4/25/06
Edition
A Line-Up of EVENT DVDs
from GUYS AND DOLLS to EVENT HORIZON,
the latest reviewed!
Plus: CASANOVA, steve martin's SHOPGIRL
and more
There are good movies, and there are bad movies. Then there are bad
movies which end up as great DVDs.
Paramount’s two-disc Collector’s Edition of EVENT HORIZON (**,
1997, 95 mins., R) isn’t just a nice DVD presentation --
it’s one of the studio’s more accomplished “Special
Edition” packages in recent memory. That the movie itself remains
a big-budget turkey on a number of levels doesn’t detract from
the superb extras and polished presentation Paramount has given to a
film that was more or less universally dismissed by critics and most
audiences when first released in 1997.
It’s not as if the movie is unwatchable or doesn’t have
some positive aspects: Paul Anderson’s film was a major British
production, augmented by American studio money, and offers both
impressive cinematography by the late Adrian Biddle and evocative
production design by Joseph Bennett. The cast is also terrific:
Laurence Fishburne, Sam Neill, Kathleen Quinlan, Joely Richardson,
Jason Isaacs and Sean Pertwee manage to create one of the more
impressive ensembles you’ll see in any sci-fi/horror genre piece.
The problem with “Event Horizon” then and now remains the
story: a ship, deep in space, attempts to uncover what happened to the
vessel Event Horizon, which was presumed lost until it turned up in the
far reaches of the galaxy, minus any signs of actual life. On the case
are captain Fishburne, crew Quinlan, Richardson, Isaacs and Pertwee,
and mysterious doctor Sam Neill, who may know more than he's saying
about the secretive mission.
Philip Eisner’s original story had to do with an alien force
inhabiting the deserted ship but Anderson and producer Jeremy Bolt
opted to alter the premise to suit a “haunted house in
space” plot. The monsters were excised but the visions of hell
itself remained -- along with a messy script that rips off “The
Shining,” “Dead Calm,” “Hellraiser,”
“Alien,” “Aliens,” “2010" and
“Lifeforce,” to name just a few. The movie's premise is
similar to Michael Crichton's novel “Sphere” (which opened
a short time after “Event Horizon” in its own, ill-fated
film adaptation), which wouldn’t have been so much of a problem
had the movie not developed its own characters and dramatic situations
uniquely.
Instead, despite its visuals, the picture becomes increasingly
ridiculous as it goes along, ultimately succumbing to unintentional
laughs and one of the worst fade-out endings in recent genre history.
Thinly-drawn characters make all the usual mistakes of running down dim
corridors and succumbing to their own private demons, while horror fans
will have to weigh the decent quotient of gore on-hand (and there was
even more in Anderson’s original cut) with ample doses of
cringe-inducing dialogue (like Neill’s “we don’t need
eyes where we’re going!” and the cliched,
“ethnic” comic relief supplied by Richard T. Jones, with
the immortal “something hot and black inside you” line
about drinking coffee!).
I suppose hard-core horror fans can overlook those shortcomings and
find sufficient entertainment in “Event Horizon,” but other
viewers are likely to marvel at the movie’s look while being
puzzled by its basic, under-nourished screenplay. My friend Paul
MacLean and I had a memorable experience watching the film on the
big-screen back in ‘97, noting at times that the chair Fishburne
sat in didn’t seem quite big enough to support the tall actor --
and then laughing hysterically when the same chair blows up and flies
into the camera near the end! Add in the ridiculous “Funky
S--t” end title techno track (featuring samples from Barry
Devorzon’s “SWAT” theme song!) and we pretty much
lost it altogether walking out of the theater, while distraught
movie-goers in back of us had a more hostile reaction to the
picture’s flaws.
Though still viewed today as a missed opportunity, “Event
Horizon” is back on DVD in a surprisingly robust package from
Paramount.
Anderson talked for years about restoring his grizzly hell footage and
offering a longer cut of the movie, which he lamented didn’t
happen back in ‘97 due to a lack of post-production time. That
being said, Anderson did willingly trim his two-plus hour version down
for the eventual 97-minute theatrical release, noting the first cut was
too long...but then realizing now that the theatrical cut isn’t
long enough.
