Aisle
Seat Valentine’s Day Edition
THE NOTEBOOK, SHALL WE
DANCE, and More New DVD Releases
February is not a heavy month for DVD releases, with most high-profile
titles having been released a week ago. It is, however, a big month for
Valentine’s releases, being issued just in time to coincide
with
Valentine’s Day next Monday.
In lieu of the upcoming event, here are a few choices that may make for
suitable Valentine’s viewing (a couple being dependant on
your viewing
situation at the moment. I may not be able to pull off showing a few of
these to my girlfriend, but you may have better luck!).
New
This Week
THE
NOTEBOOK
(**½, 2004). 124 mins., PG-13, New Line. DVD SPECIAL
FEATURES:
Commentary tracks by director Nick Cassavetes and author Nicholas
Sparks; Screen Tests; 12 Deleted/Extended Sequences With
Editor/Director Commentary; Making Of Featurettes; 2.35 Widescreen and
Full-Screen versions, 5.1 Dolby Digital EX sound.
Last year’s sleeper hit plays like a PG-13 rated
“Hallmark Hall of
Fame” movie, though the performances by its cast of both
young stars
(Rachel McAdams, Ryan Gosling) and old pros (James Garner, Gena
Rowlands) ultimately puts it over the top.
Nick Cassavetes’ film, based on Nicholas Sparks’
novel, is a simple
romance of a young couple (Gosling, McAdams) who meet and fall in love
in a small, coastal Carolina town in the 1940s. Though social
circumstances – like McAdams’ brittle, disapproving
mother (Joan Allen)
– stand in their way, only Gosling’s eventual
involvement in WWII
ultimately puts the kibosh on their relationship. Years later, they
find each other again, right when McAdams is about to be married to
upper-crust fiancee James Marsden, and...
...while their relationship unfolds, the film is broken up by a framing
story set in the present day, with James Garner reading the young
couple’s notebook to Alzheimer’s patient Gena
Rowlands. Clearly Garner
is more involved than he’s letting on about Rowlands and
their
connection with the young couple, but his patience and understanding is
key to unlocking Rowlands’ memory.
Jeremy Leven adapted Sparks’ novel, which makes for a
predictable,
melodramatic, but competent cinematic love story. Few folks bother to
produce an honest-to-goodness, old-fashioned romantic drama these days,
but Cassavetes and the cast deserve kudos for bringing some dignity and
a general restraint to “The Notebook.” The picture
is nicely shot by
Robert Frausse and superbly acted by Gosling and McAdams (so engagingly
obnoxious in the Rob Schneider vehicle “The Hot
Chick”), who do a great
job selling the characters and making the picture work to a degree.
On the downside, “The Notebook” suffers from
somewhat of a disjointed
finale, which goes on a bit too long and could have been more
effectively handled. Another disappointment is the forgettable,
overly-restrained score by Aaron Zigman. Here’s a movie just
crying out
for a sweeping, memorable main theme and occasional moments of dramatic
power, and yet Zigman’s score is so quiet and disposable you
hardly
realize it’s in the movie. While the latter may have been
what the
filmmakers wanted, it’s ultimately a major miscalculation,
since the
film could have used a grand dramatic gesture, the kind that Marvin
Hamlisch or even Dave Grusin could have provided. Too bad.
New Line’s Special Edition DVD, out this week, includes a
pair of
commentary tracks (one by author Nicholas Sparks, the other by
Cassavetes) plus 12 deleted/extended scenes. Two of the excised
sequences are more explicit love scenes, which editor Alan Heim notes
had to be trimmed in order to qualify for the filmmakers’
intended
PG-13 rating. Three Making Of featurettes and McAdams’ screen
test are
included, while the studio’s excellent 2.35 transfer and 5.1
Dolby
Digital sound are both exceptionally fine (a full-screen version is
also included).
