April Assault Edition BARON MUNCHAUSEN, WATER HORSE Hit DVD Plus: SWEENEY TODD, THERE WILL BE BLOOD & More
High-definition fans disappointed so far in the lack of
“classic” catalog content available on Blu-Ray might be
heartened to learn that our United Kingdom friends are eagerly
expecting a wave of BD-exclusives this June.
ITV has lined up a series of catalog titles for Blu-Ray release
including “Black Narcissus,” “The Boys From
Brazil,” “Bugsy Malone,” “Escape To
Athena,” and “Great Expectations” (likely the
Laurence Olivier version).
Specs have yet to be determined, and keep in mind ITV issued several
Blu-Ray discs a year ago with threadbare production qualities
(“The Company of Wolves,” “Capricorn One,” and
“The Eagle Has Landed”), so hopefully the company will
enhance their pacakges, as those first wave of BD titles didn’t
include high-resolution audio or any supplements.
That said it’s still an exciting development, and almost
certainly these discs will be able to be played on U.S. players
(ITV’s earlier discs did). Interested viewers are urged to check
out Amazon UK for importing purposes (consolidating several titles in
one order will save you on shipping, while the VAT is also removed for
U.S. orders).
All titles are slated to hit stores June 16th, and we’ll keep you updated in the interim with any developments. New on Blu-Ray
THE ADVENTURES OF BARON MUNCHAUSEN: Blu-Ray (***, 127 mins., 1989, PG; Sony): Terry
Gilliam’s follow-up to “Brazil” was this final entry
in his loose “trilogy” of fantasies, begun in 1981's
“Time Bandits” and continued in Gilliam’s
controversial 1985 Orwellian semi-spoof.
The
1988 “Baron Munchausen” is a highly uneven, gargantuan
production that remains as interesting for its turbulent off-camera
problems -- namely, a budget that spiraled hugely out of control,
signaling Gilliam’s now-infamous inability to manage productions
of this magnitude -- as it is for the eclectic content that did end up
on-screen.
John Neville stars as the title character, an aging aristocrat who
spins a succession of yarns in a war-torn European city during the late
18th century. The Baron’s fanciful tales take him and his gang
(including Eric Idle and a young Sarah Polley) to the moon, where they
meet a delusional king (an unbilled Robin Williams), to underneath the
earth’s surface where King Vulcan (Oliver Reed) feuds with his
gorgeous wife Venus (a young and incredibly attractive Uma Thurman),
and finally back to the “present” and a huge battle with
the Turkish army.
I hadn't seen the film since its original release until the other day
and it's as odd as I recall: marked by some great portions, some
interminably weird passages, some funny parts, several bizarre
moments...a schizophrenic piece that's not nearly as satisfying as
“Time Bandits” but it's still quite watchable for what does
work -- namely, the lush sets of Dante Ferretti, Gabriella
Pescucci’s costumes, Guiseppe Rotunno’s cinematography and,
in terms of set pieces, the Baron’s meeting with Uma, making one
of her earliest screen performances. Those aspects tend to battle with
the more self-indulgent elements of Gilliam’s film, including
Robin Williams’ prolonged and bizarre cameo (can you believe Sean
Connery was initially cast in the part?), and even Michael
Kamen’s score, which has some gloriously romantic passages and
equally obnoxious ones as well (the Sultan’s songs, anyone?).
It’s a mixed bag -- with a strange ending too -- but
Gilliam’s film is packed with so much memorable imagery and the
occasional chuckle that “The Adventures of Baron
Munchausen” offers ample entertainment in spite of -- and
occasionally because of -- its excesses.
Sony’s Blu-Ray edition (also on DVD) is a new Special Edition
celebrating the film’s 20th Anniversary. The movie was one of the
costliest flops of its day, once intended to be produced for just over
$20 million but ultimately made at a price tag more than double that --
and with a minuscule box-office return that still likely designates it
as one of the biggest money losers of the last several decades.
With that kind of reputation it’s no surprise that the
disc’s new documentary -- “The Madness and Misadventures of
Munchausen” -- offers a detailed account of the movie’s
crazed production. If you’re a Gilliam fan or have seen the
superb documentary “Lost in La Mancha,” you’re likely
aware that Gilliam’s abundant imagination doesn’t always
gibe with the hard reality of production costs and common sense.
