December Mania Edition New Blu-Ray, DVD titles Reviewed Plus: DAY THE EARTH STOOD STILL & More!
No matter how frustrating J.J. Abrams’ ABC series LOSTcan
become, how ill-advised some of its plot tangents feel, the show
remains as fresh and unique as anything on the air today -- a
fascinating puzzle of a series that rewards viewers who pay attention
to each and every episode and all the individual sequences within. Season 4 of the series (2008, 604 mins., Buena Vista)
keeps the momentum moving ahead from its prior season’s surprise
conclusion, wherein one of the show’s patented
“flashbacks” involving lead “Lostie” Jack
(Matthew Fox) turned out to be a framing device not for a look into the
past but rather a “flash-forward” wherein the series
framework shifts to the future...or at least a “present”
wherein Jack and several other survivors of Oceanic Flight 815 are back
home, off the island and meeting with a variety of fates -- many tragic
in nature.
How this group left the island, what happened in the days before their
departure, what their lives have become and the mystery of who -- or
what -- was left behind comprises the show’s fourth year, and for
fans, it’s another doozy. Lacking episodes that fail to pertain
to the series’ central narrative, this season of
“Lost” may be its leanest and most compelling yet, although
in refusing to “take a break” for different types of
episodes (or shows that highlighted peripheral characters), the series
has become a deliciously complicated sci-fi tale that will leave even
casual viewers baffled by everything that’s going on.
Without divulging any additional plot developments, I’ll just say
that fans will devour each episode of “Lost”’s fourth
season on DVD and Blu-Ray, with the BD platter featuring spotless AVC
encoded transfers and uncompressed PCM 5.1 soundtracks that surpass the
broadcast HD versions I watched of the series throughout last year.
Colors are strong, details are crystal clear, and the sound is likewise
excellent for a television series. The DVD transfers are 16:9 enhanced,
meanwhile, and offer 5.1 Dolby Digital sound.
Special features are copious: numerous featurettes highlight the
creation of individual sequences, while another segment profiles the
Honolulu Pops performing a suite of Michael Giacchino’s music
live in concert (several minutes of which, including a performance of
“The Others Theme,” are exclusive to the BD release).
Bloopers, deleted scenes, commentaries, time lines and other goodies
are on-hand, all of which should keep “Lost” fans
preoccupied until Season 5 arrives next month.
Also out from Disney are great looking Blu-Ray and DVD presentations ofTHE CHRONICLES OF NARNIA: PRINCE CASPIAN (**½, 149 mins., 2008, PG), the disappointing, overlong continuation of its 2005 predecessor.
Director Andrew Adamson is back for this go-around, as are the young
actors portraying the Pevensie siblings, who this time venture back to
Narnia, only to find the storybook world they once visited is older (as
in several hundred years older!) and presided over by an evil king
who’s taken the throne away from its rightful owner, Prince
Caspian.
Elaborate effects and lengthy battle scenes take the place of
compelling character development and storytelling in this bigger but
not necessarily better sequel, which met with okay but disappointing
box-office receipts at the May box-office. Young viewers may gravitate
towards it, particularly if they enjoyed the original, yet the bloated
running time may be a turn off even for them.
Disney’s Blu-Ray presentation is a marvel though, thanks to its
reference-level AVC encoded transfer and enveloping DTS Master Audio
soundtrack. Colors leap off the screen in a spectacular looking and
sounding disc that home theater enthusiasts should gobble up, even if
the picture itself fails to support its technical achievements. The
standard DVD edition, meanwhile, looks equally strong from what I
sampled with a fine 16:9 (2.35) transfer and 5.1 Dolby Digital
soundtrack.
The three-disc set (one platter of which is a digital copy) includes a
bevy of extras, including commentary with Adamson and various cast
members, deleted scenes, bloopers, numerous Making Of featurettes and
other goodies, mostly all presented in high definition as well on the
BD side.
New On DVD
I AM LEGEND Ultimate Edition (***, 100 [theatrical] and 104 [alternate] mins., 2007, PG-13; Warner):
The first-hour of "I Am Legend" is as tense, compelling, disturbing and
thoroughly gut-wrenching a science-fiction film as you'll see.
Adapting
Richard Matheson's "I Am Legend" for a new generation, director Francis
Lawrence and writers Mark Protosevich and Akiva Goldsman place Will
Smith in the role that Vincent Price and Charlton Heston essayed in
decades past -- that of Robert Neville, a biologist who seemingly
becomes the last man on Earth after a virus, once intended to cure
cancer, wipes out nearly the entire populace of New York City and
beyond.
Neville cruises the streets of the now-deserted Big Apple with his
German Shepherd Sam in tow, hunting wild animals who have taken to
running through the buildings and tunnels of the formerly major
metropolis. He even rents videos from a corner video shop, having
placed and dressed mannequins who he talks to every day as if they were
real people.
It's a lonely existence, but it could be worse: once the sun goes down,
whatever is left of humanity comes out, making loud, snarling noises
and hunting whatever life is still left in the post- apocalyptic world.
