Seat Vintage Edition
Catalog Titles From Paramount & Anchor Bay
Restored, NATIONAL TREASURE and More!
Back in the mid ‘90s, the Disney studio excised a pair of
from two of their releases -- “Pocahontas” and
“The Muppet Christmas
Carol” -- that both negatively impacted the theatrical
versions of each
The reasoning was simple: the songs in question (“When Love
from the Muppets and “If I Never Knew You” from
“Pocahontas”) were too
“adult” in nature, leading some parents to take
their kids out to the
snack bar or the bathroom to avoid sitting in their seats for the 3-4
minutes those respective numbers were on-screen.
It didn’t matter that the songs were vital to each movie --
arguably the most dramatic moments of both stories -- or that anyone
other than a restless five-year-old wouldn’t have had a
through them. The editing shears were out, and neither song would
appear in the theatrical release of either picture.
Flash-forward several months. Once “The Muppet Christmas
video, director Brian Henson insisted on the restoration of
Is Gone,” and the song was thankfully added into all video
the 1992 production. “Pocahontas,” sadly, would not
have its climactic
song restored -- at least not until now.
Some 10 years after the film debuted in theaters, one of composer Alan
Menken’s loveliest ballads -- “If I Never Knew
You” -- has at last been
restored intact to POCAHONTAS
(**1/2, 84 mins., 1995, G),
which this week returns to DVD in a new 2-disc Special Edition from
It doesn’t matter that the movie is one of the weaker Disney
productions from the ‘90s, or that the Politically
numerous holes. “Pocahontas” still manages to
entertain in spite of its
flaws primarily because of its gorgeous score by Menken and lyricist
Stephen Schwartz, encompassing “The Colors of the
Wind,” “Just Around
the Riverbend,” and now the film’s beautiful duet
(sung by Judy Kuhn) and John Smith (a surprisingly effective vocal
performance by Mel Gibson), sung near the conclusion of the film.
Without “If I Never Knew You,”
“Pocahontas” felt as if it had no
climax. The movie’s sometimes jumbled story -- with its one
villains (gasp! That evil governor of Virginia is a nasty one!!) -- and
confused perspective on the Pocahontas-Smith relationship reeks of the
P.C. police, and minus the duet, the film also didn’t flow
with a particularly abrupt final third.
Here, with the song fully animated and restored to its proper place (it
was previously heard only in Menken’s underscore and a sweet
credits pop duet between Jon Secada and Shanice), the film is at least
able to include a full, if not totally satisfying, statement about the
relationship between John Smith and the Native American princess he
meets in the New World.
Subsequently, the new, 10th Anniversary cut of
“Pocahontas” is a good
deal more satisfying than its predecessor -- a still-problematic but
interesting entry in the Disney canon, boasting some of
work and one of the nicest love themes you’ll ever hear in an
movie. And, just in case you can’t stand the addition of
“If I Never
Knew You” (and whoever you are, shame on you!), the original
cut is also selectable via the options menu.
With its crisp and beautiful new DVD remastering, the movie has also
never looked better on the small screen. Disney’s previous
released many years ago and that antiquated transfer has been improved
upon substantially here. The film’s bold colors and striking
are superlatively rendered, while the 5.1 Dolby Digital soundtrack is
likewise effective in conveying the rich musical texture of the
Extras are mostly reprisals of material found in Disney’s
LaserDisc box set of “Pocahontas,” but since this
is the first
opportunity most viewers will have had to see the supplements,
certainly nothing wrong with that. Commentary with the filmmakers
(recorded in 2003) is on-hand, while the bulk of the special features
can be found on the second disc.
“The Making of Pocahontas” is a superb, 30-minute
look behind the
scenes at the creation of the movie, while separate sections devoted to
Production, Design, Music, and The Release take you through each step
of production. I’ve always been fascinated at how much
changed from its earliest conception at the studio (with Pocahontas as
a younger girl), basically showing the lack of confidence studio
honchos had with the script and seeing it evolve into something
slightly more romantic over time. Several deleted scenes are on-hand,
including some discarded Menken-Schwartz songs heard in demo form, as
well as trailers and a look at the movie’s much-publicized
One of the few new supplements is a four-minute featurette
Never Knew You,” boasting comments from Menken and Roy
Disney, who both
lament the loss of the song and note their excitement over its
restoration on DVD. An older featurette, “The Music of
examines the creation of the soundtrack with recording session footage
and older interviews culled from the picture’s electronic
“Pocahontas” may always be viewed as somewhat of a
particularly compared with the high quality of Disney’s
output from the ‘90s, but it’s still a must-have
for all animation
aficionados. And -- now that “If I Never Knew You”
has been restored --
Disney’s DVD is a must for all musical fans as well.