The 72-minute doc (presented in three parts) attempts to offer an
objective account of what went so horribly wrong behind-the-scenes,
with Gilliam assessing blame on a number of different parties, most
notably producer Thomas Schuhly, changes in the regime of Columbia
Pictures (which bankrolled the movie under David Putnam’s
command), and a succession of completion bond companies. Schuhly is
quick to point out that he wasn’t the bad guy, while even
Gilliam’s cohort Eric Idle describes working on the film as an
utterly horrible experience. One gets the sense that the truth behind
the problems lies somewhere in the middle of the “blame
game,” particularly since Gilliam would run into similar issues
later on in his career as well.
Either way, it’s an absorbing account of the picture’s
shoot, with co-writer Charles McKeown, Idle, Neville, co-stars Sarah
Polley, Robin Williams, Jonathan Pryce, and others also on-hand to
discuss the picture’s production.
A new commentary with Gilliam and McKeown, storyboards with narration
from the duo, and an on-screen trivia track (offering snazzy
“enhanced graphics” with all kinds of production anecdotes)
are also offered, plus deleted scenes from the Criterion laserdisc
release from way back when.
The Dolby TrueHD audio gives the soundtrack a broad, effective stage to
utilize Kamen’s score and the various sound effects, but the
visual presentation proves to be a disappointment.
There's loads of grain and visible "ringing" noise at times early in
the film (especially when the Idle character wakes up from taking a nap
and runs fast to get back to his cohorts). Colors rarely
“pop” the way you might’ve thought the film would
have in high-definition, while some sections barely look superior to
upconverted standard-def DVD due to the persistent grain. Overall, is
the best the film has ever looked? Sure, but considering how many great
catalog titles we've seen in HD spread across both platforms, the
Blu-Ray “Munchausen” transfer leaves a good deal to be
desired -- making it the lone letdown on otherwise highly recommended
release.
THE WATER HORSE: Blu-Ray (***, 112 mins., 2007, PG; Sony):
Old-fashioned, charming tale of the real Loch Ness Monster makes for a
beautifully filmed adaptation of the book by “Babe” author
Dick-King Smith.
Alex Etel plays Angus, a young boy living in Scotland during WWII,
waiting for his long-lost father to return home from his tour of duty,
who comes across an odd-looking egg along the shores of the Loch. Soon
the egg hatches into a small, young aquatic creature whom Angus raises,
at the same time the military arrives to defend the countryside from a
possible German invasion. Complicating matters is their presence in
Angus’ home, including a tough sergeant (David Morrissey) who
tries to woo Angus’ mom (Emily Watson), and an initially-gruff
but ultimately sympathetic soldier (Ben Chaplin) scarred from his time
in the service.
Robert Nelson Jacobs’ script and Jay Russell’s direction
are leisurely and effective, allowing for the story to take its time
developing, and for viewers to grow attached to its characters. The
gorgeous locales (most of the film was shot in New Zealand with only
some location shooting in Scotland) are well captured by
cinematographer Oliver Stapleton, and the film manages to be sensitive
without being saccharine, making for an ideal family film.
“The Water Horse” doesn’t offer many surprises --
Brian Cox essays a narrator whose identity you can pretty much figure
out the second he appears -- and the ending is also a little bit
abrupt. After the amount of time the filmmakers spent developing the
characters and their relationships with one another, it’s
disappointing we don’t get to see what happened to them, as the
film quickly flashes ahead to the present day and the film’s coda
instead.
Yet the picture deserves kudos for its sincerity and genuine warmth,
making it that rare modern film for kids that isn’t mired in
sarcasm or bathroom jokes. A modest performer in theaters, “The
Water Horse” now has an excellent chance to find the widespread
audience it deserves on DVD and Blu-Ray disc.
Speaking of the latter, “The Water Horse” looks spectacular
in HD. The Blu-Ray’s 1080p transfer and Dolby TrueHD audio
presentation are reference-quality, while a decent assortment of extras
include deleted scenes, several featurettes, and a neat interactive
“Virtual Crusoe Game” where you raise a water horse from
infancy. The game saves data to your Blu-Ray player’s internal
memory, allowing for players to come back and start from a saved file a
later point.
Recommended!
