Written by Senora Bicho
James and the Giant Peach is an animated musical by the creators of The Nightmare Before Christmas based on Roald Dahl's 1961 children's book. Originally released in theaters in 1996, a new special edition Blu-ray is now available.
James is a young boy forced to live with his aunts after a mysterious rhinoceros kills his parents. His aunts turn him into a slave and he hopes of one day going to New York City where his parents always dreamed of. One day after James heroically rescues a spider, a stranger gives him magic crocodile tongues that are intended to turn his life around. As James excitedly heads home, he trips and scatters the tongues all over the ground whereby sprouting a giant peach. The aunts turn the peach into a tourist attraction and make James pick up after the onlookers. While cleaning, and out of starvation, he takes a bite of the peach, which had one last crocodile tongue in it. This transforms James and creates an opening for him to enter the peach. At this point, the film changes from live-action to stop-motion animation. Once inside the peach, James meets a group of bugs including the spider that he rescued. While the aunts are looking for James, the peach gets loose, setting James and his new friends on an amazing journey.
I had high expectations for the film based on my love of The Nightmare Before Christmas but it doesn't quite measure up. The voice casting is at its best with Richard Dreyfus (Centipede), Susan Saradon (Miss Spider), and Jane Leeves (Ladybug). Paul Terry is adorable and perfectly lovable as James. While the story and characters are interesting, my biggest problem is the songs. I am a huge Randy Newman fan but his songs are more tailored for Pixar films. Danny Elfman would have been the better choice to fit the dark elements of this tale. Each song brought me out of the story and lost my interest. The best part of the film is an underwater scene featuring a "skellington". It is clever, original and amazing to watch.
The only new bonus feature is the game "Spike the Aunts" which gives players the chance to try and hit the aunts with a rhinoceros. The features from the previous DVD release include a production featurette, "Good News" music video, still frame gallery, and original theatrical trailer.
While the "Spike the Aunts" game doesn't offer anything extraordinary to this new release, the picture and sound quality on Blu-ray are phenomenal. It is presented with a 1080p/MPEG-4 AVC encoded transfer at an aspect ratio of 1.66:1. The details of the stop-motion characters are crisp and gives them added depth and life. The 5.1 DTS-HD Master Audio really brings you into the adventure and surrounds you with action like a Hollywood blockbuster.
If you are a fan of the film, I highly recommend the Blu-Ray edition of James and the Giant Peach. It will add to your enjoyment and provide a more theatrical experience. If you have not yet seen it, spend the extra dollars to rent the Blu-Ray version.
Tuesday, August 03, 2010
Tuesday, July 20, 2010
BREWSTER McCLOUD
Written by Musgo Del Jefe
Musgo hopes that the general film fandom out there appreciates the greatness of the Warner Archive releases. If you need a reminder - check out Musgo's musings on Don't Be Afraid Of The Dark. These releases are a perfect ways for no-frills versions of these important smaller genre and art films to find a home. The perfect example of this is the recent release of Robert Altman's Brewster McCloud.
This arty satire falls right between two of Altman's greatest flims - released after M*A*S*H (1970) and right before McCabe & Mrs. Miller (1971). Altman was really starting to find his comedic voice after the success of M*A*S*H . At the same time, he was able to create a film that went beyond just being a satire but really explored the deeper meanings of the counterculture of the late '60s and early '70s.
Brewster McCloud is our lead character played by young Bud Cort. Brewster is a youthful rebel who appears with huge glasses and a red-striped shirt like a cross between Where's Waldo and Harry Potter. He secretly lives in a fallout shelter under the Houston Astrodome. Brewster is building a pair of wings - convinced that he can fly. He is protected by his very own angel (Sally Kellerman). At the same time, people around Brewster keep showing up dead and the Houston police call in Detective Shaft (Michael Murphy) from San Francisco to help solve the crimes. Brewster meets Astrodome tour guide, Suzanne (Shelley Duvall's first role), who becomes his muse and first lover. Young Brewster wants to fly away from the world with Suzanne.
Altman breaks all kinds of storytelling conventions from the beginning to the end of the film. Even the opening MGM lion roar is replaced by a character saying "I forgot the opening line". There is a narrator, a college lecturer that starts the film talking about birds. Throughout the film we will hear his voice overdubbed giving his lecture on birds and his bird themes will mirror the action on screen. There is consistently a cacophony of sound - much like the screeches of birds. In one scene, while Detective Shaft is trying to investigate a murder scene, the other officers are talking over him about a party they are going to have. And in other places, the narrator or the music often intrudes on the dialog.
The film centers around a number of bird themes. The symbolism of birds works on so many levels that it's a perfect vehicle for Altman to tell multiple stories at once. This technique would serve Altman later on, notably in Short Cuts, where he could link many different stories with the ever present LAPD helicopters as symbols of freedom in some cases and symbols of repression in others. In the case of Brewster, the desire to fly away is certainly symbolic of his youth and innocence. But it also feeds into the counterculture's rebelling against authority. Brewster lives secretly underneath what is a symbol of Man triumphing against Nature - the Astrodome with its fake grass and artificial environment for football and baseball games. Brewster is followed around by an "angel" who was tattooed wings on her back. Even the cars fly (in a tribute to Bullitt the cars leave the ground over a hill in a long car chase scene) and have bird plates like DUV, OWL and BRD SHT.
Ultimately, Brewster is discovered by the police and tries to fly away. But he is a caged bird. The dome provides him with the environment to allow him to fly but his freedom is only an illusion because he can't escape it. Like Icarus, he flies to close to the sun and is forced to return to the fake grass that lines his cage. Has love betrayed him? As a tour guide for the Astrodome, was Suzanne just part of the machine that keeps him prisoner? Altman doesn't feel the need to answer all the questions raised in the film - it was his job to lay them out there.
The DVD release only comes with a trailer. But it doesn't really need any help. Much like Altman, the film just needs to be there to ask the questions. The viewer is left to ponder their own answers. Very few movies have the guts to do that today. And in a crazy finale, we can write the whole thing off as just a diversion if we care to, because the show ends with a full circus that introduces us to the cast, as if they are merely actors and clowns for our entertainment.
Well done, Warner Archives, well done.
Musgo hopes that the general film fandom out there appreciates the greatness of the Warner Archive releases. If you need a reminder - check out Musgo's musings on Don't Be Afraid Of The Dark. These releases are a perfect ways for no-frills versions of these important smaller genre and art films to find a home. The perfect example of this is the recent release of Robert Altman's Brewster McCloud.