For essentially an hour, "I Am Legend" draws you into this nightmarish
scenario of humanity's demise and doesn't let up. The picture's visuals
of empty New York streets and animals running amok are breathtakingly
-- and all too convincingly -- represented, while Smith gives a
sympathetic, wholly believable performance as a man who's lost
everything, yet still tries to "fix" the situation by abducting the
"infected" and trying to find a cure for them. All the while,
flashbacks (seemingly modeled after "Lost") fill in the gaps of
mankind's final hours, as Smith tries tragically to get his family out
of the city. Individual set-pieces are also potent, such as when
Smith's dog runs into a darkened warehouse where hordes of the
creatures congregate, and a later sequence where the creatures turn the
tables on Neville.
The picture's opening is so strong that one would anticipate the
filmmakers having a hard time finding an ending that would live up to
it. Sadly this is completely the case here, as the picture sinks once a
woman (Alice Braga) and a young boy appear, having received Smith's
daily radio broadcast. There's no development of these characters of
any kind, and Braga comes off as being particularly devoid of charisma
or any chemistry with her co-star (the sequence where Smith tries to
teach Braga about the beauty of Bob Marley's music is downright
pathetic). Their role in the story is pre-ordained, but because of the
startling lack of development of these roles, there's no emotional
connection or pay-off to them -- something the story needed to have in
order to function at the end.
Warner's video releases do offer one advantage over the theatrical
version: that being the option to view the film with its alternate
(original) ending, which not only is a tad more upbeat than the
released version, but also ties in with the main story (of the infected
beings chasing Smith) far more effectively. Why this more emotional
finale was jettisoned in favor of a slightly more "action" filled
climax is anyone's guess, but viewers new to the film are urged to view
it with the "alternate" ending instead of the theatrical version. Not
that this finale is perfect, either, but it's certainly the better
option given the choice (and given the rumors that a sequel is going
forward, would’ve been a more fitting conclusion leading into a
follow-up).
"I Am Legend," then, is that rare science fiction film that doesn't
pull any punches (young children should avoid the film at all costs, as
well as dog lovers sensitive to traumatic death scenes of animals
on-screen). It's a visually compelling and well-performed piece that
likely works better on video than it did in theaters -- due to the
amount of silence in its opening hour -- and comes as strongly
recommended for sci-fi fans in spite of its lackluster final third.
Warner’s beautifully assembled new Ultimate Edition DVD box-set
(a Blu-Ray version is also slated for release) sports a host of new
extras: commentary from Lawrence and co-producer Akiva Goldsman, plus a
variety of deleted scenes, most of which (unsurprisingly) involve the
relationship between Neville and the girl in the picture’s second
half. These sequences, while helping the story on paper, seem to have
been wisely discarded as they play out as flatly as the above-mentioned
bit where Neville professes his love for Bob Marley. Still, these are
interesting to see if nothing else, while a host of all-new Making Of
featurettes go behind the scenes and expand the somewhat limited
offerings from the prior DVD (which have been carried over to this new
edition).
Spiffy packaging includes a 45-page book of conceptual artwork, six
collectible art cards, four comics and other goodies, while the 16:9
(2.35) transfer and 5.1 Dolby Digital soundtrack are both as strong as
its predecessor. Criterion Debuts in HD
Although the Criterion Collection’s Blu-Ray offerings were
delayed for several weeks, the first title has arrived here for review:
a supremely satisfying edition of Wong Kar-Wai'sCHUNGKING EXPRESS (1994, 102 mins.).
An HD reprise of the standard definition version we covered a couple of
weeks ago, this dreamy, slow-moving but evocatively produced tale of
failed relationships, heartbreak and the affect that love can have
makes for a splendid addition to the Criterion catalog -- and also a
spectacular debut to the BD format for the label.
The AVC-encoded transfer, supervised by Wong, is just ideal, offering a
warm array of colors and details that are an appreciable enhancement
even on the label’s standard-def edition. The stereo sound is
here presented in a lossless DTS Master Audio track, which is likewise
more effective than the standard DVD track’s stereo mix.
All
the extras from the standard DVD are available, including commentary
from Asian cinema expert Tony Rayns; a 1996 British TV episode "Moving
Pictures" with Wong; the original trailer; and a new, improved English
subtitle translation.
New on standard-definition DVD from Criterion is Samuel Fuller’s strange and controversial WHITE DOG (**½, 90 mins., 1982, PG),
starring Kristy MacNicol as a young woman who befriends a German
shepherd that’s been trained to attack African-Americans. Trainer
Paul Winfield attempts to correct the dog’s upbringing in this
searing adaptation of Romain Gary’s novel, which proved to be
such a conduit for controversy that Paramount Pictures opted to
withhold it from widespread release in the early ‘80s.
Criterion’s DVD edition is the first video release of
“White Dog” ever, and Fuller aficionados will find much to
enjoy in the picture, along with a strong Ennio Morricone score.
Regrettably, while the movie is compelling, it doesn’t quite
click on all dramatic cylinders, thanks in part to a jumbled opening
half-hour, while Fuller’s penchant for pulpy exploitation likely
didn’t serve the movie’s reputation well -- even if the
film is a potent diatribe against racism, not a movie that in any way,
shape or form supports it.
Certainly “White Dog” is challenging filmmaking that
interested viewers will find worthy of discussion if nothing else.
Criterion’s DVD sports a fine 16:9 (1.85) transfer with mono
sound and a supplemental section comprised of an insightful 45-minute
documentary on its troubled production, an interview with dog trainer
Karl Lewis Miller, photos from the production and booklet note essays.
