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"TRUE BLOOD: THE COMPLETE FIRST SEASON"
“TERMINATOR 2: SKYNET EDITION"
“THE GOOD, THE BAD AND THE UGLY”
"THE MAN WHO SHOT LIBERTY VALANCE: CENTENNIAL COLLECTION”
"EL DORADO: CENTENNIAL COLLECTION”
“PIGS, PIMPS & PROSTITUTES: 3 FILMS BY SHOHEI IMAMURA”
“BATMAN: 20TH ANNIVERSARY EDITION”
“FRIDAY NIGHT LIGHTS: THE THIRD SEASON”
Blu-ray widescreen and DVD widescreen, 2008, PG-13 for war violence and brief language
Best extra: An exclusive two-hour Blu-ray documentary from Kevin Burns (brother of Ken Burns) highlighting the 12-year rise and fall of the Third Reich. It includes interviews from historians and surviving family members of the co-conspirators who tried to kill Adolf Hitler.
EVEN THE BEST laid plans go awry. Case and point: German officer Col. Claus von Stauffenberg (Tom Cruise) orchestrated a master plot involving dozens that would have assassinated the Führer and overthrown the Nazi regime all in a single day. This one act could have saved Europe and millions of lives.
But, on “Plot Day” July 20, 1944, small details start to unravel. By day’s end, Hitler would survive the attack and Stauffenberg and his key officers are rounded up and executed by firing squad.
In one of the six hi-def documentaries, screenwriter Christopher McQuarrie (“The Usual Suspects”) reveals how he discovered this German resistance story while vacationing in Berlin. A day of touring ended up at a plaque in a courtyard – the only commemoration in Berlin that honors any German soldiers from World War II. The names of Stauffenberg and three others were noted, marking the spot where they were killed.
Director Bryan Singer (“X-Men”), McQuarrie’s childhood buddy, joined the project with actor/executive producer Cruise. Singer and McQuarrie had always wanted to make a movie about WWII. As kids, they used the family video camera to shoot war movies in the backyard. “This time we have better uniforms, better helmets, real planes and TOM CRUISE!” says Singer.
An all-star cast of mostly U.K. actors play the varying German officers including Kenneth Branagh, Tom Wilkinson, Terence Stamp, Bill Nighy and Eddie Izzard.
The Blu-ray imagery is remarkable; nothing is out of focus and German footage is superb. A North African battle scene is a real workout for your subwoofer. Be ready!
The Blu-ray and DVD include two compelling commentaries: One with Cruise, McQuarrie and Singer, and a second track with co-writers McQuarrie and Nathan Alexander. There are plenty of anecdotes with historical perspective; don’t miss them.
— Bill Kelley III
Blu-ray widescreen, 1998, G
Best extra: Filmmakers’ roundtable – a new addition to Blu-ray – with co-directors John Lasseter and Andrew Stanton and producers Darla Anderson and Kevin Reher
ONE LOOK AT Disney/Pixar’s "A Bug’s Life" in HD reminds you how far computer-generated animated films have come in the past 11 years. That’s not to say that this film, which came out sandwiched between "Toy Story" and "Toy Story 2," doesn’t hold a place in the annals of fabulous CGI movies. It’s just to say advances have been made.
Regardless, "A Bug’s Life" is a beautiful, colorful story about a group of ants and their fight against oppressive, angry grasshoppers. Throw in some circus bugs to help the fight, and you have a funny, heartwarming tale.
Much of what is on this Blu-ray is transferred from the standard-def DVD, including a commentary and various making-of featurettes.
What’s new is the roundtable taped in hi-def, showcasing a fabulous conversation between four colleagues who truly love this movie, not to mention some great stories, especially the one about showing the film to former president Bill Clinton at Camp David. There’s also a look at the first draft narrated by actor Dave Foley, who voiced Flik in the move, BD Live features and a coupon for a free ticket to Disney/Pixar’s upcoming movie, "Up."
Enjoy this Blu-ray version – you’ll see something new every time you watch it, it’s so greatly detailed. You also can leave the main menu up and listen to some bugs as if you were in the great outdoors. All that’s missing is a tent.