This arty satire falls right between two of Altman's greatest flims - released after M*A*S*H (1970) and right before McCabe & Mrs. Miller (1971). Altman was really starting to find his comedic voice after the success of M*A*S*H . At the same time, he was able to create a film that went beyond just being a satire but really explored the deeper meanings of the counterculture of the late '60s and early '70s.
Brewster McCloud is our lead character played by young Bud Cort. Brewster is a youthful rebel who appears with huge glasses and a red-striped shirt like a cross between Where's Waldo and Harry Potter. He secretly lives in a fallout shelter under the Houston Astrodome. Brewster is building a pair of wings - convinced that he can fly. He is protected by his very own angel (Sally Kellerman). At the same time, people around Brewster keep showing up dead and the Houston police call in Detective Shaft (Michael Murphy) from San Francisco to help solve the crimes. Brewster meets Astrodome tour guide, Suzanne (Shelley Duvall's first role), who becomes his muse and first lover. Young Brewster wants to fly away from the world with Suzanne.
Altman breaks all kinds of storytelling conventions from the beginning to the end of the film. Even the opening MGM lion roar is replaced by a character saying "I forgot the opening line". There is a narrator, a college lecturer that starts the film talking about birds. Throughout the film we will hear his voice overdubbed giving his lecture on birds and his bird themes will mirror the action on screen. There is consistently a cacophony of sound - much like the screeches of birds. In one scene, while Detective Shaft is trying to investigate a murder scene, the other officers are talking over him about a party they are going to have. And in other places, the narrator or the music often intrudes on the dialog.
The film centers around a number of bird themes. The symbolism of birds works on so many levels that it's a perfect vehicle for Altman to tell multiple stories at once. This technique would serve Altman later on, notably in Short Cuts, where he could link many different stories with the ever present LAPD helicopters as symbols of freedom in some cases and symbols of repression in others. In the case of Brewster, the desire to fly away is certainly symbolic of his youth and innocence. But it also feeds into the counterculture's rebelling against authority. Brewster lives secretly underneath what is a symbol of Man triumphing against Nature - the Astrodome with its fake grass and artificial environment for football and baseball games. Brewster is followed around by an "angel" who was tattooed wings on her back. Even the cars fly (in a tribute to Bullitt the cars leave the ground over a hill in a long car chase scene) and have bird plates like DUV, OWL and BRD SHT.
Ultimately, Brewster is discovered by the police and tries to fly away. But he is a caged bird. The dome provides him with the environment to allow him to fly but his freedom is only an illusion because he can't escape it. Like Icarus, he flies to close to the sun and is forced to return to the fake grass that lines his cage. Has love betrayed him? As a tour guide for the Astrodome, was Suzanne just part of the machine that keeps him prisoner? Altman doesn't feel the need to answer all the questions raised in the film - it was his job to lay them out there.
The DVD release only comes with a trailer. But it doesn't really need any help. Much like Altman, the film just needs to be there to ask the questions. The viewer is left to ponder their own answers. Very few movies have the guts to do that today. And in a crazy finale, we can write the whole thing off as just a diversion if we care to, because the show ends with a full circus that introduces us to the cast, as if they are merely actors and clowns for our entertainment.
Well done, Warner Archives, well done.
ER: The Complete Thirteenth Season
Written by Hombre Divertido
ER: Season 13 is a treasure…hunt.On July 6th 2010, Warner Home Video released all twenty-three episodes of the classic hospital dram ER. Though there are certainly some gems in this season, one must dig through many overwritten and acted stories that include rehashed and cartoon characters.
In the opening episode, we return to Cook County Hospital in Chicago, to wrap up one of the worst cliffhangers in the history of the series. Sam (Linda Cardellini) and her son Alex (Dominic Janes) have been kidnapped by her escaped convict husband Steve (Garret Dillahunt). Jerry (Abraham Benrubi) has been shot, and unbeknownst to everyone else on staff, a pregnant and bleeding Abby (Maura Tierney) has passed out and Luka (Goran Visnjic) has been tied to a bed and intubated. Yes, there is a lot going on. Unfortunately it plays out like pure desperation on the part of the writers. The kidnapping especially is horribly contrived, poorly written and executed.
In the second episode efforts are made to get things back to order, but there are too many fragments from the first episode bomb, to make this episode worth watching.
The first gem of the season is found in the guest performance by John Mahoney as an older gay man who comes into the ER with his partner. The entire episode may not be great, but the performance by Mahoney and the direction of the episode by Stephen Cragg are.
Eventually the season does get going, and there are some fine stories and performances including those of guest stars Forest Whitaker, Sally Field, Robert Prosky, Stacy Keach, and the afore mentioned Mahoney.
In season thirteen J. P. Manoux as Dr. Dustin Crenshaw, is the primary antagonist and what would appear to be an attempt to replace Paul McCrane as Dr. Robert Romano. The character of Dr. Crenshaw is far too much of a cartoon for this series. Eventually Stanly Tucci as Dr. Kevin Moretti would take over ER operations and serve as a far superior antagonist as the character has much more depth. Also jumping into many storylines in season 13 is John Stamos as former EMT and new intern Tony Gates. In many scenes Stamos appears to be channeling a young George Clooney, and it is extremely distracting.
Though season thirteen makes a valiant effort to balance the stories revolving around the personal lives of the staff at the ER, and the stories of the patients, the failure comes in the writing of the plots for the regular cast. The episodes revolving around the love triangle between Neela (Parminder Nagra), Gates, and Ray (Shane West) is boring and the outcome is fat too contrived.
Season thirteen ends with a far more reasonable cliffhanger than that of the twelfth season, and leaves the audience with an optimistic perspective of Season fourteen.
Recommendation: Season thirteen is worth owning due primarily to the guest performances. There are more bad episodes than good, but generally the direction of the episodes in season thirteen are superior to previous seasons. Many episodes feature music that is both poignant and powerful.
Season thirteen appears to contain more sexual situations than previous seasons, and there is an unusual amount of blood as choices are made to show many of the procedures in graphic detail.
The only bonus material is the “Outpatient Outtakes” and in most cases it is clear why these scenes were deleted.
Article first published as DVD Review: ER - The Complete Thirteenth Season on Blogcritics.
