January Freeze Edition New Blu-Ray & DVD titles covered Plus: CALIGULA, BABYLON AD & more!
It might only be the middle of January but I think most of us have had
enough of Winter 2008-09. Between the brutal cold, ice and snow, this
has already been one of those seasons that you’d often hear your
parents or grandparents refer to as the kind of long-lost winter
“we just don’t have anymore.” Well guess what -- make
no mistake, this year, we are having winter, my dear readers (as if you
needed me to point that out to you), and The Old Man seems to be particularly
irritated this time out!
To help off-set the chilly conditions across most of the nation,
here’s my latest rundown of the latest Blu-Ray and DVD discs,
from Criterion titles to controversial titles like CALIGULA, for your
viewing pleasure.
New Blu-Ray reviews
BABYLON A.D. (*½, 101 mins., 2008, Unrated; Fox): French
director Mathieu Kassovitz’s second English-language film
(following his hideous debut picture, the Halle Berry thriller
“Gothika”) was, according to the filmmaker, ruined by
interference from Twentieth Century Fox, which was one of several
companies involved with this big budget, international co-production.
While it could be that Fox’s desire to trim Kassovitz’s
epic down for a PG-13 rating had something to do with the failure of
“Babylon A.D.,” it also could be that the movie
didn’t quite work in any version -- particularly since Fox
utilized partner Studio Canal’s longer, 101-minute edit of the
movie for its Blu-Ray release, and it’s not much better than what
ended up in theaters here to begin with.
And talk about bizarre: for those of you who always wanted to see Vin
Diesel and Gerard Depardieu share screen time, this is the movie for
you. Diesel plays “Toorop,” an American mercenary living in
a future bombed-out Europe who’s recruited by Deparideu to bring
a “package” back to the U.S. That cargo is, in fact, a
young woman (Melanie Thierry) living in a secret convent and
bodyguarded by Michelle Yeoh, who belongs to a popular American
religious sect (not unlike scientology, though with more Christian
overtones) that envisions Thierry as a miracle worker.
A few fleeting action sequences and a compelling enough first act
create the false impression that “Babylon A.D.” isn’t
going to turn out to be nearly as bad as its disastrous commercial and
critical reception indicates, but its jumbled conclusion will have you
embarrassed that you fell for its deceivingly watchable opening frames.
Diesel looks fairly interested as the sole American party in a movie
that has an off-kilter “international” feel with its odd
cast (Charlotte Rampling also appears), mix of accents and filmmaking
styles from “Blade Runner”-esque sci-fi to social
commentary to all-out action and infrequent doses of special F/X. We
may never know if the uneven narrative made more sense in a longer
version, but what’s here culminates in an unsatisfying ending and
resolution to the Thierry character, who isn’t developed nearly
enough for us to care about.
Fox’s Blu-Ray disc looks a tad on the bright side, but the
AVC-encoded transfer otherwise is solid. The DTS Master Audio sound
throbs with a mix of loud techno tracks and score by Atli Orvarsson,
while a sampling of extras includes a number of featurettes and a
deleted “hummer chase” sequence which was originally
screened in the U.S. theatrical version. APPALOOSA (**½, 115 mins., 2008, R; New Line/Warner): Quite watchable but frustrating western never quite gets its act together -- a disappointment given its cast and subject matter.
Viggo Mortensen and Ed Harris plays peacekeepers in late 1800's New
Mexico territory, who take on murderous Jeremy Irons and woo
new-girl-in-town Renee Zellweger, in director Harris’ adaptation
of Robert B. Parker’s novel.
Well shot by veteran cinematographer Dean Semler,
“Appaloosa” has all the tenants of a rousing, old-fashioned
western, but the finished product comes across as something more akin
to a TNT Movie of the Week than a big-screen outing. Harris’
direction brings little visual flair to the action, while the film
plays out on a flat emotional plain throughout. While western fans may
still find it to be a decent timekiller, the picture never captivates
you -- it’s all functional but not particularly inspired, while
the performances are likewise competent but far from memorable.
New Line’s Blu-Ray disc includes a satisfying VC-1 encoded
transfer and Dolby TrueHD soundtrack that’s as low-key as the
movie itself, plus commentary from Harris and his co-writer Robert
Knott, additional scenes with optional commentary (in HD), and four
Making Of featurettes.