Unfortunately, Anderson couldn’t locate all the elements needed
to restore the movie, so what we have here is a new 16:9 presentation
of “Event Horizon”’s released version with commentary
from Anderson and Bolt (who admit to not having seen the movie in a
long while, which results in infrequent moments of silence), along with
a second disc of extras offering what remains of the deleted sequences.
The highlight of the extras is a fascinating, thorough documentary
running over 100 minutes, featuring new interviews with Anderson, Bolt,
Jason Isaacs and even the two fellows who comprise
“Orbital” (who added techno elements to Michael
Kamen’s orchestra, resulting in a loud, pulsating score) talking
about the movie. It’s a bit dry and could have used some editing
-- some of the speakers repeat the same information a few times over
the course of its duration -- but it’s nevertheless essential for
“Event Horizon” fans. An additional documentary, “The
Point of No Return,” includes more technically-oriented
featurettes, primarily devoted to the filming and effects.
Even more revealing are the tantalizing deleted sequences, including an
alternate climax (albeit without dialogue but rather commentary from
Anderson), other unfinished scenes (one of which was written by
“Seven” and “Sleepy Hollow” scribe Andrew Kevin
Walker), and an unused prologue in storyboard form. Some of the
material had to be culled off surviving videotaped footage, though all
of it points to an even more graphic and bloody movie than the
still-violent final cut that was eventually released.
“Event Horizon” is a movie that looks good, sounds good,
and is fairly well acted, but ultimately fails to provide a coherent
and suspenseful story to match its creepy tone and atmosphere.
Regardless of how you fall on the movie, though, there’s no
question Paramount’s DVD is one of the year’s best catalog
releases to date, offering ample extras and deleted scenes for fans and
plenty of entertainment for its low, under $15 price tag. Recommended!
New Titles From Sony
New Extended and Deluxe Editions
highlight this week’s DVD offerings from Sony.
Top of the list is Samuel Goldwyn’s 1952 adaptation of the
classic Loesser-Burrows musical GUYS AND DOLLS
(***, 149 mins., MGM/Sony), which was previously available in a
bland DVD from MGM.
This new, remastered “Deluxe Edition” package sports a
fresh 16:9 transfer that seems more colorful and vibrant than the
previous DVD (though the print still shows its age in places), while
the 5.1 and 3.0 Dolby Digital tracks give the viewer a pair of options
for your particular home theater set-up. MGM’s previous DVD only
offered a non-anamorphic presentation and while I don’t have that
disc on-hand to perform a direct comparison, I believe this is -- at
the least -- a substantial upgrade from the original DVD, and the best
one could hope for short of a full-blown, proper restoration of the
movie.
Of equal significance for “Guys and Dolls” fans will be the
two new documentaries, “From Stage To Screen” and
“The Goldwyn Touch,” which together offer a broad,
interesting 45-minute look at the making of the film. Comments from
choreographer Michael Kidd, author A. Scott Berg, composer Frank
Loesser’s wife and children, and filmmaker Tom Mankiewicz (son of
the picture’s legendary director Joseph L. Mankiewicz) are honest
and help to assess where this good-but-not-great adaptation falls in
the Hollywood musical canon, with the group particularly lamenting
Goldwyn’s decision to toss several key songs from the show
(“A Bushel and a Peck,” “I’ve Never Been In
Love Before,” and “My Time of Day”), only considered
by most theater buffs to be some of the musical’s most priceless
tunes.
The casting of Marlon Brando is also given a relatively honest
appraisal as well, with Berg noting that the star compensated for his
lack of singing voice by acting out the songs -- and giving plenty of
kudos to sound engineers who pieced his vocal takes together as best
they could. While Brando tries hard and isn’t awful, he still
leaves a black hole in a role that could have been filled more capably
by so many other talents (including co-star Frank Sinatra, relegated to
the sideline here while Brando attempts to perform his staple song
“Luck Be a Lady”) that it’s his casting -- and the
misguided decision to trim those songs -- that keeps “Guys and
Dolls” from being the classic film adaptation that it might have
been.