It’s just a shame
it had to take so long!
new from Buena Vista this week is last holiday’s box-office
TREASURE (***, 131 mins., PG),
a good-looking action-adventure yarn that provides solid escapism for
viewers of all ages.
Nicolas Cage -- long desiring another action vehicle (he’s
starring in the film adaptation of Marvel Comics’
“Ghost Rider”) --
gives a typically offbeat leading man performance as Ben Franklin
Gates, a treasure hunter who’s been raised to believe the
Knights Templar fortune exists -- and marked on a map found on the back
of the Declaration of Independence! While Ben’s hunt takes
Washington, Philadelphia, and Boston, he’s doggedly pursued
arch-rival (Sean Bean), an FBI agent (Harvey Keitel), and assisted by a
treasury employee (Diane Kruger) and a crazy sidekick (Justin Bartha).
All the while, Ben’s father (Jon Voight) doesn’t
want to get involved
after spending a lifetime trying to pursue his family’s
previously-futile dreams of finding the missing loot.
The Jim Kouf-Cormac and Marianne Wibberley script manages incorporate a
few historical references, which alone makes the plot more substantial
than your typical Jerry Bruckheimer production. Make no mistake,
however: this IS a product of the producer. The slick editing and
cinematography from Bruckheimer’s works are on full display,
time out, director Jon Turteltaub manages to slow the pace down enough
to sustain viewer interest in the story and the characters. The result
is a less-frenetic Bruckheimer piece that still manages to include the
regulation action and humor you’ve come to expect from most
“National Treasure” may not provide much more than
fluffy escapism, but
it’s a good-humored, enthusiastic entertainment just the
Disney’s DVD likewise proves highly satisfying.
The 2.35 transfer (perfectly reproducing Caleb Deschanel’s
cinematography) and 5.1 Dolby Digital sound are both top-notch, while
special features include a few deleted scenes, plus a brief alternate
ending, each with commentary from director Turteltaub. A standard
Making Of featurette is on-hand along with several shorter featurettes,
a few of which are only selectable via one’s participation in
“interactive treasure hunt.” Thankfully the game is
much easier to
navigate than the locked-up goodies on the original “Harry
and they ought to be of chief interest to younger viewers (who are
likely to have the most interest in unlocking them to begin with).
The CBS Theatrical Films library doesn’t boast a whole lot of
blockbusters, but buried within the catalogs of both Cinema Center
Films and the later CBS label are some intriguing works that have
rarely been screened over the years on video or TV.
Next month Paramount releases a freshly remastered wave of CBS catalog
titles (including one of my favorite films from the ‘60s,
“The Reivers”), and gets the ball rolling this week
with a handful of
vintage titles that have basically been out-of-circulation for years.
Going in chronological order, 1968's WITH
SIX YOU GET EGGROLL (**½, 94 mins., G)
was one of several films produced late in the decade that dealt with
the merging of widowed/divorced parents and the problems that ensued
for their respective offspring. It’s also one of many
tried to bridge the gap between the ‘50s generation and the
of the flower-child era, here with Doris Day (in her final screen
appearance) as a mom to a trio of sons and Brian Keith as dad to older
daughter Barbara Hershey.
“With Six You Get Eggroll” was generally viewed as
inferior to the
Lucille Ball-Henry Fonda teaming in “Yours, Mine and
Ours,” a film that
had a similar plot and did better business at the box-office (and
amazingly is now being remade with Dennis Quaid and Rene Russo!).
Still, this innocuous family comedy boasts widescreen proportions and a
few laughs, plus a strong early role for Hershey, nicely hinting at
some of the underrated actresses’ work that would follow in
years. Howard Morris, a former comic (and later star of
“Gimme a Break”
for the ‘80s generation), directed the film, which also
Carlin as a drive-in waiter, a performance by “The Grass
(what else?) a slapstick ending with Jamie Farr and William Christopher
(both pre-M*A*S*H) as a pair of hippies!