SHALL
WE DANCE
(**½, 2004). 106 mins., PG-13, Miramax. DVD SPECIAL
FEATURES:
Commentary with director Peter Chelsom; Deleted Scenes with optional
commentary; Three Making Of featurettes; Music Video; 1.85 Widescreen,
5.1 Dolby Digital sound.
SHALL
WE DANCE?
(***, 1996). 119 mins., PG, Miramax. DVD FEATURES: English, French and
Spanish subtitles; 1.85 Widescreen, 2.0 Dolby Digital Surround
(Japanese language only).
The 1996 hit Japanese import “Shall We Dance?” was
remade into an
American vehicle for Richard Gere, Jennifer Lopez and Susan Sarandon
last fall with uneven results.
In Peter Chelsom’s film, Gere plays a typically harried
Chicago
businessman who’s never able to see his wife (Sarandon) and
longs for
something more out of life. One day while riding the train, Gere gazes
upon a dance studio run by an ex-budding ballroom champion Jennifer
Lopez. Upon signing up for lessons, Gere finds his life re-energized,
though his wife suspects he may be cheating on him. Thus begins a
circle of confusion, with Sarandon using a private detective (Richard
Jenkins) to track Gere’s whereabouts down, Gere not wanting
to reveal
his cha-cha-cha nightlife and the promise of an upcoming competition
waiting in the wings.
Audrey Wells adapted Masayuki Suo’s 1996 film somewhat
faithfully,
though despite pleasant performances and some charming moments, the
American “Shall We Dance” suffers from the same,
fragmented feel of
director Chelsom’s last Miramax comedy: the disposable John
Cusack
vehicle “Serendipity.” The film is overloaded with
supporting players
(most of whom have little to do) and thinly-drawn subplots which should
either have been further developed or excised altogether, since the
story’s momentum never feels like it’s in the right
gear. Gere and
Sarandon’s relationship fares best in the film, though
Lopez’s role
seems flat and under-written.
It’s curious how Chelsom made a name for himself thanks to
charming,
offbeat imports like the wonderful “Hear My Song,”
but has struggled to
maintain consistency in his Hollywood work. It’s as if
he’s trying too
hard to make “Shall We Dance” too quirky and
unpredictable, when it
would have been sufficient to simply keep the focus on Gere and his
relationships with Sarandon and Lopez. Less, here, would have been more.
At least Gabriel Yared’s soothing score is a bright spot
(though
Chelsom’s past collaborator John Altman shares the composer
credit
here), and sounds fine in Buena Vista’s DVD. The disc
includes
commentary by Chelsom and a handful of deleted scenes, including an
elaborate, discarded alternate opening. Three standard Making Of
featurettes are included along with a music video, a strong 1.85
transfer and satisfying 5.1 Dolby Digital soundtrack.
Buena Vista has also taken the opportunity to issue the superior
Japanese version on DVD. Though the presentation is standard (a decent
1.85 transfer with an acceptable Dolby Surround mix and English
subtitles), Suo’s film is a charming import that works better
in its
original form than the American remake.
VANITY
FAIR (**, 2004). 141 mins., PG-13, Universal. DVD SPECIAL FEATURES:
Director commentary by Mira Nair; Deleted Scenes; Two Making Of
featurettes; 2.35 Widescreen, 5.1 Dolby Digital sound.
Uneven, strange adaptation of William Makepeace Thackeray’s
novel, an
uncertain melding of stately British costume drama with director Mira
Nair’s flair for Indian ethnic elements and desire to inject
contemporary parallels into the drama.
Reese Witherspoon gives her all but comes off as a bit shallow as
Thackeray’s heroine Becky Sharp, who in the early 1800's
attempts to
navigate through British society by any means possible. Eileen Atkins,
Jim Broadbent, Gabriel Byrne, Romola Garai, Bob Hoskins, Rhys Ifans,
and James Purefoy are just a few of the individuals she comes in
contact with in a film that never settles on a consistent tone. The
identity crisis can be felt throughout: at times “Vanity
Fair” feels
like Merchant-Ivory, at others like a “Moulin
Rouge”-esque adaptation
of “Sense and Sensibility.”