Also among Criterion’s new releases this month is Lars Von Trier’s EUROPA (107 mins., 1991), the filmmaker’s odd, color/B&W conclusion to his trilogy of tales about Europe’s past and present.
Criterion’s double-disc DVD edition includes a new 16:9 (2.35)
transfer with stereo sound, English subtitles, a commentary (in Danish
with English subs) by Von Trier, a documentary on its production, the
original trailer, copious 2005 interviews with all of the creative
team, and an essay from critic Howard Hampton. Also New on Blu-Ray
AUSTIN POWERS - Blu-Ray Box Set (Warner): Mike Myers’ groovy spy spoofs arrive on Blu-Ray in an attractively packaged box-set from New Line and Warner.
It’s easy to forget that the original (and best) “Austin
Powers” was only a sleeper hit at the box-office, grossing just
over $50 million domestically in the spring of 1997. Myers’ retro
swinging espionage comedy only became a massive hit on home video,
leading to the immense box-office performance of its two sequels:
1999's lame “The Spy Who Shagged Me” and 2002's moderately
enjoyable “Goldmember,” both of which took in over $200
million each in North America alone.
Still, the force is clearly with the original, director Jay
Roach’s lark which introduced us to Myers as both Britain’s
top secret agent and the nefarious Dr. Evil and Seth Green as
Evil’s son Scott, plus Robert Wagner, Will Ferrell, Mimi Rogers,
Elizabeth Hurley and Michael York (as “Basil Exposition”)
all adding to the fun.
Sadly, those who felt that even the first movie pushed its premise to
the limits had their suspicions confirmed in the sorry sequel
“The Spy Who Shagged Me,” which appealed to every teenager
in America at the time but remains a flimsy follow-up on every level.
After a tepid opening that disposes of Elizabeth Hurley's original
heroine in the most mundane fashion, Myers's film settles into a
tiresome rehash of his predecessor's routines, mixed with dated "hip"
references and tasteless humor. There's also no hint of even the
slightest intention to convey a logical storyline, which here sends
Austin, now accompanied by the terribly uncharismatic Heather Graham,
back into the '60s (meaning we see one colorfully dressed backlot set)
to hunt down Dr. Evil, himself having been cloned in a midget-ized
version named Mini-Me (Verne Troyer).
Outside of Green’s appearance and Rob Lowe's spot-on imitation of
Robert Wagner (Lowe plays a young Wagner in the '60s segments),
“Austin 2" is sheer desperation all the way. Scenes play
themselves out without a punchline, and there are no genuine comedic
set-pieces to be found. The '60s scenes play like a good idea that
didn't work because they couldn't come up with any jokes, and even
another Burt Bacharach cameo fails to register.
You hate to think that Myers was so taken aback with the original's
success on video and later in the media (not to mention the franchise's
incessant merchandising since then) that he didn't know how to approach
a sequel, and found himself creatively stuck throughout the writing and
filming of this second go-around.
Whatever the case may be, both he and returning director Jay Roach
strike out time and time again with material that's astoundingly flat
and consistently skirts the bottom of the barrel of good taste. For
Bond fanatics, the humor is limited to two John Barry “You Only
Live Twice” quotes in George S.Clinton's musical score and Graham
wearing Ursula Andress's bikini top from “Dr.No.” For
people looking for a few good laughs, you're going to be out of luck,
unless you think that scores of bowel movement jokes are amusing by
themselves.
Meanwhile, 2002's “Austin Powers In Goldmember” rounded out
the series with Myers' spy trying to reconcile his relationship with
his dad (Michael Caine), while Dr. Evil's latest attempt to take over
the world involves a skin-eating Dutch madman named Goldmember. The
latter requires Austin to high tail it to the '70s, where he teams up
with the very Pam Grier-like Foxy Cleopatra (the extremely
easy-on-the-eyes Beyonce Knowles).
While
the energy in “Goldmember” also seems to lag at times, the
good news is that there are enough laughs here to warrant a
recommendation. Recycled jokes are kept at a minimum (particularly
considering the second film), and there's one gem of a gag involving
Austin and Mini-Me trying to elude a doctor on Dr. Evil's submarine
that's absolutely hysterical. Knowles is a pleasant addition to the
cast and everyone seems to be having a good time as usual (there are a
handful of fun cameos as well). Also a plus are two great musical
numbers: one in the movie, and the other in the deleted scenes section.
The latter involves a nice salute to Caine as the cast sings an
Austin-altered rendition of "Alfie (What's It All About)," with George
S. Clinton providing an especially nice arrangement.
Sure, in comparison with the first film, not every gag is quite as
fresh or energetic in “Goldmember,” but the bottom line is
that this is a major improvement on the lethargic second installment.
Speaking of that, when was the last time you saw something in the
deleted scenes section worth watching? A plethora of extra scenes here
-- fully edited and likely cut from the movie just before its release
-- include some spirited gags that are actually worth taking a gander
at. Extras recycled from the prior DVDs, meanwhile, include several
featurettes, commentary from Myers and director Jay Roach and other
goodies.