Shot in Panavision, “With Six You Get Eggroll” has
been restored to its
full 2.35 widescreen dimensions in Paramount’s terrific DVD.
framing helps restore some order to the movie, which looked hideous in
its well-worn pan-and-scan transfer I’d routinely see as a
kid on local
TV. The 5.1 Dolby Digital sound is basically on par with the
stereo audio, boasting an appropriately ‘60s orchestral score
Mersey (Day’s musical director on her subsequent hit TV show).
While “With Six...” has always been somewhat
noteworthy for the
presence of Day in her last film, director Martin Ritt’s
star Sally Field -- the road trip/character study BACK
ROADS (**, 1981, 91 mins., R)
-- is a film that has almost entirely vanished from the cinema
An oddball film if there ever was one, “Back Roads”
stars Field as the
quintessential “hooker with a heart of gold” (the
DVD packaging even
describes her as such!) who opts to team up with local Alabama ex-boxer
Tommy Lee Jones and hightail it out of their Mobile home for the left
coast of California.
Along the way the duo run into an over-eager sailor (David Keith, in a
role that makes you wonder why he never transcended character-role
status), a grimy Mexican-American madam, assorted lowlifes and
dreamers, all of whom cross paths with the traveling couple, who may
just be growing closer together through their experiences.
“Back Roads” was not a box-office hit, despite the
reteaming of Field
and Ritt, who hit it big with “Norma Rae” a couple
of years prior,
leading to an Oscar for the actress. Gary DeVore’s script
wants to be a
gritty, down-to-Earth tale of a couple of people trying to make it out
of their lot in life and find something new, but somehow the movie just
doesn’t work. The music by Henry Mancini (complete with a
title song co-authored by Alan and Marilyn Bergman) seems decidedly
old-fashioned and out of step with the story, and while
Ritt’s use of
authentic locales gives the movie an ample amount of atmosphere, the
picture never strikes the right tone or consistency to gel.
At least the performances are admirable, with Lee Jones in one of his
strongest early roles and Field adding likewise depth to her part. John
A. Alonzo’s scope cinematography, meanwhile, is another one
film’s strongest assets, and it’s been wonderfully
Framed in 2.35 widescreen, the movie’s Panavision ratio has
reproduced here for the first time on video, and the transfer is
terrific. The 5.1 and 2.0 Dolby Digital stereo tracks are both
effective as well.
Jon Voight’s superb performance as a father trying to
reconnect with his family is one of the highlights of the 1983 drama TABLE
FOR FIVE (***, 121 mins., PG),
a sensitive -- and mostly restrained -- tearjerker also making its
debut on DVD courtesy of Paramount.
Voight plays J.P. Tannen, an ex-golf pro divorced from his wife (Millie
Perkins), who decides to take his three children on a cruise to the
Mediterranean. Though his kids love him, Tannen has never been there to
offer support on birthdays and other gatherings, which leads to a clash
over parental responsibility (or lack thereof), the
connection with their mother’s new husband (Richard Crenna),
tragedy that shakes all of them halfway through their journey.
Directed by Robert Lieberman, “Table For Five”
works due to its
poignant script by David Seltzer (“The Omen”) and
performances by the cast. Voight gives an earnest and well-rounded
portrayal of a guy trying to renew his relationship with his kids,
Roxana Zal plays his young but headstrong daughter, and Crenna is
effective as the new man in his ex-wife’s life. The movie
midway through and becomes a sad though not overly maudlin drama about
loss, leading to some enormously moving scenes towards the end (and a
wonderful final sequence between Voight and Crenna).
Vilmos Zsigmond’s fine cinematography and the moving score --
to both Miles Goodman and John Morris -- also add immeasurably to this
under-rated, low key character drama.
Paramount’s DVD boasts a strong though somewhat
widescreen transfer. There seemed to be a few points during the movie
in which the framing seemed too tight (with a few faces being lobbed
off at the bottom of the frame), but the print looks fine and the frame
is otherwise well-composed. The 5.1 and 2.0 stereo tracks are
effective. You’ll have to look fast to catch Kevin Costner as
There was a short window of time where JoBeth Williams could
single-handedly headline a movie -- something the likeable actress did
to good effect in a handful of mid ‘80s films, including the
piece of fluff known as AMERICAN
DREAMER (**½, 105 mins., 1984, PG).