STEEP: Blu-Ray (***, 89 mins., 2007, PG-13; Sony):
Exciting, breathtakingly filmed documentary about extreme skiers, who
take to the summits of some of the steepest peaks possible in literally
death-defying runs. A generous mix of archival and gorgeous
high-definition footage make for a fine effort from first-time director
Mark Obenhaus, even if some of the comments from the various
participants come off as a little much when they begin to dissect the
greater “meaning” of their accomplishments. Sony’s
Blu Ray disc is spectacular, capturing the majesty and daunting
physical surroundings perfectly in 1080p, while Dolby TrueHD audio
sports a fine original score by Anton Sanko. Commentary, additional
interviews and a chronicle on how the film was shot comprise the
disc’s supplemental package.
HIDALGO: Blu-Ray (***, 136 mins., 2004, PG-13; Buena Vista):
Rousing, deliberately old- fashioned adventure epic stars Viggo
Mortensen as cowboy Frank T. Hopkins, who travels with his horse
Hidalgo to the Arabian Desert, where the legendary "Ocean of Fire" race
awaits. Joe Johnston's adventure is a bit overlong, but John Fusco's
script knows its genre, Mortensen is superb, and the special effects
and action mix well throughout the course of the film. James Newton
Howard also deserves kudos for his stirring score, which ranks as one
of his best, in an underrated film that reaches Blu-Ray in a smashing
1080p transfer from Buena Vista. The visuals are tremendous, the
uncompressed PCM sound is excellent, and extras ported over from the
standard DVD include a behind-the-scenes examination of the
film’s F/X as well as a profile of the real Hidalgo.
UNBREAKABLE: Blu-Ray (*½, 102 mins., 2000, PG-13; Buena Vista):
I’ve received a few emails over the years from readers who happen
to be huge fans of M. Night Shyamalan’s
“Unbreakable,” usually telling me they couldn’t
disagree with my review more and also that I don’t read enough
comic books.
Well, I definitely plead guilty to the latter, and I did attempt to
give this 2000 Shyamalan follow-up to his “Sixth Sense”
triumph a fresh assessment now that Buena Vista is issuing the film on
Blu-Ray. Regrettably for said fans, I still found the picture
enormously plodding -- even in high-definition.
Bruce Willis, looking like he needs a gallon of coffee, gives a
sleep-inducing performance in this utterly inane paean to graphic
novels from Shyamalan. Without rehashing the film's plot (which bites
off far more than it can chew), Willis plays the last survivor of a
train wreck who comic-book guru Samuel L. Jackson believes is really a
super-hero. Willis's estranged wife, Robin Wright-Penn (in another
ineffective role), tries to reconcile her relationship with Bruno while
the security guard goes about finding out if he indeed is as strong as
the Man of Steel.
Shyamalan had a bigger budget at his disposal here than he did in
“The Sixth Sense” but retains many of the same cinematic
techniques that he brought to his last picture: long, slow takes,
frequently whispered dialogue, and an insistence on silence that does,
at least, make his films suitable for home viewing.
The problem here is that “Unbreakable”’s characters
are so stilted and one-dimensional that it's hard to care, ultimately,
where this picture goes. The movie is slow, sterile, even ponderous at
times, with a pretentious tone that's hard to comprehend since the
story, in the end, has nothing to be pretentious about.
The performances are dependent on Shyamalan's script, but unlike "The
Sixth Sense," the director gives none of the actors much to work with.
Willis' sleepy performance is one of his weakest in quite some time,
while Jackson and Wright-Penn struggle with thinly-drawn figures that
are simply pawns in the writer-director's "puzzle." And that, in the
end, is where the movie fails the most. While the film's incredibly
rushed, lame ending reminded me of the end of a made-for-TV feature
(complete with tacked-on subtitles that threaten to fly up the screen a
la "A Quinn Martin Production!"), it's the story that precedes it that
fails to ignite the imagination of the viewer.
Shyamalan pulled the plug on future sequels to
“Unbreakable” but sadly has spent the better part of the
last decade trying to recover from similar cinematic blunders; after a
brief return to form with “Signs,” Shyamalan proved to be a
one-trick pony again with flops like “The Village” and
especially “Lady in the Water.”
While his latest (“The Happening”) is due out this summer,
Shyamalan and “Unbreakable” fans will at least be satisfied
with Buena Vista’s Blu-Ray presentation of
“Unbreakable.” The 1080p frame and uncompressed PCM 5.1
sound are both exceptional, while a full run of extras have been ported
over (in standard definition) from previous DVD editions, including
deleted scenes, Making Of featurettes and other goodies.