Warner’s Blu-Ray box-set is sparkling, offering colorful VC-1
encoded transfers and Dolby TrueHD soundtracks, which should tide
Austin addicts over until Myers makes good on his promise (threat?) to
produce another Powers sequel.
HANCOCK (**, 92 mins., 2008, PG-13; Sony):
Will Smith and sci-fi are usually a potent combination at the
box-office; from the huge grosses of the “Men in Black”
movies to the sturdy (if unremarkable) “I, Robot” and last
Christmas’ smash hit “I Am Legend,” the mix of star
and genre has resulted in many a commercial success over the years.
With “Hancock,” Smith attempts to put his own spin on the
super-hero genre, but the movie, in spite of its robust financial
in-take, is close to a total misfire, feeling like the work of too many
cooks in the kitchen in spite of a few interesting touches.
As a drunken super-hero with no knowledge of his past, Smith is as
amiable as always (and engagingly stays in-character, without too many
winking sarcastic barbs), but the movie is a mess: after opening with a
quite funny succession of sequences showing us Hancock’s bad-boy
antics, the Vince Gilligan-Vicent Ngo script focuses on a downtrodden
PR consultant (Jason Bateman), who attempts to help Hancock improve his
image. After spending time in jail to compensate for the expense of his
behavior, Hancock is let out by the LAPD so he can take down some
cardboard villains, and soon finds out that Bateman’s gorgeous
wife (Charlize Theron) harbors a few secrets of her own.
At
90 minutes and change, “Hancock” is a lean, good-looking
piece of commercial filmmaking, but as a narrative the movie is all
over the map: a raucous comedy for about 40 minutes, then a serious
super-hero tale/domestic drama for its second half. As such, the movie
almost feels like an origin movie and its sequel rolled into one failed
experiment, with wild tonal shifts and a thoroughly unsatisfying climax
involving bad guys who are given about two minutes of screen time. The
nature of Theron’s character is tipped off early and
doesn’t work at all -- once she takes center stage you could
almost feel the air being let out of the theater, since the
film’s first half-hour played well in front of the audience I saw
the picture with.
Unlike some disappointing movies, “Hancock” is at least
mildly entertaining for its duration and is complimented by a spirited
John Powell score, and its central concept certainly could’ve
made for a fresh twist on the well-worn comic book genre. Alas, the
finished product feels like one idea from one writer or producer piled
on top of another, culminating in an uneven brew that director Peter
Berg is never able to get under control.
Sony’s Blu-Ray disc looks phenomenal at least with another
outstanding AVC-encoded transfer and boisterous Dolby TrueHD sound. A
good amount of special features include an extended Unrated version
(with about 10 minutes of added footage) and seven behind-the-scenes
featurettes, as well as a BD-exclusive picture-in-picture “visual
diary.”
HOME ALONE: Family Fun Edition (***½, 103 mins., 1990, PG; Fox):
Blu-Ray edition of the John Hughes-Chris Columbus Christmas perennial
shines with a sparkling new AVC-encoded transfer and DTS Master Audio
soundtrack.
With a new HD transfer enhancing the splendid, snow-capped holiday
visuals provided by cinematographer Julio Macat and an improved DTS-MA
soundtrack, the presentation here alone would be enough to recommend
this re-issue for “Home Alone” fans. Just as satisfying is
the supplemental package, which reprises the extras from the last
“Family Fun Edition” DVD, with an enlightening commentary
with Columbus and Macaulay Culkin that’s a must for fans; 15
mostly disposable deleted/alternate scenes; a gag reel; and numerous
featurettes, both new and vintage, including fresh comments from
Culkin, Columbus, John Williams and others (regrettably, all the
trailers have been excised from the BD platter).
In the recent 20-minute Making Of, it’s noted that “another
composer” (i.e. Bruce Broughton) had originally been attached to
the project but bowed out due to a scheduling issue; the filmmakers
considered Williams’ subsequent involvement to be a happy
accident where a “better puzzle piece” fell into place. No
offense to Broughton’s copious abilities, but it’s hard to
argue with their assessment: Williams’ marvelous, holiday-tinged
score put the film over the top, while the movie itself remains a
mixture of mirth, merriment and holiday feeling that’s lost none
of its appeal over the years. Highly recommended!
MEET DAVE (**½, 90 mins., 2008, PG; Fox):
Somehow it figures that the one movie Eddie Murphy fails to promote,
going so far as to not even attend its L.A. premiere, is actually more
entertaining than most of the movies he has shown up to support over
the last 10 years.
An alien spacecraft makes its way to New York City in order to retrieve
an orb that, months prior, fell into the possession of a grade schooler
with an overprotective, widowed mom (Elizabeth Banks). The spacecraft,
though, doesn’t look like a spacecraft: it’s actually in
the form of Eddie Murphy himself, with a crew of extraterrestrials led
by (who else?) captain Murphy and crewmates Gabrielle Union and Ed
Helms (Andy from “The Office”), all of whom attempt to
retrieve the orb and blend in with Earthlings in the process.
Make no mistake, “Meet Dave” is no classic, and its
box-office failure can be primarily attributed to a horrid marketing
campaign and tepid title, elements which made this Fox/Regency
production look a whole lot worse than it actually is. As breezy family
comedies go, however, this engaging sci-fi fantasy boasts a decent
quotient of laughs, a playful Murphy performance and the presence of
lovely leading ladies Banks and Union, both easy on the eyes.
