Golden Age Chillers Edition Hitchcock, THE MUNSTERS return to DVD Plus: THE NEW WORLD extended Cut
A number of Alfred Hitchcock sets are poised to hit DVD in October,
highlighted by three newly minted “Legacy Series” editions
of “Rear Window,” “Psycho” and
“Vertigo” from Universal Home Entertainment. All three
movies were previously available on DVD both in standalone releases as
well as part of the magnificent “Alfred Hitchcock Masterpiece
Collection” box-set, which offered uniquely remastered,
anamorphic transfers of several Hitch classics.
These double-disc editions go a step further by offering what appear to
be even newer transfers and more special features. For those of you
debating on whether or not to upgrade, here’s a quick synopsis:
REAR WINDOW (****, 115 mins., 1954, PG)
most definitely includes a fresh 16:9 transfer that’s brighter
and more pleasing than both prior DVD editions. Brand-new extras
include a commentary by Hitchcock author John Fawell, the “Mr.
Blanchard’s Secret” episode of “Alfred Hitchcock
Presents” (with a similar narrative theme to “Rear
Window”), a pair of tributes to Hitch’s sound design and
visuals offering comments from directors like Scorsese, Carpenter, Del
Toro and others, and an interesting interview between Hitch and
Francois Truffaut (often with the help of a translator) from 1962.
Other extras ported over from the prior DVDs include trailers and an
hour-long documentary on the production.
PSYCHO (****, 109 mins., 1960, R)
again features a more pleasing, higher-contrast transfer than its past
DVD editions. New extras include commentary from historian Stephen
Rebello, another “tribute”-themed featurette featuring many
of the same directors from the “Rear Window” supplements,
more of the audio conversation between Truffaut and Hitch, another
“Alfred Hitchcock Presents” episode, plus a huge assortment
of extras from the prior DVD editions.
VERTIGO (***, 130 mins., 1958, PG),
which has never been one of my favorite Hitchcocks, includes a new
commentary with William Friedkin (the older commentary with associate
producer Herbert Coleman and restoration producers Robert A. Harris and
James C. Katz is also on-hand), a new documentary profile on
“Hitchcock’s Collaborators” (from Saul Bass to
Bernard Herrmann), more of the Hitchcock-Truffaut interviews, all the
terrific extras from the prior DVDs, and a gorgeous 16:9 transfer that
looks about the same as the “Masterpiece
Collection”’s anamorphic remaster.
Joining these superb releases is a must-have edition of TOUCH
OF EVIL (***½, 96 mins. [theatrical], 109 mins. [preview
version] and 111 mins. [restored version], 1958, PG-13; Universal),
Orson Welles’ convoluted but brilliantly shot film noir with
Charlton Heston, Janet Leigh and Welles himself memorably starring in a
genre-defining benchmark.
Universal’s double-disc 50th Anniversary Edition of the movie
gives buffs the Special Edition they’ve long clamored for: no
less than three different edits of the movie are included, each with
their own, highly informative commentary track as well!
The original theatrical edit (with commentary by film critic F.X.
Feeney) is included mainly for prosperity, since the vastly superior
1998 “reconstructed” Welles cut is available here with
commentary by restoration producer Rick Schmidlin as well as a
“new” commentary with Charlton Heston, Janet Leigh and
other cast and crew members. Quite obviously Heston and the other
participants must have been interviewed for the prior DVD release, a
fact which has been reaffirmed by various website accounts that the
track was indeed recorded for the 1998 DVD but wasn’t included
because of legal issues at that time. At any rate, hearing comments
from Heston simply makes the track all the more valuable, while the
“preview version” includes a talk with Welles scholars
Jonathan Rosenbaum and James Naremore.
