May Spectacular, Part 1 Legend
Films' Paramount Blu-Rays Reviewed Plus: Bargain Priced Catalog
Titles from Echo Bridge & Mill Creek
Back
in January I broke the news that Legend Films was about to release a
series of Blu-Ray double features offering HD versions of several
Paramount catalog titles the label had released in 2008. The first
batch of them (minus a planned Vincent Price double-feature, which was
nixed due to elements that were deemed not good enough to make the jump
to high-def) have at last hit Amazon and other retailers this month.
Here’s a look:
STUDENT
BODIES (**, 86 mins., 1981, R) JEKYLL &
HYDE: TOGETHER AGAIN Blu-Ray Double Feature (**½, 87 mins.,
1982, R; Legend Films): ‘80s horror buffs ought to get a kick
out of this double-feature offering a pair of spoofs from early in the
decade.
“Student Bodies” was a cable staple that hit DVD for the first time in
Legend’s 2008 package – a horror parody with a few scattered laughs
that plays out like a standard teen slasher movie with a lunatic named
“The Breather” on the loose, preying upon young couples. Mickey Rose
wrote and directed this reportedly troubled (producer Michael Ritchie
had his name removed from the credits) and uneven comedy that presaged
“Scream” by nearly 20 years; while no great shakes, for nostalgic
viewers who grew up on the movie, it’s still fun to see it back in
circulation at long last. Legend’s AVC encoded 1080p transfer is
similar to their “Mandingo” disc in that the source Paramount provided
to Legend was released, warts and all, without any type of DNR. The
result is a crisp transfer that looks like a real movie, with grain and
all intact throughout, and 2.0 stereo sound on-hand.
“Jekyll & Hyde Together Again,” meanwhile, was an absolutely
bonkers, raunchy 1982 comedy with Mark Blankfield as Henry Jekyll,
whose split personality turns him into a crazy “macho man” in a
hit-or-miss spoof produced by Joel Silver and directed by comedy guru
Jerry Belson (Belson and Monica Johnston, Albert Brooks’ frequent
collaborator, were two of the film’s co-writers). Blankfield is amusing
and the lovely Bess Armstrong is on-hand to lend support in this early
‘80s cult comedy favorite, which likewise looks satisfying with its
healthy, unadulterated cinematic appearance on-hand here. And you have
to love the last shot of Robert Louis Stevenson rolling in his
grave!
THE SKULL
(***, 83 mins., 1965) THE MAN WHO
COULD CHEAT DEATH Blu-Ray Double Feature (**½, 92 mins., 1959;
Legend Films): A pair of frightful late ‘50s/early ‘60s British
horror outings from Amicus and Hammer, respectively, combine for an
appealing double-feature BD duo.
“The Skull” was a terrific period horror piece that marked a major
success for Milton Subotsky’s Amicus Productions – an adaptation of a
Robert Bloch story starring Peter Cushing as a doctor who purchases a
skull belonging to the Marquis de Sarde. “Guest star” Christopher Lee
shows up as a fellow doctor who tries to talk Cushing out of his latest
pick-up, but soon the supernatural preys upon Cushing’s psyche and
begins floating around -- with some visible wires holding it together!
Freddie Francis’ direction and constant use of the wide Techniscope
frame make this a good deal of fun for horror buffs, with Legend’s AVC
encoded (2.35) transfer nicely capturing the dimensions of the
picture’s original exhibition, though some side-to-side “shaking” in
the image can be seen at times throughout.
“The Man Who Could Cheat Death,” meanwhile, was a 1959 Hammer
programmer starring Anton Diffring as a doctor seeking to stay young by
stealing the glands of unsuspecting donors. A remake of the 1945 film
“The Man in Half Moon Street” from Hammer stalwarts Terence Fisher (who
directed) and Jimmy Sangster (who scripted from Barre Lyndon’s play),
with familiar faces like Hazel Court and Christopher Lee also on-hand,
this is a respectable early effort from the studio that’s been
splendidly preserved here in its original 16:9 (1.78) widescreen
presentation.
