Aisle
Seat Mid-January Report
New Sony Titles Including RESIDENT EVIL, LEON and FIFTH ELEMENT Special
Editions
One of the more difficult decisions you have to make as a critic is
deciding from what approach you critique a film. Clearly, the latest
work by Martin Scorsese demands a more “scholarly”
approach than a
movie like, for example, RESIDENT
EVIL: APOCALYPSE.
Last fall’s second entry in the video game-to-movie franchise
was a
box-office hit worldwide, and reviewing it means you
have to look at
the picture from the point of view that it’s a) a silly video
game
movie, b) it has no ambition whatsoever other than to string a series
of action scenes together, and c) the film demands less of the viewer
than a movie like “The Aviator.”
You may be asking (and rightly so) about the script and character
development. In that case, you’ve come to the wrong film,
because RE:
APOCALYPSE (**½, 2004, 94 mins., R; Sony) is not a movie you
watch
because of characterizations or the intricacies of its premise.
It is, however, a thorough guilty pleasure: a mindless, non-stop
assault on the senses that somehow or other is more entertaining than
its predecessor. Perhaps that’s because original
writer-director Paul
W.S. Anderson (“Alien Vs. Predator,” the lamentable
“Event Horizon,”
the underrated “Soldier”) only wrote and produced
the sequel, leaving
the directorial reigns to Alexander Witt, who deftly utilizes the
widescreen scope frame and expands “Apocalypse”
beyond the
claustrophobic, “Night of the Living
Dead”-influenced zombie action of
its predecessor.
Equal parts “Resident Evil,” “Escape From
New York” and “Mortal Kombat”
(don’t say I didn’t warn you!),
“Apocalypse” confusingly picks up
(sorta) from the tail end of the original film, where heroine Alice
(Milla Jovovich) has escaped from the Umbrella Corporation’s
vile
clutches. Unfortunately for her, Raccoon City has become over-run with
the undead and other assorted creatures, leaving the metropolis
predictably in a state of panic. Renegade cop Jill Valentine (Seinna
Guillory) and government agent Carlos (Oded Fehr) team up with Alice in
an attempt at rescuing a scientist’s daughter lost in the
city, and
have only a limited time to do so before the area is
“cleansed.” Oh,
and did I mention the big, hulking monster Nemesis, who has some kind
of emotional connection with Alice?
Less pretentious than its predecessor, “Resident Evil:
Apocalypse”
looks good and has all the hallmarks of a guilty pleasure for this
critic. The movie’s international production team results in
an
eclectic cast of American and European actors (all with their own
accents) of varying ethnic backgrounds – something that gives
the whole
movie an endearingly off-kilter atmosphere. The action is non-stop,
growing more preposterous by the minute, and Jeff Danna’s
pounding
score works effectively in the film, whenever a litany of hard-rock
tracks aren’t throbbing on the soundtrack (at least
it’s better than
the best-forgotten teaming of Marco Beltrami and Marilyn Manson from
the original). Jovovich and Guillory both look fetching as action
heroines, and there’s even some humor interspersed at various
points.
Needless to say, “Resident Evil: Apocalypse”
isn’t a movie for
everyone. However, for those seeking some visually polished, B-movie
fun – the kind you enjoy with a pizza and a few beers, with
your brain
switched firmly in the “off” “position
– it’s an entertaining ride for
all of its 94 minutes.
Sony’s 2-disc Special Edition of
“Apocalypse” is filled with special
features. There are no less than three commentary tracks on the movie:
one with director Alexander Witt, producer Jeremy Bolt, and executive
producer Robert Kulzer; another commentary with Sienna Guillory, Oded
Fehr, and Milla Jovovich; and a third track with producers Paul
Anderson and Jeremy Bolt. All three talks will be of interest for fans,
though the cast commentary is the most chatty of the group, the
director commentary of mostly-technical interest, and the producer
commentary probably the most revealing in terms of the film’s
development, writing, and prospects for future sequels (of which
there’s undoubtedly one more in the pipeline).
The “bonus disc” offers 20 deleted scenes, mostly
brief and taken from
the film’s workprint; these run without commentary. A
six-part making
of featurette, “Game Over: Resident Evil
Reanimated” offers a nice
overview of the production in mostly promotional style, while three
additional featurettes offer additional insight (“Corporate
Malfeasance,” “Game Babes,” and
“Symphony of Evil,” the latter not
about the scoring but rather the CGI effects). A poster gallery and
cast outtakes are also included along with the movie’s teaser
and
trailer, plus other previews.