COYOTE UGLY: Blu-Ray (**½, 107 mins., 2000, Unrated and PG-13; Buena Vista):
Piper Perabo stars as a small-town New Jersey gal who moves to NYC to
strike it rich as a singer in this slick Jerry Bruckheimer production
that became a modest hit in the summer of 2000.
This inoffensive, slickly-made and sometimes entertaining "Flashdance"
variant benefits from solid chemistry between the likeable Perabo and
co-star Adam Garcia, plus a throbbing Trevor Horn/Diane Warren
soundtrack. Unfortunately, after hooking viewers with a strong opening
hour, the movie all but evaporates as it nears its badly-assembled,
obviously reshot ending.
Touchstone's Blu-Ray edition boasts a stylish 1080p transfer with 5.1
uncompressed PCM sound. The disc includes both the PG-13 and Unrated
versions of the movie with two different commentaries (one for each
version), additional scenes, the trailer, featurettes and LeeAnn
Rimes’ “Can’t Fight the Moonlight” music video
also on-hand.
THE NIGHT OF THE WEREWOLF/VEGEANCE OF THE ZOMBIES: Blu-Ray (1980 and 1972, 90 mins each., R and unrated):
Euro horror fans should rejoice as BCI’s new Blu-Ray Double
Feature set includes pristine, surprisingly fresh 1080p transfers of a
pair of Paul Naschy favorites: his 1980 horror-fest “The Night of
the Werewolf” (El Retorno Del Hombre Lobo) shot on-location in
Spain, as well as the odd, crazy 1972 effort “Vengeance of the
Zombies” (La Rebellion de Las Muertas). Both films are presented
on their own single-layer Blu-Ray releases with 5.1 Dolby Digital audio
and a slew of extras including deleted scenes, multiple audio tracks,
still galleries, an introduction from Naschy, vintage audio material
and numerous other goodies for fans. Visually the 1080p transfer on
both movies is superb, with “Werewolf” presented in 1.85
widescreen and “Vengeance” presented in 1.33 (still full HD
with black bars on the side of the frame). New on DVD
SWEENEY TODD (***½, 116 mins., 2007, R; Dreamworks): Spellbinding
adaptation of the Stephen Sondheim musical from director Tim Burton
proves to be a bit more graphic and less humorous than its source
material.
Johnny
Depp is superb as the Demon Barber of Fleet Street, who returns to his
grimy London home to seek vengeance on the magistrate (Alan Rickman)
who imprisoned him, taking his wife and young daughter in the process.
Helena Bonham Carter is the unhinged Mrs. Lovett, whose floundering pie
shop proves to give Todd -- the former Benjamin Barker -- a
“unique” means of disposing of those who stand in his way.
With a few musical exceptions (the opening and closing “Ballad of
Sweeney Todd” has been reduced to an orchestral overture), the
film is faithful to the show and stylishly assembled with the creative
input of Burton’s creative team (cinematographer Dariusz
Wolski, production designer Dante Ferretti, costume designer Colleen
Atwood). Depp’s singing voice matches the intensity of his
performance, and he’s well complimented by Bonham Carter, even if
her performance is more psychotic than prior stage renderings by Angela
Lansbury among others. The supporting cast is likewise exceptional,
with Rickman turning in strong work as the villainous Judge, Timothy
Spall as his cohort, and Sacha Baron Cohen in a highly amusing turn as
the fraudulent hairdresser Adolfo Pirelli.
The subject matter is perfect for Burton’s cinematic
sensibilities, though it’s somewhat surprising that the
show’s black humor has been toned down while the violence and
gore have been raised up several notches. Some of the latter is due to
the very nature of the cinematic medium, yet I couldn’t help but
think a less graphic interpretation wouldn’t have served the
picture more effectively, as the gore can be off-putting to mainstream
audiences (and likely might’ve been the reason for the
film’s somewhat disappointing box-office in-take).
That said, “Sweeney Todd” is still a symphony of great
filmmaking and one of the finest cinematic musicals to come our way in
many years.
Paramount is issuing “Sweeney Todd” on DVD in a pair of
different incarnations, including a 2-Disc Special Edition (sadly,
since the death of HD-DVD no high-definition version is planned at this
time; Warner Bros., on the other hand, will be issuing a Blu-Ray
version for certain overseas markets in May).