AMUSEMENT (*½, 85 mins., 2008, R; New Line/Warner): Tepid
chiller about three female friends (Katheryn Winnick, Laura
Breckenridge and Jessica Lucas) who find themselves being tortured by a
killer who has a grudge against all three from their childhoods. This
barely-released New Line/Picturehouse production has decent production
quality and even a score by Marco Beltrami going for it, but it’s
pedestrian, “Saw”-like thrills for teens just desiring to
see another group of young ladies being captured and assaulted. Fun!
New Line’s Blu-Ray disc includes a potent 1080p HD transfer with
Dolby TrueHD 5.1 audio.
THE BOURNE IDENTITY (***½, 119 mins., 2002, PG-13; Universal) THE BOURNE SUPREMACY (***, 109 mins., 2004, PG-13; Universal) THE BOURNE ULTIMATUM (***½, 116 mins., 2007, PG-13; Universal):
Thrilling adaptations of Robert Ludlum’s bestsellers hit Blu-Ray
at last in a three-disc box-set offering outstanding HD transfers and
DTS Master Audio soundtracks.
In
spite of pre-release troubles (some post-production tinkering, Carter
Burwell’s score being axed), the original 2002 “Bourne
Identity” spectacularly launched Universal’s spy franchise
with Matt Damon as Ludlum’s hero, a marvelous supporting cast
(Chris Cooper, Clive Owen, Brian Cox, Franka Potente), and flavorful
international shooting with Oliver Wood deftly handling the
cinematography chores. Director Doug Liman’s snazzy visuals
helped establish “Bourne” as the decade’s preeminent
spy series, besting even the James Bond pictures, which even in the new
Daniel Craig era appear to be imitating Bourne instead of its
predecessors.
British director Paul Greengrass took over for Liman in the successful,
if overly familiar, follow-up “The Bourne Supremacy.” The
first half of this 2004 sequel felt recycled, offering few surprises up
until a much-needed twist at the midway point. Still, most of the movie
comes across as treading water until the film's climactic car chase,
which truly delivered the goods and put the movie over the top for this
critic. Like its predecessor, "Bourne Supremacy" offers "old school"
spy thrills -- a refreshing change of pace from the silly, CGI-laden
effects pieces that the Pierce Brosnan 007 movies became.
While “Supremacy” was satisfying enough, 2007's “The
Bourne Ultimatum” was even better, offering more twists on the
formula established by its prior installments.
"Ultimatum" finds Jason Bourne chasing after his identity at long last,
with the government in hot pursuit and few allegiances on his side.
Returning director Paul Greengrass keeps the action moving along at a
rapid clip with stupendous set-pieces and a story that's more
straightforward and satisfying than the previous effort, with Julia
Stiles finally getting more to do as this installment's female lead.
"The Bourne Ultimatum" is exciting, fast-paced and enormously
entertaining, and leaves the door ajar for a fourth installment coming
in the proverbial near future.
Universal released all three “Bourne” pictures on HD-DVD in
solid presentations, but the studio’s new Blu-Ray versions are
even more satisfying: DTS Master Audio soundtracks adorn the first two
pictures for the first time here, while “Bourne
Ultimatum”’s DTS Master mix is comparable to the
HD-DVD’s Dolby TrueHD soundtrack. The AVC encoded transfers
appear to be derived from the same masters as the HD-DVD’s VC-1
encoded counterparts, which is a good thing since the quality is
pristine throughout.
Extras, naturally, abound, from a litany of extras on “Bourne
Identity” (commentary, deleted scenes, all kinds of featurettes
from different DVD versions of the movie) to “Bourne
Supremacy” (deleted scenes, Making Of featurettes, commentary,
John Powell scoring segment) and “Bourne Ultimatum”
(deleted scenes, commentary), with bonus “U-Control”
picture-in-picture segments also available for viewers to check out.
As satisfying an HD experience as any title released so far this year, Universal’s Blu-Ray box comes highly recommended!