Sunday, July 18, 2010
PREDATOR - Ultimate Hunter Edition (Blu-ray)
Written by Fido
Whether you’re getting “to the chopper” 23 years ago (man, has it really been that long?) or now, Predator is still one of the more purely fun Arnold Schwarzenegger movies of the ‘80s. And honestly after watching it in its now newfound glory on the ol’ Blu-Ray format, nothing has been done to displace that love.In the end, that is the best compliment I can give to an older movie being released on a new format. Simply put, this release just adds another layer of sheen onto an already fun film to watch. When it washed over you like most ‘80s action flicks did, without consequence, but fun while it lasted, it now washes over you with a shiny new coat of wax that makes it that much easier to go back and check out again.
From the opening slap handshake / bicep close-up to the ridiculously odd maniacal laugh of the vertically mouthed Predator himself, I was thoroughly entertained, yet again, by this movie - even more so, on Blu-Ray as a paramilitary group battles against the ultimate hunter from the stars in the jungles of Guatemala.Though Blu-Ray is far from the once brand new-fangled thing everyone is surprised by, I still marvel at how older movies are being churned out with this kind of quality. Whatever source they’re deriving these films from or however the process goes that cleans them up; this format has done wonders for movies like this.
Not only does it expose it to a new audience (although the now-released Predators and the accompanying ad bum-rush for these films doesn’t hurt), but it shows them that movies without the complete and utter over-use of CGI can still hold just as much attention and wonder in them as slicker effects of the now can. Sometimes practical effects, such as the man-in-suit ones of this film, really lend to a warmer / deeper feeling of immersion into a movie and its story.Anyway, that’s a rant for another time…
PictureThough I usually am pretty picky when it comes to picture, I find myself being incredibly forgiving to films that are 20-plus years old (again, ouch) being released with this kind of picture. I’m fascinated with just how this kind of cleanup is done. Movies that I saw in the theatre at their height as still pretty ragged copies are being churned out with some crazy levels of clarity. There were honestly times when watching this disc that I found myself staring more at the backgrounds (especially in the more lush jungle scenes) with a bit of awe.
It may seem pretty lame to be looking at trees when Conan, Apollo Creed, the governor of Minnesota, and everyone else is trouncing through South America blowing crap up, but I found myself hypnotized by the small details (probably unforeseen by the filmmakers at the time). The clarity is remarkable considering the notoriously careless ’80s era. There are moments when colors really pop well. The red of the blood against the intentionally flatter colors of the film are a true stand out through the whole thing.So I was saying something about being forgiving to older movies on Blu-Ray right? O.K., back to that.
Sure, there are plenty of moments in the movie when the film grain becomes a bit prominent, but it’s really hard for me to completely rip the picture when it’s derived from a source that was much less than the now-common 1080p style we’re all getting quickly accustomed to. A quick little crank down of some of the brightness took care of quite a bit of the graininess. Of course you don’t want to adjust your TV every time you watch a new disc, but if it becomes this huge distraction (which with all the movement and background detail in this movie it shouldn’t) there is an easy way around it there.The grain becomes readily apparent when there’s a static shot with one big color dominating the screen. But in most of the jungle scenes when there’s a fair amount of browns, greens and blacks playing with each other the clarity is pretty dang sweet. It’s a flatly filmed movie anyway. Meaning the depth of characters in foreground to jungle in the background or vice versa was never really a strong point of the flick to begin with. So it’s hard to hold that as a fault of the Blu-Ray release.
The most noticeable drawbacks with the picture are when the p.o.v. shots of the Predator flash up. The black levels are mediocre. They’re not as deep as they could’ve been done. Again, it could be a matter of adjustment on different sets, but I threw this into another monitor as well to check the same thing and it still had the same lack of depth in the darker colors.Movie-wise, one would hope that by the time those shots start coming in (about 20 minutes or so into the film) that you’re not that easily distracted by what turn out to be small nibbles of imperfection.
SoundIt’s nothing crazy great, but it’s a strong enough 5.1 mix that when jacked up to a not-safe-for-apartment-living level even on my modest sound system - it has palpable dynamics. The shuffling through the jungle is well handled for the source they more than likely worked from. With movies like these, ‘80s action flicks, it was never really about the tiny touches of sound as much as it was about using sound and music as another way to get a rush out of you. The spikes in the soundtrack or the stings of the sound effects are sharp enough here to still get you nice and pumped up when you’re supposed to be.
Extra StuffWhen it comes to Special Features of older films, again I’m really biased. I appreciate that film companies (and yes I know they have the material available right here, but still) go through the effort of finding deleted scenes, outtakes (which though minimal are really fun to watch by the way) and culling together some making of featurettes is great to me.
Certainly for the inflated price (my opinion only there) they charge for this format, some bells and whistles are almost mandatory any more, but it’s still good to see some care taken. With sci-fi / action / cult movies such as this it’s always cool to sit back and rifle through the previously unknown and unseen special effects blurbs (check out the red Predator suit, used to knock it clear of the green background he played against – cool beans) like the ones that are included here. “If It Bleeds, We Can Kill It: The Making Of Predator” is something I know I’ve seen cuts of on previous incarnations or somewhere on broadcast television before. It’s pretty much older interviews all pieced together.My favorite of all the stuff is still the deleted scenes (only a smattering of them – four in all), which yet again were deleted for a good reason, and the unexpected outtakes that a machismo-based flick like this produced. Though the deleted scenes and outtakes were not hi-def it’s really nothing I’d expect the manufacturers to go through the hassle of doing anyway. The fact that these special features don’t always have the best of presentation to them is nothing that detracts from the fun of watching them for me. They weren’t looking to shoot in hi-def in 1986 and it’s not something that counts as a black mark on the disc nowadays.
Not all the special features are standard def though. The preview for the now-released Predators is in hi-def as well as the reflective “Evolution of the Species: Hunters of Extreme Perfection". So if it bugs you that much, you’ve got something there. Photo galleries are photo galleries, nothing I really go back and look at ever, since most pictures have been seen or can be found online anyway.All In All
Though it’s surely a by-product of promotion, it’s always great to see an old familiar friend get its day on a new shiny format like Blu-Ray. Predator is one of those movies that, if you like it, you’re going to go buy this version of it, despite any tiny flaws in the picture or lack of hi-def special features. There’s enough here to yet again bring that wonderfully visceral feeling back that only ‘80s action flicks can give. It may not be the most stunning looking or sounding release, but it still is a blast to watch, even after Arnold’s term in government.In the end, that is the best compliment I can give to an older movie being released on a new format. Simply put, this release just adds another layer of sheen onto an already fun film to watch. When it washed over you like most ‘80s action flicks did, without consequence, but fun while it lasted, it now washes over you with a shiny new coat of wax that makes it that much easier to go back and check out again.