A retrospective documentary and a new featurette on the myriad versions
of the movie are complimented by strong 16:9 (1.85) transfers of all
versions, while a mini-reproduction of Welles’ 58-page memo to
Universal -- touching upon the constant sparring the two entities had
over the film’s editing -- puts the finishing touches on one of
this year’s finest DVD releases. Highly recommended! Coming Next Week on DVD
Terrence Malick’s THE NEW WORLD (***, 172 mins., 2005, PG-13; New Line) is
a gorgeous film -- a sumptuous visual experience that transports the
viewer back to early 17th century Jamestown, where English settlers
made first contact with local “Naturals” -- a landmark
moment in American history that also included the fortuitous meeting
between Captain John Smith (Colin Farrell) and Pocahontas
(Q’Orianka Kilcher).
Like Malick’s last film, “The Thin Red Line,”
“The New World” is leisurely-paced (or slow moving,
depending on how you want to look at it), preferring internal
monologues by various characters to spoken dialogue, relying heavily on
mood, atmosphere, and sound. Thankfully for Malick he has achieved
another spectacular looking film, with Emmanuel Lubezki’s
cinematography brilliantly capturing the natural essence of Virginia
and making one feel as if you’ve taken the first steps into this
“new world” along with the settlers.
The film, though, previously felt awfully disjointed, not unsurprising
since Malick’s original cut clocked in at over three hours and
the initial Oscar screenings of “The New World” ran 150
minutes. The director then trimmed another 15 minutes for its eventual
U.S. theatrical release, and it was that version which New Line
initially released on DVD (the 150-minute cut surfaced in an Italian
double-disc DVD edition which also included the theatrical edit).
Available on DVD October 14th, Malick’s new “Extended
Edition” of the movie runs just a few minutes short of three
hours and adds meat to a variety of sequences scattered throughout the
film. It also adds a group of title cards that pop up infrequently,
thereby creating different “chapters” within the movie,
which is something I’m not entirely sure was necessary yet
obviously was added with the director’s intent.
That said, the film’s focus is unchanged, and some viewers may
find the pace even more leisurely than it was before. Overall, even in
this longer version (which regrettably retains the hodgepodge
soundtrack with Wagner and Mozart often substituting for one of James
Horner’s greatest scores), the film is still most worthwhile for
its aesthetic values, with little from a performance or story angle
being especially compelling (though newcomer Kilcher does make an
impressive debut as the wide-eyed, physically striking Algonquian
princess).
It’s a visual feast, if nothing else, that New Line has brought
to DVD in a beautiful 16:9 (2.35) transfer with immersive 5.1 Dolby
Digital sound. No extras are included on the dual-layer disc (the prior
DVD housed an informative, candid hour-long documentary on the
film’s production).
Hopefully New Line and Warner will see fit to issue a Blu-Ray HD
edition of “The New World” with both cuts on-hand in the
near future, because in spite of its shortcomings, it’s still an
unforgettable journey that would look sensational in high-definition. New on Blu-Ray
THE RAY HARRYHAUSEN COLLECTION (Sony):
Four of special effects master Ray Harryhausen’s ‘50s
“Saturday Matinee” adventures hit Blu-Ray in a satisfying
four-disc box-set from Sony.
On-hand for sci-fi.fantasy fans are Kenneth Tobey and Faith Domergue in IT CAME FROM BENEATH THE SEA (**½, 79 mins., 1955), with
a radioactive-enhanced octopus attacking Navy captain Kenneth Tobey
and, later, the Golden Gate Bridge, in a movie that boasts a fun climax
but an overly leisurely exposition; the entertaining EARTH VS. THE FLYING SAUCERS (***, 83 mins., 1956),
with extraterrestrial invaders taking on the Washington capitol among
other landmarks, decades before Tim Burton and Roland Emmerich did it
in their own films; a pint-sized alien creature grows to oversized
proportions in 20 MILLION MILES TO EARTH (**½, 82 mins., 1957), a Nathan Juran-directed fantasy; and the full-color 7TH VOYAGE OF SINBAD (***, 79 mins., 1958)
features Kerwin Mathews as the heroic sailor who takes on a series of
memorable Harryhausen creations in a splendid adventure, directed again
by Nathan Juran.