KING KONG (**½, 188 mins. [theatrical] and 200 mins. [extended], 2005, PG-13; Universal): Reverential,
lovingly produced and yet brutally overlong, dramatically unfocused
remake of the Marian C. Cooper-RKO classic from “Lord of the
Rings” auteur Peter Jackson comes across as a self-indulgent,
bloated epic in spite of its myriad of technical achievements.
Make no mistake: this is a film packed with visual delights, from the
authentic recreation of Depression-era NYC, to the amazing animation
and “performance” of King Kong himself. Articulated to a
degree by Andy Serkis (Jackson’s Gollum cohort) and marvelously
rendered on-screen, this is a Kong that’s a far cry from the
stilted Rick Baker suit in Dino DeLaurentiis’ 1976 remake of
“King Kong” and ranks with the most awe-inspiring
technological achievements that special effects wizards have produced
throughout the decades.
Sadly, not everything in Jackson’s sprawling, overlong opus
matches its good intentions and aesthetic qualities. This is a movie
that -- even in its “short,” three-hour plus theatrical
version -- plays like the kind of “Director’s Cut”
studios indulge filmmakers on DVD, bulging at the seams with
superfluous details and side characters with no pay-off, and scene
after scene that could have been sliced in half and been every bit as
effective -- if not more so for their brevity.
Since the original movie’s premise needs little introduction,
it’s best to dissect the alterations Jackson and his
collaborators (writers Fran Walsh and Philippa Boyens) have applied to
this version. Here, leading man Jack Driscoll (Adrien Brody) is a
playwright suckered into one of director Carl Denham’s latest
productions. Ann Darrow (Naomi Watts) is a down-on-her-luck actress
seeking a way out of the Depression, and finds the opportunity of a
lifetime despite the suspicious motives of Denham himself. All three,
and a crew led by captain Thomas Kretschmann, find themselves on Skull
Island, a prehistoric environment teeming with dinosaurs, giant
insects, wild natives and one giant ape named Kong...
One of the first things you’ll realize about Jackson’s
“King Kong” is that -- after a marvelous beginning in an
early ‘30s Big Apple -- the film chugs along at a snail’s
pace. The journey to Skull Island finds Jackson spending minute after
minute on extraneous side characters and details; unlike his
“Lord of the Rings” adaptations, though, the source
material here doesn’t beg for a three-hour treatment, with one
especially infuriating subplot involving Jamie Bell’s young
seaman and his older, wiser superior (Evan Parke). Their relationship
doesn’t add anything to the finished film, and could have been
jettisoned without any detriment to the central drama.
Over a third of the movie is over before Kong appears, and naturally
there are several “jackpot” set-pieces, including a
brontosaurus stampede and a chase with raptors (and later, a pair of
T-Rexes) not far behind. Regrettably, the movie then stalls out again
with sequences that run on too long: the “spider pit” scene
in particular is especially bloated (and atrociously spotted with
inappropriate music from a mostly subdued, ultimately forgettable James
Newton Howard soundtrack). Eventually, Jackson gets Ann, Jack and
Denham off the island and back to New York, but even there, every scene
feels several beats off-measure: the icy jaunt through Central Park
with Ann and Kong is cute but ought to be over in half the time, and
even the final battle on top of the Empire State Building (which
Jackson wisely refrains from being overly bloody) leaves you feeling
like you’ve watched each and every fly-over of the bi-planes that
eventually take Kong down.
Between the prolonged running time, over-reliance on side details and
minor characters, what one is left with in “King Kong” is a
film where the viewer ultimately has little interest in its heroes.
Watts looks fetching and is effectively emotive in her encounters with
the big ape, yet her scenes with Brody’s Jack are confined to the
first third of the movie -- something that detracts from any real
chemistry between the two. Brody himself looks as if he could have made
for a perfect “everyman” kind of hero, but the script
doesn’t give him nearly enough to do. Worst of all is Jack
Black’s Denham: the movie clearly didn’t want to make him
into the nefarious bad guy that Charles Grodin served up in the
‘76 version, and subsequently balances out some of the
character’s despicable behavior with comedic elements. Yet,
he’s still unhinged, and the film ultimately doesn’t come
down hard enough on him: his reading of the movie’s final line
rings false because it’s still Denham in this version who’s
truly responsible for the tragedy of the final act.