Article first published as Blu-ray Review: Predator - Ultimate Hunter Edition on Blogcritics.Saturday, July 10, 2010
Percy Jackson & the Olympians: The Lightning Thief
Written by Pirata Hermosa
When Rick Riordan beginning telling his children bedtime stories, he choose Greek Mythology, a subject that he was very interested in. But when he ran out of those stories and found his kids clamoring for more, he decided to make up his own stories with a hero named Percy Jackson. Even then he had no idea that he would turn them into a successful series of books, let alone a motion picture.
The film is set in modern day and focuses on Percy (Logan Lerman), a relatively normal teen diagnosed with both Dyslexia and ADHD. His only friend is Grover (Brandon T. Jackson), who he has known for years and needs to use crutches to walk. His father left when he was a baby and Percy lives with his mother, Sally (Catherine Keener) and sleazy stepfather Gabe (Joe Pantoliano).
But when the lightning bolt of Zeus is stolen from Mt. Olympus, the most powerful god blames the only person capable of accomplishing the theft. Unfortunately for Percy, that person is him. Only a demigod is capable of such an act, a half-man half-god, and it just so happens that Percy’s real father is none other than the god Poseidon. Percy has two weeks to save his mother from Hades (Steve Coogan), find the real lightning thief, and return the bolt to Zeus. If he doesn’t succeed then the gods will go to war and use the Earth as their battlefield.
The film uses many of the tales and creatures from Greek Mythology. Percy must do battle with Medusa and take on a five-headed Hydra in his quest. The special effects aren’t quite up to par with those used in The Lord of the Rings trilogy, but align well with the kind used in the Harry Potter series. Pretty good, but you can still tell that something’s not quite right.
While geared towards a younger audience, Percy can be enjoyed by everyone. The pace is quick and flows nicely between the action scenes. There's a nice comical element that threads through the film that brings just enough humor when it could easily take itself too seriously. Most films would get bogged down with too much storyline, but this has just the right mixture, and with a running time just shy of two hours you won't find yourself looking at your watch trying to find out how much time is left.
There are also several surprise big-name celebrities, such as Pierce Brosnan, Rosario Dawson as Persephone, and Uma Thurman. At first their appearance is a little jarring, but they are excellent actors with Uma giving a fun and creepy performance that is worth seeing.
The film is presented on a 50 GB Dual Layer disc with a 1080p/MPEG-4 AVC encoded transfer at an aspect ratio of 2.35:1 ratio. It is visually superior to the DVD in regards to clarity and sharpness. The only issue is that in a couple of the night scenes it is a little difficult to see everything, but since the DVD has the same issues in the same exact spots it must be a byproduct of the way it was originally filmed.
The audio is in 5.1 DTS-HD Master Audio. The sound is really good, but it could have been mixed better. Most of the scenes are quiet, but any time there is action the volume comes blaring out at such a loud volume that you’re forced to reach for the remote every few minutes to adjust the sound. Ultimately, you end up just turning everything down so as not to be caught off guard that you lose a lot of the subtlety during the quieter scenes.
Even though there are eight Special Features on the disc, it feels like everything was just thrown together kind of haphazardly. When you first put in the Blu-ray it comes up to a fairly cheap and cheesy looking menu bar that runs across the bottom of the screen. Not only is it simple, but it’s difficult to read without getting up and walking halfway across the room. All of the Special Features are short and feel like added fluff in order to have something to put on the disc.
The feature “Secrets of the Gods” has the most potential as you can move around Mt. Olympus and click on the gods, demigods and monsters. When you click on them you only get the vaguest of descriptions that even a six-year-old would already know.
Percy Jackson & the Olympians: The Lightning Thief on Blu-ray also comes a DVD copy of the film and a digital version for download to your computer.
Article first published as Blu-ray Review: Percy Jackson & the Olympians: The Lightning Thief on Blogcritics.
When Rick Riordan beginning telling his children bedtime stories, he choose Greek Mythology, a subject that he was very interested in. But when he ran out of those stories and found his kids clamoring for more, he decided to make up his own stories with a hero named Percy Jackson. Even then he had no idea that he would turn them into a successful series of books, let alone a motion picture.
The film is set in modern day and focuses on Percy (Logan Lerman), a relatively normal teen diagnosed with both Dyslexia and ADHD. His only friend is Grover (Brandon T. Jackson), who he has known for years and needs to use crutches to walk. His father left when he was a baby and Percy lives with his mother, Sally (Catherine Keener) and sleazy stepfather Gabe (Joe Pantoliano).
But when the lightning bolt of Zeus is stolen from Mt. Olympus, the most powerful god blames the only person capable of accomplishing the theft. Unfortunately for Percy, that person is him. Only a demigod is capable of such an act, a half-man half-god, and it just so happens that Percy’s real father is none other than the god Poseidon. Percy has two weeks to save his mother from Hades (Steve Coogan), find the real lightning thief, and return the bolt to Zeus. If he doesn’t succeed then the gods will go to war and use the Earth as their battlefield.
The film uses many of the tales and creatures from Greek Mythology. Percy must do battle with Medusa and take on a five-headed Hydra in his quest. The special effects aren’t quite up to par with those used in The Lord of the Rings trilogy, but align well with the kind used in the Harry Potter series. Pretty good, but you can still tell that something’s not quite right.
While geared towards a younger audience, Percy can be enjoyed by everyone. The pace is quick and flows nicely between the action scenes. There's a nice comical element that threads through the film that brings just enough humor when it could easily take itself too seriously. Most films would get bogged down with too much storyline, but this has just the right mixture, and with a running time just shy of two hours you won't find yourself looking at your watch trying to find out how much time is left.
There are also several surprise big-name celebrities, such as Pierce Brosnan, Rosario Dawson as Persephone, and Uma Thurman. At first their appearance is a little jarring, but they are excellent actors with Uma giving a fun and creepy performance that is worth seeing.
