March Madness Edition Role models, Punisher & Australia reviewed Plus: a FAMILY TIES classic
Long coveted by movie buffs but only recently released on DVD, MGM’s mammoth production of QUO VADIS (***, 174 mins., 1951; Warner)
hits Blu-Ray next week, giving the high-definition format a major dose
of Golden Age entertainment it’s been severely lacking so far.
Mervyn LeRoy directed this Sam Zimbalist production, an adaptation of
Henryk Sienkiewicz’s international bestseller, set in Rome during
the time of Nero (a wickedly over-the-top Peter Ustinov). While one of
his
commanders (Robert Taylor) romances the adopted
daughter (Deborah Kerr) of a retired general, Nero goes positively
bonkers, reacting in kind to certain Romans' attachment to a new
sect called Christianity by throwing them to the lions, and setting in
motion a grand spectacle of sex,
violence, forbidden love, devout faith, and the downfall of Rome
itself.
Credited with instigating the sword-and-sandal/Biblical epic genre of
the 1950's, “Quo Vadis” was shot at Cincitta Studios in
Rome with a huge cast, a massive budget for its day, and all the
Technicolor splendor and scope that one would anticipate. While the
movie doesn’t boast the stereophonic sound and widescreen
cinematography that would come to mark films like “Ben-Hur”
and “The Robe,” it’s nevertheless a gorgeous looking
production with vivid colors and a grand Miklos Rozsa score. Just the
sight of thousands of extras running around should get any Golden Age
fan’s blood boiling, even though the movie is a bit long and too
heavy-handed to be as dramatically potent as some of the superior
pictures that followed in its wake.
Warner’s Blu-Ray disc follows last November’s DVD edition
of “Quo Vadis” and presents a tremendous HD transfer in the
film’s original 1.33 Academy aspect ratio. The image is
immaculate, the result of an extensive restoration Warner recently
performed on the picture. Rozsa’s score could’ve used the
stereophonic treatment, as the film’s comparatively weak mono
soundtrack dates it as a product of the era, but at least the
composer’s original Overture and Exit music have been rejoined to
the film for the first time in over a half-century. A 40-minute
retrospective documentary, detailing the picture’s legacy via
historian interviews, is on-hand, plus two trailers and an informative
commentary track from film critic F.X. Feeney. Also New on Blu-Ray
Cinematic comedies that are actually funny seem to be a dying breed,
which makes this week’s release of the occasionally hilarious ROLE MODELS (***, 99 mins., 2008, R; Universal) a godsend if you’re just looking for a few good laughs.
A surprise box-office hit last fall, “Role Models” offers
the ever-underrated Paul Rudd as a tired, sarcastic salesman for an
energy drink company who -- along with pal Seann William Scott -- ends
up causing a calamity at a local high school. Sentenced to community
service for their drunken antics, Rudd and Scott are placed in charge
of a pair of youngsters -- Rudd to a nerdy teen (Christopher
Mitz-Plasse) who’s into role playing and Harry Potter, and Scott
to a wise-acre, trash-talking boy (Bob’be J. Thompson)
desperately in need of some kind of guidance...just not necessarily the
sage world view that our heroes happen to deliver.
Rudd also co-wrote “Role Models,” which offers appealing
characters and big laughs to compliment its irresistible comedic
premise. Rudd and Scott work extremely well together here, while
Mintz-Plasse, who stole “Superbad” away from Seth Rogen and
company, is engaging again in a larger role, this time as a notably
less confident teenager. They’re complimented by Jane Lynch
(hysterical as the duo’s completely inappropriate community
service advisor) and Elizabeth Banks, whose smiling face brightens up
pretty much everything she’s in. It’s a smallish supporting
part for Banks, but her scenes with Rudd give the movie just enough of
a romance to freshen up some of its juvenile, R-rated humor.