By the time the would-be heart-tugging climax arrives, I felt more
exhausted than moved by the 2005 “King Kong.” This is a
reverent and beautifully-made picture that nevertheless wears you down:
after all the running, shooting, shaking camera and muddled
characterizations, it becomes apparent that Jackson’s movie left
its heart somewhere between here and Skull Island.
Unsurprisingly, “King Kong” makes for a breathtaking
Blu-Ray disc, arriving later this month in a package that’s
superior to Universal’s HD-DVD edition from a few years back.
While the movie visually appears identical to its HD-DVD encode, the
studio has included both the original theatrical cut and an even longer
Extended Edition, which adds back in about 12 minutes of footage, as
well as a potent DTS Master Audio soundtrack (personally I
would’ve loved to have seen Jackson produce a Director’s
Cut that was actually shorter than the theatrical version).
Extras, though, are limited to Jackson’s commentary (on the
Extended Edition) and a variety of U-Control picture-in-picture
segments during the latter version. I’m sure many of these, if
not all of them, were released previously between the multitude of DVD
editions the film received, but it’s disappointing that a second
disc wasn’t included here offering all the other, extensive
documentaries Jackson produced for the movie’s release, the
original trailers and other extras.
That disappointment aside it’s doubtful anyone will complain
regarding the movie’s visual and audio presentation, which ranks
with the best HD transfers I’ve seen to date.
THE EXPRESS (***, 130 mins., 2008, PG; Universal):
Absorbing, well-produced chronicle of the life and times of Syracuse
running back Ernie Davis, who became the first black winner of the
Heisman Trophy, only to see his life tragically cut short by leukemia a
short time later. Gary Fleder directed this Universal production with
strong performances from Rob Brown as Davis and Dennis Quaid as Ben
Schwartzwalder, the coach who guided Davis’ college career. A
fine score by Mark Isham and a terrific supporting cast (Clancy Brown,
Charles S. Dutton) aid this true story, which ranks as a must for all
sports fans. Universal’s Blu-Ray disc includes commentary with
Fleder, deleted scenes (in standard def), and several Making Of
segments in HD. The AVC encoded transfer is gorgeous and DTS Master
Audio sound compliments the exceptional transfer.
DEAD AND BURIED (**½, 94 mins., 1981, R; Blue Underground):
James Farentino is a local sheriff in the quaint town of Potters Bluff,
where its residents have an odd habit of dying...and coming back to
life.
Dan O’Bannon and Ronald Shusett, fresh off the success of their
script for “Alien,” wrote this uneven 1981 mix of thrills,
chills and a few laughs, which turns deadly serious in its concluding
moments with a “twist” most seasoned genre fans can see
coming from miles away. It’s a decent thriller with a moody Joe
Renzetti score but I’ve never found it to be as satisfying as its
fans think it is, particularly since after one viewing one feels little
need to revisit it.
Blue Underground’s Blu-Ray edition of “Dead and
Buried” follows the label’s Special Edition DVD package,
and offers a similar roster of excellent supplements: three
commentaries (one with director Gary Sherman, another with Ronald
Shusett and co-star Linda Turley, and a third talk with cinematographer
Steven Poster), trailers, and three featurettes focusing on Stan
Winston’s make-up effects, O’Bannon’s contribution to
the script, and Robert Englund, who appears in a small role in the
picture.
Visually, the HD transfer is as good as one would hope although the
movie’s murky appearance doesn’t always translate well to
the high definition arena. Audio options are more robust, including
both DTS Master Audio and Dolby TrueHD offerings on the 50gb BD platter.
CALIGULA (* movie, ***½ extras; 156 mins., 1979, Unrated; Image):
“Caligula” is repulsive, disgusting, tasteless, and
shockingly made for what was supposed to have been an expensive
international production, starring Malcolm McDowell, Helen Mirren, and
Peter O’Toole in an infamous affair that was the one and only
effort from Bob Guccione and Penthouse Films International, who clashed
throughout with Italian filmmaker Tinto Brass (credited with principal
photography) and writer Gore Vidal. One wanted porn, one wanted a
lavish, self-indulgent spectacle with enormous sets, and the other some
kind of historical accuracy -- in the end, what they produced was an
almost-unwatchable turkey that has long endured as one of the all-time
disasters in film history.