The film is presented on a 50 GB Dual Layer disc with a 1080p/MPEG-4 AVC encoded transfer at an aspect ratio of 2.35:1 ratio. It is visually superior to the DVD in regards to clarity and sharpness. The only issue is that in a couple of the night scenes it is a little difficult to see everything, but since the DVD has the same issues in the same exact spots it must be a byproduct of the way it was originally filmed.
The audio is in 5.1 DTS-HD Master Audio. The sound is really good, but it could have been mixed better. Most of the scenes are quiet, but any time there is action the volume comes blaring out at such a loud volume that you’re forced to reach for the remote every few minutes to adjust the sound. Ultimately, you end up just turning everything down so as not to be caught off guard that you lose a lot of the subtlety during the quieter scenes.
Even though there are eight Special Features on the disc, it feels like everything was just thrown together kind of haphazardly. When you first put in the Blu-ray it comes up to a fairly cheap and cheesy looking menu bar that runs across the bottom of the screen. Not only is it simple, but it’s difficult to read without getting up and walking halfway across the room. All of the Special Features are short and feel like added fluff in order to have something to put on the disc.
The feature “Secrets of the Gods” has the most potential as you can move around Mt. Olympus and click on the gods, demigods and monsters. When you click on them you only get the vaguest of descriptions that even a six-year-old would already know.
Percy Jackson & the Olympians: The Lightning Thief on Blu-ray also comes a DVD copy of the film and a digital version for download to your computer.
Article first published as Blu-ray Review: Percy Jackson & the Olympians: The Lightning Thief on Blogcritics.
Monday, July 05, 2010
Tom & Jerry: Deluxe Anniversary Collection
Written by Pirata Hermosa
The iconic cat and mouse duo is being featured in a new Deluxe Anniversary Collection, a double-DVD set containing 30 episodes spanning the entire on-screen history. Starting as a simple cartoon for theatre houses in 1940, Tom & Jerry became an immediate hit and won creators William Hanna and Joseph Barbera seven Academy Awards.
The first disc in this set contains 20 of the 30 episodes. Starting from the very first short, “Puss Gets the Boot,” the viewer is treated with the very best original episodes including multiple Academy nominees as well as all seven of the Academy Award Winners. The second disc starts off with the scene from the live-action film Anchors Aweigh where Jerry dances with Gene Kelly, and then follows up with Tom and Jerry swimming with Esther Williams in Dangerous When Wet.
While both of those were considered groundbreaking at the time, today they come across as a little flat. And while the following episodes produced by Chuck Jones are more reminiscent of his previously done Warner Bros. cartoons, they are not enough to float this second disc above mediocrity as the last five episodes are terrible and come from newer shows like The Tom and Jerry Comedy Show and Tom and Jerry Kids. After having watched all of the incredible episodes from disc one, watching the second disc was almost pure torture by contrast.
There is also a feature on the first disc titled: “Much Ado About Tom and Jerry”, which has interviews from Hanna and Barbera and discusses the cartoon's origination and what was going on behind the scenes in the world of animation. This was quite interesting, but it would have been even better with longer interview footage and a few more added stories of the creative process.
For someone who doesn’t have any Tom and Jerry DVDs already, then you might be interested in this collection. But since all but the last five cartoons on disc two are already on previously released DVDs and not up to the same standards as the others, it might be worth buying some of the other sets instead and just taking a pass at this one.
Article first published as DVD Review: Tom & Jerry: Deluxe Anniversary Collection on Blogcritics.
Monday, June 28, 2010
When You're Strange: A Film About The Doors
Written by Fantasma el Rey
Whether you’re a fan of The Doors, have a slight interest, or just like good films then When You’re Strange: A Film About The Doors is a must-see. This is the first feature documentary on The Doors and it's going to be hard to beat this one. Fast paced, informative, and entertaining in its 96-minute run time, When You’re Strange is seriously a joy and a thrill to see more than once.
Written and directed by Tom DiCillo and narrated by Johnny Depp, the film recounts the roller-coaster ride that was the five-year lifespan of The Doors. You may have read the books and seen the bio-pic, but this documentary truly brings to life the twisted, dark dream-like world of Jim Morrison and The Doors’ music. The documentary is put together using film from those hectic, exciting days, much of it never before seen which makes the tale told here even more enveloping. The real photos, footage, and audio of the stories and events that are legendary are all here.
Archival footage rolls from the get-go as we see how director DiCillo cleverly blends scenes from a film Jim Morrison made and Jim Ladd's breaking news of Morrison’s death. The great footage from the period never ends as we follow along as two UCLA Film School guys (Jim Morrison and Ray Manzarek) get together with a jazz drummer (John Densmore) and a classically trained flamenco guitarist (Robby Krieger) to put poetry to music. Along the way people and places come and go, introduced to us through the classic film and photos, so we see them as they were in days past. We hear and see people and concerts that we have read about or only seen clips of before. Not only did the cameras follow the on-stage antics but the behind-the-scenes moments in the recording studio as well as slices of everyday life with family and friends. We are with them in conflict and closeness, times together and time apart, watching as the band pulls together to pull Jim back down to earth.
When You’re Strange is more than a documentary; it’s a doorway through time that allows you to take part on the adventure through the classic years of The Doors. DiCillo puts you there as it happened and lets you get a feel, no matter how slight, of what it must have been like in those days bordering creativity and madness, through the dizzying highs and scary crashes. Depp’s calm voice and love for the band only intensifies the ride and keeps you watching with wonder and delight as we watch the events unfold like it was only yesterday they took place or last night you had this dream of old friends and strange days. The music is picked to match the scene perfectly and brings the film to life that much more. It’s easy to see why so much hype and acclaim have been showered on this film.
The DVD has only one real bonus feature but it’s enough as it is an exclusive interview with Admiral George C. Morrison, USN (Ret.) Jim’s father, who has never discussed his son’s life on camera. A very interesting look at the man that we had only slightly heard about, and mostly negative things at that. Here we see a man that may be looking back and finally seeing what it is his son was trying to do as a performer and artist.
When You’re Strange is a reminder that at a time when sunshine and flowers were the order of the day The Doors where there to remind us that there is and always will be a dark side to the world. So sit back for an hour and half and let the drama, tragedy, comedy, and of course, the music of The Doors take over and race you down the highway on a voyage where one hopes the doors of perception will be cleansed and we can see the world as it is, infinite
Article first published as DVD Review: When You're Strange: A Film About The Doors on Blogcritics.