— Toni Guagenti
Blu-ray widescreen and DVD widescreen, 2009, PG for some violence, mild, crude and suggestive humor and language
Best extra: Commentary with actor/producer/writer Kevin James ("King of Queens") and producer Todd Garner
IF YOU WANT TO find out the different between free running and parkour, "Paul Blart: Mall Cop" is the movie for you.
Part of those "trends" play a role in the movie (and are explained in a bonus feature) about a state-trooper-wanna-be with hyperglycemia who takes his job as a mall security officer too seriously. Luckily, that pays off in the end.
It’s amazing to learn part of this movie was filmed in a mall, at times during normal business hours with everyday shoppers, outside of Boston. The HD works well when you’re looking at the mall’s details, including stores and promotional materials. The Dolby TrueHD sound also shines.
For special features (all in hi-def), "Mall Cop’s" are standard including 10 deleted scenes, the funny commentary and myriad featurettes highlighting James’ self-performed stunts, the pro skateboarders and free runners who played the bad guys.
The Blu-ray also includes a digital copy and bonuses exclusive to Blu-ray, cinechat and BD Live.
— Toni Guagenti
"TRUE BLOOD: THE COMPLETE FIRST SEASON"
Blu-ray widescreen and DVD widescreen, 2008, TV-MA with language, violence and nudity
Best extra: Academy Award winner Alan ("American Beauty") Ball's commentary on the pilot offers more insights than the disappointing Blu-ray enhanced viewing mode.
FOR THOSE TIRED of "Twilight's" nauseatingly sweet vampire romance, "True Blood" should restore your faith in these mythic creatures of the night by providing a healthy dose of nastiness. Anna Paquin won a Golden Globe for Best Actress in a Television Series for her portrayal of Sookie Stackhouse, Louisiana barmaid and psychic, who falls for Stephen Moyer's brooding Civil War era bloodsucker.
The HBO series is based on Charlaine Harris' books about Sookie's adventures. Here vampires have "come out of the closet," surviving off synthetic “True Blood” instead of the human kind, and are now a controversial part of society demanding equal rights. Werewolves and witches are also thrown into the mix as well as humans addicted to vampire blood.
The Blu-ray sparkles with a terrific transfer. The Louisiana setting seethes with sweat and heat; skin tones and colors are beautiful. Equally impressive is the uncompressed audio track that brings the meticulously crafted sound design to life. Dialogue is crystal clear and there are plenty of effects leaping around your speakers and rumbling bass to show off the character's supernatural powers.
Unfortunately, the extras exclusive to the Blu-ray are disappointing. While six commentary tracks feature various directors and cast members offering a healthy dose of behind-scenes info, the enhanced viewing plays more like a vacant lot with barely 10 minutes of material for each hour-long episode. Gaps between pop ups are spaced too far apart, whether its show regular Lafayette dishing out town gossip or commercials and public service announcements from the show.
Alan Ball delivers the most info on his track, speaking candidly about the budgetary restrictions he faced in shooting the pilot (he was forced to create New Orleans in Los Angeles). He also delves into his love of Harris' novels and his desire to stay true to the storylines and characters. He gushes happily about his cast, including Paquin, surprised she was even interested in the role because of her movie career.
"True Blood" is for adults, offering an abundance of graphic violence, simulated sex and nudity. It's also one of the best shows on TV from the same team that brought audiences "Six Feet Under."
— Josh Boone
Blu-ray widescreen and DVD widescreen, 2009, R, graphic, brutal horror violence and grizzly images throughout, some strong sexuality, graphic nudity and language
Best extra: The deleted scenes (only in standard-def) are quite revealing, giving reasons why coal miner Harry Warden was so hated. Maybe the cut footage should’ve been included?
THIS IS A GREAT chop-em up horror thriller retold. The original from Canadian director George Mihalka was made in the early 1980s and featured the same killer – Harry Warden – who wreaks havoc on a small Pennsylvania mining town by use of a pickax on Valentine’s Day.
The two-disc Blu-ray and DVD come with four 3-D glasses of the green and red variety. This 3-D fad leaves a lot to be desired – especially for the home theater. Only the opening and closing credits really work. Most of movie has a pinkish tint, even with Blu-ray (basically caused by the glasses). So, until Hollywood can develop a Blu-ray player and a HDTV without those crazy two-color lenses, we’ll happily settle for the flat 2D version.