THOSE DARING
YOUNG MEN IN THEIR JAUNTY JALOPIES (***, 125 mins., 1969, G) HOUDINI
Blu-Ray Double Feature (***, 107 mins., 1953; Legend Films): A
Tony Curtis double-bill couples “Those Daring Young Men in their Jaunty
Jalopies” with the earlier studio-biopic “Houdini.”
One of the last entries in the “period race” genre made famous by the
likes of “Around the World in 80 Days,” “The Great Race” and “Those
Magnificent Men in their Flying Machines,” “Those Daring Young Men” is
a follow-up of sorts to the latter, bringing back producer-director Ken
Annakin, composer Ron Goodwin and others for another international race
involving a (what else?) colorful collection of wacky characters. Tony
Curtis headlines but is often upstaged by British comics like Peter
Cook, Dudley Moore, Terry-Thomas and others in a fun tale accentuated
by an appropriately jaunty score from Goodwin (with a title tune
performed by Jimmy Durante) and title design from the great Ronald
Searle. It might seem a bit less “epic” than “Magnificent Men,” but the
film is a bit tighter and more focused, and thereby a tad more
entertaining as a result. The wide 2.35 transfer (it’s mistakenly
listed as 1.78 on the back jacket) looks great and the 2.0 stereo sound
is modestly effective.
“Houdini” is a standard studio telling of the legendary magician’s life
offering one of Curtis’ best performances and strong support added by
Janet Leigh. Regrettably, this 1953 George Pal production has the
weakest transfer in this batch of Legend titles, not because DNR was
applied but rather that the print itself seems to have been too far
removed from the original source. The 1.33 frame is colorful enough and
I think Legend did the best they could with what they had, yet there’s
just not a lot of fine detail on-hand, particularly in comparison with
the other titles reviewed above.
Overall, despite the lack of extras (some of the titles’ corresponding
DVDs had trailers), Legend has done a terrific job with these double
feature packs: more than affordable at under $15 each and with
transfers (taken, admittedly, from elements that often show their age)
that present the prints as is, without any excessive processing, this
is a strong start to the BD medium from Legend, and here’s hoping they
get enough consumer support to generate the release of more titles like
them in the near future.
Meanwhile, Mill Creek Entertainment has acquired the rights to numerous
films from the Touchstone/Hollywood/Disney library and has begun
releasing them on Blu-Ray in terrific, low-cost packages (many as low
as $5 at Deepdiscount and Buy.com in fact). Here’s a rundown:
MY FATHER THE
HERO Blu-Ray (***, 90 mins., 1994, PG, Mill Creek): Breezy,
agreeable 1994 American remake of a French comedy provided Gerard
Depardieu with one of his few U.S. leading roles. Depardieu actually
starred in the original “Mon Père Ce Héros” as well, so
he was well-versed with this story of a divorced dad who takes his
precocious teen daughter (a young Katherine Heigl) on vacation to the
Bahamas, where she spins a yarn that dear old pops is really her
boyfriend. Francis Veber and Charlie Peters adapted Gerard Lauzier’s
original screenplay for this engaging Touchstone comedy which also
boasts a superb supporting cast (Lauren Hutton, Faith Prince, and a
late cameo from Emma Thompson) and earned modest dollars at the
box-office in the dead of winter back in 1994. Depardieu also comes off
as laid back and even charming in a film that’s little more than an
updating of sorts of “Superdad” for the ‘90s, but no less entertaining
if you’re in the mood for that type of thing. Mill Creek’s Blu-Ray has
one of the best transfers of the bunch (1080p AVC encoded widescreen)
with 2.0 DTS MA stereo sound, the latter offering a pleasant David
Newman score.
ANOTHER
STAKEOUT Blu-Ray (**½, 108 mins., 1993, PG-13; Mill Creek):
Diverting but utterly predictable sequel to John Badham’s surprise 1987
box-office smash once again finds Richard Dreyfuss and Emilio Estevez
as cops on a stakeout trying to track down a mob witness, joined this
time by Rosie O’Donnell and her dog. Badham brought back most of the
original production team including writer Jim Kouf and composer Arthur
B. Rubinstein, but “Another Stakeout” seemed to be too little, too late
as it fizzled at the box-office during the summer of ‘93. Seen now,
it’s not a bad rental, with the stars having a good time and original
leading lady Madeline Stowe brought back in a bookending cameo to
provide a nice ending to her relationship with Dreyfuss. Shot in scope,
“Another Stakeout” boasts a generally pleasant AVC encoded 1080p
transfer with an occasionally active 2.0 DTS MA soundtrack.