“Role Models” is an inspired lark on most levels, as
evidenced by its endearing portrait of medieval RPG fans who gather
together for weekend battles. Director David Wain and the writers knew
enough to exploit this comedic setting and utilize it for the
picture’s final third, and the movie -- while no cinematic
classic -- is sure to go down as a viewer favorite as a result, at
least among comedy aficionados who haven’t had much to laugh at
on the big-screen these days.
Universal’s Blu-Ray disc includes both the R-rated and unrated
versions (which extends the film by about three minutes) of “Role
Models” in top-notch VC-1 encoded transfers and DTS Master Audio
soundtracks. The picture and audio quality are first-rate throughout,
while extras include additional deleted scenes, bloopers, alternate
takes and several Making Of featurettes, plus other
“U-Control” picture-in-picture featurettes.
Also debuting from Universal this week on Blu-Ray is Gus Van
Sant’s portrait of controversial, pioneering San Francisco
politician Harvey MILK (***, 129 mins., 2008, R).
Sean Penn’s Oscar-winning performance is spot-on in this
chronicle of Milk’s move from New York to the Bay Area during the
turbulent early ‘70s, his election as a supervisor to the city
and crusade to eliminate Proposition 6, which allowed local
schoolboards to fire gay teachers. The film charts the beginning of the
gay movement and Milk’s significance in leading the charge for
gay rights, in a superbly performed tale that moves along at a good
clip, reflecting on Milk’s accomplishments, his assassination at
the hands of a contentious fellow board member (Josh Brolin, terrific
as Dan White), and overall historical significance. There’s also
plenty of period atmosphere as Van Sant intercuts archival footage
throughout. Regardless of one’s political or sexual orientation,
“Milk” is a compelling, fascinating and extremely
well-acted film that represents some of Van Sant’s most
accessible, and satisfying, work in quite a while.
Universal’s Blu-Ray and DVD editions of “Milk”
include deleted scenes and several featurettes that recount the real
Harvey Milk and how closely the film adheres to the facts. The 16:9
(DVD) and VC-1 encoded (BD) transfers are all excellent, while Dolby
Digital 5.1 (DVD) and DTS Master Audio sound (BD) round out the audio
presentation, topped off by a fine Danny Elfman score.
PITCH BLACK (**½, 109 [theatrical] and 112 [Unrated] mins., 2000, R; Universal):
David Twohy has had an eclectic filmmaking career to date, having
directed several excellent genre films ("The Arrival," "Grand Tour,"
"Below") that were all but passed over at the box-office. It figures
then that the one film Twohy makes that does become a cult hit --
1999's "Pitch Black" -- turns out, ironically, to be one of his least
interesting films, though it's still an entertaining enough way to kill
off a couple of hours.
This "monster in the dark" creature feature certainly didn't seem like
the start of a franchise at the time of its original release, but Vin
Diesel's popularity lead Twohy and Universal to revisit the property as
a springboard for “The Chronicles of Riddick” four years
later. Despite the larger budget and scope (see my review below), the
sequel was inferior to this reasonably well-executed tale of a group of
survivors trying to make it through the night on an alien planet, where
they’re stalked by a creepy group of nocturnal, dinosaur-like
monsters.
Universal’s Blu-Ray edition of “Pitch Black” includes
both unrated and R-rated versions of the movie in excellent 1080p
transfers, each backed by effective DTS Master Audio soundtracks.
Extras include two commentaries and a myriad of supplements carried
over from prior DVD editions.
THE CHRONICLES OF RIDDICK (**, 120 [theatrical] and 135 [Unrated] mins, 2004, PG-13; Universal): Dour,
depressing sci-fi actioner picks up years after "Pitch Black," with Vin
Diesel's Riddick running around the galaxy, trying to escape the
clutches of nefarious bounty hunters. Soon, Riddick is unwillingly
propelled into a war being waged by a dark race of evil doers (lead by
Colm Feore and Thandie Newton), who are attempting to exterminate the
good people of the galaxy (Judi Dench among them).