While “The 7th Voyage Of Sinbad” is presented in a crisp,
highly satisfying, and quite colorful AVC encoded transfer (1.66
widescreen), the former three pictures are offered here in both their
original black-and-white formats as well as all-new colorized
transfers. Though these almost sepia-toned “enhancements”
are a good deal more satisfying than the kinds of colorized movies we
routinely saw back in the ‘80s, they’re still no substitute
for their B&W originals, which all look crisp and terrific in
high-definition, freed from the glossy “digital noise
reduction” we’ve seen in other catalog transfers so far on
Blu-Ray. (The BD discs also offer a toggle-able
“Chroma-Choice” function where you can flip from color to
B&W with just a brief pause inbetween the two).
Extras abound across all four discs: commentaries by Harryhausen, F/X
guru Phil Tippett, Steve Smith and others lend a mostly technical
account of the work that went into each picture; retrospective
featurettes on each movie recount the respective productions; “20
Million Miles to Earth” offers a conversation with Monstrous
Movie Music’s David Schecter on the work of Mischa Bakaleinikoff
while a segment on Bernard Herrmann adorns “Sinbad”; while
each disc also includes a relatively recent talk between Harryhausen
and admirer Tim Burton, plus John Landis’ previously-released
interview with Harryhausen and the “This is Dynamation”
featurette.
Harryhausen fans will love the extras and the fresh HD transfers of
these early productions. Hopefully sales will be strong enough to
warrant the release of a follow-up box-set including “Jason and
the Argonauts” and other works by the master F/X craftsman from
the ‘60s.
THE SIXTH SENSE (***½, 107 mins., 1999, PG-13; Buena Vista):
Although there was little hype, no websites blaring its existence
forth, M.Night Shyamalan's “The Sixth Sense” arrived in
theaters quietly in August of 1999 and became one of the decade’s
biggest hits during the weeks that followed.
Yet aside from its endlessly discussed twist ending (which I could see
coming from miles away), “The Sixth Sense” is still, at its
heart, a subtle, understated ghost story involving young Haley Joel
Osment, who possesses the ability to see those unfortunate souls who
have yet to completely depart from our plane of existence. Help comes
in the form of psychologist Bruce Willis, who sees in Osment the
opportunity at righting a bad experience he suffered months before --
failing to pay attention to a patient who seemed to have suffered from
some of the same visible symptoms as the young boy. Without giving much
more away for those who still haven’t seen it (if there are any
out there), Willis and Osment try to come to grips with his unique
ability, while Osment's mother (Toni Collette) worries about her son's
mental health, and Willis attempts to reconcile his own failing
marriage with Olivia Williams.
“The Sixth Sense” does what great filmmaking should:
develop rich characterizations, keep the audience guessing, and play
its cards slowly but surely. Wonderfully photographed, lyrically
underscored by James Newton Howard and backed by an engrossing script
by Shyamalan, “The Sixth Sense” unfolds like a good book,
drawing you into its world casually, and without explicitly telling us
everything that’s going on.
Although it was released in the same summer as the comparably
over-hyped “The Blair Witch Project” (which has basically
faded into the rear view mirror for most viewers like some kind of
dated cinematic fad), “The Sixth Sense” is a lot more than
your usual haunted house movie. The picture has an undercurrent of
resonance and subtlety that few studio-manufactured products possess,
and its climax -- which, for a change, isn't about effects, car chases,
and pounding Dolby soundtracks -- comes as an unexpected surprise. In
spite of all the jokes and spoilers, “The Sixth Sense” is
still a superior film on every front, a confident piece of filmmaking
from Shyamalan and backed by outstanding performances (from Willis to
Osment, Williams and Collette) across the board.
Buena Vista’s Blu-Ray edition of “The Sixth Sense”
offers a top-notch 1080p transfer with uncompressed PCM sound. This
isn’t one of those HD transfers that will have you spellbound by
its enhanced clarity, but it’s still an appreciable upgrade on
the DVD, while the audio is quietly effective. Extras ported over from
the prior DVD include deleted scenes, several featurettes recounting
the production and interviews with the filmmaker and cast.