BETSY’S
WEDDING Blu-Ray (***, 94 mins., 1990, R; Mill Creek): Amiable
ensemble comedy was the last of Alan Alda’s directorial outings – on
that scale, it’s not as funny as “Sweet Liberty” or “The Four Seasons,”
but at least fares better than his mediocre “A New Life.” Alda and
Madeline Kahn play the parents of progressive bride-to-be Molly
Ringwald in this 1990 comedy, which almost overcomes an uneven script
thanks to a terrific cast that also includes Ally Sheedy, Joe Pesci,
Catherine O’Hara and Joey Bishop as Alda’s deceased father. Bruce
Broughton contributes a nice score too. Mill Creek’s AVC encoded 1080p
transfer seems a bit worn but generally looks acceptable while another
standard 2.0 DTS MA soundtrack comprises the audio end of things.
GROSS ANATOMY
Blu-Ray (**½, 109 mins., 1989, PG-13; Mill Creek): Enjoyable,
if formulaic, Touchstone release finds Matthew Modine, fresh off
“Vision Quest,” as a offbeat med student who clashes with tough
professor Christine Lahti and falls for by-the-book lab partner Daphne
Zuniga in Thom Eberhardt’s 1989 drama-edy. “Gross Anatomy” is certainly
by-the-numbers but Mark Spragg and Ron Nyswaner’s script enables the
stars to craft some memorable performances, and Modine is quite good in
one of his numerous roles from the era. The so-so 1080p transfer of
“Gross Anatomy” isn’t as strong as some of the other Mill Creek discs
I’ve watched but it’s still not-bad for the $10 (or less) you’ll spend
on it, while 2.0 DTS MA audio is merely okay – a function of the film’s
limp original mix.
AN INNOCENT
MAN Blu-Ray (***, 113 mins., 1989, R; Mill Creek): One of Tom
Selleck’s few strictly-dramatic turns, this absorbing Peter
Yates-directed thriller chronicles (you guessed it!) “An Innocent Man”
framed by two cops during a drug-bust set-up gone wrong, and his
subsequent time in the big house where he fights for survival and
justice in proving his innocence. Selleck is solid and F. Murray
Abraham lends strong support in this taut and well-shot 1989 drama,
photographed by William A. Fraker and scored by Howard Shore. Mill
Creek’s Blu-Ray boasts a decent 1080p 1.85 widescreen transfer
with 2.0 DTS MA audio.
Among Mill Creek’s other Buena Vista licensed Blu titles are the
forgettable Penelope Ann Miller comedy THE GUN IN BETTY LOU’S HANDBAG;
the disastrous Kathleen Turner would-be franchise starter (more like a
killer!) V.I. WARSHAWSKI; Alan J. Pakula’s interesting CONSENTING
ADULTS; Bette Midler and Lily Tomlin in the disappointing comedy
BIG BUSINESS; and the ‘90s John Cusack box-office under-achiever MONEY
FOR NOTHING. While
Lionsgate has acquired the distribution rights to numerous films from
the Miramax library (including the “Scream” and “Spy Kids” series),
Echo Bridge has also partnered with Miramax to bring numerous films
from their vaults to Blu-Ray for the first time. Alas, the results are
somewhat mixed, despite bargain pricing around the $10-$15 mark for
most of their titles. Here’s a glimpse at some of their new releases:
TEXAS RANGERS
Blu-Ray (**, 89 mins., 2001, PG-13; Echo Bridge): You have to
feel bad for the people who made “Texas Rangers.”
The film was on the shelf so long that half of its teen cast were no
longer teenagers by the time the movie was unceremoniously dumped into
a few hundred screens (presumably to fulfill contractual obligations)
in 2001. By that same time, the picture – which reportedly once ran
well over two hours – was edited down to 80 minutes minus credits, and
both of its screenwriters (John Milius and Ehren Kruger) opted to have
their names removed from the final print.