The Blu-ray imagery has a soap opera video look, since it was taped entirely using hi-def video cameras.
Just like most slasher flicks, it’s stocked with a bunch of no-name actors including Jaime King (Sarah), Jensen Ackles (Tom), Kerr Smith (Alex), Edi Gathegi (Deputy Martin), Kevin Tighe (Ben) and Megan Boone (Megan).
The disc features a commentary with director Patrick Lussier and co-writer Todd Farmer, which is useless unless you’re into backslapping comments about how great everyone was on the set. The standard-def featurette “Deep inside My Bloody Valentine” and “Sex, Blood, And Screams” include interviews from the cast and crew and the puppet director, who provides details into the gory prosthetics effects.
— Ryan Healy
“TERMINATOR 2: JUDGMENT DAY - SKYNET EDITION”
Blu-ray widescreen, 1991, R for sci-fi violence and language
Best extra: The pop-up interactive feature with seven modes
HERE WE GO AGAIN! Lionsgate Home Entertainment, the king of double-dipping, has just released another home video version of James Cameron’s sci-fi classic. On DVD, “T2” already holds the record for the most editions – four so far. Now comes the second Blu-ray “Skynet Edition” released just to ride the coattails of “Terminator Salvation,” the $200 million adventure starring Christian Bale opening May 21.
Clearly, it is a major upgrade to the previous Blu-ray (2007) when it comes to the extras. For example, it includes both the Theatrical Version and the Extended Cut with seamless transition.
The picture-in-picture "Interactive Modes" include a wealth of “T2” lore and information. But beware, it’s a little tough to launch. Once there, it includes dozens of behind-scenes clips matching the action on screen – with interviews from the director, Linda Hamilton, cast director Mali Finn, FX creator Stan Winston and more. Also, there are multi-text commentaries, a trivia track, rolling script, storyboards and mini-games.
The two commentaries, both of which have appeared on multiple releases, are here yet again. The track with Cameron and co-writer William Wisher discussing the scriptwriting and story development (dating back to the laser disc) is better than the messy one featuring 26 members of the cast and crew edited together from various behind-scenes interviews. The only other extras are six minutes of deleted scenes and the theatrical trailers (both in HD).
NOW, THE BAD NEWS! The “T2” Blu-ray still suffers from the softest looking hi-def picture ever. Where’s the natural film grain? Actors faces are waxy and without detail, a sure sign of digital noise reduction. Digital scrubbers or something has ruined this edition.
So, we’re guaranteed at least one more Blu-ray to fix this blunder.
— Josh Boone/Bill Kelley III
Blu-ray widescreen, 1988, PG for mild sensuality and language
Best extra: They’re all rehashed from the recently released special edition. But if you haven’t checked any of them out, commentary (theatrical version only) by co-producers/co-writers Gary Ross and Anne Spielberg is spot on
OUTDATED HAIRSTYLES, CLOTHES and toys come through loud and clear in the Blu-ray version of "Big," a movie that made Tom Hanks a superstar and Penny Marshall a highly sought after director.
While the transfer to high definition is laudable, the quality isn’t necessarily spectacular. By watching the trailers and the extras in standard-def, you can see the improvement, but it’s not the best one out there. The same goes for the Dolby digital sound.
Regardless, this movie where Hanks plays a 12-year-old who asks a Zoltar machine to grant his wish to be “big” is a keeper. The journey he takes to get back home to his best friend and family is priceless.
In addition to the theatrical and extended versions, the Blu-ray also offers eight deleted scenes, including five with introductions by Marshall, AMC’s "Backstory" about "Big," a brief look at the red-carpet opening, and three featurettes that delve into writing, casting, financing and producing the blockbuster hit.
— Toni Guagenti
Blu-ray widescreen, 2004, R for violence, disturbing images, sexuality, language
Best extra: The new hi-def feature “The Machinist: Hiding in Plain Sight.”
FOR HIS FIRST FILM, writer Scott Kosar says he wanted to spin a story straight out of the Dostoevsky/Kafka playbook. Like the copy of “The Idiot” wasn’t a dead giveaway.