L.A. CONFIDENTIAL (***½, 138 mins., 1997, R; Warner):
Curtis Hanson’s Oscar winning adaptation of James Elroy’s
novel was the best film of 1997. In fact, few films produced since
offer characters and settings so vividly realized as “L.A.
Confidential,” and nearly everything clicks, from the cast down
to the beautiful Dante Spinotti cinematography.
As the three cops battling (and possibly taking part in) police
corruption, Kevin Spacey and Australians Guy Pearce and Russell Crowe
are all sensational. So are Kim Basinger (who copped a Best Supporting
Actress Oscar), Danny DeVito, and James Cromwell in outstanding
character parts.
The dialogue from Hanson and co-writer Brian Helgeland is riveting, the
photography and production design spectacularly evocative of the '50s,
and Hanson's direction never once dumbs the material down to its
audience. It’s still hard to believe that this came from the same
man who brought us middling popcorn-munchers like “The Hand That
Rocks the Cradle” and “The River Wild,” but Hanson
certainly atoned for all his past cinematic sins (and then some) with
this smashing movie. Worth several viewings just to take it all in, and
complimented by a marvelous collection of oldies (plus a serviceable
Jerry Goldsmith score).
Warner’s new Blu-Ray edition (also on DVD) of “L.A.
Confidential” boasts a vibrant 1080p transfer with fine Dolby
TrueHD audio. The source material looks to be in superb shape and the
film looks appreciably stronger than its old 1998 DVD, as one would
imagine. A large array of extras includes everything from the unsold TV
pilot version of the movie (with Kiefer Sutherland starring!) to a new
commentary featuring pretty much everyone involved; several
documentaries examining the production and impact of the film; vintage
interviews and on-set footage; an interactive map of L.A. as seen in
the film; and Goldsmith’s isolated score track in 5.1, retained
from the original DVD.
Highly, highly recommended!
BODY HEAT (***½, 113 mins., 1981, R; Warner):
Brilliantly shot, scored, and edited film noir finds lawyer William
Hurt falling for femme fatale Kathleen Turner in Lawrence
Kasdan’s first and, in some ways, most satisfying directorial
effort. From John Barry’s searing, gorgeously moody jazz score
(with one of his most attractive main themes) to Richard H.
Kline’s cinematography, “Body Heat” is a treat for
film noir fans, and Warner has done a superb job adapting
Kasdan’s salute to “Double Indemnity” and other
‘40s potboilers in a fine Blu-Ray release. The VC-1 encoded
transfer looks quite good and fares better than the relatively subdued
Dolby TrueHD audio track, which is limited in its fidelity and needs to
be pushed in order to get any kind of presence out of it. Extras culled
from the 2006 Deluxe Edition DVD include several deleted scenes and
three different Making Of featurettes, including comments from all the
principals and John Barry as well. The original trailer and vintage
1981 conversations with Hurt and Turner put the finishing touches on a
superb catalog release in HD.
THE HULK (***, 138 mins., 2003, PG-13; Universal):
Ang Lee's controversial filming of the Marvel Comics hero certainly
isn't a faithful adaptation (this year’s fun but frantic
“Incredible Hulk” more successfully adhered to its roots),
but it’s a flawed yet fascinating effort that -- while being too
dark for its own good and often bogged down in psychological aspects
that don't quite come off -- ranks as a watchable combination of silly,
colorful Marvel Comics action and an offbeat study of parents and
children and what makes us all tick. It’s solemn and rarely
humorous, and definitely not for young kids, but the ILM effects are
terrific and Frederick Elmes’ cinematography is a major plus.
Universal’s Blu-Ray disc edition of “The Hulk” is a
smashing success across the board: the high-definition transfer
reprises last year’s HD-DVD and bursts with colors and
three-dimensional depth, making it one of the best of the HD discs on
the market. Most, if not all, of the extras from the Special Edition
DVD have been ported over as well (deleted scenes, commentary,
featurettes), plus a U-Control picture-in-picture track that offers
even more extras than the HD-DVD platter.