Adding insult to injury is that “Texas Rangers” spent eons in
development hell as one of Milius' pet projects, and was intended to be
one of the last, great cinematic stabs at a sprawling western saga --
things that you would be hard-pressed to tell from watching the final
product, which plays like a Cliff Notes version of a two-minute movie
trailer!
James Van Der Beek (TV's “Dawson Creek”) stars as a young man whose
family is wiped out by a group of bandits (lead by Alfred Molina and
Vincent Spano) in 1875, post-Civil War Texas. Van Der Beek decides to
saddle up with the Texas Rangers – lead by real- life figure
Leander McNelly (Dylan McDermott) – in an effort to track down the
murdering, cattle-stealing thieves across the Mexican border, with a
motley assortment of new recruits (including Ashton Kutcher and R&B
star Usher Raymond) in tow.
The movie is filled with talented performers in
blink-and-you'll-miss-them supporting parts (Robert Patrick, Randy
Travis, Tom Skerritt, and even Oded Fehr from "The Mummy" in an
especially worthless bit), but then again, every bit of character
development here seems like it was sliced away in the editing room.
Looking for some interesting historical anecdotes about the Rangers'
mysterious Mexican liaison? Read the press notes, since the character
pops up in a couple of shots for a grand total of one minute. How about
some good, old-fashioned movie romance? Watch the trailer, because it's
the only place you'll see Rachael Leigh Cook pick between Van Der Beek
and his goofy pal Ashton Kutcher. (Cook's final scene has been
laughably cut to the point where it seems like it's been assembled by a
five-year-old).
There are times when you watch a three-hour movie that feels like it's
90 minutes. On the other hand, you can often run into 90 minute movies
that feel like they're over three hours. “Texas Rangers” is one of
those occasions where hack-and-slash editing stripped away not only the
running time, but also the motivations and backgrounds of characters
who – at least in its 89-minute form – we never get to know. In doing
so, it only made what's left – a tedious assortment of montages,
cliches, and brief dialogue exchanges – completely pointless and
frustrating to watch, since there's nothing there to care about.
Nevertheless, due to the cast, the good-looking scope cinematography
and Trevor Rabin’s surprisingly robust orchestral score, “Texas
Rangers” remains something of a curio for western fans, and Echo
Bridge’s Blu-Ray does a nice job presenting the film in a strong 16:9
AVC encoded transfer (it’s framed properly at 2.35, despite being
listed as 1.78 on the back cover).
The big problem, as with most of Echo Bridge’s Miramax Blu-Rays, is the
soundtrack, which ought to be 5.1 but is encoded as 2.0 DTS Master
stereo. The effects and Rabin’s score deserve a stronger sound stage
than they receive here.
DUPLEX
(*½, 88 mins., 2003, PG-13) MY BOSS’S
DAUGHTER Blu-Ray Double Feature (**½, 90 mins., 2003, PG-13;
Echo Bridge): Two comedies which languished on the Miramax
shelves for some time before being released to marginal (or, in the
case of “My Boss’s Daughter,” non-existent) box-office returns in 2003
have been coupled on one Blu-Ray platter from Echo Bridge.
“Duplex” was an Drew Barrymore-Ben Stiller comedy that finds the couple
as newlyweds who buy a NYC apartment, only to find out that their
picture-perfect new home is being tormented by an elderly neighbor
(Eileen Essel) who refuses to turn down her TV at night and generally
ruins their lives. The couple then try every which way to dispose of
the old bat, to predictably wacky results, in this Danny
DeVito-directed effort that's tired and forced at every turn.
There's nothing original or subtle about "Duplex," which gets by due to
the energy of Stiller and Barrymore, even though the duo have little
chemistry with one another. DeVito tries valiantly to recapture the
magic of his early hits like "Throw Momma From the Train," but Larry
Doyle's script doesn't measure up, and the movie is quickly forgotten
once it's over.
“My Boss’s Daughter,” on the other hand, was “Airplane!” vet David
Zucker's tasteless yet surprisingly amusing ensemble comedy that plays
like "Noises Off!" meets "American Pie."