Brian Robbins, who helmed Murphy in the horrid “Norbit” and
is directing him again in the forthcoming “A Thousand
Words” (making Murphy’s failure to support the finished
product here even odder), paces the picture well and mixes up laughs
that are both slapstick and sentimental, yet never as raunchy as many
of Murphy’s recent outings. It’s a film that kids can enjoy
and adults not be completely bored by, even if much of it resembles the
old EPCOT attraction “Cranium Command,” which exploited
similar comedic terrain more effectively.
Fox’s Blu-Ray disc looks superb with its AVC encoded transfer and
DTS Master Audio soundtrack. Extras include an alternate ending,
deleted scenes, a gag reel, Making Of featurette and several
promo-flavored behind-the-scenes segments from the Fox Movie Channel.
DODGEBALL: A TRUE UNDEROG STORY (***, 93 mins., 2004, Unrated; Fox):
There isn't a whole lot of substance in this Vince Vaughn-Ben Stiller
comedy, but "Dodgeball" does, just the same, offer a solid quotient of
laughs.
This intentionally hyper-silly though often inspired lark stars Vaughn
as the affable owner of a small gym whose millionaire competitor
(Stiller) wants to buy him out. To raise the needed capital to keep his
gym going, Vaughn and his motley assortment of clients opt to enter the
Las Vegas Dodge Ball Invitational, which carries a cash price of
$50,000 and coverage on ESPN 8 ("The Ocho").
The gags are all outlandish but many hit in the mark in Rawson Marshall
Thruber's film, which boasts perfect comic timing and some very funny
supporting turns from the likes of Gary Cole and Jason Bateman (as the
ESPN8 announcers), Rip Torn, and even Chuck Norris and William Shatner.
"Dodgeball" isn't high art and parents will likely object to some of
its adult-oriented content, but it’s nevertheless entertaining
just the same.
Fox's Special Edition Blu-Ray disc includes the unrated cut of the
film, commentary from Stiller, Vaughn, and writer/director Thurber;
deleted scenes, a gag reel, and several Making Of featurettes.
X-FILES: I WANT TO BELIEVE (**½, 104 mins., PG-13, 2008; Fox) X-FILES: FIGHT THE FUTURE (**½, 122 mins., PG-13, 1998; Fox):
Chris Carter’s long-running TV series fumbled its way onto the
big screen first in the confusing 1998 “Fight the Future,”
which was entertaining by itself but failed to provide a focal point
for the series’ tangled narrative web to latch onto. As such, the
movie served only to further confuse newcomers to the franchise, while
Carter’s recent resurrection of his creation -- last
summer’s box-office flop “X-Files: I Want to Believe”
-- feels like a movie that’s too little, too late, a low-key but
depressing “standalone” tale that’s likely to
entertain only hard-core series fans.
Fox has brought both movies to Blu-Ray in excellent, matching 1080p AVC
encoded transfers and DTS Master Audio soundtracks. Copious extras
include, on “Fight the Future,” both extended and
theatrical cuts of the movie; two commentaries, a new talk with Carter,
Frank Spotnitz and director Rob Bowman (with a Blu-Ray
“BonusView” picture-in-picture visual option), as well as
the original 1999 Bowman/Carter commentary; visual effects, scoring and
vintage featurettes, a gag reel and other goodies. “I Want to
Believe” also offers two versions of the picture, plus commentary
by Spotnitz and Carter (with BonusView capable picture-in-picture
visuals), deleted scenes, still galleries, featurettes, and a digital
copy for portable media players.
THE DAY THE EARTH STOOD STILL (****, 92 mins., 1951; Fox): Robert
Wise’s ‘50s sci-fi classic hits Blu-Ray this week in a
marvelous package that includes a new assortment of extras as well as a
crisp AVC encoded transfer in the movie’s original academy aspect
ratio. Numerous supplements have also been ported over from prior DVD
editions, including commentary from Wise and Nicholas Meyer and a
lengthy documentary, while all-new extras are highlighted by a superb
conversation with film music gurus John Morgan, Steven Smith, William
Stromberg and Nick Redman. An isolated score track (in gorgeous DTS
Master Audio) is also on-tap, along with a bevy of newer featurettes,
trailers, still galleries, an interactive press book, Fox Movietone
newsreel, two BD exclusive features (“Theremin: Create Your Own
Score” and an interactive game involving Gort) and a reading of
the original Harry Bates short story by Jamieson K. Price. Both the
original mono mix and an effective DTS Master Audio remix are available
for audio options, both giving a marvelous sound stage for Bernard
Herrmann’s superlative score. A classic for all Golden Age sci-fi
fans in HD, while standard-def viewers can check out Fox’s
separate, 2-disc Special Edition DVD reprieving virtually all of the
contents of the BD platter in a fine full-screen transfer.
SPACE CHIMPS (**, 81 mins., 2008, G; Fox):
Not to be confused with the recent “Fly Me to the Moon,”
about houseflies who decide to orbit in outerspace, “Space
Chimps” follows a group of primates...who decide to orbit in
outerspace. Though this Starz Animation production doesn’t
overstay its welcome at 80 minutes, it’s doubtful anyone other
than very young children will garner much entertainment from its bland,
routine premise and execution. Fox’s Blu-Ray disc does look quite
nice, at least, thanks to its AVC encoded transfer, while DTS Master
Audio sound, a stills gallery, TV spots, and a Fox Movie Channel
featurette comprise the meager supplemental offerings.