About 10 minutes of additional interviews (outtakes from the
documentary) round out the package, which is contained on a single
platter along with a full-color, 72-page scrapbook reprinting the
movie’s original press materials. All that’s missing is the
original theatrical trailer, which was included on the previous DVD.
Also out from Sony this week are two “Extended Cuts” of
Brian DePalma’s 1989 Vietnam drama CASUALTIES OF WAR
(**½, 1989, 119 mins., R) and the under-rated, 2000 Mel Gibson
Revolutionary War adventure THE PATRIOT
(***½, 2000, 175 mins., R).
Following on the success of "The Untouchables," Brian DePalma directed “Casualties
of War,” writer David Rabe’s adaptation of Daniel
Lang’s novel, focusing on an American military unit in Vietnam --
led by loose screw Sean Penn -- that opts to take out their frustration
by kidnapping and then raping a Vietnamese girl. Michael J. Fox plays
the moralistic soldier who tries to bring justice after the incident
takes place.
DePalma's film was not the box-office or critical success Columbia
hoped it would be, and yet like many of the director's flawed and
ultimately unsuccessful films, it still has much to offer: solid
performances, excellent widescreen cinematography by Stephen H. Burum,
and a fairly good, if overdone, score by Ennio Morricone. Despite the film’s sometimes
heavy-handed dramatic approach, Fox and Penn make it worthwhile, and
the picture has been improved somewhat here by the restoration of some
seven minutes of additional footage (most of which was included in the
deleted scenes of the previous DVD).
Sony’s single-disc offering reprises the previous, excellent
30-minute documentary from the 2001 DVD, sporting interviews with
DePalma, Fox, and Rabe, with an additional interview with Fox. The 16:9
transfer and 5.1 Dolby Digital soundtrack are both top-notch.
“The
Patriot,” meanwhile, is also back on DVD for the third
time (following a superb, 2-disc Special Edition and a Superbit
re-issue, sans the previous disc’s commentary track), here
offering 10 minutes of footage restored back into the picture.
Neither as blatantly flag-waving, "Braveheart"-inspired, or corny as
you might have heard, this Revolutionary War action-drama from Roland
Emmerich is inspired entertainment, beautifully shot by the great Caleb
Deschanel ("The Black Stallion," "The Right Stuff") and splendidly
scored by John Williams, in what remains one of the maestro's most
satisfying recent works.
Mel Gibson delivers a terrific performance (no, he doesn't go around
shouting "freedom!") as a family man thrust into the conflict between
American colonists and the British army, overseen by the stuffy but far
from cartoonish General Cornwallis (the terrific Tom Wilkinson), whose
one particular general (the truly dastardly Jason Isaacs) does enough
damage to Gibson's clan to lure the former solider back into the
military fray.
With equal parts intensity and sympathy, Gibson reminds us how
effective and wide-ranging his performances can be, and anchors
“The Patriot” with a personal touch amongst the epic
backdrop. In that category, director Emmerich succeeds in telling a
historical drama with just enough actual people and events that will
lure curious viewers to seek out more information on the subject matter
("read more about it", as they used to say on CBS Saturday morning TV).
The real heroes of the movie, in addition to Gibson, are Deschanel,
whose vivid photography paints a picture in nearly every scene, and
Williams, who contributes a winning, rousing score perfectly
complimenting the emotion and expansiveness of the drama. It’s
sweeping Americana, uplifting "Liberty Fanfare," and "Born on the
Fourth of July" all at once, with a sumptuous love motif and stirring
main theme.
One could argue that Robert Rodat's screenplay never quite dives into
the intricate reasons as to why anyone other than Mel was fighting this
war, but at 160+ (now 175) minutes, it's unlikely that the movie's
pacing wouldn't have been slowed down further by drawing-room
histrionics.
With sterling support turned in by Heath Ledger (as Gibson's eldest
son), Chris Cooper (as an American revolutionary war general) and
Tcheky Karyo as a French soldier, “The Patriot” provides
rousing entertainment with a marvelous visual gloss that ranks as one
of the more intelligent Independence Day “blockbusters”
released in recent history.