Writer-director David Twohy's movies usually have a good deal of humor
lurking within them, but not "The Chronicles of Riddick," which comes
across as one of the densest sci- fi movies to appear since "Dune."
This is a deadly serious, pretentious film filled with unappealing
characters, claustrophobic action scenes, and a leading man who looks
out of his element at every turn. It's no surprise, then, that the film
flopped at the box-office, despite a huge budget and massive
advertising campaigns.
Universal has released several DVD variants of “Riddick,”
but Universal’s Blu-Ray edition at least includes both versions
of the movie on one dynamic looking, 50GB Blu-Ray release. The Unrated
version is 15 minutes longer than the theatrical version, and
incorporates what Twohy describes as a substantially different ending
(at least in terms of its editing). The "tragic, ironic" finale seems
to open the door for yet another sequel, but the film’s poor
box-office negated any prospects of that happening (so far).
Fortunately you can also choose the theatrical edit here, which is
superior in terms of pacing.
Other supplements include another five minutes of deleted scenes, a set
tour with Vin Diesel, a Virtual Guide to the "Riddick" Universe (the
opening narration even sounds like "Dune"!), U-Control
picture-in-picture goodies and other extras.
BROKEBACK MOUNTAIN (***, 135 mins., 2005, R; Universal):
Excellent performances from Heath Ledger and Jake Gyllenhaal marked Ang
Lee’s acclaimed 2005 adaptation of Anne Proulx’s novel, as
adapted by Larry McMurtry and Diana Ossana. Universal’s Blu-Ray
disc reprises the extras from prior releases (featurettes and
interviews, Making Of content, etc.), but adds a terrific 1080p
transfer with DTS Master Audio sound to enhance the overall
presentation. Comic Book Madness
While the concept of “Motion Comics” isn’t new, Warner’s release of WATCHMEN: THE COMPLETE MOTION COMIC (350 mins., 2008) brings the increasingly popular genre into the mainstream with this surprisingly effective adaptation.
This meticulous rendering takes each panel of Alan Moore and Dave
Gibbons’ landmark graphic novel and renders it in a vivid digital
environment with minimal movement -- but enough so that the images
aren’t totally static -- and compliments it with narration by Tom
Stechschulte, who voices each and every character. The result is oddly
absorbing and compelling, like reading the graphic novel in a sort of
“visual audio book” form. The lone odd element is
Stechschulte voicing female characters, which proves to be a
distraction, but otherwise, this is a terrific and slavishly faithful
translation of the comic book in a realm that manages to capture Moore
and Gibbons’ intentions in a production closer to its source,
quite obviously, than even Zack Snyder’s new feature film.
Warner’s Blu-Ray edition of “Watchmen: The Motion
Comic” offers the entire 12-part motion comic in exceptionally
colorful, detailed VC-1 encoded transfers. The Dolby TrueHD audio is
limited by its restrained narration track (with sound effects and
unobtrusive original score), but it works just fine, while extras
include just a brief conversation with Gibbons, a sneak preview of the
new “Wonder Woman” animated movie, bonus BD-Live extras and
a ticket voucher to the “Watchmen” movie, which will cover
roughly a matinee performance or half the price of an evening ticket.
Recommended!
More comic book craziness is also on-hand in PUNISHER: WAR ZONE (**, 103 mins., 2008, R; Lionsgate),
a movie which feels like the Cannon Group and Golan-Globus
could’ve been its producers, and which following a very-brief
theatrical run is primed for release on DVD and Blu-Ray next week from
Lionsgate.
While Marvel Comics’ big-screen arm had a sterling 2008 thanks to
the success of “Iron Man” and “The Incredible
Hulk,” this sequel to the marginally successful 2004
“Punisher” proved to be a dud for Marvel, even though the
company didn’t oversee the production of this follow-up
in-house.