As with most Columbia TriStar titles, the 2.40 transfer is immaculate
and the 5.1 Dolby Digital sound as relentless in its sound design as
the movie is with its action. Definitely recommended for its target
audience, and well worth a rental for genre aficionados.
Sony has also recently released a pair of “Ultimate
Editions” of
popular Luc Besson titles “The Fifth Element” and
“Leon: The
Professional.”
Since both movies have been released several times previously and most
viewers by now are more than familiar with each, I won’t
spend much
time on the actual movies but rather the special features and unique
content on each disc.
THE
FIFTH ELEMENT
(***½, 126 mins., 1997, PG-13) is a sprawling, candy-coated
sci-fi
fantasy that remains one of Besson’s best films, not to
mention one of
his most successful at the worldwide box-office.
Columbia TriStar had previously released a standard-issue,
supplement-free disc (that still looked great) in the early days of
DVD, then followed it with a “SuperBit” release
with a top bit-rate
transfer, accentuating the sound and picture (integral to the
film’s
enjoyment).
The new 2-disc Special Edition includes the previous SuperBit release
on disc one: a gorgeous 2.35 widescreen transfer that’s
breathtaking to
behold, in addition to a dynamite 5.1 DTS soundtrack superior to the
disc’s other 5.1 Dolby Digital mix. Though reportedly not a
new
transfer, the SuperBit release is regarded as one of the finest that
the DVD medium has to offer, so why fix something that’s not
broken?
Disc two offers two hour’s worth of new featurettes.
“The Visual
Element” kicks things off with a 20-minute featurette
examining the
influence French comic book designers like Mobius had on the
picture’s
visual design, while “The Digital Element” looks at
Digital Domain’s
CGI work on the movie. “The Alien Element”
concentrates on the eclectic
design of the various aliens in the story (one of which was excised
from the film), and “The Star Element” includes
comments from Bruce
Willis, Chris Tucker, and Milla Jovovich, with audition footage of the
latter on-hand. “The Fashion Element,” meanwhile,
dissects the costume
design, while a look at “The Diva” (one of the
film’s most striking
images) profiles the blue-skinned extraterrestrial from the
picture’s
climax. A brief poster gallery and an on-screen Trivia Track rounds out
the disc, which lacks only a commentary and the movie’s
theatrical
trailer.
There are fewer special features found in Columbia’s latest
edition of Besson’s LEON,
THE PROFESSIONAL (***, 1994,
133 mins., Not Rated), though for the money the disc is still a winner.
Again utilizing the previous SuperBit release for its content on disc
one (meaning a beautiful 2.35 widescreen transfer with DTS and Dolby
Digital soundtracks) with the addition of a on-screen trivia track, the
set’s second disc offers three new featurettes that fans
should enjoy.
“Natalie Portman: Starting Young” contains a recent
interview with the
actress, reflecting back on her still-discussed, career-making role in
Besson’s 1994 film. “Jean Reno: The Road to
Leon” offers likewise
recent comments from the international star, while the 25-minute
“10
Year Retrospective” includes comments from Portman, Reno, and
other
cast/crew members, with the notable omission of Besson.
Speaking of which, Besson apparently prefers to let his work speak for
itself, which would explain both discs’ lack of commentary or
interview
comments from the filmmaker. While some fans may be disappointed in
that respect, both of these Deluxe/Ultimate Editions are still highly
recommended for their Superbit presentations and supplements (more so
with “The Fifth Element” than “Leon, The
Professional,” which also
lacks the isolated score track of Eric Serra’s soundtrack,
found in the
second DVD release). If you don’t own either film or are a
die-hard
aficionado of Besson, both are well worth checking out, and are a
bargain for the price (well under $20 a pop).
New
Disney Animation
Disney’s DVD releases this week include several compilations
of vintage
studio animated shorts, as well as a double-feature pairing of the two
made-for-video “Aladdin” sequels. Collectors should
note all of these
new discs are said to be available “for a limited
time” only, though
mainly for those who missed the “Disney Treasures”
limited edition
packages.
The new CLASSIC
CARTOON FAVORITES series
comprise four separate DVDs, each compiling character-specific Disney
shorts.