“Hiding in Plain Sight” runs down other clues – the compulsive hand-washing, the Hangman Post-It notes, clocks stuck at 1:30 – that something is eating at Trevor Reznik. The machinist, who hasn’t slept in a year and whose body and mind are deteriorating, is living a nightmare that may, or may not, be of his own making.
(Tip: If you haven’t seen the movie, save the feature for afterward.)
Clue No. 1, of course, is the appearance of Christian Bale, who dropped more than 60 pounds to play Reznik. The first shots of him – staring hollow-eyed out a window, rolling his hips bare chested in a doorway – set the haunting tone. In “Manifesting the Machinist,” the other new hi-def feature, one critic says it was 20 minutes before he realized he was looking at Bale. It’s no exaggeration.
The arrival of “The Machinist” on Blu-ray is no doubt tied to this week’s opening of “Terminator Salvation.” Whatever, it works. Blacks – and there are lots of them – are deep and true, and while there isn’t much grain, the picture doesn’t suffer. Director Brad Anderson (“Session 9”) isn’t big on action sequences and quick cuts; rather, he lets the story unfold at its own eerie pace, leaving time for viewers to linger over the details. The lossless soundtrack, which leans on the Theremin, benefits in the same way.
Other extras were picked up from the 2005 DVD: A commentary with Anderson, the feature “The Machinist: Breaking the Rules” and deleted scenes.
— Craig Shapiro
"THE GOOD, THE BAD AND THE UGLY"
Blu-ray widescreen, 1966, R for violence, gore, language and adult situations
Best extra: Commentaries! One by Eastwood biographer and film historian Richard Schickel, and a new one from cultural historian and Leone expert Christopher Frayling.
SERGIO LEONE’S CLASSIC spaghetti western, “The Good, The Bad and The Ugly,” makes its debut for Memorial Day. What a natural to go with fireworks, picnics and a whole lot of hoopin’ and hollarin’. After all, Clint Eastwood – as actor or director – stands right up there with John Wayne as an American icon of the Old West ... even if the movie was made in Spain.
You’ll find a good picture on this 1080p – not the best transfer to high-def, but certainly several shots above previous DVD ventures. Spanish scenery, standing in for Western canyons and deserts, look wide and open and thrilling. Detail is excellent, especially in clothing and complexions. (Everyone is grimy. We’ve got sweat in 3-D.) Audio suffers, as you could only imagine it would. Dubbing and a 40-year-plus soundtrack can’t turn this burro into a thoroughbred, despite the Ennio Morricone score.
But you will find plenty of extras, including all the features from the two-disc “Special Edition” released in June 2007. Included are the making-of feature, “Leone’s West”; “The Leone Style,” a feature on the director; a documentary on the Civil War with a focus on Confederate general Henry Hopkins; a look at the restoration process, a documentary on composer Morricone, deleted scenes and trailers.
— Mike Reynolds
"THE MAN WHO SHOT LIBERTY VALANCE: PARAMOUNT CENTENNIAL COLLECTION”
DVD Widescreen, 1962, not rated, action violence
"EL DORADO: PARAMOUNT CENTENNIAL COLLECTION”
DVD Widescreen, 1966, not rated, action violence
Best extra: Both "Valance" and "El Dorado" have seven-part documentaries highlighting talent involved. Filmmaker, critic, and historian Peter Bogdanovich culls his notes from a 1966 interview with "Valance" director John Ford a segment where Ford is explaining how a scene where Vera Miles knocks a lamp in her kitchen is an accident. "Most of the good stuff in movies is accidents," Ford says. In a later interview, Orson Welles agrees.
OSTENSIBLY RELEASED AS classic John Wayne westerns – which, of course, they are – the "The Man Who Shot Liberty Valance" and "El Dorado" from the Paramount Centennial Collection are loving tributes to two of America's great directors as they made their last great westerns.