It’s perhaps unsurprising given how outlandish the finished
product of “War Zone” turned out: this blood-soaked,
gore-filled, low-brow actioner to its equally odd (yet comparatively
restrained) predecessor feels more like the 1989 Dolph Lundgren
“Punisher” than the Tom Jane-John Travolta version. Here,
“Rome”’s Ray Stephenson steps into the role of Frank
Castle, still brooding over the loss of his family and seeking
vengeance on metropolitan mobsters -- including tough-guy Dominic West
(“The Wire”), who’s disfigured by our anti-hero in
the opening frames and re-appears as “Jigsaw,” the poor
man’s version of The Joker.
Make no mistake, “War Zone”isn’t a good movie, but
it’s so nutty that it’s almost appealing in its crass,
over-the-top tone. The film is so absurdly violent that you’d
never guess a female director -- in this case German kickboxing
champion Lexi Alexander -- was behind the camera, especially once
Castle dismembers an entire table of mafiosos in the opening frames.
This sets the tone for an absolutely bonkers succession of bullets and
bodies, most of which are effectively executed (at least visually) by
Alexander, who obviously left the actors alone to tackle the ridiculous
Nick Santora-Art Marcum-Matt Holloway script. That latter sentiment
shows throughout: West is so horrendously goofy here that it’s
obvious he knew he was in a piece of trash, while Doug Hutchinson, Dash
Mihok and Wayne Knight deliver equally...well, colorful performances.
On the plus side (or is it?), Stevenson is restrained and the always
lovely Julie Benz adds another role to her growing assortment of
B-movie female leads. It’s almost incomprehensibly violent, but
you have to admit that it’s never boring at the same time.
Lionsgate’s Blu-Ray edition of “Punisher: War Zone”
represents another first-class HD effort from the studio: the AVC
encoded transfer is sensational, while DTS Master Audio sound is
constantly active, filling your surround environment with effects and
Michael Wandmacher’s appropriately bombastic score. Extras
include commentary from Alexander and cinematographer Steve Gainer,
plus the trailer and several Making Of featurettes. The standard DVD
offers the same extras plus a 16:9 (2.35) transfer and 5.1 Dolby
Digital sound. More Blu-Ray New Releases
AUSTRALIA (**½, 165 mins., 2008, PG-13; Fox):
A box-office catastrophe for its studio and director Baz Luhrmann,
“Australia” is the second old-fashioned,
“continental” romance epic to flop starring Nicole Kidman.
However, much like Kidman’s other disappointment in this genre
(Ron Howard’s not-bad “Far and Away,” which at least
gave us a marvelous John Williams score), that’s not to say the
film isn’t entirely without its charms: this sprawling tale of a
proper Englishwoman (Kidman) who journeys Down Under, meets a cowboy
(Hugh Jackman) and helps him on a cattle drive during WWII is packed
with visual splendor, action and romance to spare. Luhrmann fortunately
doesn’t rely on his bag of visceral tricks to keep you engaged
for the most part here (there’s no “Moulin
Rouge”/”Romeo + Juliet” styled hyper-editing, for
example), but he does utilize his sense of spectacle to lure you in,
and “Australia” does, in spite of its silly script, keep
you engaged throughout its bloated running time. It certainly helps
that Fox’s Blu-Ray disc is a winner as well, boasting a spotless
AVC encoded transfer with vibrant DTS Master Audio sound and numerous
extras, including deleted scenes and a handful of Making Of
featurettes, profiling everything from David Hirschfelder’s score
to the cinematography and production design.