Williams stars as Cathy Palmer, an overworked and under-appreciated
housewife with a pair of kids and a fondness for mystery novels. After
Cathy enters a writing contest for her favorite author
she leaves her family behind and wins a trip to Paris, where she
ultimately gets hit on the head, believes she IS “Rebecca
lives a new life with Tom Conti along for the ride.
The script by Jim Kouf and David Greenwalt (who would later collaborate
on the terrific 1985 teen comedy “Secret Admirer”)
offers its share of
laughs, and Williams and Conti’s chemistry clicks in a film
patterned after “Romancing the Stone” and even the
Boxleitner TV series “Scarecrow and Mrs.
King.” Ultimately, the movie
isn’t as crisply directed as it might have been, with a few
stock, comical characters (Williams’ husband is such a dud
cliched even on an ‘80s sitcom) curtailing some of the fun.
Nevertheless, “American Dreamer” is decent escapism
with a fetching
performance from Williams, and fans should love Paramount’s
presentation. The movie looks great in 1.85 widescreen and boasts both
5.1 and 2.0 stereo tracks, containing an underwhelming score by Lewis
Finally, Paramount has also reached into its own back catalog for the
DVD debut of the goofy 1967 comedic western WATERHOLE #3
(**½, 95 mins., Not Rated, available May 17th).
This eccentric Blake Edwards production (directed by William Graham)
offers James Coburn in a typically charismatic performance as Lewton
Cole, a gambler who learns the whereabouts of a fortune in stolen
confederate gold near an isolated Arizona town. Caroll O’Connor
sheriff on his trail, James Whitmore is the cavalry leader on his
heels, and Margaret Blye the token love interest in this engaging
though not terribly memorable affair, which western buffs should
nevertheless get a kick or two out of (the strong supporting cast
includes Bruce Dern, Timothy Carey, Claude Akins, and even Joan
Paramount’s DVD includes a superb 2.35 transfer derived from the
original Techniscope aspect ratio. The print looks fresh, and the disc
also offers a clear mono soundtrack featuring one dated score by Dave
Grusin. Country balladeer Roger Miller performs (and occasionally
scats!) his way through Grusin’s helplessly “mod”
unquestionably stamps the picture as a product of the late ‘60s.
None of the Paramount catalog DVDs offer trailers or any supplements,
are all reasonably marked (between $10-$15 each) and offer a sterling
presentation for the price. Recommended!
Catalog Titles From Anchor Bay
Century Fox has only recently licensed some of its back catalog to
Anchor Bay, which has resulted in a handful of cult favorites just
reaching disc for the first time.
Not the highest-profile title of the lot -- but one of my personal
favorites -- is George Gallo’s wonderful, under-rated film 29TH
STREET (****, 101 mins., 1991, R; Aisle Seat DVD Pick
of the Week),
at last making its first appearance on DVD.
Based loosely on the life of Frank Pesce (a character actor who
appeared in Gallo’s “Midnight Run”),
“29th Street” centers around an
Italian-American family in New York, spanning from the late
through the mid ‘70s. Danny Aiello plays the fiery,
of Anthony LaPaglia’s down-his-luck son Frankie, who goes
from job to
job without finding his place in the world. Lanie Kazan is the
sympathetic mother, while the real Frank Pesce plays
brother in a movie that received mostly positive reviews but saw little
support from Fox, earning only a small theatrical release (on November
1st, 1991) before heading quickly to video.
Filled with plenty of heartwarming scenes, big laughs, and a genuine
holiday spirit, “29th Street” deserved better. This
film not only has the glossy, nostalgic feel of
flavorful scenes, crossed with some of the colorful characters of
“Moonstruck,” but also it’s own unique
view of life. Aiello and
LaPaglia bring ample amounts of heartfelt conviction to their roles,
while Gallo’s script balances warmth and sentimentality
Also praiseworthy is the lovely score by William Olvis, which was
orchestrated by Frederic Talgorn and remains one of my favorite scores
of the ‘90s. Sadly, this gem has never been issued as a
album, despite being prominently placed in the film (as Gallo notes in
his commentary, the filmmakers couldn’t use a glut of pop
because they didn’t have the budget to do so, so Olvis
stepped to the
plate and delivered a marvelous, moving score).