In addition to the 10 minutes of extra scenes (again, most of which
were included in the previous DVD in supplemental form), Sony’s
DVD reprises most of the extras from the original DVD, with featurettes
and photo galleries, though like the Superbit, it does not include the
first disc’s commentary track. Recommended for aficionados of the
movie.
New From Buena Vista
SHOPGIRL
(**½, 2005). 106 mins., R, Touchstone. DVD SPECIAL FEATURES:
Commentary by director Anand Tucker; Deleted Scenes; Featurette; 16:9
(2.35) Widescreen, 5.1 Dolby Digital sound.
Excellent performances and superior direction by Anand Tucker make
“Shopgirl” a satisfying though flawed film based on a
novella by Steve Martin, who penned the script and also co-stars in the
picture as Ray Tucker.
Ray is one of three characters in Martin’s character drama, with
Claire Danes’ Mirabelle the title character whom the plot
revolves around. A lonely, transplanted young woman from Vermont who
works in Beverly Hills, Mirabelle has few options available to her for
human companionship: the awkward, immature Jeremy (Jason Schwartzman)
tries too hard and fumbles his initial chances to forge a relationship,
while Mirabelle is subsequently taken by Ray, a suave, older
professional who eventually engages in a sexual relationship with her.
Ray doesn’t take their relationship as seriously as Mirabelle
does, however, leading to Mirabelle’s emotional breakdown and
truths about the nature of relationships revealed to each character by
the drama’s end.
Danes is tremendous here, Schwartzman is fine in a comparatively easier
role as the awkward slacker who grows up over time, and Martin is
superb, conveying quietly aggressive behavior in a cool, laid back
manner. Ray isn’t all bad, however, and it’s this trait --
inherent in Martin’s writing -- that allows
“Shopgirl” to have an informed, three-dimensional set of
characters who grow throughout the film. Director Tucker also opens up
what could have been a claustrophobic piece with snazzy scope
cinematography (courtesy of veteran Peter Suschitzky) featuring
evocative shots of L.A., under-scored by appropriate orchestral music
by Barrington Pheloung.
Where “Shopgirl” fails to match its performances and
direction is the story itself. Within minutes most viewers will know
where Martin’s drama is going, and indeed, the movie never
deviates from the path it quickly establishes that it’s on. The
result is a film that manages to convey keen observations on
relationships at the same time its script is relentlessly predictable,
punctuated by needless narration by Martin at certain points throughout.
Touchstone’s DVD contains a commentary from Tucker, several
deleted scenes, and a 20-minute featurette. The 16:9 transfer and 5.1
Dolby Digital sound are both top-notch.
CASANOVA
(***, 2005). 111 mins., R, Touchstone. DVD SPECIAL FEATURES: Three
featurettes; extended sequence; commentary by Lasse Hallstrom; 16:9
(2.35) Widescreen, 5.1 Dolby Digital sound.
While Heath Ledger’s appearance in “Brokeback
Mountain” garnered all kinds of publicity, Ledger’s
decidedly more straightforward (in more ways than one) starring effort,
“Casanova,” went almost entirely overlooked by audiences
and the press itself.
It’s a shame, because this comedic romp is a marvelously
entertaining lark -- somewhat reminiscent of another, recent period
film set in Venice (“Dangerous Beauty”), but played more
for laughs and with the same, airy tone director Lasse Hallstrom
brought to his enchanting “Chocolat.”
Ledger plays the legendary lover, who meets his match in the form of
Sienna Miller’s Francesca, a budding writer in Inquisition-era
Venice, where the Church is embodied by Jeremy Irons in another one of
his conniving establishment villains (make no mistake, Irons still does
it splendidly, but how many times has he tapped into this well?).
Oliver Platt (who also starred in “Dangerous Beauty”) is a
particular delight as Papprizio, Francesca’s rotund fiancee,
while Hallstrom brings all of the top-caliber production talent one
might anticipate to his picture. The result is a splendid looking film
(kudos to cineamtographer Oliver Stapleton and production designer
David Gropman), with an effective use of predominantly classical music
and what little remained of Alexandre Desplat’s original score.
“Casanova” is not intended to be an actual account of
Casanova’s escapades but rather a romantic piece of fluff with a
modern, feminist viewpoint and decidedly tongue-in-cheek tone.