SYNECDOCHE, NEW YORK (**, 124 mins., 2008, R; Sony):
Yet another weird outing from writer-director Charlie Kaufman
(“Eternal Sunshine of the Spotless Mind”),
“Synecdoche, New York” offers Philip Seymour Hoffman as a
regional theater director with a degenerative medical condition and a
wife (Catherine Keener) who’s becoming increasingly disinterested
in his work. Hoffman turns his attention to a pair of other ladies once
she’s out of town (including Samantha Morton and Michelle
Williams), as well as his lifelong dream: a sprawling theater epic with
a massive recreation of New York City and thousands of actors at his
disposal...if he ever finishes it. Ambitious and yet nearly completely
unsatisfying and relentlessly narcissistic, “Synecdoche”
represents Kaufman at his most self-indulgent, and it goes without
saying die-hard fans of the director may be the only ones who will
appreciate the filmmaker’s offbeat tale here. Sony’s
Blu-Ray disc sports a nifty AVC encoded transfer with Dolby TrueHD
audio and several extras, including an interview with Hoffman, Making
Of content and BD Live enabled content.
RACHEL GETTING MARRIED (**, 113 mins., 2008, R; Sony):
Jonathan Demme’s latest is a strident domestic drama with Anne
Hathaway as a troubled young woman who comes home for her
sister’s wedding, only to cause much turmoil and heartache for
everyone involved. This brittle, repetitious film from writer Jenny
Lumet and Demme boasts a fine Hathaway performance in an unlikeable
role (she was deservedly nominated for an Oscar for her efforts), but
“Rachel Getting Married” is tough to take, populated with
unappealing characters and annoying hand-held camera work that makes
you feel like you’re watching reality TV. Sony’s Blu-Ray
disc includes deleted scenes, both filmmaker and cast commentaries, a
Making Of featurette, an AVC encoded transfer and Dolby TrueHD audio. New on DVD
The concept of “very special episodes” seems to have gone
by the wayside in network television today. Back in the ‘80s,
however, any sitcom you’d routinely tune into would have one of
those kind of shows, the type that often would encourage youngsters to
talk to their parents or -- in the case of that infamous
“Diff’rent Strokes” show where Arnold’s pal
Dudley was molested by a bicycle shop owner (played by Gordon Jump of
“WKRP”!) -- avoid them altogether.
Though it wasn’t always easy to watch, say, “The Facts of
Life” confront the dangers of pre-marital sex, you have to
commend the writers and producers back in those days for at least being
socially conscious and trying -- even if the results were often mixed
-- to incorporate reality into its family comedy/dramas.
One of the shows that did it best was Gary David Goldberg’s FAMILY TIES (1986-87, aprx. 12 hours; CBS/Paramount),
which in its 5th season included one of the series’ most
memorable episodes: a one-hour, deliberately theatrical show entitled
“‘A’, My Name is Alex,” with Michael J.
Fox’s Alex P. Keaton trying to recover from the loss of his
friend Greg in a car accident. The episode begins like any other
“Family Ties” episode, but, midway through, turns into a
virtual stage play, with Alex recounting his feelings about life,
death, God, his family, and the loss of his friend to an unseen,
off-camera psychologist.
It’s a tour de force for Fox, who deservedly copped an Emmy for
his work during this year (and almost certainly for this particular
episode), with the episode deftly alternating between humor and
poignant emotion in a manner that feels genuine at every turn. While
other sitcoms often brazenly incorporated either “hot
button” topics or “adult themes” just in an attempt
at scaring up ratings, this particular episode showed “Family
Ties” at its best, and it remains one of the more memorable
programs of any ‘80s network TV series. Credit goes not just to
Fox but also Goldberg and Alan Uger for penning this particular show --
like Fox, the duo also copped an Emmy for Outstanding Writing for this
program.
Paramount’s Season 5 DVD includes this episode, albeit not in its
original one-hour broadcast form (the second half of which ran without
commercials), but rather in a two-part format that abruptly pauses the
episode midway through. Apart from that, the content appears to be
unedited (the first half runs 24 minutes, the second half nearly a full
half-hour), and the rest of Season 5 looks equally good in
Paramount’s four-disc set, which includes a gag reel on the bonus
end. Fans should note that NBC also broadcast three “bonus”
episodes of “Family Ties” during the summer of 1987, and
these have also been included here in their broadcast order (though
they were shot for prior seasons and, oddly, never aired).