Nair’s widescreen lensing (photographed by Declan Quinn) is
as fetching
as her previous works, but this time the movie feels forced and stuck
between genres. More over, many readers of the novel were irritated by
numerous changes Nair and screenwriters Julian Fellowes, Matthew Faulk
and Mark Skeet made to Thackeray’s novel, and even Mychael
Danna’s
aimless score rubs the wrong way when it’s all said and done
(once can
sense Nair wanting to throw in a full-fledged Bollywood musical number,
though she stops just shy of that).
Universal’s DVD sports a competent, though somewhat
soft-looking
widescreen transfer with 5.1 Dolby Digital sound. Extras include
Nair’s
commentary, a handful of deleted scenes (including a totally different
ending), and two fluffy “Making Of” featurettes.
Nair’s interview in
the latter – in which she discusses how
“contemporary” she wanted the
film to be – is especially revealing as it pretty much states
everything that’s wrong with the picture.
Recently
Released
MR.
3000 (***,
2004; Aisle Seat DVD Pick of the Week). 103 mins., 2004, PG-13;
Touchstone. DVD SPECIAL FEATURES: Outtakes, Deleted Scenes, Director
Commentary, Making Of featurettes; 1.85 Widescreen, 5.1 DTS and Dolby
Digital soundtracks.
Surprisingly good comedy-drama offers Bernie Mac as an egomaniac
ex-baseball star stymied by his attempts to break into the Hall of
Fame. After hitting the 3,000 hit plateau and bailing out on his fellow
Milwaukee Brewers, Mac’s Stan Ross finds his Cooperstown
candidacy
severely comprised a decade later after statisticians uncover an error
in the books: “Mr. 3000" actually doesn’t have
3,000 lifetime hits, but
rather 2,997!
With the prospects of gaining admission into the Hall and gaining more
publicity in the process, Ross makes a deal with the Brewers’
owner
(Chris Noth) and rejoins the struggling team, just in time to find out
he’s got a lot of work to do in order to hit the 3,000 hit
mark.
Meanwhile, a former flame (Angela Bassett) shows up now working for
ESPN, and the team’s manager (the silent Paul Sorvino) has
little to
say as his young players laugh at Ross’ futility.
Charles Stone III’s highly entertaining film is filled with
heart and
even a few moving dramatic moments, which all help elevate
“Mr. 3000"
from what appeared (in its trailers at least) to be a typically
over-the-top sports comedy. Mac manages to effectively straddle the
fence between a vain sports ego and a guy who finally realizes that
he’s got his priorities out of whack, while Bassett offers
strong
support as an aging TV personality (a sad reflection on the state of
modern broadcasting!). One wishes that more time was spent on
developing Mac’s relationships with manager Sorvino and the
younger
players on his team, but even in its final cut, “Mr. 3000" is
a solid,
feel-good comedy punctuated by realistic on-field action and a jazzy,
effective score by John Powell.
Touchstone’s Special Edition DVD offers only a few deleted
scenes and
outtakes, plus extended “Tonight Show” and
“Sportscenter” segments that
are seen intermittently in the picture. Commentary from Stone and
several Making Of featurettes are also included, along with a fantastic
1.85 transfer and excellent 5.1 DTS and Dolby Digital soundtracks.
Recommended!
PAPARAZZI
(**½,
2004). 85 mins., 2004, PG-13; Fox. DVD SPECIAL FEATURES: Director
Commentary; Deleted Scenes with optional commentary; Stunts and Making
Of featurettes; 2.35 Widescreen and full-screen, 5.1 Dolby Digital
sound.
Flamboyant, over-the-top, and guilty-pleasure suspense-thriller pits
action star “Bo Laramie” (Cole Hauser) against a
pack of cutthroat,
vile Paparazzi – including Tom Sizemore and a disheveled
Baldwin
brother – who nearly cause the death of his young son and
wife Robin
Tunney.