Vol. 1 stars Mickey in seven shorts running just over an hour
(“Mickey’s Circus,”
“Mickey’s Garden, “The Little
Whirlwind,” “On Ice,”
“Hawaiian Holiday,” “Moving
Day,” and “Orphan’s Picnic”).
Vol. 2 gives
the spotlight to Donald Duck, who appears in eight shorts
(“Inferior
Decorator,” “Don Donald,”
“Golden Eggs,” “Bee at the
Beach,” “Donald’s
Dog Laundry,” “Donald’s
Vacation,” “Old MacDonald Duck,” and
“Chef
Donald”), while Vol. 3 highlights nine Goofy vehicles
(“The Art of
Skiing,” “How to Fish,” “How to
Swim,” “Baggage Buster,” “How
to
Dance,” “Lion Down,” “The Big
Wash,” “Hold That Pose,” and
“Father’s
Day Off”). Finally, Vol. 4 is all about those crazy fellas
Chip ‘N
Dale, in nine adventures of their own (“Chicken in the
Rough,” “Chip ‘N
Dale,” “Out of Scale,” “Two
Chips and a Miss,” “Food For
Feudin’,”
“Working For Peanuts,” “Out On a
Limb,” “Three For Breakfast,” and
“Dragon Around”).
All of the shorts are in good condition, framed in their original 1.33
aspect ratios with satisfactory mono soundtracks, dependant on the
age/condition of the elements being used.
Now, for those who own the “Disney Treasures”
Mickey, Donald, or Goofy
box-sets, these releases are basically not for you. All of the Mickey
shorts, for example, contained here were present in one of the Disney
Treasures Mickey box-sets, so there’s nothing unique to be
found on
this release. Ditto on the Goofy and Donald discs, meaning only
“Chip
‘N Dale” represents content arriving on DVD for the
first time.
On the other hand, if you missed those limited edition tins, these
discs present a “best of” sampling that kids should
enjoy, with the
price ($15 and under) geared towards casual viewers and family
audiences, not collectors and die-hard fans. That’s also
reflected in
the “Fast Play” option of each disc, which bypasses
menus and all other
non-feature content, enabling kids to get right into the
action.
Also new from Disney this week are the first releases of the two
direct-to-video “Aladdin” sequels, ALADDIN:
THE RETURN OF JAFAR and ALADDIN
AND THE KING OF THIEVES.
Both small-screen works offer colorful entertainment for kids, though
the animation and scripts are vastly inferior to the 1992 film that
they followed. Robin Williams was replaced by
“Simpsons” voice Dan
Castanella for “Jafar” (he also voiced the Genie in
the TV cartoon),
though Williams returned for “King of Thieves.”
Unfortunately, the
latter is weaker than the first follow-up, which at least boasts a few
tuneful songs.
Both DVDs offer solid 1.33 transfers with 5.1 Dolby Digital sound and
various special features aimed squarely at kids, with interactive games
and such. The two discs are separately packaged but bundled together in
a set that retails around $30 in various outlets.
Also
New on DVD
WITHOUT
A PADDLE
(**1/2, 2004). 98 mins., PG-13, Paramount. DVD SPECIAL FEATURES:
Director commentary; video commentary by cast and the director; 13
Additional Scenes with optional director commentary; MTV Making Of and
Interstitials; Theatrical Trailer; 2.35 Widescreen, 5.1 Dolby Digital
sound.
One of last year’s surprise box-office hits,
“Without a Paddle” stars
Seth Green, Matthew Lillard and Dax Shepard as three childhood friends
who take a trip to the Oregon woods after their best friend dies in a
tragic accident. Naturally, all three have hang-ups: Doctor Green is
shy in general and particularly hesitant around women; crazy man
Shepard is having trouble finding the right job; and Lillard would
rather be out surfing than sitting in an office or making a commitment
to his girlfriend.
Steven Brill’s comedy offers colorful, scenic Pacific
Northwest vistas
in full widescreen, plus engaging supporting turns from Burt Reynolds
as a forest sage and Ethan Suplee and Abraham Benrubi as marijuana
farmers whom the boys run afoul of. Speaking of which, Green, Lillard,
and Shepard make for an amusing trio, though after a strong start, the
Jay Leggett-Mitch Rouse script runs out of energy, with a typical
chase-movie framework substituting for some of the movie’s
stronger
gags early on. Though the laughs are likely to be best appreciated by
younger viewers, there’s too much adult content in the PG-13
rated film
for parents to feel comfortable letting their kids watch it.