Also new from CBS and Paramount this month:
ANDY RICHTER CONTROLS THE UNIVERSE (2002-03, aprx. 7 hours; CBS/Paramount): Conan
O’Brien’s former sidekick (and soon-to-be “Tonight
Show” announcer) had a rough go trying to find a sitcom that
appealed to his particular brand of comedy. He came the closest to
success with this critically well-received yet short-lived Fox sitcom,
which finds Andy as a writer who often fantasizes about how life should
be. A strong ensemble cast and better-than-average writing made
“Andy Richter Controls the Universe” an engaging view, but
not enough viewers tuned in to keep it going beyond its one 2002-03,
14-episode season. CBS’ DVD includes excellent 16:9 transfers,
2.0 Dolby Stereo soundtracks and extras including two featurettes and
commentaries on select episodes from Richter and producer Victor Fresco.
SEVENTH HEAVEN: Complete Season 8 (aprx. 17 hours, 2003-04; CBS/Paramount): While
“Seventh Heaven” creator-producer Brenda Hampton has found
another major success with ABC Family’s “The Secret Life of
the American Teenager,” her long-running WB/CW series was showing
massive signs of fatigue by Season 8. Still, die-hard Camden family
fans will enjoy this five-disc, 23-episode collection of “Seventh
Heaven”’s eighth year, in 4:3 full-screen transfers and
stereo soundtracks.
THE ODD COUPLE (****, 105 mins., 1967, G; Paramount):
The original 1967 comedy classic receives its first deluxe DVD
treatment, with Jack Lemmon and Walter Matthau in their unforgettable
roles as Felix Unger and Oscar Madison, the two mismatched roommates
who spar in Neil Simon's funniest play. The movie version, directed by
Gene Saks and scored memorably by Neal Hefti, is a laugh-riot, and
demands to be seen in its original widescreen, Panavision aspect ratio
-- or not at all.
Paramount's first DVD release from nine years ago boasted a dark but
crisp new transfer, along with both a "restored" mono soundtrack and a
surprisingly good 5.1 Dolby Digital stereo remix. The sole extra was a
trailer -- something that's been rectified by Paramount's new,
double-disc "Centennial Edition," which sports a remastered 16:9 (2.35)
transfer, 5.1 audio, and numerous bonuses, including a commentary track
with the late stars' sons, Chris Lemmon and Charlie Matthau, reflecting
on the film; several Making Of segments (“In the
Beginning...”, “Memories From the Set,”
“Matthau & Lemmon,” “Inside The Odd
Couple,” “A Classic”) with comments from Neil Simon
to Brad Garrett (who appeared in a revival of the show), admirers like
Larry King and others; two different production galleries; the trailer;
and a booklet sporting production notes.
For viewers and fans, this is a terrific package for one of the
all-time great film comedies. Watching it again reminded me just how
funny it is, and how amazing Lemmon and Matthau were on-screen together
in their prime. Sadly, they really don't make 'em like this anymore.
TO CATCH A THIEF (***, 106 mins., 1955, Paramount):Third
DVD go-around for the memorable Alfred Hitchcock-Cary Grant-Grace
Kelly teaming -- presented here as part of Paramount's superb
"Centennial" double-disc editions -- includes some fresh new
featurettes as well as copious extras from the prior DVD, including a
four-part documentary presented in the same manner as
producer Laurent Bouzereau's other Hitchcock DVD supplements.
Regrettably, the new disc drops the prior commentary from Bouzereau and
Peter Bogdanovich, and replaces it with a new track by Dr. Drew Casper.
The 16:9 (1.85) transfer
and 2.0 soundtrack appear to be on the same level as Paramount's prior
releases (at least as far as my memory goes), but the added extras
should make for a recommended double-dip
(or triple-dip) for Hitchcock aficionados.