Extras are ample, including a number of featurettes examining the
production from its origins, with copious interviews with Sondheim,
Burton, and the stars on-hand. The trailer and a look at the actual
historical events that formed the basis for the Todd legend round out
the package, while the film is presented in a somewhat grainy 16:9
(1.85) transfer with a strong 5.1 Dolby Digital soundtrack.
THERE WILL BE BLOOD (**½, 158 mins., 2007, R; Paramount):
Pretentious, self-indulgent film from Paul Thomas Anderson did manage
to garner a Best Actor Oscar for its star, Daniel Day-Lewis, though the
film itself offers few pleasures beyond the actor’s flamboyant
lead performance.
Loosely
adapting Upton Sinclair’s book “Oil!,”
Anderson’s dark take on the “American Dream” is set
in 1898 and finds Day-Lewis as Daniel Plainview, a conniving oil man
who buys a California property after being tipped off by one of the
owner’s sons. His twin brother (both roles are played by Paul
Dano), an aspiring preacher, forces Plainview’s hand and raises
the rate on his purchase, leading to both successes and personal
tragedies, including his “adopted” son H.W. being injured
in an accident and a man claiming to be his brother (Kevin J.
O’Connor) appearing out of nowhere.
Robert Elswit’s cinematography is grand and Anderson does manage
to capture the look and feel of an epic throughout “There Will Be
Blood.” That said, the film is unbearably slow-moving and
one-dimensional; it doesn’t take long before you realize Anderson
is telling us that a) greedy entrepreneurs are evil, b) bad parenting
is a sin, and c) men of the cloth seeking their own fame are likewise
to be avoided. These themes are hammered home over and over with little
dramatic development, making the film essentially 158 minutes of
“The Daniel Day-Lewis Show.” And, make no mistake, the
actor has a grand time here chewing up the scenery in an overpowering
performance that finally reaches its apex in the now oft-quoted
“Milkshake” sequence that concludes the film. It’s
not exactly satisfying from a serious dramatic angle, but it certainly
is entertaining, and one can see viewers hitting the “skip”
button on their remotes just to watch the last 10 minutes. The rest of
the film I could take or leave, and truthfully I found it to be one of
the more over-rated films of last year.
Paramount’s double-disc DVD does boast a superb 16:9 (2.35)
transfer with a likewise excellent 5.1 Dolby Digital sound mix. The
sound design is exceptional though the one-note score by Jonny
Greenwood becomes a thorn in the picture’s side as the film
progresses, drawing attention to itself without adding any extra layers
to the drama.
Supplements include “The Story of Petroleum,” a silent film
scored by Greenwood, and exactly 31 minutes of extras, including a 15
minute montage of pictures and vintage films used as research,
underscored by Greenwood’s music; the teaser and original
trailer; and some deleted segments from the picture, including an
outtake dubbed “Dailies Gone Wild.”
HD fans should note that Buena Vista, which distributes the film in
some international markets, will be issuing a Blu-Ray version in said
territories sometime during the summer, as the planned domestic HD-DVD
release was scrapped. New TV on DVD
Shout! Factory brings us some classic television when the First Season of FATHER KNOWS BEST (1954-55, 11 hours) finally reaches DVD this week.
This Robert Young series was one of the earliest prototypes for the
family sitcom -- offering the trials and tribulations of the Anderson
family, lead by their stalwart insurance salesman pop (Young) and
levelheaded mom (Jane Wyatt), who together faced the daily problems of
mid ‘50s American life with their three children, including
eldest daughter Betty (Elinor Donahue), middle child Bud (Billy Gray)
and young Kathy (Lauren Chapin).
The series was wholesome, often quite funny and perfectly cast, running
for nearly six years and over 200 episodes before Young ended it while
it was still a top ratings-grabber at the time. It’s easy to
knock the series for its portrayal of a “flawless” American
suburban family, but the truth is that the series holds up due to its
sincerity, honest humor and appealing performances across the board.
Shout Factory’s DVD set, produced in conjunction with Robert
Young’s family and the trust of producer Eugene Rodney (the duo
owned the show’s rights), is superb. The episodes appear to be in
excellent shape and new cast interviews, rare behind-the-scenes color
footage, fragments of Young’s home movies, and two extra episodes
(the pilot for Young’s subsequent series “Window on Main
Street” and the “special” episode, “24 Hours in
Tyrantland,” produced for the U.S. government) comprise a robust
supplemental section.