Anchor Bay’s DVD looks beautifully composed in the
widescreen transfer. Sequences which I recall looking a bit too tight
in the full-screen transfer (until now the only format “29th
was exhibited in on video) appear much better balanced here. The print
looks great, and the 2.0 Dolby Surround stereo is likewise satisfying.
Despite the bargain price, there are even some extras to be found,
including a fun commentary by Gallo and cinematographer Steven
Fierberg. The two warmly recall shooting in North Carolina and working
to achieve a nostalgic, ‘70s kind of look for their picture.
enjoyable, chatty commentary that only disappoints in that Gallo
doesn’t detail Frank Pesce’s life -- and how he
worked it into his
screenplay -- quite enough. Pesce had apparently developed a story with
James Fransiscus (whom he worked with on the Lee Majors flick
Fish”), yet Gallo only briefly mentions these elements when
Fierrberg at the end. Perhaps having Pesce himself around to talk about
the movie would have been a help.
Other extras include a trailer and TV spots, plus a standard early
‘90s Making Of featurette.
“29th Street” is a charming, uplifting film about
journey we often take during the odyssey of life. It’s also
one of the
most satisfying and heartwarming movies I’ve ever seen about
and son, and the bond between families. Outstanding and unquestionably
recommended, particularly now that it’s finally available on
More of a cult favorite -- and far less of a satisfying motion picture
experience -- is the bouncy, senseless 1983
THE PIRATE MOVIE (*½, 94 mins., PG),
the infamous teaming of Kristy MacNicol and Chris “The Blue
Lagoon” Atkins now making its debut on DVD in the U.S.
Some bad movies are actually fun. Some bad movies aren’t as
you’ve been lead to believe. And then there are some bad
well, actually ARE less-than-artistic triumphs of the medium, and
deserve their soiled reputations.
“The Pirate Movie” clearly belongs in the latter
camp. Though I’m a
sucker for a good teen movie, and I love musicals, this insipid,
plotless music video offers an inane collection of godawful, repetitive
songs, plastic performances, and charmless work from the two leads. The
“plot” finds teenager Kristy being washed ashore
where she dreams that
she’s in a bonafide pirate epic, complete with Captain of the
Seas Atkins (who probably wishes he stayed on the island with Brooke
Despite my reservations about the movie (you can only write
terrible!” in so many ways, so I’ll stop), at least
fans will be
thrilled now that this cult favorite has been issued on DVD.
And satisfied they’ll be with Anchor Bay’s
presentation, which offers a
sterling 1.85 widescreen transfer with a remixed 5.1 Dolby Digital
soundtrack. The hideous music never sounded so good as it does here,
and even better, the original trailer and a commentary track with
veteran director Ken Annakin are also on-hand.
Mr. Annakin came in at the last minute on “The Pirate
Movie” as a
replacement for the original filmmaker (whom he doesn’t
name), and has
warm memories of his work on the Australian-produced picture. He also
notes that some of the dancing goes on too long (I agree!) and could
have been shortened up, and relates many humorous anecdotes, such as
detailing Kristy MacNicol’s personal entourage!
“The Pirate Movie” is clearly a polarizing film.
While I’ll take a
turkey like “Grease 2" any day over its plastic production,
fans will be excited that the movie is on DVD, and in a first-class
presentation from Anchor Bay as well. For them (and them alone),
give it an enthusiastic Aisle Seat recommendation.
More fun is on-hand in another fondly-remembered ‘80s comedy,
TO DRIVE (***, 90 mins., 1988, PG-13),
one of numerous team-ups between then-heartthrobs Cory Haim and Corey
Haim plays the central role of a good kid who just wants to get his
license and take out the girl of his dreams (Heather Graham), while
Feldman plays (guess what?) the rambunctious best friend who basically
gets them all into trouble on one fateful night. Greg Beeman helmed
Neil Tolkin’s script, which became a moderate box-office
success and a
cult staple on video and TV for years afterwards.
Anchor Bay’s Special Edition DVD is chock full of digital
I refer to supplements from time to time, when the situation warrants),
including commentary from Beeman and Tolkin, deleted sequences and
alternate footage, interviews with both Haim and Feldman reflecting on
their work in the movie, TV spots, trailers, and the script as a
Last but not least we come to the immortal pairing of Dolly Parton and
Sylvester Stallone in the noteworthy 1984 flop RHINESTONE
(**, 111 mins., PG).