Finally, the Blu-Ray has an edge on its prior DVD and HD-DVD editions
as it boasts a spectacular DTS Master Audio soundtrack that’s
engaging at every turn. Highly recommended for fans!
THE STRANGERS (*, 86 mins [theatrical] and 92 mins [unrated], 2008; Universal): Repellant
trash wastes the talents of Liv Tyler and Scott Speedman as a bickering
couple, just getting home from a wedding, who are tormented and
tortured by three masked psychos whose faces we never see. There, I
just saved you an hour and a half of your time!
In all seriousness, Brian Bertino’s movie basically has no point:
inspired by true events (as well as the French movie
“Them”), “The Strangers” does little to keep
you interested in the plight of its two leads, who we’re told are
slain in the opening moments of the film (way to keep the suspense
going!), while ramping up the blood and unsavory bits for the
“Saw” crowd. Bertino does manage a few creepy moments in
the early going but it’s not enough to sustain the
picture’s running time, which barely hits the 80 minute mark in
the theatrical cut. Either way it’s 80 minutes too long.
Universal’s Blu-Ray edition of “The Strangers”
includes both the R-rated theatrical cut and an unrated version adding
five more minutes of prolonged agony. Extras include deleted scenes and
one featurette on the 25gb single-layer BD platter. New on DVD
GHOST HOUSE UNDERGROUND (Lionsgate):
Eight different indie horror films, many from international outlets,
“presented” by Sam Raimi’s Ghost House Pictures hit
DVD in time for Halloween from Lionsgate.
Included in the assembly are Gregg Bishop’s amusing teen zombie picture DANCE OF THE DEAD,
which shares its title with Tobe Hooper’s lame “Masters of
Horror” episode of the same name but is, thankfully, far more
entertaining; Dave Payne’s NO MAN’S LAND - THE RISE OF THE REEKER,
a sequel (believe it or not) to “The Reeker,” which is also
slated to be released by Lionsgate on Blu-Ray; the 2007 Danish thriller ROOM 2005 (KOLLEGIET); the Italian bloodsoaker THE LAST HOUSE IN THE WOODS (Bosco Fuori); a Finnish effort, DARK FLOORS, from a European music group named “Lordi”; “Nightwatch” director Ole Bornedal’s THE SUBSTITUTE,
a Danish sci-fi effort that’s actually more of a weird
children’s picture (with comedic overtones) than a horror effort;
the Russian slasher entry TRACKMAN; and Victoria Pratt in the low-budget American effort BROTHERHOOD OF BLOOD.
All entries include widescreen (16:9) transfers with 5.1 audio and
numerous special features, including commentaries, deleted scenes and
other goodies. The quality varies but kudos to Lionsgate for bringing a
handful of interesting genre flicks from around the world that are, if
nothing else, more intriguing than the great majority of standard-issue
“horror” flicks we see nowadays.
CAPRICORN ONE - Special Edition (***, 123 mins., 1978, PG; Lionsgate):
Peter Hyams’ splendid mix of a ‘70s political conspiracy
thriller and old-fashioned escapist entertainment gets a much-needed
new DVD edition from Lionsgate. New to this edition are a commentary
from Hyams along with trailers, a “Flights of Fancy”
featurette, a brand-new 16:9 (2.35) transfer and 5.1 Dolby Digital
audio. Fans should note that rights holder Granada (UK) International
issued a Blu-Ray disc of “Capricorn One” last year, but
despite a solid HD transfer, the disc is actually inferior to this new
DVD in terms of its sound (offering only 2.0 stereo) and extras
(featuring no supplements whatsoever). Hopefully Lionsgate will get
around to issuing a US Blu-Ray version that will improve upon its UK
counterpart.