It’s good fun if you can get into its spirit, and highly
recommended on DVD since so many viewers bypassed it in theaters.
Touchstone’s DVD includes commentary from Hallstrom and an
extended sequence (“Hidden In Plain Sight”) that was cut
substantially in the film. Three standard Making Of featurettes round
out the disc, which include boisterous 5.1 DTS and Dolby Digital
soundtracks and a lovely 16:9 transfer.
New From Criterion
Following on
the heels of their superb Louis Malle box set from a few weeks back,
Criterion this week releases the French filmmaker’s debut
feature, THE ELEVATOR
GALLOWS (***½, 1957, 92 mins.). Miles Davis’
memorable jazz score infuses this moody, atmospheric thriller that
proves to be a delicious treat on DVD, where Criterion’s new
digital transfer gives Malle and cinematographer Henry Decae’s
haunting black-and-white appearance a brand new visual gloss. The movie
made an international star out of Jeanne Moreau and remains a favorite
of many buffs for its intricate, suspenseful story of a man (Maurice
Ronet) who conspires to murder the husband of his lover (Moreau), only
to have a young couple steal his car and a series of misunderstandings
result.
Criterion’s new double-disc edition includes a recent interview
with Moreau; older, vintage interviews with Malle, Ronet and Moreau, as
well as original soundtrack pianist Rene Urtreger; footage of Davis and
Malle from the original recording session, showing Davis’
improvisational artistry; comments about Davis’ score with
trumpeter Jon Faddis and critic Gary Giddins; Malle’s student
movie “Crazeologie,” with a title song by Charlie Parker;
and extensive booklet notes from Terrence Rafferty, an interview with
Malle and a tribute by his son, film producer Vincent Malle.
Also out from Criterion this week is the 1965 Italian drama FISTS IN THE
POCKET (***, 1965, 108 mins.), director Marco
Bellocchio’s critique of the bourgeois, Catholicism, and a family
plagued by hereditary diseases...call it a “neo realist horror
film”!
“Fists in the Pocket” is not for every taste (I first saw
the movie years ago in a class at Boston College), but it’s
certainly interesting and Criterion’s new DVD offers a fresh
transfer; new interviews with Bellocchio, actors Lou Castel and Paola
Pitagora, editor Silvano Agosti, and critic Tullio Kezich; a
“video afterward” by Bernardo Bertolucci; and a booklet
offering an essay from critic Deborah Young and an interview with
Bellocchio.
Also New On DVD
GARBAGE PAIL
KIDS: The Complete Series (1989, 13 episodes, 5 hours; Paramount):
If you’re like me and grew up in the ‘80s, chances are very
good that you might have picked up a pack or two (or three or four) of
the Topps Chewing Gum parody series “Garbage Pail Kids.” I
still have a few stacks of these amusing cards which grilled the
“Cabbage Patch” phenomenon sitting in my closet, and
apparently there’s still a market among collectors for the cards
online (especially since Topps re-activated the series not that long
ago).
One would assume that had to provide the motivation for
Paramount’s release of the “Garbage Pail Kids”
cartoon series, which was produced for CBS following the disastrous and
barely-released 1987 live-action theatrical film (which MGM issued on
DVD last year). Note that “produced for” doesn’t mean
broadcast, since parent groups and others managed to convince CBS not
to air the series, feeling its vulgar tone and lack of any meaningful
content would have made it pure and simple “junk food” TV
for kids.
Incredibly enough, the pressure worked and the series never aired in
the U.S. -- and with good reason: this manic and
completely-devoid-of-educational-content adaptation is as senseless and
silly as the cards themselves, with the 13 episodes contained in
Paramount’s double-disc set usually comprised of a movie or TV
parody (starring the kids) and then a proper “Garbage Pail
Kids” adventure. The latter offers a handful of small tykes who
magically transform themselves into the Garbage Gang to fight local
injustice -- think of it as a cruder, more foul version of the
“Super Friends.”
The animation is late ‘80s Saturday morning quality as you would
anticipate, but the shows at least zip along with parodies of TV
commercials and other fashions of the moment mixed up in between the
two central story lines in most episodes. It’s utterly bizarre
and leaves no doubt as to why CBS didn’t air the show, but
it’s a curiosity item that fans will relish seeing on DVD for the
first time.
