Format ‏ : ‎ Color, NTSC, Subtitled, Blu-ray, Dolby, Widescreen
Run time ‏ : ‎ 2 hours and 35 minutes
Release date ‏ : ‎ January 19, 2010
Actors ‏ : ‎ Mark Wahlberg, Heather Graham, Burt Reynolds, Julianne Moore, Don Cheadle
Dubbed: ‏ : ‎ Spanish
Subtitles: ‏ : ‎ English, Spanish
Language ‏ : ‎ English (Dolby Digital 5.1), Spanish (Dolby Digital 5.1), English (Dolby TrueHD 5.1)
Studio ‏ : ‎ New Line Home Video
ASIN ‏ : ‎ B00332F3MW
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1

Best Sellers Rank: #1,777 in Movies & TV (See Top 100 in Movies & TV)
- #137 in Comedy (Movies & TV)
- #209 in Drama Blu-ray Discs

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4.5 5,491 ratings

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KEITH

Unblemished Adoration

Reviewed in the United States on February 3, 2022

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This amazing story about a taboo subject begins in 1977. The dramatic set-pieces, the risque ouvre, all calvacade around one issue-pornography. This well populated world is introduced to us through the club Hot Traxx in the San Fernando Valley. Eddie Adams is the young, ideal driven, docile kid, at a waiter job at the club. Every scene is interesting because in slow canvassing camera shots each sequence is all about the subject-adult film.
Eddie Adams becomes Dirk Diggler, a porno film star, under the mentorship of Jack Horner(Burt Reynolds). Amber Waves is on the phone with someone, and she would like to talk to her son. Amber, played by Julianne Moore, is a veteran porn actress. The pornography business is like being introduced into the mob, there are rules to follow, and life exists within a self-contained group. As the event montage continues, Little Bill is meandering around his domestic and clean apartment. He discovers his wife, having sex with some male cohort. Eddie Adams, now back home, is in his room changing his clothes. There are posters on the wall. Every item is an object of awe. This is unknown territory. Where the mob family resolves conflicts into jealousy, the 'industry' leads to love. Jack Horner sees Eddie at the club and he has a special feeling, a notion about Eddie.
It is amazing that Jack Horner is a detatched, cold observer as a director, but is intense about pursuing creative ideas-new kinds of pornography movies. Eddie is awkward and has a naive, hard-nosed determination. Despite this he is mature as he is approached by Jack Horner. At Eddie's house, a low camera angle is introduced. This first shot capturing Eddie at breakfast. Eddie's mother is questioning him about his lack of priorities. Eddie has two jobs, one at a carwash, the other is at Hot Traxx. Eddie Adams is gifted, he has a large penis, and he doesn't harbor a proclivity to judge others in the pornography world. Despite the outrageousness of the new life Eddie has involved himself with, we ask how long is Eddie, now Dirk Diggler, going to ascend? Dirk Diggler is the prototype mover, so incandescent in boyish exuberance, he is the model of conflicted stardom. No one else could have been Dirk Diggler except Mark Wahlberg.
Eddie is attending parties at Jack Horner's house, and he is a good diver. The camera shot is underwater, and the piqued translucence of sunlit blue brings a consciousness of power over snags and vitality negatives. The camera rests for seconds. The scene is intimate. The whole movie is a nod to the shooting and production of adult films. Unlike lesser serial dramas, the personalities of these characters are entwined to the outcome of the play. Eddie even says that he has seen "Star Wars" four times. At first glance this analogy is ridiculous, but each close-up has a battery of implications for the plot of "Boogie Nights". Like a trance that overcomes the worshipers of the sun-god we float in delight into the next phase and look at the bodies left behind from a safe distance.
Has there ever been a film in which the cast achieved recognition to such a fine degree of innovation as in the case of "Boogie Nights"? The friends of Dirk Diggler are knotted within a conductor of soft equilibriums-through rough genuflections their nerves are never mangled. In social divisions the problem is that one does not get included into 'regular society'. Outside of this clique, there are square suburban lawns and tracts of greenery that lie distant from the charismatic beacon lighted by Dirk, and his friends Reed(John C. Reilly), and Scotty (Philip Seymour Hoffman). Then the movie celebrates other times. Now these people move into a sphere of danger, crime, and incongruity, at the mere whim of changing currents. This is explicable because these lives are so extraordinary. Thinking of Reed Rothchild, one intuitively cares what will happen to him.
There are amazing set-pieces. A very well choreographed disco dance, a Christmas song playing over the radio during a robbery, and Dirk's fiery pinkish Corvette Stingray. These seventies ironies are done right. These objects are where they would be given the setting. Continuing on the viewer witnesses what becomes of these dynamic characters as they stray from their world and their non-groomed ideals. Unlike many less accomplished slice of life drama exposes, every action, here, advances the themes of "Boogie Nights". In numerous television dramas and other movies the personality 'types' say things simply for the decor of the language-they search for trends that are temporarily nuanced by strangeness, not by meaning.
As a diletante reviewer, I am forced to question my objectivity when describing, in detail, my opinions. I have strong beliefs and the subject of "Boogie Nights" was a biasing factor. This movie has me questioning where the origin of the real sin is. "Boogie Nights" is a forking path in my way. I definitely want to be able to enjoy movies as good as this.

3 people found this helpful

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Wheelchair Assassin

"I am the bleepin' king of Dirk!"