Whether you’re a fan of The Doors, have a slight interest, or just like good films then When You’re Strange: A Film About The Doors is a must-see. This is the first feature documentary on The Doors and it's going to be hard to beat this one. Fast paced, informative, and entertaining in its 96-minute run time, When You’re Strange is seriously a joy and a thrill to see more than once.
Written and directed by Tom DiCillo and narrated by Johnny Depp, the film recounts the roller-coaster ride that was the five-year lifespan of The Doors. You may have read the books and seen the bio-pic, but this documentary truly brings to life the twisted, dark dream-like world of Jim Morrison and The Doors’ music. The documentary is put together using film from those hectic, exciting days, much of it never before seen which makes the tale told here even more enveloping. The real photos, footage, and audio of the stories and events that are legendary are all here.
Archival footage rolls from the get-go as we see how director DiCillo cleverly blends scenes from a film Jim Morrison made and Jim Ladd's breaking news of Morrison’s death. The great footage from the period never ends as we follow along as two UCLA Film School guys (Jim Morrison and Ray Manzarek) get together with a jazz drummer (John Densmore) and a classically trained flamenco guitarist (Robby Krieger) to put poetry to music. Along the way people and places come and go, introduced to us through the classic film and photos, so we see them as they were in days past. We hear and see people and concerts that we have read about or only seen clips of before. Not only did the cameras follow the on-stage antics but the behind-the-scenes moments in the recording studio as well as slices of everyday life with family and friends. We are with them in conflict and closeness, times together and time apart, watching as the band pulls together to pull Jim back down to earth.
When You’re Strange is more than a documentary; it’s a doorway through time that allows you to take part on the adventure through the classic years of The Doors. DiCillo puts you there as it happened and lets you get a feel, no matter how slight, of what it must have been like in those days bordering creativity and madness, through the dizzying highs and scary crashes. Depp’s calm voice and love for the band only intensifies the ride and keeps you watching with wonder and delight as we watch the events unfold like it was only yesterday they took place or last night you had this dream of old friends and strange days. The music is picked to match the scene perfectly and brings the film to life that much more. It’s easy to see why so much hype and acclaim have been showered on this film.
The DVD has only one real bonus feature but it’s enough as it is an exclusive interview with Admiral George C. Morrison, USN (Ret.) Jim’s father, who has never discussed his son’s life on camera. A very interesting look at the man that we had only slightly heard about, and mostly negative things at that. Here we see a man that may be looking back and finally seeing what it is his son was trying to do as a performer and artist.
When You’re Strange is a reminder that at a time when sunshine and flowers were the order of the day The Doors where there to remind us that there is and always will be a dark side to the world. So sit back for an hour and half and let the drama, tragedy, comedy, and of course, the music of The Doors take over and race you down the highway on a voyage where one hopes the doors of perception will be cleansed and we can see the world as it is, infinite
Article first published as DVD Review: When You're Strange: A Film About The Doors on Blogcritics.
Thursday, June 24, 2010
FAMILY GUY - Volume Eight
Written by Pirata Hermosa
The Griffin family is back for another 15 episodes on DVD. No, it’s not a full season. It’s the last seven episodes from season seven and the first eight episodes from season eight, a little frustrating for some fans that like to purchase and collect entire seasons at once. There are still plenty of episodes on the discs and each one can be played in either the original-airing mode or the uncut version.
People can argue about whether or not Family Guy is a good show, or that it’s lost that special magic it once had before its original cancellation. Even so, it’s still entertaining millions of people and on this DVD release has at least three standout episodes worth having.
“Not All Dogs Go To Heaven” reunites the entire original cast of Star Trek: The Next Generation after Stewie builds a working transporter and beams them all into his bedroom. Not only is this fun for fans of both shows, but it’s truly awesome to see Patrick Stewart slapping Wil Wheaton around and saying, "F*ck you" to Michael Dorn.
“Road to the Multiverse” follows Brian and Stewie as they journey through alternate realities entering worlds created by Disney as well as the world of The Flintstones, Robot Chicken, and many more. While other shows have had similar storylines, this episode is one of the best.
“Hannah Banana” is when everyone finds out all of the secrets about the evil monkey who lives in Chris’ closet and why he is really there. As an added bonus you also get to watch a cyborg Miley Cyrus get shot down off a skyscraper in homage to the famous King Kong films.
Along with the two versions of each episode, many of them have the usual director’s commentary. There is a deleted scenes section that contains several clips that could have just been added to the uncut versions. There is a karaoke feature that contains many of the various Family Guy songs throughout the entire series, a small booklet that contains the entire script to the “Road to the Multiverse” episode, and finally a featurette that discusses the making of that same episode.
Fans will be happy to add this three-disc set to their collection as it continues with its normal formulaic style and trademark stream-of-consciousness brand of humor.
Article first published as DVD Review: Family Guy - Volume Eight on Blogcritics.
The Griffin family is back for another 15 episodes on DVD. No, it’s not a full season. It’s the last seven episodes from season seven and the first eight episodes from season eight, a little frustrating for some fans that like to purchase and collect entire seasons at once. There are still plenty of episodes on the discs and each one can be played in either the original-airing mode or the uncut version.
People can argue about whether or not Family Guy is a good show, or that it’s lost that special magic it once had before its original cancellation. Even so, it’s still entertaining millions of people and on this DVD release has at least three standout episodes worth having.
“Not All Dogs Go To Heaven” reunites the entire original cast of Star Trek: The Next Generation after Stewie builds a working transporter and beams them all into his bedroom. Not only is this fun for fans of both shows, but it’s truly awesome to see Patrick Stewart slapping Wil Wheaton around and saying, "F*ck you" to Michael Dorn.
“Road to the Multiverse” follows Brian and Stewie as they journey through alternate realities entering worlds created by Disney as well as the world of The Flintstones, Robot Chicken, and many more. While other shows have had similar storylines, this episode is one of the best.
“Hannah Banana” is when everyone finds out all of the secrets about the evil monkey who lives in Chris’ closet and why he is really there. As an added bonus you also get to watch a cyborg Miley Cyrus get shot down off a skyscraper in homage to the famous King Kong films.
Along with the two versions of each episode, many of them have the usual director’s commentary. There is a deleted scenes section that contains several clips that could have just been added to the uncut versions. There is a karaoke feature that contains many of the various Family Guy songs throughout the entire series, a small booklet that contains the entire script to the “Road to the Multiverse” episode, and finally a featurette that discusses the making of that same episode.