CHAPLIN - Special Editon (**½, 135 mins., 1992, PG-13; Lionsgate):
Richard Attenborough’s well-meaning but uneven biopic of the
legendary comedian and filmmaker -- a box-office flop upon its 1993
release despite its all-star cast (including Robert Downey Jr. in the
title role) -- is back on DVD in a new Special Edition, including a
never-before-seen Chaplin home movie and three different featurettes.
The 16:9 (1.78) transfer is fine but the 2.0 Dolby Surround stereo is a
bit on the weak side. Regrettably, the disc doesn’t include any
deleted scenes, as Attenborough’s original cut was reportedly
three or four hours in length and the director claimed those edits
damaged the picture -- yet all we get here is the same 135-minute
theatrical version as before, albeit in a new transfer. TV on DVD Round-Up
THE MUNSTERS - The Complete Series (Universal): Terrific
box-set release houses the complete first and second seasons of the engaging Fred Gwynne-Yvonne DeCarlo-Al Lewis
comedy, including the debut of the memorable episode “Family
Portrait” in color (fear not, “Munsters” fans, the
original black-and-white version is also included). A smattering of
retrospective special features is included along with the 1968
Universal feature “Munster, Go Home!” and the 1981 TV-movie
“The Munsters’ Revenge.” The former is a lot more
entertaining than the latter, though the original cast does reappear in
the later, mediocre reunion movie, and at least it’s better than
other early ‘80s sitcom films like “The Harlem
Globetrotters on Gilligan’s Island” (faint praise that it
is). Both movies have been previously issued on DVD, though each has
been remastered for its inclusion here: “Munster, Go Home!”
is presented in spiffy 16:9 (1.85) widescreen, while
“Munsters’ Revenge” has been framed in its original
full-screen aspect ratio. On the audio side, the mono sound is in good
shape on both, with Jack Marshall’s original score and theme
carrying the 1968 feature and Vic Mizzy’s wacky, fun blend of his
“old school” comedic scoring and early ‘80s pop-disco
making his score for “Revenge” one of that picture’s
strongest assets. Either way the set comes highly recommended just in
time for Halloween!
THE BERENSTAIN BEARS - CHRISTMAS TREE (1979, 70 mins.; Sony):
The original NBC animated Christmas special starring Stan and Jan
Berenstain’s unforgettable children’s book characters at
last arrives on DVD. Unlike some of the newer “Berenstain
Bears” cartoons produced for PBS, this is a superior production
produced by Gil and Joseph Cates with a moving, meaningful message.
Additional episodes from the series’ Saturday Morning incarnation
round out a top-notch disc that’s a must for family viewing this
holiday season.
FRIDAY THE 13th: THE SERIES (1987-88, aprx. 20 hours; CBS/Paramount):
An antiques shop whose owner made a pact with the Devil tries to
reclaim its sold, possessed “evil objects” from
unsuspecting buyers in this entertaining hour-long series, which
debuted in syndication in 1987. Of course, there’s not a lot in
common here with the “Friday the 13th” film series -- in
fact, reports claim that Frank Mancuso’s original title for the
show was “The 13th Hour,” and the producer changed it
solely for the purposes of drawing ratings. You can’t fault him,
though, as the program ran for three full seasons, drawing decent
ratings and garnering a decent fan base in the process. Shot in Canada,
“Friday the 13th”’s first season includes episodes
helmed by David Cronenberg and Atom Egoyian among others, along with
guest stars including Ray Walston and a young Sarah Polley. Fans can
now enjoy the series’ first season (26 episodes) on DVD in a new
box-set from CBS, preserving the episodes in full-screen transfers and
mono soundtracks that are a bit on the grainy side (similar to the
disappointing “War of the Worlds” Season 1 set Paramount
issued a few years back), as well as being a bit edited according to
some of the fan reaction that’s out there. Extras include network
launch promos and a sales presentation reel.
DYNASTY - Season 3, Volume 2 (1983, aprx. 10 hours; CBS/Paramount): Second
half of the ABC drama’s third season arrives on DVD in a
no-frills, three-disc set from CBS and Paramount. Featuring
good-looking full-screen transfers and mono sound, fans can again
delight in the antics of the Carrington and Colby clans including a
memorable skirmish between Alexis (Joan Collins) and Krystle (Linda
Evans) Carrington.