Ashton Kutcher plays a junior executive in grumpy mogul Terence Stamp's
Chicago company. Kutcher's in love with Stamp's daughter (Tara Reid),
which leads to him accepting her invitation to house-sit the family's
posh home. While father and daughter are out at a party, Kutcher gets
into all kinds of predicaments, from a fired secretary (Molly Shannon)
looking to reclaim her job, Stamp's cast-off son (Andy Richter) trying
to fend off his drug habit, a burglar (Michael Madsen) looking for the
latest score, and a next-door neighbor (Jeffrey Tambor) who thinks
Kutcher is his daughter's blind date.
David Dorfman's script is utterly ridiculous and the laughs often
low-brow (there's even a totally gratuitous Carmen Electra wet T-shirt
scene), yet former "Airplane!" vet Zucker throws in a few very funny
gags reminiscent of the good old Zucker-Abrahams-Zucker days -- enough
so that you can partially forgive the movie's lapses in good taste.
More over, the cast is amusing, especially Shannon, Richter, and
Stamp's funny, straight-faced turn as the company CEO.
"My Boss's Daughter" (originally titled "The Guests" and released under
that name in certain international territories) is not a great film by
any means – and reportedly sat on the Miramax shelves for nearly two
years – but for a movie with that pedigree it's certainly better than
expected. The end credits list the Farrelly Brothers at the top of the
thank you acknowledgments, and one can sense their brand of humor
having been a major influence.
Echo Bridge’s matching AVC encoded 1080p (1.78) transfers both look
superb, and in this instance the 2.0 DTS MA stereo tracks aren’t a big
drawback given the subdued nature of their mixes.
EQUILIBRIUM Blu-Ray (**½, 107 mins., 2002, R; Echo Bridge): Back
in 2001
Dimension Films decided to grant a wide theatrical release to “They,” a
terrible chiller "presented" by Wes Craven. At the same time, they sent
a pair of far superior genre pictures -- David Twohy's "Below" and the
Jan DeBont-produced ”Equilibrium” -- into scant distribution prior to
releasing both films on video.
A film that has since generated a decent cult following, “Equilibrium”
is a goofy but constantly watchable and well-performed hybrid of
"Fahrenheit 451" and "The Matrix." The movie is more comfortable in the
ways it mimics Ray Bradbury's classic sci-fi tale than it does the
Wachowski Brothers, throwing in a variety of brainless (though vividly
filmed) fight sequences in an obvious attempt to pander to the under-25
demographic that "The Matrix" especially appeals to.
In a post-WWIII future, human emotion has been outlawed, as has
anything related to it. We're not talking about just books, but also
paintings and -- yes -- puppy dogs. Christian Bale, giving a good
performance under the circumstances, plays a "Cleric" who enforces the
laws in a pseudo-Orwellian metropolis concocted by writer-director Kurt
Wimmer. After he takes down his book-loving partner (Sean Bean), Bale
begins to question whether or not he should continue to clamp down on
the human spirit. Although the city's residents are forced to take an
"anti-emotion" drug, Bale decides to opt out of the law and begins to
"feel" -- especially after he meets Emily Watson, in an underwritten
role as a woman sentenced to death for playing LP records. Eventually,
Bale has to confront the law's chief officer (Angus MacFadyen) and join
the resistance in an attempt to overthrown the government.
The movie is stylishly shot by Dion Beebe and designed by Wolf Kroeger,
and on those grounds alone the movie is worth a look for sci-fi fans.
Wimmer was obviously influenced by the likes of Orwell and Bradbury in
creating the film's post-apocalyptic story, and yet there's a whole lot
of "Matrix" going on in terms of the movie's action sequences – too
much, as it turns out. Just when Wimmer introduces us to the main
characters, along comes a jarring hand-to-hand combat scene guaranteed
to make you wonder if you're not watching Keanu or "The Fish" flying
through the air. It's a strange, odd element to the film that never
seems to mesh with anything else about it – it's almost as if the
Weinstein Brothers told Wimmer "look, we'll let you make your movie.
Just throw a bunch of fights in there to draw the kids." Sure, the Hong
Kong styled scenes are nicely choreographed, but their presence seems
to be a completely arbitrary element – either that, or just a
distraction to make you overlook the under-developed aspects of the
script (particularly the whole relationship with Bale and Watson).
Nevertheless, “Equilibrium” has enough juice going for it to warrant a
rental if nothing else. While undoubtedly shot on a modest budget, the
film also looks accomplished, though Klaus Badelt's relentless synth
score doesn't live up to the film's potential.