Flash-forwarding ahead several decades, recent sci-fi revivals of old
TV shows have proven to be a mixed bag. For every “Battlestar
Galactica” there’s been a BIONIC WOMAN (2007, aprx. 6 hours; Universal), a failed NBC attempt to “reimagine” the Lindsay Wagner show as a harder-edged futuristic drama.
British actress Michelle Ryan came stateside to play the new Jamie
Sommers, a bartender in charge of her teenage sister, who becomes
“enhanced” after nearly dying in an accident. Recruited by
a shadowy semi-government agency overseen by top dog Miguel Ferrer,
Jamie finds herself trying to balance domestic issues with
globe-trotting adventures and the occasional run-in with the
agency’s first Bionic Woman -- played by
“Battlestar”’s Katee Sackhoff -- who’s
basically gone haywire.
Admittedly,
there are problems with this “Bionic Woman” -- the overly
serious tone and lack of appealing supporting players was one major
obstacle, the writer’s strike being another since the show never
got the opportunity to correct its initial mistakes (a new group of
producers was brought onboard to try and lighten the tone, but
apparently the series was canned before those episodes were produced).
That said, the series isn’t nearly as bad as its reputation would
lead you to believe. Ryan is fetching despite her character’s
inherent lack of warmth, and the show comes alive whenever Sackhoff
appears to brawl with her bionic counterpart. The show seemed to be
going in a better direction once the groundwork was laid for an
interesting backstory involving Sackhoff’s character and her
relationship with Ryan, but alas, we’ll never get to see the
series make good on those alterations.
Universal’s “Volume One” DVD release includes all
eight episodes of the new “Bionic Woman,” though it
could’ve just as easily been deemed a “Complete
Series” since no other shows were produced (and none are
planned). For extras, a pilot commentary with producer David Eick
and several featurettes are on-hand, along with excellent 16:9 (1.78)
transfers and 5.1 audio tracks.
Sackhoff fans can also get their fill of Starbuck in the Complete Season 3 of BATTLESTAR GALACTICA (2007-08, 16 hrs.), which also has been newly released on DVD by Universal.
These 20 episodes from the acclaimed and top-rated Sci-Fi Channel
series are intense and throughly compelling, and Universal’s DVD
presentation is likewise satisfying. The 16:9 (1.78) transfers are
excellent, the 5.1 soundtracks packed with appropriate surround
atmosphere, and numerous extras are likewise satisfying: deleted
scenes, podcast commentaries, producer video blogs, and short
“webisode” featurettes are on tap here, plus an episode
commentary and -- the most substantive element for fans -- 25 minutes
of extra footage added to the episode “Unfinished Business.”
As with the prior volumes, highly recommended! New From Criterion
Allen Baron’s BLAST OF SILENCE (77 mins., 1961) is the latest film to join the Criterion Collection this month.
Director Baron spent the majority of his career turning out weekly TV
episodes for shows like “The Brady Bunch,” “Kolchak,
The Night Stalker” and “Charlie’s Angels,” but
in 1961 directed this ragged and fascinating film noir. Narrated by
Lionel Stander (with Baron’s own script here receiving an
uncredited assist from Waldo Salt), “Blast of Silence”
tells the story of a hit man from Cleveland (Baron himself) who is
hired to take down a mafia boss in Manhattan. In the process
Baron’s hired killer begins to rethink his existence, especially
after he runs into some old friends while walking around New York City
at Christmas time.
Produced by Universal-International and sold as a low-grade B-effort,
“Blast of Silence” is somewhat crudely filmed and not
particularly well acted. The soundtrack is likewise a little
amateurish, comprised of jazz and heavy-handed orchestral passages, but
it’s the setting that provides the most fascination here. Baron
captures the locations, people and buildings of a by-gone Big Apple
throughout, making for a fascinating portrait of the city in the late
‘50s as well as a different kind of film noir.
Criterion’s DVD offers a newly restored digital transfer (in
full-frame 1.33) as well as a “Making Of” segment, on-set
Polaroids, photos of the movie’s shooting locations today, plus a
booklet offering an essay from critic Terrence Rafferty and a four-page
graphic novel adaptation of the movie by artist Sean Phillips. Also New on DVD
THE BETTE DAVIS COLLECTION (Fox Box Set, Available April 8th):
Superior, essential new box-set release from Fox offers three
previously unavailable Bette Davis classics on DVD for the first time
in the U.S. as well as two all-new Special Editions of “All About
Eve” and “Hush...Hush, Sweet Charlotte.”