SUPER TROOPERS (**, 103 mins., 2002, R; Fox):
There seems to be two ingredients involved in making a successful
comedy. First, you have to have an amusing script, or at least, enough
of one that the performers can make something out of it. That raises
the issue of the second ingredient: you have to have funny performers.
I'm sure the scripts for a few of Jim Carrey's early efforts were
pathetic, but Carrey's antics carried those brainless movies to the
point of being watchable, to say nothing of being successful at the
box-office.
What all of that has to do with “Super Troopers” is simple:
some of the gags in this tale of goofy Vermont State Troopers are
indeed amusing, but the actors who also wrote the film (under the
comedic troupe name "Broken Lizard") aren't funny at all playing the
leads. It's one thing to have members of Monty Python writing and
performing their own material, but the Broken Lizard boys (director Jay
Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, and Erik
Stolhanske) have a real problem pulling off the frantic comic pitch the
material badly needs. At times I almost thought the movie would have
worked better with Steve Guttenberg, Bubba Smith, and George Gaynes in
the cast!
Still, Broken Lizard devotees will enjoy Fox’s Blu-Ray disc of
the 2002 film, which offers a new AVC encoded transfer with DTS Master
Audio sound. Extras include a handful of outtakes, extended scenes and
even an alternate ending, plus two commentary tracks, a trailer, and a
Making Of featurette.
ELF (**½, 95 mins., 2003, PG, New Line):
Cute, appealing but somewhat under-developed vehicle for Will Farrell
stars the former SNL cast member as the North Pole's only human elf,
"Buddy." Wanting to meet his real dad (an under-written role for James
Caan), Buddy ventures to the big city where he tries to spread
Christmas cheer and falls for cute department store clerk Zooey
Deschanel.
Jon Favreau's movie has its heart in the right place and a few big
laughs, but as gentle a fantasy as "Elf" is, the final result just
never really gels. The comedy is hit-or-miss and while there are some
neat references to Rankin-Bass animated specials mixed in (along with
Bob Newhart as the Head Elf and Buddy’s adoptive father), the
picture doesn’t hit on all cylinders when it comes to the
“domestic” drama of our big elf’s human family.
Still, at least it’s better than numerous other holiday misfires
(“Fred Klaus,” “Deck the Halls,” etc.) lurking
out there.
New Line's Blu-Ray edition is a winner, though, sporting commentaries
from the filmmakers, a few deleted/alternate scenes, plenty of Behind
the Scenes segments, interactive games for kids, and a breezy Dolby
Digital soundtrack sporting a fine John Debney score. The VC-1 encoded
transfer is also just fine.
STEP BROTHERS (**½, 98 mins [theatrical] and 106 mins [Unrated], 2008, R; Sony):
Will Ferrell’s latest cinematic journey into the comedically
absurd doesn’t reach the heights of either “Blades of
Glory” or “Talladega Nights,” but “Step
Brothers” manages to produce a few yucks in spite of its inherent
uneveness.
Ferrell and John C. Reilly play spoiled man-children whose respective
parents (Richard Jenkins and Mary Steenburgen) decide to wed. The duo
bicker, argue, physically and mentally torture each other en route to
trying to break up their parents’ plan, with some predictably
raunchy moments along the way.
“Step Brothers” isn’t especially inspired but Ferrell
and Reilly make for an engaging comic team here, so much that one can
overlook the spotty, disjointed narrative and weak supporting players,
none of whom make much of an impression. The movie managed to gross
over $100 million in spite of its issues, which is no small testament
to Ferell and Reilly’s chemistry, which alone carries “Step
Brothers” to the finish line.
Sony’s double-disc Blu-Ray platter is packed to the brim with
supplements, from the pre-requisite deleted scenes, bloopers,
commentary, Making Of featurettes, to both R-rated and theatrical cuts
of the movie itself. The AVC encoded transfer is excellent, as is the
Dolby TrueHD audio.
THE LONGSHOTS (**, 95 mins., 2008, PG; Genius Products): Routine
tale of Ice Cube coaching a Pop Warner football team and the teenage
girl (Keke Palmer, so great in “Akeelah and the Bee”) who
becomes his secret weapon. “The Longshots” makes for
adequate viewing for youngsters but the story is so predictable that
there’s little to offer otherwise. Genius’ Blu-Ray disc
does look nifty with its 1080p transfer and Dolby TrueHD audio, while
extras include deleted scenes, a Making Of segment, interviews with
director Fred Durst and Ice Cube, and a look at the real Jasmine
Plummer, whose story formed the basis for the picture.
THE HEARTBREAK KID (**½ 114 mins., 2007, R; Dreamworks):
The Farrelly Brothers and Ben Stiller reworked the old Neil
Simon/Charles Grodin "Heartbreak Kid" for this box-office
disappointment. Dreamworks’ Blu-Ray release presents a solid
presentation of this not-bad comedic re-do, peppered with a few laughs
as well as misfired jokes that feel like leftovers from "There's
Something About Mary." That being said, Stiller and Michelle Monaghan
are engaging, while co-star Rob Cordry nails his role as Stiller's
married-to- the-bone cohort. The Blu-Ray edition sports a terrific
1080p transfer with Dolby TrueHD sound, with extras including
commentary from the Farrellys, deleted scenes, a gag reel and other
featurettes, as well as the trailer (in high definition).