Even
if the movie itself is inexplicable, Image’s Blu-Ray package of
their “Imperial Edition” is an outstanding experience for
movie buffs. Packed with insight into the bastardized creation of this
misguided epic, Image has loaded the Blu-Ray platter with terrific
commentaries: one with McDowell and Nick Redman, another with Mirren
with historian Alan Jones, and a third track with Ernest Volkman, on
the phone, who recalls working on the movie. The Redman-McDowell track
is easily the best of all, candidly discussing where the film went so
wrong behind-the-scenes, and packed with marvelous anecdotes and loads
of dry, hilarious stories. It’s one of my favorite commentaries
of the last few years, in fact.
Two different versions of the movie are on-hand (plus trailers and
numerous deleted scenes), including the unrated original cut and a
pre-release version reportedly closer to Brass’ intentions
(meaning it’s even more scattershot than the unrated version);
both have been beautifully remastered and look exceptionally good
(particularly considering how awful a VHS rental I watched with some
friends back in college appeared). The DTS Master Audio sound is
likewise satisfying, while a full second disc of extras (in standard
definition) include a hilarious, vintage Making Of documentary, DVD-ROM
extras (including Vidal’s original script), other
behind-the-scenes goodies and comments from Tinto Brass and cast
members John Steiner and Lori Wagner.
It’s a train wreck on almost every level, and it’s not for
the squeamish, but Image’s Blu-Ray disc is highly entertaining
for reasons not related to what’s on-screen.
LAKEVIEW TERRACE: DVD and Blu-Ray (**½, 110 mins., 2008, PG-13; Sony):
Moderately effective recycling of “Unlawful Entry” (one of
numerous “Mad ___ From Hell” flicks released during the
late ‘80s and early ‘90s) from co-writer David Loughery
(“Star Trek V”) and director Neil Labute stars Samuel L.
Jackson as an overzealous L.A. cop who disapproves of the relationship
between interracial couple Patrick Wilson and Kerry Washington, who
have just moved into Jackson’s suburban neighborhood.
Will Smith produced this moderate box-office success from last fall,
which finds Wilson and Washington trying to one-up Jackson’s
crazy cop, but it’s mostly by-the-numbers, even if Roger Ebert
(inexplicably) gave the movie four stars and, with Labute directing,
the picture is well-crafted, in spite of its predictability.
Sony’s DVD edition offers up a fine 16:9 (2.35) widescreen
transfer and 5.1 Dolby Digital soundtrack, while the Blu-Ray platter is
even more impressive with its AVC encoded HD presentation and Dolby
TrueHD audio. Extras spread across both platforms include deleted
scenes, behind-the-scenes featurettes, and commentary from the director
and cast.
OPEN SEASON 2 (76 mins., 2009, PG; Sony):
Zany antics with Boog and Elliot continue in this small-screen
follow-up to the 2006 box-office hit. “Talk Soup” host Joel
McHale and Mike Epps substitute for Ashton Kutcher and Martin Lawrence,
respectively, in this agreeable and quite well-animated production,
which doesn’t overstay its welcome at 76 minutes and offers
enough gags that kids should enjoy. Certainly Sony’s AVC encoded
Blu-Ray transfer is gorgeous, with sumptuous colors and a fine Dolby
TrueHD soundtrack, sporting an okay score from Ramin Djawadi. Extras
include deleted scenes, BD Live extras and Making Of featurettes
primarily aimed at the little ones. New From Criterion
Even if it glosses over some of the more heinous crimes of Communist China, Bernardo Bertolucci's THE LAST EMPEROR (***½, 165 mins., 1987, PG-13; Criterion) is
still a sweeping, captivating epic that chronicles the life and times
of Emperor Pu Yi, the last reigning ruler of China, from age three in
1908 through decades of cultural and social unrest and his country's
eventual evolution.
Vittorio
Storaro's cinematography is outstanding, capturing images never before
caught on- screen, while Bertolucci's direction takes us through the
life of Yi in a manner that manages to be sympathetic and sad, epic in
scope but personal in nature. "The Last Emperor" swept through the
Oscars in 1988, earning nods for Storaro and Best Picture, even if many
viewers have forgotten about the picture since its original release.