Instead of leaving matters in the hands of detective Dennis Farina (who
always seems two steps behind everyone else), Laramie opts to track
down the pack of Paparazzi by any means necessary. This entails setting
up the photographers in traffic accidents, framing them for murder, and
generally serving up revenge by infiltrating their seedy hangouts in
bars, strip clubs, and Sizemore’s docked houseboat.
With cameos by Vince Vaughn, Chris Rock, and producer Mel Gibson,
“Paparazzi” is a movie that’s almost
impossible to take seriously.
Sizemore’s bonkers performance is a great match for his
wretched
collection of underlings, including the washed-up Baldwin (Daniel,
whose older brother Alec is referenced in an in-joke), who serve up a
quartet of villains as disgusting as, well, the Paparazzi themselves.
Forrest Smith’s script is all cliches and the movie has no
surprises at
all, but credit director Paul Abascal for fashioning a visually slick
and fast-moving thriller that makes its point (that the Paparazzi are
scum) and hammers it into the ground with style. The performances are
so engagingly nutty that “Paparazzi” ranks as a
delirious thriller
that’s at least one of the more entertaining efforts of the
past year
(even if it’s for all the wrong reasons).
Fox’s DVD offers matching widescreen (2.35) and full-screen
transfers
with a throbbing 5.1 Dolby Digital soundtrack, sporting a fairly
nondescript score by Brian Tyler. A couple of deleted scenes are
included with optional director commentary (Abascal also talks during
the film proper), as are a pair of featurettes (one on the widescreen
side, the other on the full-screen version) and the theatrical trailer.
Godzilla
Double Feature
You have to give it up for Sony Pictures Home Entertainment. Of all the
studios that have handled Godzilla and his associates over the decades,
only Sony has shown the Big G some respect, having released
newly-remastered, widescreen editions of countless Godzilla efforts
over the last year or so.
This week, they dust off a pair of Toho productions – one
from the tail
end of Godzilla’s “Golden Age”
‘60s efforts, the other an entertaining
jaunt from his ‘90s adventures.
The best and brightest of the duo is easily GODZILLA
VS. THE SEA MONSTER (***, 1966, 87 mins., PG),
a colorful, lightly-scripted and irresistibly appealing (for Kaiju
addicts, of course) production that (along with the already-reissued
“Son of Godzilla”) represents the last great
Godzilla movie made in the
‘60s (some would argue it’s one of the last great
Godzilla movies,
period).
This Jun Fukada-directed effort finds a group of sailors stumbling upon
a remote island where a terrorist organization (the Red Bamboo!) is
hard at work, using “The Sea Monster” (Ebirah, to
be exact) to fend off
any possible trouble and manufacturing nuclear bombs that will soon
threaten mankind. Our heroes find out that Godzilla is nearby,
fortunately, and G teams up with none other than Mothra (his former
rival) to take down the Bamboo and Ebirah at the same time.
The teaming of Godzilla and Mothra makes for some exciting action late
in the game, but even before that point, there’s life in
Shinichi
Sekizawa’s screenplay (which Steve Ryfle notes in his
indispensable
book “Japan’s Favorite Mon-Star” was
originally constructed as a
starring vehicle for King Kong!). With an energetic (for this series at
least) script and beautiful widescreen imagery here at last restored to
its full 2.35 dimensions, “Godzilla Vs. The Sea
Monster” represents the
best of Toho’s finely-tuned monster mash formula.
Kids and Kaiju fans alike should rejoice over the presentation Sony has
given the film on DVD: the 16:9 enhanced transfer will blow away your
old, LP-recorded sell-thru VHS releases, and the Japanese/English
tracks (with optional English subtitles) will enable you to make the
choice of hearing the actual dialogue tracks or the dubbed renditions
you grew up with. Highly recommended!