TOMMY BOY (**½, 97 mins., 1997, PG-13; Paramount):
One of the better (faint praise that may be) Saturday Night Live alumni
comedies of the mid-to-late ‘90s finds Chris Farley as a college
student whose dad (Brian Dennehy) dies, leaving him to inherit his
successful auto pad business. Unfortunately dad leaves the business in
charge of Farley’s wicked stepmother (Bo Derek), leading Farley
and David Spade on a journey to save the family company before
it’s too late. Paramount’s Blu-Ray edition of this
fan-favorite box-office hit includes commentary from director Peter
Segal, four Making Of featurettes, numerous deleted/alternate scenes, a
photo gallery, retrospectives on Farley, and the original trailer in
HD.
PLANET TERROR (***, 105 mins., 2007, Unrated; Dimension/Genius) DEATH PROOF (**½, 113 mins., 2007, Unrated; Dimension/Genius):
Quentin Tarantino and Robert Rodriguez’s “Grindhouse”
was a notorious box-office flop, leading to the Weinstein Company
splitting up its two main attractions for expanded, unrated and separate DVD --
and now Blu-Ray -- releases.
That may disappoint fans longing for more than an HD reprise of the two
main features in the “Grindhouse” double-bill:
Tarantino’s overly talky “Death Proof” with Kurt
Russell and Rodriguez’s gleefully tacky sci-fi spoof
“Planet Terror” with Rose McGowan as a stripper who fights
a horde of mutants. That said, the Genius Blu-Ray platters are both
outstanding with their VC-1 encoded transfers and Dolby TrueHD
soundtracks; “Planet Terror” also boasting a “scratch
free” version minus the nostalgic visual
“imperfections” from its “Grindhouse” release.
Both movies include a big roster of extras, “Planet Terror”
in particular with its double-disc set that includes commentary from
Rodriguez, an audience reaction track, trailers, extensive Making Of
materials and other goodies. The single-disc “Death Proof”
offers a number of individual featurettes plus trailers and an uncut
version of “Baby It’s You” performed by Mary
Elizabeth Winstead.
LUCKY
NUMBER SLEVIN (**½, 2006, 110 mins., R; Dimension/Genius):Engaging
performances from Morgan Freeman, Bruce Willis, Stanley Tucci, and Ben
Kingsley nearly make this over-plotted thriller from writer Jason
Smilovic and director Paul McGuigan work. Josh Hartnett plays a
down-on-his-luck young man who enters into an urban battle between
feuding crime bosses Freeman and Kingsley; the twists come fast and
furiously, but so much so that you just know there’s a
“big one!” coming at the very end. Tarantino and
Shyamalan-esque “Slevin” wants to be, but despite
falling short of its aspirations, McGuigan’s
overly-telegraphed film is still energetically played and directed.
Genius Products’ superb Blu-Ray edition includes deleted scenes, an alternate
endings, two commentaries (one by McGuigan, another with Harnett, Liu,
and Smilovic), and a Making Of featurette. The VC-1 encoded transfer and Dolby TrueHD soundtrack are both excellent. ENCOUNTERS AT THE END OF THE WORLD (101 mins., 2007; Discovery/Image): Werner
Herzog documentary finds the filmmaker in Antarctica, capturing the
sights, sounds, people and wildlife that populate its terrain.
Beautiful HD visuals and a DTS Master Audio soundtrack combine for a
strong technical presentation while extras include commentary with
Herzog and cinematographer Peter Zeitlinger, a Jonathan Demme interview
with the director, the trailer, and a host of Making Of featurettes. New TV on DVD and Other Capsules
24: REDEMPTION (87 mins., 2008; Fox):
A launching pad for “24"’s Season 7 premiere in January,
this feature-length TV-movie reintroduces us (as if anyone could ever
forget!) to Jack Bauer, cast off from his American citizenship, wanted
by the authorities and working at old friend Robert Carlyle’s
school in Africa. Of course, trouble follows Jack around like
nobody’s business, and soon our man Bauer is back into the fray
when he finds out a local warlord is capturing children and heading to
the school to capture Carlyle’s kids.
As a dramatic piece “Redemption” is sturdy enough, but for
“24" fans this crisply paced offering is sure to get the blood
going for the series’ proper return, some 18 months after Season
6 concluded. Though the show itself has been faltering for some time
with hackneyed, recycled elements (how many times does the sitting
President have to survive a coup from within?), Kiefer
Sutherland’s strong central performance and the series’
absence from the airwaves ought to make fans hungry for more -- as
evidenced by “Redemption”’s strong broadcast ratings
a couple of weeks ago. It remains to be seen if the series can revert
back to its glory days, but at least there’s reason for
encouragement based on this superior outing.
Fox’s two-disc DVD of “24: Redemption” includes over
10 minutes of added footage not seen in the broadcast version plus the
first 17 minutes from Episode 1 of Season 7 -- a nice bonus for fans.