Criterion's Blu-Ray edition of "The Last Emperor" follows the
label’s outstanding four-disc DVD edition from just over a year
ago, complete with a new AVC encoded transfer culled from the same
digital master. The transfer is excellent though the source materials
don’t always appear to be in the most pristine condition, making
it only a mildly appreciable upgrade on the DVD. On the audio end, DTS
Master Audio sound proves to be a more sizable improvement from the
DVD’s 2.0 stereo sound.
Some viewers may be disappointed that Criterion opted to only include
the 165-minute theatrical version on Blu-Ray, and not its longer 218
minute international TV cut (Criterion’s DVD presented both
versions). However, it's important to note that the 165-minute
theatrical release is basically Bertolucci's preferred Director's Cut,
not the expanded version. Bertolucci has said he was under contract to
make a longer version of the movie for international television
exhibition, but while many viewers prefer that 218-minute edit for its
more developed narrative, the director believes it's overlong and
detracts from the central power of the piece.
Ample supplements, reprieved from the DVD release, put the icing on the
cake: commentary from Bertolucci, producer Jeremy Thomas, writer Mark
Peploe and composer Ryuichi Sakamoto (who composed the odd, albeit
Oscar-winning, score with David Byrne and Cong Su) is on-hand, plus an
hour-long documentary about the director; video images shot by
Bertolucci on-location in China; a 45-minute documentary featuring
Storaro; a 50-minute examination of the production; a 66-minute BBC
documentary on the film; a 30-minute interview with Bertolucci from
1989; a recent interview with David Byrne; and an interview with
cultural historian Ian Baruma about the filming.
EL NORTE (***, 140 mins., 1983; Criterion)
is Gregory Nava’s well-intentioned but melodramatic telling of a
pair of young Guatemalan siblings who cross the border in order to
better their lives in the U.S.
This
1983 film -- newly released on both DVD and Blu-Ray from Criterion --
was one of the first to shed light on the North American immigration
issue, and Nava’s movie tackles it from a distinctly human
prospective, with fine performances from leads Zaide Silvia Gutierrez
and David Villalpando. It’s well-shot and compelling, but these
days “El Norte” comes across as a bit dated, as once the
duo hit San Diego everything that could go wrong for the duo does --
all the while the director hammers home political messages that are as
transparent as the fact that PBS provided funding for the project.
It’s still worthwhile viewing but works most successfully through
Nava’s pure storytelling ability.
Criterion’s DVD offers a fine 16:9 (1.78) widescreen transfer
with mono sound, while the Blu-Ray disc sports a splendid AVC encoded
transfer from the same master, offering appreciable visceral upgrades
and a comparable mono soundtrack. Extras on both platforms include a
commentary by Nava, a newly produced Making Of video segment, a 1972
short student film by Nava, the trailer, location photographs and
comments from novelist Hector Tobar and Roger Ebert’s original
1983 review.
Also out from Criterion this month is Roberto Rossellini’s 1966 work THE TAKING OF POWER BY LOUIS XIV (La Price De Pouvoir Par Louis XIV) (94 mins., 1966),
in French with optional English subs; a new digital transfer (in its
proper 1.33 aspect ratio); a “multimedia essay” by
Rossellini biographer Tag Gallagher; a video interview with artistic
adviser Jean-Dominique de La Rochefoucauld and script supervisor
Michelle Podroznik; a video interview with Rossellini’s son,
Renzo, a second unit director; improved English subtitles; and an essay
from critic Colin MacCabe.
Finally the studio has lined up a double-disc edition of Douglas Sirk’s 1954 melodrama MAGNIFICENT OBSESSION (108 mins., Criterion) for
release later this month, starring Rock Hudson as an arrogant playboy
whose life-saving resuscitation claims the life of Jane Wyman’s
doctor husband.