DOROTHY MILLS (**, 102 mins., 2008, R; Weinstein/Genius):
Falsely advertised as a supernatural chiller (a comparison to
“The Exorcist” appears on the front cover), this gloomy
Irish import offers a psychologist trying to find out what happened
when a chid was murdered on an isolated island, with all signs pointing
to a young girl with multiple personalities. Decent performances mark
“Dorothy Mills,” but it’s a rather lackluster affair
that turns out to have as much in common with William Peter
Blatty’s work as an episode of “Matt Houston.”
Genius’ DVD includes a fine 16:9 (2.35) transfer with 5.1 Dolby
Digital sound, a Making Of featurette and the trailer.
ELEGY (**½, 112 mins., R, 2008; Sony):
Nicholas Meyer adapted Philip Roth’s novel about a man (Ben
Kingsley) with numerous romantic involvements and little emotional
attachment to any of them -- at least until he meets a gorgeous student
(Penelope Cruz) who he develops an obsession towards. Kingsley, Cruz,
Patricia Clarkson and Dennis Hopper are all first-rate in this
leisurely romance with a tragic end, well-handled by director Isabel
Coixet. Sony’s DVD includes a 16:9 (1.85) transfer with 5.1 Dolby
Digital sound, commentary with Meyer and a Making Of featurette. New From Disney
Two efforts from a kinder, gentler (if arguably tackier) period in
family entertainment have been newly issued by Disney, just in time for
their inevitable remake/continuation: ESCAPE TO WITCH MOUNTAIN (***, 97 mins., 1975, G, Disney) and RETURN FROM WITCH MOUNTAIN (**½, 94 mins., 1978, G, Disney).
Both movies were previously issued in Special Edition DVD versions back
in 2004, then again in a double-disc set combining both discs, and now
yet again in separate packages. The good news is that, if you already
owned either of those older releases, there's little reason to revisit
them here.
The "Witch Mountain" films were above-par live-action efforts from the
Ron Miller tenure at Disney, offering fun sci-fi/fantasy stories for
kids about psychic teens Tony (Ike Eisenmann) and Tia Malone (Kim
Richards). The duo's power is exploited by evil billionaire Ray Milland
in the original film, with the Malone twins on the run from danger when
help arrives in the form of kindly camper Eddie Albert. Later, some
otherworldly stuff begins to happen, though if you haven't seen the
movie (or can't remember it), I won't spoil it for you.
Johnny Mandel scored the original film, while Lalo Schifrin took over
musical duties on the sequel, "Return to Witch Mountain" which is more
conventional and slightly less magical than its predecessor. Director
John Hough was brought back to direct the action, which this time
offers criminal masterminds Christopher Lee and Bette Davis attempting
to recruit Tony's power for their own nefarious purposes. It's more
formulaic than the original, but still entertaining considering its
target audience.
Disney's latest Special Edition DVDs of both movies offer excellent
special features -- but nothing new outside of pop-up trivia tracks for
each disc. The rest of the goodies have been reprieved from prior
editions, from the audio commentaries with Eisenmann, Richards, and
Hough on each film, along with revealing "Making Of" segments featuring
then-recent interviews with the cast and crew, plus "Vault Disney"
extras (vintage interviews, a bonus cartoon, etc.), satisfying 16:9
(1.78) widescreen transfers and remixed 5.1 Dolby Digital soundtracks.
Both are terrific packages (with bonus MovieMoney coupons to see the
new "Race to Witch Mountain," which is supposed to offer cameos from
Richards and Eisenmann in their original roles), yet have clearly been
aimed at viewers who missed their earlier DVD incarnations.
Also new from Disney is their first Platinum release of 2009: PINOCCHIO (***½, 88 mins., 1940, G),
which is set to debut this week on both DVD and Blu-Ray. This classic
Walt masterpiece has never, incredibly, been given the deluxe treatment
on DVD, as even its 2004 re-issue lacked much in the way of special
features.