Making their debut on DVD are the 1952 drama “Phone Call From a
Stranger,” presented here with trailers and numerous photo
galleries, as well as a mono audio track and full-screen
black-and-white transfer; the full-color, 1955 Cinemascope epic
“The Virgin Queen,” with Davis as Queen Elizabeth I,
offered in glorious 16:9 (2.55) widescreen with 4.0 stereo sound, an
isolated score track of Franz Waxman’s marvelous music, trailers,
TV spots, galleries, and a “Virgin Territory” Making Of
featurette; and the 1965 Hammer psychological thriller “The
Nanny,” screened here in a new 16:9 (1.85) transfer with mono
sound, trailers, TV spots, and numerous still galleries.
Previously available on DVD but packaged here as part of Fox’s
“Cinema Classics” line of Special Editions is “All
About Eve,” the 1950 Best Picture Oscar-winner, presented in a
double-disc set offering all new supplemental content, including an
isolated score track of Alfred Newman’s soundtrack, commentary
from Celeste Holm, director Joseph Mankiewicz’s son Christopher,
biographer Ken Griest; another commentary with author Sam Staggs; and a
full second platter of extras, including numerous featurettes, the AMC
“Backstory” profile of the film, trailers, and a handful of
Fox Movietone newsreels. The full-screen black-and-white transfer seems
exceptionally fresh for its time, while both mono and stereo
soundtracks are included on the audio side.
Lastly, rounding out the set is a new edition of “Hush...Hush,
Sweet Charlotte,” most notably offering a fresh featurette that
includes stills of Joan Crawford working on the picture before she quit
the production. Another featurette includes an interview with Bruce
Dern, while an isolated score track is on-hand for Frank DeVol’s
music, plus trailers, still galleries, and a vintage promo featurette
narrated by co-star Joseph Cotten. The 16:9 (1.85) transfer is just
fine and both stereo and mono soundtracks are included on the disc
(note the DVD drops the commentary by “DVD Savant” author
Glenn Erickson from its prior release).
Overall this is a must-have release for all Golden Age fans, with three
new-to-DVD offerings and two classics being upgraded with all-new
supplements. Highly recommended!
IN THE NAME OF THE KING (**, 127 mins., 2007, PG-13; Fox):Absolutely
bonkers (and thus quite enjoyable for bad movie fans) fantasy-adventure
from video-game film auteur Uwe Boll mixes “Braveheart,”
“Lord of the Rings” and nearly every sword-and-sorcery
spectacle you can imagine. Jason Statham is the hero called to avenge
his son’s death and take on a wizard (Ray Liotta!) trying to take
over the kingdom; Leelee Sobieski, Claire Forlani, Kristanna Loken,
Matthew Lillard, John Rhys-Davies and Ron Perlman are a few of the
co-stars who pop up in this entertaining hodge-podge of styles, which
will likely go down as Boll’s “Citizen Kane.”
Fox’s DVD includes a fine 16:9 (2.35) transfer with 5.1 Dolby
Digital sound, deleted and extended scenes, the trailer, and a
behind-the-scenes featurette.
ALIEN NATION: ULTIMATE MOVIE COLLECTION (1994-97, 455 mins., Fox): Fans
of the Fox sci-fi series will be thrilled by this three-disc DVD
release on April 15th, offering all five “follow-up”
tele-films produced in the wake of the show’s cancellation.
“Dark Horizon” (1994), “Body and Soul” (1995),
“Millennium” (1996), “The Enemy Within” (1996),
and “The Udara Legacy” (1997) are here presented in their
original full-screen stereo broadcasts, with commentaries on all five
films, four Making Of featurettes, a series retrospective featurette,
still galleries, a gag reel and more rounding out the presentation.
THE CUTTING EDGE: CHASING THE DREAM (92 mins., 2008, PG-13; MGM/Fox):
So-so second made-for-TV sequel to the infinitely more charming 1992
romantic comedy with D.B. Sweeney and Moira Kelly mixes up the formula
a little bit, here with a Francia Raisa as a female hockey player who
teams up with a championship figure skater (Matt Lanter) to go for the
gold...and of course fall in love along the way. Christy (Carlson)
Romano reprises her role from the prior effort as Jackie Dorsey, giving
the movie a little continuity with its predecessor, but it’s
still a pale imitation of the original, even under the direction of
veteran director Stuart Gillard. MGM’s DVD includes a 16:9 (1.78)
transfer with 5.1 Dolby Digital sound, deleted scenes, and one Making
Of featurette.