John Ford's "The Man Who Shot Liberty Valance" casts a somewhat anti-heroic Wayne as a tough rancher/gun-hand smitten with Vera Miles, only to watch her heart be stolen by bookish lawyer Jimmy Stewart as everyone in the town of Shinbone attempts to deal with the gleefully loathsome Lee Marvin as the title character
Howard Hawks' "El Dorado" has oft been called a re-make of his "Rio Bravo" – probably because it was. With a script by sci-fi legend Leigh Brackett, The Duke and a young James Caan come to the aid of alcoholic sheriff Robert Mitchum as his town of "El Dorado" becomes the battle ground in a range war driven by baddies Ed Asner and Christopher George.
Both films come in boxed, two disc sets, the feature film on one, extras on the other. (Commentary tracks are on the feature discs, of course.) Bogdanovich provides commentary for "Valance," enhanced by recordings of some of his interviews with the principals, scene specific commentary by Ford's grandson, Jack Ford, with recordings of John Ford, Jimmy Stewart and Lee Marvin.
As previously noted, both films have a seven chapter documentary with critical commentary by Bogdanovich, Richard Schickel and others along with archival footage and interviews with Wayne, Stewart and Marvin. Former Paramount producer A.C. Lyles reminisces about John Wayne among the "El Dorado" extras. Each classic provides theatrical trailers, production art, stills and galleries.
If "The Man Who Shot Liberty Valance" or "El Dorado" happen to be among your favorite westerns, you should make an effort to pick one up from the Paramount Centennial Collection.
— Mike Reynolds
DVD widescreen, 1973, R for violence and language
Best extra: A commentary by director Peter Yates
OF THE TWO DOZEN or so films he’s directed, “Eddie Coyle” is in the top three, says Peter Yates. (The other two? “Breaking Away” and “The Dresser.”)
It’s hard to argue with his reasons. One, he was working mostly with actors from the theater. They weren’t interested in being driven around in a Rolls, Yates says in his commentary. They wanted to act. Two, the cast put in two weeks of rehearsal, so when the cameras rolled, everyone was ready.
There are a few other reasons. There was Boston – everything was shot on location – and there was Robert Mitchum as Coyle, a small-time hood whose loyalty is tested when he’s faced with a stretch in the slam. Yates talks about the subtlety and reality of Mitchum’s performance and the “stillness” that was his acting style. Some people have mistaken that for laziness. Not true, Yates says.
He also says that “Eddie Coyle,” another feather in the Criterion cap, is one of Mitchum’s best performances.
— Craig Shapiro
“PIGS, PIMPS & PROSTITUTES: 3 FILMS BY SHOHEI IMAMURA”
DVD widescreen, 1961, 1963 and 1964, unrated, violence, language, sexuality
Best extras: Interviews with critic/historian Tony Rayns included on each film
THE HISTORY OF THE Japanese film industry isn’t unlike that in America. A studio system was in place for decades, but in the early ’50s, there was a problem: Television was cutting into the audience and the studios had to figure out how to get folks back into the theaters.
In his interview for “Pigs and Battleships,” Tony Rayns, who did the excellent commentary for Criterion’s recent release of “In the Realm of the Senses,” says Imamura wasn’t interested in the old formula. “He wanted to explore different film languages and structures.”
Imamura also was part of a new breed (including “Realm’s” Nagisa Oshima) who sensed that Japan was changing and that “it was incumbent on them as artists to get to grips with this.”
Imamura, in particular, was fascinated with Japan’s “lower depths” and how men – fundamentally weak and foolish – and women – tougher, enduring, more likely to adapt – were defined in that environment.
That’s the central theme in “Pigs and Battleships” (1961), which follows a young couple trying to navigate the yakuza underworld in the port city of Yokosuka. The presence of the U.S. Navy adds a culture clash. The frenetic pace gets a considerable boost from Imamura’s inventive camera and editing.
“The Insect Woman” (1963) – A woman survives amid decades of social upheaval, abuse and servitude.
“Intentions of Murder” (1964) – A woman falls to prey to a home intruder but refuses to be victimized.
— Craig Shapiro
“BATMAN: 20TH ANNIVERSARY EDITION”
Blu-ray widescreen, 1989, PG-13 for language and violence
Best extra: "Legends of the Dark Knight: The History of Batman" traces the roots of everyone's favorite vigilante from his first comic book appearance in the 1939 to his place today as one of our culture's most popular figures.