Sadly, Echo Bridge’s Blu-Ray is severely hampered by its 2.0 DTS Master
stereo soundtrack, which should’ve been 5.1 and sounds constrained by
the two-channel treatment it receives here. The movie’s Super 35
cinematography, shot at 2.35, has been opened up for 1.78 as well, but
it’s not nearly as much of a problem as the audio since the AVC encoded
transfer is actually fairly good. The sole extra is the prior DVD’s
Making Of featurette.
HALLOWEEN:
THE CURSE OF MICHAEL MYERS (**½, 88 mins., 1995, R) HALLOWEEN:
H20 Blu-Ray Double Feature (**, 85 mins., 1998, R; Echo Bridge): Disappointing
double-feature couples the last “real” entry in the original
“Halloween” series – the severely-compromised yet quite watchable 1995
“Halloween” VI with an ailing Donald Pleasence taking on Michael Myers
one last time with the help of a young Paul (Stephen) Rudd – with the
1998 box-office hit “Halloween: H20,” which brought Jamie Lee Curtis
back as heroine Laurie Strode in a film more influenced by “Scream”
than its John Carpenter-directed original.
As with the above Echo Bridge titles, the fact that each film’s prior
5.1 mixes have been reduced to 2.0 DTS MA stereo tracks here is a major
disappointment. What’s more, even though it’s a Super 35 title,
“Halloween: H20"’s 2.35 cinematography has been reframed as 1.78 and
looks all the worse for the wear, likely because director Steve Miner
had the wider frame in mind when he shot the picture.
“Halloween” fans interested in these two pictures would do well to
track down Alliance’s Canadian Blu-Ray triple-feature which includes
both movies (plus “Halloween: Resurrection”) on one disc. The transfers
are either the same or superior (“Halloween: H20" is 2.35) while the
soundtracks are 5.1 DTS Master and substantially more satisfying as a
result.
FROM DUSK
TILL DAWN (108 mins., 1995, R) FROM DUSK
TILL DAWN 2: TEXAS BLOOD MONEY Blu-Ray Double Feature (88 mins., 1998,
R; Echo Bridge): Fans of Quentin Tarantino’s 1995 blood-soaked
“From Dusk Till Dawn” ought to feel fortunate that the picture has made
it to Blu-Ray in a quite good 1080p (1.78) widescreen transfer that
actually includes a full 5.1 DTS MA soundtrack – the only one of Echo
Bridge’s batch to receive that treatment. It’s been coupled here with
its first direct-to-video sequel, the lame 1998 “Texas Blood Money,”
which is 1080p but again only 2.0 DTS MA.
CHILDREN OF
THE CORN V: FIELDS OF TERROR (83 mins., 1998, R) CHILDREN OF
THE CORN 666: ISAAC’S RETURN Blu-Ray Double Feature (82 mins., 1999, R;
Echo Bridge): Double-feature platter brings together the 1998
fifth (!) entry in the “Children of the Corn” series along with its
superior 1999 offering, which returns original star John Franklin to
his role as “Isaac.” Both movies look fine in their AVC encoded (1.78)
transfers, but again, the audio is a drawback with its straight
2-channel DTS MA.
HELLRAISER:
BLOODLINE (85 mins., 1996, R) HELLRAISER:
INFERNO Blu-Ray Double Feature (100 mins., 2000, R; Echo Bridge): Last
but not least among the Echo Bridge Miramax titles is this “Hellraiser”
double bill which, outside of its 2.0 DTS MA mixes, ought to be please
Pinhead devotees. The wacky “Bloodline” was the last halfway decent
film in the franchise (along with the last to see a theatrical
release), even if the picture was taken away from director Kevin Yagher
in post-production (with Alan Smithee being used as a pseudonym). It’s
offered here alongside the lame 2000 direct-to-video “Hellraiser:
Inferno” with Craig Sheffer running afoul of Doug Bradley’s anti-hero.
1080p (1.78) AVC encoded transfers are matched here with 2.0 DTS MA
stereo soundtracks. NEXT
TIME: AMERICAN GRAFFITI in Part 2 of the May Spectacular! Until
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