Fans will be happy to add this three-disc set to their collection as it continues with its normal formulaic style and trademark stream-of-consciousness brand of humor.
Article first published as DVD Review: Family Guy - Volume Eight on Blogcritics.
Saturday, June 12, 2010
Firefly: Still Flying: Celebration of Joss Whedon’s Acclaimed TV Series by Joss Whedon
Written by Pirata Hermosa
On the heels of his incredibly successful Buffy the Vampire television series, Joss Whedon introduced another creation called Firefly. With everyone expecting another smash hit from the mastermind, it was a complete shock to many that his new show, which was a cross between a western and science fiction, was not only canceled in its first season, but before all of the episodes had even aired. And it’s even more shocking because it has such a rabid fan base that has not only kept the stories alive for the last eight years, but it also pressured the film industry to make a major motion picture based on the show called Serenity.
But if you’re reading this review, you should already know that. And if you’re even considering reading this book, then you must be a fan of the show. If you haven’t even heard of the television show, then this book is not for you.
There have been two previous companion books released dealing with more specific details of the show, while this is more along the lines of what you might learn if you went to a science-fiction convention. There are a lot of comments about on-set hi-jinks, how much the fans have meant to them, and what it was like to be part of something that has had such longevity.
A number of the sections are broken down by the specific characters on the show. Each character has several stills from the show along with quotes from the actors about their character. All of these are taken from either website interviews or transcribed from what they said during any number of sci-fi conventions. Having been to a number of conventions myself, it was easy to picture them on stage and even imagine myself being at one of the Firefly conventions. It does make for an interesting read for that reason, but a lot of the uniqueness would probably be lost on someone who can’t pull from that similar experience.
The book is filled with photos from the show. Not only are the actors featured in these photos, but a lot of the props, sets and CG animation as well. There is a section showing various hand-held weapons, what they are really made of, and where the ideas came from. There is a section on the wardrobe of the cast showing various photos as well as the preliminary drawings. And of course, you can’t forget the drawings, models and animations of the space ships themselves.
There are also four new pieces of fiction from former writers of the show in the book:
“What Holds Us Down” is a very short story about Kaylee and Wash as they try to steal parts from a junkyard to fix Serenity, but find themselves being hunted down as Kaylee tries frantically to fix another ship and escape.
“Fun with Dick and Jayne” is two cartoons comparing the old Dick and Jane books we all read as children but substituted with a sick and violent Jayne from the show.
"Crystal” is another short story about River as she walks around Serenity telling the crew members what will happen to them in the future, but mostly how each will die.
“Take the Sky” is a look into the far future when Mal is old and he receives a message from Zoe that Jayne has died. It also gives a brief and sad look of what happened to the crew and where they are, just before Mal decides to do something that will once again alter the course of his life.
There is a lot of interesting material to read and experience in the book, but with a lot of the comments coming directly from conventions and entire sections dealing with the convention experience and what endeavors the current fan base is still involved in today, this is obviously a book dedicated to the fans. Certainly not a difficult book to read, but one that only true fans will understand and enjoy.
Article first published as Book Review: Firefly: Still Flying: Celebration of Joss Whedon's Acclaimed TV Series by Joss Whedon on Blogcritics.
On the heels of his incredibly successful Buffy the Vampire television series, Joss Whedon introduced another creation called Firefly. With everyone expecting another smash hit from the mastermind, it was a complete shock to many that his new show, which was a cross between a western and science fiction, was not only canceled in its first season, but before all of the episodes had even aired. And it’s even more shocking because it has such a rabid fan base that has not only kept the stories alive for the last eight years, but it also pressured the film industry to make a major motion picture based on the show called Serenity.
But if you’re reading this review, you should already know that. And if you’re even considering reading this book, then you must be a fan of the show. If you haven’t even heard of the television show, then this book is not for you.
There have been two previous companion books released dealing with more specific details of the show, while this is more along the lines of what you might learn if you went to a science-fiction convention. There are a lot of comments about on-set hi-jinks, how much the fans have meant to them, and what it was like to be part of something that has had such longevity.
A number of the sections are broken down by the specific characters on the show. Each character has several stills from the show along with quotes from the actors about their character. All of these are taken from either website interviews or transcribed from what they said during any number of sci-fi conventions. Having been to a number of conventions myself, it was easy to picture them on stage and even imagine myself being at one of the Firefly conventions. It does make for an interesting read for that reason, but a lot of the uniqueness would probably be lost on someone who can’t pull from that similar experience.
The book is filled with photos from the show. Not only are the actors featured in these photos, but a lot of the props, sets and CG animation as well. There is a section showing various hand-held weapons, what they are really made of, and where the ideas came from. There is a section on the wardrobe of the cast showing various photos as well as the preliminary drawings. And of course, you can’t forget the drawings, models and animations of the space ships themselves.
There are also four new pieces of fiction from former writers of the show in the book:
“What Holds Us Down” is a very short story about Kaylee and Wash as they try to steal parts from a junkyard to fix Serenity, but find themselves being hunted down as Kaylee tries frantically to fix another ship and escape.
“Fun with Dick and Jayne” is two cartoons comparing the old Dick and Jane books we all read as children but substituted with a sick and violent Jayne from the show.
"Crystal” is another short story about River as she walks around Serenity telling the crew members what will happen to them in the future, but mostly how each will die.
“Take the Sky” is a look into the far future when Mal is old and he receives a message from Zoe that Jayne has died. It also gives a brief and sad look of what happened to the crew and where they are, just before Mal decides to do something that will once again alter the course of his life.
There is a lot of interesting material to read and experience in the book, but with a lot of the comments coming directly from conventions and entire sections dealing with the convention experience and what endeavors the current fan base is still involved in today, this is obviously a book dedicated to the fans. Certainly not a difficult book to read, but one that only true fans will understand and enjoy.
Article first published as Book Review: Firefly: Still Flying: Celebration of Joss Whedon's Acclaimed TV Series by Joss Whedon on Blogcritics.
THE KARATE KID (2010) Loses Too Many Battles
Written by Hombre Divertido
Set in present-day China, young Dre (Jaden Smith) is forced to adapt to a new environment after his mother (Taraji P. Henson) is relocated from Detroit by her employer. During his first day in China, Dre manages to make an American friend (Luke Carberry), meet the apartment handyman (Jackie Chan), catch the eye of a local girl (Wenwen Han), and gets beat up by the neighborhood bully (Zhenwei Wang).