The two-disc DVD set offers reasonably good-looking transfers and 2.0
Dolby Digital soundtracks (with a theme song produced by music
supervisor/future crooner Steve Tyrell, who I’m guessing left
this off his resume!), and an appropriate description on the back cover
that notes the series has remained “unaired and unseen”
over the years. Worth a viewing for aficionados, though it’s the
kind of thing that could fry your child’s brain cells if
they’re over-exposed to it!
WONDER
SHOWZEN: Season One (2005, 169 mins., 8 episodes; Paramount):
Anyone reading The Aisle Seat knows how little I watch MTV, so I had no
idea about the insanity that is “Wonder Showzen.” This
Sesame Street parody is childish, crude, rude, and offensive at
times...and also hilariously funny at others, especially if you grew up
on any program produced by the Children’s Television Workshop.
Structured like an episode from Sesame Street, “Wonder
Showzen” offers adult-oriented meditations on life and ethical
dilemmas, with foul-mouthed puppets and even children-on-the-street
reports that are hilarious if not a bit mean-spirited. Still, when I
saw a youngster blurt out “how you’re never too young to
experience a Vietnam flashback” (followed by stock footage from
“Platoon” and “Casualties of War!”), I
couldn’t help but laugh uncontrollably, and similar moments
abound throughout -- enough so that you can overlook the gratuitous and
predictable shots at established religion, etc. Paramount’s
double-disc DVD set includes plenty of supplements, including outtakes,
guest commentaries, a locker poster and other goodies for fans.
“Wonder Showzen” certainly isn’t for every taste and
definitely works best in small doses, but when it’s funny it hits
the mark as effectively as any other comedy on TV today, so adventurous
viewers ought to check it out.
NATURAL CITY
(**½, 2003, 113 mins., R; Tartan): Just for
comparison’s sake, this relatively elaborate Korean sci-fi
thriller is more fun than “A.I.” though ultimately not as
entertaining as “I, Robot.” Writer-director Byung-Cheon
Min’s picture offers a similar plot to those American studio
efforts, with human-like cyborgs revolting in a future world where the
machines are destroyed after serving their human masters; Ji Tae Yoo is
a military commander fighting the uprising, at the same time he has
fallen in love with his own robot! (played by Rin Seo). “Natural
City” offers a somewhat leisurely pace that could have benefitted
from additional editing, though the visuals are nice and sci-fi fans
could do worse looking for a genre work from overseas. Tartan’s
typically superb DVD presentation offers 16:9 (2.35) widescreen, 5.1
DTS and Dolby Digital sound, deleted scenes, a subtitled documentary,
and the original trailer, with both English and Spanish subtitles
offered on the original Korean-language print contained within.
THE DETONATOR
(*½, 96 mins., 2005, R; Sony): So is it pretty much over
for Wesley Snipes? The ex-superstar has become the latest direct-to-DVD
action hero, following in the footsteps of former big-screeners
Jean-Claude Van Damme and Steven Segal before him. Snipes’ latest
effort, “The Detonator,” follows our star as C.I.A.
agent Sonni Griffith, tracking down a weapons dealer and trying to stop
the sale of a nuclear bomb...in Poland (that’s what happens when
you can’t scrape up enough cash to shoot in the U.S.!).
“The Detonator,” co-produced by former Salkind associate
Pierre Spengler, isn’t the worst, pedestrian small-screen action
vehicle you’ve ever seen, but it is depressing to see Snipes
relegated to starring in the kinds of movies you’d never have
imagined him making a decade ago. Sony’s DVD offers a 16:9
presentation and 5.1 Dolby Digital sound.
LITTLE EINSTEINS: TEAM UP FOR ADVENTURE (69 mins., 2006, G, Disney):
Compilation of the “Little Einsteins” animated series
includes three episodes from the popular series (an off-shoot of the
highly successful toddler videos), including the premiere episode, in
colorful full-screen transfers with Dolby Digital surround and an
interactive game (“Spot It”) for the little ones.
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