Paramount’s DVD sports a good-looking 2.35 transfer with an
energetic
5.1 Dolby Digital mix, which includes a fun collection of pop tunes and
Christophe Beck score. Special features offer some 13 deleted scenes
(some of which could have helped the movie feel less disjointed), plus
an MTV Making Of and “Interstitials” which ran on
the channel. The
theatrical trailer is also on-hand, as are a pair of fun commentary
tracks: one by director Steven Brill, the other a video commentary with
the cast and Brill offering anecdotes on the production.
Vintage
Round-Up
THE
BEASTMASTER: Divimax Edition
(**½, 1982, 118 mins., PG; Anchor Bay): Yet another release
of the Marc
Singer-Tanya Roberts sword-and-sorcery classic? Well, heck, why not,
especially when Anchor Bay has included a new documentary sporting
interviews with director Don Coscarelli, writer Paul Pepperman, plus
stars Singer, Roberts and Josh Milrad among others. It’s a
fun making
of, while the remastered 1.85 transfer and DTS soundtrack appear only
slightly superior to AB’s previous
“Beastmaster” release. Coscarelli
also provides notes on the fold-out poster booklet while
stills and
the original script (DVD-ROM only) compensate for the features not
retained from the 2001 DVD edition, including a more comprehensive
booklet and home movie footage of the shoot.
THE
HOUND OF THE BASKERVILLES
(**, 1978, 85 mins., Not Rated; MGM): Wacky, alternately desperate or
amusing vehicle for stars Peter Cook and Dudley Moore, released in the
U.S. in what was reportedly a horribly truncated version running 74
minutes. MGM’s first-ever DVD release of the Paul
Morrissey-directed
Conan Doyle spoof contains the longer, apparently superior 85-minute
European release version, which is supposedly more coherent than what
was originally released on this side of the Atlantic (by Atlantic
Releasing Corp. several years after the fact). Whatever the case may
be, this curio is worth a look due to Cook and Moore’s antics
(they
co-wrote the picture with Morrissey), and the movie’s scope
cinematography, here preserved in full 2.35 (16:9 enhanced) widescreen.
The mono soundtrack and the picture’s theatrical trailer are
also
included. (Die-hard fans should note a Region 2 Special Edition also
contains the abbreviated U.S. version, though it lacks a 16:9
transfer.)
YOUNG
DOCTORS IN LOVE (***,
1982, 96 mins., R; MGM): Sean Young is at her most fetching in this
wacky spoof of doctor dramas and soap operas, appropriately directed by
“Happy Days” TV guru Gary Marshall. Young and
McKean play young medical
internists who are tutored in the ways of medicine by veteran docs
Dabney Coleman and Harry Dean Stanton. The gags are generally amusing
in the script by sitcom vets Rich Eustis and Michael Elias, while
Maurice Jarre’s intentionally heavy-handed score also helps.
This early
box-office hit from producer Jerry Bruckheimer (now a virtually
forgotten film) also boasts appearances by Patrick MacNee, Michael
Richards, Ted McGinley, Demi Moore and Janine Turner. MGM’s
DVD
includes a non-anamorphic 1.85 widescreen transfer with a decent mono
soundtrack (it seems as if all ABC Motion Pictures properties were
unable to be transferred in 16:9 widescreen or include any extras on
DVD, since all Anchor Bay and MGM releases of ABC titles have
unfortunately been not enhanced for 16:9 televisions. Alas, such is the
case here as well).
JINXED
(**½, 1982, 103 mins., R; MGM): Early ‘80s Bette
Midler comedy is a
zany affair with Bette as a Vegas lounge singer who gets involved with
a young casino dealer (Ken Wahl) at the same time she lives with her
live-in loser of a boyfriend (Rip Torn). Don Siegel directed this
interesting though not entirely satisfying vehicle for Midler, which
reportedly was a troubled shoot, with Midler and Wahl clashing behind
the scenes, and Siegel suffering a heart attack during production
(apparently, Sam Peckinpah directed some footage uncredited!). Frank D.
Gilroy adapted his novel for the screen, but then had his name removed
from the screenplay credits. Despite all the problems, this is
nevertheless an amusing, uneven picture worth seeing for Midler fans.
MGM’s DVD includes 16:9 widescreen and full-screen transfers,
while the
mono soundtrack is fine and a theatrical trailer rounds out the
presentation.
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