MISSION IMPOSSIBLE - Season 5 (1970-71, aprx. 19 hours; CBS/Paramount):
Fifth season for Bruce Geller’s long-running series is new to DVD
this month. Peter Graves, Greg Morris, Peter Lupus, and Leonard Nimoy
are here joined by beautiful Lesley (Ann) Warren, who failed to catch
on with series fans accustomed to Barbara Bain’s lead character
(Lynda Day George would fare somewhat better during the series’
sixth and seventh seasons). CBS’ six-disc set includes the
complete fifth season (23 episodes) of the series in fine full-screen
transfers and with remixed 5.1 and 2.0 stereo audio.
MY THREE SONS - Season 1, Volume 1 (1960-61, aprx. 8 hours; CBS/Paramount):
The first 18 episodes (half of its first season) of the long-running,
classic network sitcom finally hits DVD. “My Three Songs”
fans will love this early group of episodes following widower Fred
McMurray as he raises sons Tom Considine, Don Grady and Stanley
Livingston, all with the help of cranky but lovable Grandpa
“Bub” (William Frawley, who would later be replaced by
William Demarest). The digitally remastered black-and-white transfers
look crisp and quite good for their age, while no extras are on-hand.
CSI - Season 8 (2007-08, aprx. 12 hours; CBS/Paramount):
Strike-shortened eighth season of CBS’ Thursday night staple
arrives on DVD as it bids adieu to star William Petersen in 17
hour-long episodes. Paramount’s box-set includes excellent 16:9
transfers, 5.1 Dolby Digital soundtracks, commentaries on two episodes,
numerous Making Of featurettes, a profile of director William Friedkin
(who helmed one of the eighth season episodes), and the bonus episode
“Where & Why,” a cross-over show from CBS sister series
“Where and Why.”
THE SARAH SILVERMAN PROGRAM, SEASON 2 Vol. 1 (132 mins., 2007; Paramount): Season
two of the controversial comic’s Comedy Central series hits DVD
on October 14th in a double-disc set with copious extras, including
digital shorts, commentary, a behind-the-scenes featurette, a ComicCon
segment and other extras. If you’re a fan, the set comes highly
recommended, but suffice to say for most viewers Silverman is certainly
an “acquired taste.” Paramount’s full-screen
transfers and 2.0 Dolby Surround soundtracks are all acceptable.
LIL BUSH SEASON 2 (220 mins., 2008; Paramount): Not
sure what Comedy Central is going to do once President Bush leaves
office in a few months. Will we be seeing similar cartoons ribbing
Barack Obama or John McCain? Something tells me no, but either way
viewers impartial to this juvenile “South Park” wannabe
will want to check out the double-disc set preserving the animated
series’ second season, with extras including a music video,
commentary and bonus animatics. The full-screen transfers and 2.0 Dolby
Stereo soundtracks are all as solid as the material allows.
Bush-bashers can also check out the single-disc compilation COMEDY
CENTRAL SALUTES GEORGE W. BUSH: THANKS FOR THE MEMORIES, offering
W.-centric episodes of “South Park,” “Lil
Bush,” “That’s My Bush” and more.
PSYCHIC KIDS - CHILDREN OF THE PARANORMAL (2008, aprx. 5 hours; A&E): There
seem to be a glut of paranormal-themed reality series on TV these days,
all following the lead of Sci-Fi’s “Ghost Hunters.”
This effort from A&E is more watchable than the network’s
similar show, “Paranormal State,” which debuted last
spring, as it profiles young kids with the alleged capability of
communicating with the other side. How “real” this is is
anybody’s guess, though the show is at least more unnerving and,
subsequently, more entertaining than some of its cable competition.
A&E’s double-disc set of the series’ first season
includes a bonus pilot episode (a standalone special) that was produced
prior to the series proper. NEXT
TIME: THE OMEN, finally, in HD! Until
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