Reviewed in the United States on August 12, 2006

Verified Purchase

Given that pornography is a multi-jillion-dollar-a-year business, it's sort of surprising that it hasn't received the cinematic treatment more often, but Boogie Nights provides it with the sort of skewed, darkly comic treatment that it almost certainly deserves, and becomes a certifiable classic in the process. Following the story of Eddie Adams, a simple-minded, almost impossibly well-endowed teenager from suburban California who achieves porn stardom as Dirk Diggler before turning 20, Boogie Nights is both a time-tested star-is-born-and-almost-blows-it-all story and a loving tribute to a time and place that will probably never be replicated and the individuals who made it what it was.

Paul Thomas Anderson's directing is as excessive and stylish as you'd expect from a movie centered on the porno industry, with Anderson pulling out every trick in the book--long tracking shots, underwater closeups, montages, movie-within-a-movie views, and some moments that approach stream-of-consciousness (Dirk's vision of his professional name literally exploding off a neon sign being a prominent example). Naturally, Anderson also loads the movie up with period details, right down to the Farah Fawcett poster in teenage Dirk's room, the platform shoes, and the obligatory disco sequences. Its visual flair aside, though, Boogie Nights is also the sort of insanely quotable, watch-it-until-you've-memorized-it movie that seemed to come out in droves in the nineties (Trainspotting, Fargo, Goodfellas, Swingers, True Romance, etc. etc. etc.) but has been in disturbingly short supply this decade. This movie simply seems to have everything you can think of going for it, especially its murderer's row of a cast--Burt Reynolds (Jack Horner), Don Cheadle (Buck Swope), John C. Reilly (Reed Rothchild), Julianne Moore (Amber Waves), William H. Macy (Little Bill), Luis Guzman (Maurice Rodriguez), Tom Jane (Todd Parker), Philip Baker Hall (Floyd Gondolli), Philip Seymour Hoffman (Scotty Jay), and Alfred Molina (Rahad Jackson) all figure prominently--and even Wahlberg (Dirk himself) and Heather Graham (Rollergirl) have roles that are perfectly suited to their relative limitations as actors.

That said, what really gives the movie its resonance is the obvious sympathy with which it treats its characters, who are generally easy to laugh at but equally easy to like. The main characters almost entirely have hopes, aspirations, and attachments beyond the rather closed world of their profession--Jack's desire to be a serious filmmaker; Dirk's ridiculous pseudo-Karate and Reed's equally ridiculous poetry; Buck's goal of opening his own stereo store; Amber's attempts to get back in touch with her son, which she blatantly compensates for by mothering her co-stars--helping us see them as fleshed-out characters, not just plot devices in the story.

Since there isn't really a plot to speak of, the movie is told as a series of episodes, Goodfellas-style, with several extended pieces--the pool party at Jack's House where Eddie/Dirk gets introduced to the whole crew; the New Year's Eve party celebrating the start of the '80's; the fake drug deal gone bad at a Rahad's house--serving to turn the narrative in new directions. This last set piece--when Dirk, Reed, and Todd head over to Rahad's house to sell him some baking soda disguised as cocaine and it quickly degenerates into a laughably misguided robbery attempt--deserves special mention, as it's easily one of the most fascinating single scenes in recent film memory. It starts off almost surreal, with a skinny Chinese guy walking around randomly lighting firecrackers and Rahad (clad only in underwear, a bathrobe and slippers) discoursing semi-coherently as he sings along to not-so-classic 80's songs on a mixtape. From there it just gets progressively darker and tenser, with the lighting, acting, and direction all perfectly serving to ratchet up the feeling of desperation and horror as Todd kicks his ill-conceived robbery plot into motion and things spin way out of control. Molina's over-the-top performance, more than anything else, makes the scene, as he turns Rahad into a manic ball of drug-fuelled energy and, later, a shotgun-toting avenging angel determined to take his revenge. I wouldn't say Molina turns in the best performance I've ever seen in a movie, but it it probably the best performance I've seen from someone who only got one scene in the whole movie.

The '80's are, of course, the hangover from the joys of the previous decade, as the emergence of video downgrades the quality of the product, cocaine suddenly becomes addictive, and Dirk starts to become too big for his britches in more ways than one. Fittingly, as the disco era gives way to tougher times in the eighties, the movie takes a darker turn, becoming grittier, more downcast and a lot more violent, but no less compelling. All the unbridled energy and creativity of the first half is still present, just in a decidedly less sunny form. Even when people are getting beaten up and shot left and right, the movie's pedal-to-the-metal pacing makes it all but impossible to look away. Well, except maybe for the notorious money shot at the end, but by then I for one didn't care.

14 people found this helpful

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Mightyvinyl Com

One of my 10 favorite films of all time

Reviewed in the United States on October 27, 2023

Verified Purchase

If you've not seen Boogie Nights, do yourself a favor and watch it tonight! The caveat is that this is a no-punches-pulled story about the San Fernando Valley porn industry in the late 70's to 80's, incorporating parts of the John Holmes story into it's complex web of characters and incidents. If PORN is a bad word then this will not be for you. The use of music is incredible, for example a scene in a drug house set to Sister Christian is indelible - I cannot hear the music now without seeing the scene in my mind's eye.

The amazing ensemble cast reads like a who's who of early 2000's actors, and the story takes amazing twists and turns. It's 2:35 running time only bogs down in a few areas, but ultimately I would have loved a 3 hour cut!

In fairness, I should point out that I bought this particular copy for a good friend who hadn't seen it yet and he was disappointed, turned it off after the first hour. I find that amazing, but then again art is in the eye of the beholder.

This along with Magnolia are a one-two punch and I think easily the best things P.T. Anderson has done so far.

CANNOT RECOMMEND (with caveats for those of a prudish sensibility) HIGHLY ENOUGH!!!!

3 people found this helpful

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S I S

Good to know

Reviewed in the United States on April 13, 2024

Verified Purchase

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