Not quite as much fun but respectable nonetheless, 1993's GODZILLA
VS. MECHAGODZILLA II (**1/2, 106 mins., PG) offers
a more serious battle between the newly reborn Mechagodzilla, Rodan and
G himself, in this sequel to 1992's “Godzilla Vs. Mothra: The
Battle
For Earth.”
With a thankfully less-convoluted screenplay than most of
Godzilla’s
‘90s efforts and a solid Akira Ifukube score (deftly
recycling many of
his classic themes), this G production offers big-scale action
sequences and superior special effects than his ‘60s fare. On
the other
hand, there seems to be a bit less “heart” in this
entry, despite the
introduction (or re-introduction) of Godzilla Jr., who hatches out of
obscurity and into the continuity of the later films.
Not shot in widescreen, Sony’s 1.78 transfer looks adequate
(not as
glossy as “The Sea Monster,” though perhaps
that’s due to the somewhat
dreary cinematography of the film itself), and there are 2.0 Japanese
and English tracks again with optional English subs.
Hopefully Sony isn’t done with their Godzilla remasterings
and will
continue to re-issue some of Toho’s more sterling efforts
down the
line. For the time being, fans should be more than satisfied with these
two Big G DVDs, available for the first time in solid presentations in
the U.S. at last.
In
Brief: New Made-For-Video Sequels and Direct-To-DVD Releases
BALTO
III: WINGS OF CHANGE (79 mins., 2005; Universal):
Cute small-screen sequel to “Balto,” which I assume
must have become a
big hit on video since the original movie wasn’t a success at
the
box-office back in 1995. Here, Balto and his friends take on a pilot
who thinks he can deliver mail and supplies faster than our favorite
sled dog and his friends. Nicely animated and good fun for the little
ones, with a colorful full-screen transfer, 5.1 Dolby Digital sound,
and an interactive game thrown in for good measure.
MULAN
II (79 mins., 2005; Disney):
Disappointing, direct-to-video Disney production fails to capture the
charm of the 1998 original. This time out, Mulan and General Shang are
assigned to escort three princesses to a distant Chinese city. The
songs are forgettable (though Joel McNeely’s score is
pleasant enough),
but it’s really the flaccid story and bland action that makes
“Mulan
II” one of the weaker small-screen efforts from Disney of
late. The DVD
presentation is nice enough, though, with a pristine 1.78 transfer, 5.1
Dolby Digital sound, a few deleted scenes, two featurettes, and
interactive games aimed at its young intended audience.
CAROLINA
(**, 2002, 98 mins., PG-13; Buena Vista):
Julia Stiles stars as a young TV show producer whose eccentric Southern
family includes grandma Shirley MacLaine, deadbeat dad Randy Quaid, and
sister Azura Skye. Stiles’ fruitless attempts to land a
boyfriend start
to change, though, once a striking British contestant (Edward Atterton)
makes a move on her, which ultimately leads bestfriend Alessandro
Nivola to proclaim his love for her as well. Filmed in 2001 and never
theatrically released, Marleen Gorris’ film, written by
Katherine
Fugate, plays like a younger variation on your typical stereotypical
Southern family drama-edy (a la “Steel Magnolias”
and “Fried Green
Tomatoes”). This film, though, is fairly creaky right from
the start,
with a desperately “wacky” score by Steve Bartek
and over-the-top
performances from old vets MacLaine and Quaid. Miramax’s DVD
offers a
1.85 transfer with 5.1 Dolby Digital sound, plus a short Making Of
featurette.
3
STEPS TO HEAVEN (91 mins., 1996, R, Miramax):
Made-for-British TV thriller about a woman who investigates her
boyfriend’s death, leading her to uncover his secretive
“second life.”
Miramax’s DVD of this one (shot over a decade ago!) includes
a 1.85
transfer with 2.0 Dolby Digital sound.
NEXT
WEEK: RAY Tunes Up On DVD, plus more comments and reviews! Don't forget
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