The 16:9 transfer and 5.1 Dolby Digital soundtrack are both excellent,
while commentary and Making Of featurettes round out the supplemental
section.
HAPPY DAYS Season 4 (1976-77, 11 hrs., CBS/Paramount):
Gary Marshall’s beloved sitcom was still on top of the ratings
during its fourth year. Prior to Fonzie jumping the shark, this
collection of 25 episodes from “Happy Days”’ Season 4
offers some memorable moments, from a multi-episode arc involving
Fonzie’s relationship with Pinkie Tuscadero to the Fonz dancing
the night away with Joanie Cunningham at an Arnold’s competition.
By this point Henry Winkler’s iconic performance as Fonzie had
completely taken over the show, with top-billed Ron Howard and the gang
being relegated to the background for the most part -- not that any of
them complained while the series took off in popularity.
Paramount’s Season 4 box-set includes all 25 shows in fine
full-screen transfers and even includes the 3rd Anniversary “clip
show.” As with before, some music edits are unavoidable, but the
presentation otherwise is top-notch.
SWINGTOWN: Season 1 (2008, 9 hrs., CBS/Paramount): Good-looking
and well-cast, but essentially ridiculous, CBS night-time soap failed
to find much of an audience this past summer. That said, the subject
matter is remarkably scandalous for the network’s usual
standards, following a young couple (Molly Parker and Jack Davenport)
who move to the other side of town, away from their conservative
friends and near swinging couple Lana Parilla and her airline-pilot
husband Grant Snow.
Packed with ‘70s attire and mores, “Swingtown” is
watchable enough but most episodes adhere to the same formula in each
episode (should they cheat? Should they do drugs? Does anyone really
care?). More over, the “swinging” is essentially portrayed
like vampirism (!), making for some unintentional yucks as goody
two-shoes housemom Miriam Shor attempts to cope with pal Parker’s
new freewheeling lifestyle and conversion to “the dark
side.” It’s basically like a lightweight, soapy version of
Ang Lee’s “The Ice Storm.”
Paramount’s superb DVD box-set of “Swingtown”
preserves the series’ complete run (no Season 2 has been
announced) in glossy 16:9 transfers with 5.1 audio, deleted scenes, a
gag reel, audio commentaries and a Making Of featurette.
GUNSMOKE, Season 3, Vol. 1 (1957-58, 8 hrs.., CBS/Paramount): The
first 19 episodes from “Gunsmoke”’s third season are
on-tap in this latest DVD compilation from Paramount. Once again
sporting remastered black-and-white transfers (as well as original
sponsor ads), fans will enjoy seeing Matt Dillon, Miss Kitty and the
rest of the gang back together again. Episodes include
“Crack-Up,” “Gun For Chester,” “Blood
Money,” “Kitty’s Outlaw,” “Potato
Road,” “Jesse,” “Mavis McCloud,”
“Born to Hang,” “Romeo,” “Never Pester
Chester,” “Fingered,” “How to Kill a
Woman,” “Cows and Cribs,” “Doc’s
Reward,” “Kitty Lost,” “Twelfth Night,”
“Joe Play,” “Buffalo Man,” and “Kitty
Kaught.”
RAWHIDE, Season 3, Vol. 2 (1961, 13 hours., CBS/Paramount): Four-disc
box-set includes the final 15 episodes from the long-running
western’s third season. Episodes include “Incident on the
Road Back,” “Incident of the New Start,”
“Incident of the Running Iron,” “Incident Near Gloomy
River,” “Incident of the Boomerang,” “Incident
of His Brother’s Keeper,” “Incident in the Middle of
Nowhere,” “Incident of the Phantom Bugler,”
“Incident of the Lost Idol,” “Incident of the Running
Man,” “Incident of the Painted Lady,” “Incident
Before Black Pass,” “Incident of the Blackstorms,”
“Incident of the Night on the Town,” and “Incident of
the Wager on Payday.” Full-screen transfers and mono soundtracks
are all in satisfying condition.
AMERICAN TEEN (101 mins., 2008, PG-13; Paramount): Indie
documentary from Paramount Vantage and A&E looks at the lives of
five Indiana high-schoolers in a fairly compelling yet not especially
insightful work from producer-director Nanette Burstein. Despite good
intentions all around, this subject matter has been covered in similar
projects far more effectively. Paramount’s DVD includes trailers,
deleted scenes, and cast interviews, along with a 16:9 (1.85) transfer
and 5.1 Dolby Digital sound.
THE BEST OF DR. KATZ, PROFESSIONAL THERAPIST (1995-99, 110 mins.; Paramount): I
was never a big fan of this ‘90s Comedy Central series, but fans
of the show are sure to enjoy this single-disc compilation of sketches
from the long-running series. The near-two hours of content includes
“appearances” by comics ranging from Dave Chappelle and
Janeane Garofalo to Denis Leary, Conan O’Brien, Ray Romano, Sarah
Silverman, Richard Lewis and others. The animation has always looked
bad so the transfer is every bit as good as can be hoped for.
TRANSFORMERS ENERGON (2008, 1092 mins., Paramount):
Recent Transformers animated series, finding the Autobots and
Deceptions living in a period of peace (go figure!), hits DVD in a
seven-disc box-set from Paramount with full-screen transfers and Dolby
Surround soundtracks. NEXT
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