Wildly over-the-top and romantic in a way only a 1950s potboiler could
be (with a bombastic Frank Skinner score), Sirk aficionados will find
plenty of entertainment in this glossy soaper, which Criterion has
brought to DVD in an impressive package: disc one sports a new high-def
transfer (in 16:9 [2.00:1] widescreen), mono sound, commentary with
historian Thomas Doherty and video interviews with directors Allison
Anders and Kathryn Bigelow, along with the trailer. Disc two includes a
1991 German documentary with Sirk reflecting on his career, plus John
M. Stahl’s 1935 version of “Magnificent Obsession,”
presented in crisp black-and-white. Comments from critic Geoffrey
O’Brien round out the package. Also New on DVD
BRIDESHEAD REVISITED (***, 133 mins., 2008, PG-13; Miramax/Buena Vista):
Massively condensed version of Evelyn Waugh’s hugely popular
novel tries to shoehorn the author’s narrative into a
feature-length form. The results in Julian Jarrold’s movie are
likely to satisfy those who enjoy British costume dramas yet may not
necessarily be familiar with Waugh’s novel, as it portrays the
triangle between athiest Charles Ryder (Matthew Goode), his friend
Sebastian Flyte (Ben Whishaw) and his sister Julia (Hayley Atwell) in
early ‘30s England. Adrian Johnston’s score, Jess
Hall’s cinematography, and uniformly strong performances (Emma
Thompson, Michael Gambon, Greta Scacchi and Patrick Malahide co-star)
make the 2008 “Brideshead Revisited” worth seeing, even if
it never really amounts to anything all that different than what one
would anticipate. Buena Vista’s DVD includes a nice 16:9 (2.40)
widescreen transfer with 5.1 Dolby Digital sound, deleted scenes,
commentary and a Making Of featurette. MARY POPPINS: 45th ANNIVERSARY EDITION (***½, 139 mins., 1964; Disney):
Two-disc re-issue of the Disney classic has been timed to coincide with
the opening of the upcoming “Mary Poppins” Broadway
musical. In fact, a number of new special features are directly
associated with the musical, including a downloadable MP3 of the song
“Step In Time,” a DVD performance of the song, and a
featurette on the show’s creation. Other extras include a deleted
song, bonus short, and pop-up facts, all culled from prior DVD editions
of the film. Visually the 16:9 (1.66) transfer seems more or less
comparable to Disney’s 40th Anniversary DVD, while both 5.1 Dolby
Digital and 2.0 stereo audio mixes are on-hand. Not essential if you
already own the 40th Anniversary DVD, but well worth a gander otherwise.
THE SECRET OF THE MAGIC GOURD (85 mins., 2007, G; Disney): Disney
co-produced Chinese import about a talking gourd who makes a precocious
young boy’s wishes come true makes for fine viewing for young
viewers. Colorful effects and an accessible story are on-tap in this
watchable 2007 fantasy, which Disney has issued on DVD with English,
Mandarin and Cantonese language tracks, a superb 16:9 (2.35) widescreen
transfer, bloopers, games and activities plus other extras for young
viewers.
VACANCY 2: THE FIRST CUT (*½, 86 mins., 2008, R; Sony): Direct-to-video
sequel to the forgettable Luke Wilson-Kate Beckinsale horror outing
“Vacancy” is actually another “prequel” wherein
a group of hapless kids run afoul of a rural motel where its guests
don’t come down for breakfast.
Aside from another starring lead for Aisle Seat fave Agnes Bruckner
(still awaiting her “breakout” role) and the appearance of
one-time “Big” co-star David Moscow, “Vacancy 2" has
little going for it -- no surprise since its predecessor wasn’t
very good to begin with. It’s pedestrian “horror” for
the sorts of fans who have turned the “Saw” movies into
box-office smashes.
Sony’s DVD edition includes a crisp 16:9 (1.85) transfer with 5.1
Dolby Digital sound, deleted scenes, commentary and two Making Of
featurettes.
DEEP WINTER (96 mins., 2008, PG-13; Sony):
“Extreme” sports action with skiiers Eric Lively and Kellan
Lutz as buddies who want to capture an amazing descent on film in
Alaska. Excellent location shooting and actual stunts performed by
real-life daredevils make Mikey Hilb’s film fun for those with a
taste for the material, even if the story is predictably the weakest
element in it. Sony’s DVD includes a top notch 16:9 (1.85)
transfer with 5.1 Dolby Digital sound. NEXT
TIME: THE CHANGELING and more! Until
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