THE CHIPMUNK ADVENTURE (***, 1987, 76 mins., G, Paramount):
Robustly-animated and quite well-done 1987 feature adaptation of the
beloved cartoon characters is a definite step up from the usual
Saturday morning “Chipmunk” cartoons.
Ross Bagdasarian, Jr. and wife Janice Karman’s feature sends
Alvin, Simon and Theodore around the world on in a hot-air balloon,
where they take on a pair of diamond smugglers with the help of the
“Chipettes” while buddy Dave Seville is off on a trip to
Europe.
Randy Edelman provided one of his earliest film scores for “The
Chipmunk Adventure” (following his then-recent work on
“MacGyver”), and the soundtrack is bouncy and light,
peppered with some rockin’ ‘80s tunes and a couple of
original compositions from Edelman. In all, “The Chipmunk
Adventure” is delightful and better than average, and recommended
strongly for fans and family audiences.
Paramount’s DVD is a repackaging of the film’s 2006 disc
release (with a satisfying full-screen transfer, effective 5.1 track
and a few stills of art as a special feature) with one major exception:
it also houses a copy of the film’s CD soundtrack, which offers
all of the movie’s ample songs and one cut from Edelman’s
score.
Also new from Paramount is ALVIN AND THE CHIPMUNKS GO TO THE MOVIES: FUNNY, WE SHRUNK THE ADULTS (66 mins., 1990),
a compilation of episodes from the gang’s Saturday morning series
that satirize “Back to the Future,” “Big,” and
“Honey I Shrunk the Kids” among others. The full-screen
transfer and stereo sound are both up to par.
COLLEGE HILL INTERNS (210 mins., 2007; Paramount): BET
reality series focuses on a group of college students who get a
hands-on work experience at a Fortune 500 company. Paramount’s
two-disc set includes full-screen transfers, Dolby Stereo sound, a cast
audition and reject reel, and a bonus featurette on the second disc.
SOUTHLAND TALES (**, 144 mins., 2007, R; Sony): Nutty
follow-up to “Donnie Darko” from filmmaker Richard Kelly
sat on the shelf for some time after its initial festival screenings
proved to be less than receptive. Eventually re-cut but barely released
to theaters, “Southland Tales” now arrives on DVD as one of
the weirdest films of our generation, boasting a cast filled with past
and present action stars (Dwayne “The Rock” Johnson,
Christopher Lambert), past and present Saturday Night Live performers
(Nora Dunn, Jon Lovitz, Cheri Oteri, Amy Poehler), various music stars
(Justin Timberlake, Mandy Moore), assorted other comic actors (Kevin
Smith, John Larroquette, Wallace Shawn), plus Sarah Michelle Gellar and
one of the guys (Seann William Scott) from “American Pie.”
-- in a dual role, no less! Despite the eclectic cast, none of it makes
any sense at all, and good luck to the cult that devoured
“Darko” as a post-modern masterpiece in trying to do the
same with this oddball effort, which Sony has issued on DVD with a fine
16:9 (2.40) widescreen transfer, 5.1 Dolby Digital sound, a featurette
and an animated short.
EYE OF THE BEAST (90 mins., 2007, Not Rated; Genius): Not
a sequel to the Peter Benchley “Beast” mini-series per se,
though you’d have to imagine the thought did occur to the makers
of this 2006 made-for-TV film from the Halmi group. James Van Der Beek
plays a scientist sent to investigate the appearance of a giant sea
monster that looks a lot like the giant squid from Benchley’s
book. Moderate thrills make for a decent small-screen affair, presented
in 16:9 widescreen with 2.0 stereo sound.
I WANT SOMEONE TO EAT CHEESE WITH (80 mins., 2007, Not Rated; IFC/Weinstein/Genius):
Comic actor Jeff Garlin wrote and directed this affable study of an
actor who looking for love and attempting to lose weight. Bonnie Hunt,
Sarah Silverman, Richard Kind, Joey Slotnick, Paul Mazursky, and
Richard Kind pop up in this mildly engaging comedy that IFC is bringing
to DVD with commentary by Garlin and a deleted scene, plus a 16:9
transfer with 5.1 Dolby Digital sound. NEXT
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