Yes; “his mother”, “American friend”, “apartment handyman”, “local girl”, and “neighborhood bully” are all accurate, and the titles are as developed as the one-dimensional characters and performances in this film, which is ultimately its downfall.
The supporting actors in The Karate Kid are given little to do, while the lead actors, who are given room to stretch their thespian limbs, land extremely limited blows. Jaden Smith gives a reasonably enjoyable performance, but in many scenes, his inexperience is evident. He has managed to learn to deliver a well-timed, poignant look when needed, but the skill of doing the same verbally with any consistency still eludes the young actor. Even more disappointing in the film is the performance of Jackie Chan, though ultimately the responsibility for this falls on the writers and director. Chan has proven over his career that he posesses the ability to display not only energy on screen, but excellent comedic timing as well. In The Karate Kid Chan is relegated to lumbering around and delivering one solemn line after another.
Eventually Mr. Han the Handyman manages to teach The Karate Kid enough kung fu to defeat all the local kids, who grew up learning the art form, in a tournament and thus earn their respect. Unfortunately this takes well over two hours and plods along at a pace that seems as painful as trying to sit through an episode of the 1989 Karate Kid Saturday-morning cartoon series.
The comparison of this film to the 1984 is inevitable, and the 2010 version fails monumentally. Though advertised by many associated with the film prior to its release as not a remake, the 2010 version follows the same story as the original too excessive detail in storytelling and dialog. In essence, all that was done was to take a familiar story and place it in an unfamiliar environment, though there are other detrimental changes as well. The roles of the supporting characters have been whittled down to stereotypes, the humor and personality have been extracted from all involved, the creative training techniques have been reduced to wardrobe changes, and the action sequences are poorly choreographed and filmed. All this was done while somehow managing to make the story longer.
We may not have liked the villains in the original film, but they were relatable. They all had names; we knew who they were and what they were about. Not so in the new release.
We loved Daniel (Ralph Macchio), Mr. Miyagi (Noriyuki 'Pat' Morita), and Mrs. Larusso (Randee Heller) in the original. They had a sense of humor. There is no humor in this new film, and the portrayal of Dre’s mother by Taraji P. Henson exceeds the level of one-dimensional annoyance established by anyone in the 1994 film The Next Karate Kid. Was Jada Pinkett Smith too busy to step in here?
Recommendation: The filmmakers should be chastised for taking the beloved, energetic, and humorous mentor Mr. Miyagi and turning him into the humorless lump Mr. Han, who does nothing but beat up twelve-year-olds, and yell “Focus!” throughout the entire climactic scene of the film.
The 2010 version of The Karate Kid is trite and manipulative storytelling at its worst. Showing us that Dre’s father is dead in the first scene of the film, and then later showing us that Mr. Han’s family was killed, in hopes of a bonding along with the characters shows little respect for the audience.
Don’t do it. Watching the original or its two sequels would be a far more pleasurable experience.
Article first published as Movie Review: The Karate Kid (2010) Loses Too Many Battles on Blogcritics.
Set in present-day China, young Dre (Jaden Smith) is forced to adapt to a new environment after his mother (Taraji P. Henson) is relocated from Detroit by her employer. During his first day in China, Dre manages to make an American friend (Luke Carberry), meet the apartment handyman (Jackie Chan), catch the eye of a local girl (Wenwen Han), and gets beat up by the neighborhood bully (Zhenwei Wang).
Yes; “his mother”, “American friend”, “apartment handyman”, “local girl”, and “neighborhood bully” are all accurate, and the titles are as developed as the one-dimensional characters and performances in this film, which is ultimately its downfall.
The supporting actors in The Karate Kid are given little to do, while the lead actors, who are given room to stretch their thespian limbs, land extremely limited blows. Jaden Smith gives a reasonably enjoyable performance, but in many scenes, his inexperience is evident. He has managed to learn to deliver a well-timed, poignant look when needed, but the skill of doing the same verbally with any consistency still eludes the young actor. Even more disappointing in the film is the performance of Jackie Chan, though ultimately the responsibility for this falls on the writers and director. Chan has proven over his career that he posesses the ability to display not only energy on screen, but excellent comedic timing as well. In The Karate Kid Chan is relegated to lumbering around and delivering one solemn line after another.
Eventually Mr. Han the Handyman manages to teach The Karate Kid enough kung fu to defeat all the local kids, who grew up learning the art form, in a tournament and thus earn their respect. Unfortunately this takes well over two hours and plods along at a pace that seems as painful as trying to sit through an episode of the 1989 Karate Kid Saturday-morning cartoon series.
The comparison of this film to the 1984 is inevitable, and the 2010 version fails monumentally. Though advertised by many associated with the film prior to its release as not a remake, the 2010 version follows the same story as the original too excessive detail in storytelling and dialog. In essence, all that was done was to take a familiar story and place it in an unfamiliar environment, though there are other detrimental changes as well. The roles of the supporting characters have been whittled down to stereotypes, the humor and personality have been extracted from all involved, the creative training techniques have been reduced to wardrobe changes, and the action sequences are poorly choreographed and filmed. All this was done while somehow managing to make the story longer.
We may not have liked the villains in the original film, but they were relatable. They all had names; we knew who they were and what they were about. Not so in the new release.
We loved Daniel (Ralph Macchio), Mr. Miyagi (Noriyuki 'Pat' Morita), and Mrs. Larusso (Randee Heller) in the original. They had a sense of humor. There is no humor in this new film, and the portrayal of Dre’s mother by Taraji P. Henson exceeds the level of one-dimensional annoyance established by anyone in the 1994 film The Next Karate Kid. Was Jada Pinkett Smith too busy to step in here?
Recommendation: The filmmakers should be chastised for taking the beloved, energetic, and humorous mentor Mr. Miyagi and turning him into the humorless lump Mr. Han, who does nothing but beat up twelve-year-olds, and yell “Focus!” throughout the entire climactic scene of the film.
The 2010 version of The Karate Kid is trite and manipulative storytelling at its worst. Showing us that Dre’s father is dead in the first scene of the film, and then later showing us that Mr. Han’s family was killed, in hopes of a bonding along with the characters shows little respect for the audience.
Don’t do it. Watching the original or its two sequels would be a far more pleasurable experience.
Article first published as Movie Review: The Karate Kid (2010) Loses Too Many Battles on Blogcritics.
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