That’s been rectified with a gorgeous new remastering of the
picture, presented in its proper 1.33 Academy ratio on both platforms,
with newly remixed audio and a second disc of extras. Best of the
additions is a fascinating audio commentary with Leonard Maltin, Eric
Goldberg and J.B. Kaufman, recounting the project’s history and
enduring legacy in the Disney canon. Never-before-seen deleted scenes
and an alternate ending, a comprehensive documentary, games for kids (a
trivia challenge and carnival games), a “Disney View”
expanded viewing experience and other goodies compliment the BD’s
second disc.
Visually, the picture is stunning: the standard DVD transfer is
excellent, but the AVC encoded Blu-Ray presentation really shows off
the meticulous restoration Disney went through on this picture, and the
7.1 DTS Master Audio sound is likewise satisfying (the original mono
soundtrack is also on-hand).
Note that Disney sent us the Blu-Ray version for review, which includes
the two Blu-Ray discs as well as the first DVD from the standard-def
package (I’m assuming most of the extras from the BD’s
extras disc is basically the same on the standard-def package). Also New on Blu-Ray
A MIGHTY HEART (***, 108 mins., 2007, R; Paramount):
The summer isn't usually an ideal time to release a film boasting an
expressly adult subject matter, but Paramount attempted to do just that
when they distributed the gut-wrenching "A Mighty Heart" in late June
of 2007. Alas, this vivid portrait of Marianne Pearl's (Angelina Jolie)
quest for answers concerning the whereabouts of her kidnapped (and
later slain) journalist-husband Daniel Pearl (Dan Futterman) flopped in
theaters despite receiving mostly positive reviews.
Now on Blu-Ray for the first time, "A Mighty Heart" again has a chance
to find the audience that bypassed it in theaters, though the picture
isn't without its shortcomings. Even though Michael Winterbottom's
direction is taut and Jolie's performance admirable, I felt detached
from the film in much the same way that I did while viewing "United
93." "A Mighty Heart" effectively dissects Marianne Pearl's attempts to
find Daniel and navigate through an endless maze of political channels,
yet because we all know about her husband's tragic fate, the way in
which the film unfolds comes off as predictable. The handheld
camerawork is fluid, creating a pseudo-documentary approach, yet the
rapid-fire editing (there's a cut every few seconds) tends to keep you
at arm's length as well. It's a worthwhile film, and an important one,
but it's also reserved and not entirely satisfying.
Paramount's Blu-Ray edition offers a crisp 1080p transfer with Dolby
TrueHD audio that's often restrained (the HD-DVD offered a Dolby
Digital Plus track), plus a Making Of segment with cast/crew
interviews, and public service announcements on the supplemental end.
THE KITE RUNNER (***, 127 mins., 2007, PG-13; Paramount): Marc
Forster's adaptation of the bestselling novel by Khaled Hosseini failed
to find an audience at the box-office, but it's a well-intentioned,
absorbing cinematic rendering about two boys in Taliban-ruled
Afghanistan and what happens when one of them returns there -- years
after having moved to the United States -- to pay back his debt to the
other. Excellent cinematography by Roberto Schaffer aids this well-
told tale, scripted by David Benioff from Hosseini's novel. Paramount's
Blu-Ray disc includes a highly satisfying 1080p transfer with Dolby
TrueHD audio plus commentary from the director, author and
screenwriter, the trailer and two featurettes.
THINGS WE LOST IN THE FIRE (***, 118 mins., 2007, R; Dreamworks/Paramount):
Well-performed drama stars Halle Berry as a widower who brings a
long-time friend (Benicio Del Toro) to live with her family, including
her two kids, after the tragic death of her husband (David Duchovny).
Sam Mendes was one of the producers of this little-seen 2007 romantic
drama, offering strong work from its leads, most especially Berry, who
gives a touching performance as a mother trying to hold everything
together after a devastating tragedy. Making its debut on Blu-Ray,
Paramount's 1080p transfer is excellent, while extras include seven
deleted scenes and a Making Of featurette. NEXT
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