JACK NICHOLSON MADE film history by asking for a percentage of the gross of a little movie called "Batman" instead of his regular salary. Its estimated Nicholson received $60 million dollars for his performance as the Joker, which is still the single-movie record for an actor's salary.
Though somewhat crude compared to Christopher Nolan's brilliant "Batman Begins" and "The Dark Knight," Burton's take on Batman is well worth a space on your shelf for its inventive production design, sense of fun, and the excellent bonus features.
The Blu-ray transfer is good but not great, with a clean source and no defects. Still, there’s a definite lack of popping color and an insistent flatness to the image. This is probably in line with Burton's dark and drab world and the film certainly looks better than it ever has on home video. The uncompressed audio is good but not great as well. The film is 20-years-old and it shows in the sound department. While Elfman's score and Prince's pop songs sound terrific, there is a lack of surrounds and bass for home theater junkies to enjoy.
Extras are extensive, providing three lengthy documentaries including the before-mentioned history feature. The other two, "Shadows of the Bat" and "Beyond Batman," take us behind-scenes with new interviews with Burton, Kim Basinger and filmmaker and comic book nut Kevin Smith. Lots of time is devoted to the film's production design, where Burton was clearly a huge influence. Burton also has a solo commentary track. It’s good but tends to duplicate a lot of the info in the documentaries. The director earns high praise for his candidness as he spends as much time discussing what he feels didn't work in the film as what does.
For the curious, this is the exact same disc you would find in the "Batman Anthology" box set released a couple of months ago. If you already own that, there is no reason to buy this release unless you really want the Digibook packaging. As with the box set, you'll also receive a digital copy of the film. Recommended.
— Josh Boone
DVD widescreen, 2009, TV-PG
Best extra: There are plenty of extras, but the best of the best is a featurette, “Bearing Witness,” which provides a forum for friends and family of Marine Lance Cpl. Chance Russell Phelps, the subject of this touching film.
HBO FILMS HAS scored a direct hit with “Taking Chance,” the true story of Marine Lt. Col. Michael Strobl (Kevin Bacon), a volunteer military escort officer who requests to accompany the remains of fallen Marine Chance Phelps to his final resting place.
After Strobl learns of the young Marine’s death, he asks to perform escort service to Phelps’ hometown. We learn that Strobl does this partially out of a feeling of guilt and partially out of a sense of duty. Strobl, who had fought in Desert Storm, has been assigned to a desk job as per his request. As he tells an old war veteran, Strobl “got used to seeing his family every night.”
On the journey from Dover Air Force Base, where Phelps’ remains are prepared for interment, to Philadelphia and across country to Wyoming, Strobl is profoundly touched by the respect and gratitude he encounters.
Other extras include: “The Real Chance Phelps,” a collection of interviews, home movies and private photos that help show what kind of person Phelps was; a making-of featurette, “From Script to Screen,” and a deleted scene.
In an interview, Strobl points out that he didn’t write his story to be published or presented to the public. Rather, his notes were to serve as a basis for a report to be submitted on return to home base. By the time he had arrived home, he had 20 pages in his journal.
A particularly touching note, too, was how Phelps’ fellow Marines spoke about how they read Strobl’s work. Those words served as a tool for closure for the unit. They had been with Phelps when he died, but had no idea what happened afterward.
Whether you agree with the war in Iraq or not, “Taking Chance” will put a lump in your throat and leave it. Powerful. Semper fi.
— Cliff Redding
“FRIDAY NIGHT LIGHTS: THE THIRD SEASON”
DVD widescreen, not rated
Best extra: The 13-episode season is light on extras with one commentary and deleted scenes.
FANS WILL REJOICE to know NBC has renewed Peter Berg's critical darling for two more 13 episode seasons with DirecTV (who get to air the season months in advance of NBC to their subscribers). The DirecTV partnership obviously worked quite well for NBC in the third season, which makes its arrival on DVD this month and continues the story of Texas high school football team, the Dylan Panthers.
NBC has slightly fumbled this release, with only the shortened NBC version of each episode available instead of the extended versions aired on DirecTV, although these scenes have been retained as bonus deleted scenes. They've also changed some of the music for this release as well.
With that said, this is one of the best shows on television and having it on your shelf in any version is better than not at all.
— Josh Boone
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