Bob Clark (“A Christmas Story”) directed the script
by Sly and Phil
Alden Robinson (later helmer of “Field of Dreams”),
which relates the
touching story of a country music star (Dolly anyone?) who takes a bet
from her manager that she can turn anyone into an overnight singing
sensation. Her pick? Why, none other than Stallone’s NYC cab
who quickly receives a tutoring in the ways of Nashville from Dolly and
her associates (including Richard Farnsworth as Parton’s dad).
Actually more of a bland comedy than an awful film,
“Rhinestone” has a
few cute moments, some nice scope cinematography (here restored to its
2.35 origins), and a bouncy music score supervised by Mike Post. The
songs are all fine -- except when Stallone is singing them -- and if
you can overlook the movie’s sometimes sluggish pace and lack
chemistry between the leads, “Rhinestone” is one of
those flops I
referred to earlier that’s not quite as bad as its reputation
Anchor Bay’s DVD sports a robust widescreen transfer in its
Panavision aspect ratio, plus a full-blooded 2.0 Dolby Surround
soundtrack. The original trailer is the only extra, but what else would
you anticipate? (Stallone commentary perhaps?).
& Noteworthy from Buena Vista
THE COMPLETE FIRST SEASON (2001-02, 558 mins.). Buena Vista,
Full-Screen, 2.0 Dolby Digital stereo. Available May 17th
GIRLS: THE COMPLETE SECOND SEASON (1986-87, 644 mins.). Buena Vista,
Full-Screen, 2.0 Dolby Digital stereo. Available May 17th.
A pair of new TV on DVD box sets spotlight two of the funniest sitcoms
that have graced the American TV airwaves in the 20 years.
“Scrubs” has virtually been flying under the radar
since its debut on
NBC in 2001. Despite changing time slots and never fully receiving the
support it’s deserved from its network, this often uproarious
comedy about a group of medical internists is one of the most
consistently amusing shows on TV. The superb cast -- lead by Zach
Braff’s wacky, amiable lead and John C. Reilly’s
shenanigans as Dr. Cox -- is thoroughly engaging, but it’s
writing and comedic situations developed by show creator/executive
producer Bill Lawrence that make “Scrubs” a
constant must-see on a
network that’s been running out of “must see
TV” series over the last
Buena Vista’s box set includes all of
“Scrubs”’ first season episodes:
24 in full, spread across three DVDs. Extras are also on-hand,
including screen tests from the actors prior to the show’s
interviews with the stars, outtakes and deleted scenes, plus a
One” interview with Braff.
If you’ve never seen “Scrubs” this box
set is the ideal place to start,
and the supplements round off a splendid package all told. Highly
Also available on May 17th is the second season of THE GOLDEN GIRLS,
the long-running NBC series that never had a problem attracting an
audience during its seven-year run on the air.
Collecting all 26 episodes from the Girls’ sophomore year
Susan Harris’ sitcom had no “sophomore
slump,” as the chemistry between
stars Bea Arthur, Estelle Getty, Betty White and Rue Maclanahan was
perfected with crisp, pungent writing and irresistible performances
from the stalwart cast.
Transfers and sound are perfect in both box sets (all episodes are
presented in their original 1.33 broadcast ratio), with satisfying 2.0
Dolby Digital soundtracks. “The Golden Girls”
doesn’t have much in the
way of supplements (an interactive trivia challenge and
that’s it), but
the comedy is still so fresh few fans will be complaining.
CHOIRSTES) (***, 2004). 97 mins., PG-13, Miramax/Buena Vista. DVD
FEATURES: French 5.1 Dolby Digital with English subtitles; 2.40
French film about a boy’s boarding
school in post-WWII France and the unexpected inspiration they receive
from a new teaching assistant (Gerard Jugnot) who opts to create a
choir at the school. While some arthouse movie-goers undoubtedly turned
their nose at a movie like “Mr. Holland’s
Opus” and likely embraced
“Les Choirstes,” there’s actually not
much difference between the two
films outside of their time and place. This is a predictable, formula
movie that nevertheless pushes all the right buttons courtesy of
director Christophe Barratier. Miramax’s no-frills DVD offers
high-quality 2.40 transfer and soaring 5.1 Dolby Digital soundtrack,
sporting a superb original score by Bruno Coulais that’s
highlight of the picture.
WEEK: Back with more reviews, comments and more! Don't
to drop in
on the Message
any emails to the
we'll catch you