GODZILLA (Blu-ray DVD Review)

Image: 1080p High Definition, 2.40: 1 Aspect Ratio

Sound: English 5.1 DTS HD Master Audio

Features: Visual Effects Commentary, Behind-The-Scenes of Godzilla with Charles Caiman, All Time Best Godzilla Fight Scenes, “Heroes” Music Video by The Wallflowers, The Ultimate Godzilla Multi-Player Trivia Game, Digital Copy


With 2012 currently destroying more landmark locations and monuments at multiplexes, Sony has put out Godzilla on Blu-ray, a film from the same “creative” genius as 2012 and other films that love to destroy buildings and landmark monuments (The Day After Tomorrow, Independence Day). That would be director Roland Emmerich, a filmmaker who for some reason doesn’t get the flak Michael Bay gets for blowing stuff up, destroying locations, and for the fact he makes worse movies.

1998’s Godzilla is a great example of how lazy Emmerich is in the art of brain-dead entertainment. Sure, you don’t expect much more than a big dumb monster movie from the Japanese king of lizards, but if Peter Jackson could breathe new life into King Kong, why not Godzilla? Well, what was churned out was a summer movie stinker, as Godzilla plummeted at the box-office after its opening weekend. Looking back on it now after more than ten years in circulation, the movie is even more terrible than I remembered, and it has not aged well.

After several boats are sunk by a massive creature in the Atlantic Ocean, the American military begin tracking its movements to an inevitable arrival in New York City. An expert biologist (Matthew Broderick of Ferris Bueller’s Day Off, giving his most horrendous acting performance of his career here), is recruited to offer insight to the creature’s purpose, and he subsequently uncovers that Godzilla is actually pregnant and using the city for nesting. This approach makes Godzilla less of a terrifying, malicious menace that we are used to, and more of a wild animal trying to protect its young. It’s being hunted by a military that are portrayed as absolute morons (something Bay has never done), and a candy-loving mayor who is a clear representation of movie critic Robert Ebert (complete with an aid named Gene).

Clearly capitalizing on the Jurassic Park wave, and trying to top it, Godzilla’s special effects ultimately don’t hold up, especially here on Blu-ray where the flaws are seriously noticeable. There is no doubt that Godzilla’s design here is much better than a classic man-in-a-rubber-suit approach, but you can easily tell that the creature is not really interacting with his environment. The movie also shamelessly borrows ideas and lines from much better popcorn movies like Jaws, and Star Wars. On top of the shoddy acting, is a script by Dean Devlin (Independence Day) that gets more laughable as the film tries to emote real drama, or a sense of romance between Broderick and an ex-girlfriend looking for an opportunity to excel at her journalistic career.

We’ve established that the Blu-ray high definition format definitely hinders the special effects work, but for the most part without the giant headliner the image is pretty good (especially in rain sequences). There is however a few shots where the quality lacks, the movie looks older than it should. The sound is also a conundrum. Sporting what is usually a great mix (DTS-HD Master Audio), the sound comes off unbalanced. The movie is already noisy and frenzied, so the mix throws too much power into the rear speakers and on the front end you lose clarity in voices. The sound mode is still a ripper, and if you have a strong system then keep your volume at a safe, but enjoyable level.

The Blu-ray is packaged with most of the special features that came from Godzilla’s previous DVD release, including a Behind-the-Scenes segment which is really the most insightful piece behind the movie. The only other feature worthy of any sort of value is the VFX Commentary which goes in depth about what it took to make the creature come to life the way Emmerich wanted it to. Beyond that the other feature here are tedious and boring. The Blu-ray exclusive Godzilla Trivia Game makes a huge mistake and sticks only to this movie, and not the creature’s past film lineage (not very “ultimate” if you ask me). The All-Time Best Fight Godzilla Fight Scenes highlights some of that past, but the segment itself is a dud. There is also a 2012 preview that gives you a taste for that movie with one scene involving John Cusack and Woody Harrelson (it looks no different than any other of Emmerich’s movies, so be warned). If you’re looking for those great teaser trailers that were originally marketed for the movie (one actually made it into the movie itself), sadly they didn’t make the upgrade trip from the original DVD.

The big-budget, big-studio version of Godzilla was at the end of the day, nothing more but an exercise in ridiculousness. It was made in almost the same manner of his classic movies, with some glossy CGI inserted to cover the laziness. On Blu-ray high-def the crime is clearer than ever. It’s a shame really, because Godzilla was one of the best monster movie properties ever created, and he was sorely mishandled in the hands of Emmerich. Whenever I see Cloverfield now, I picture that as the Godzilla movie that could have been. And that flick might have done even better with his name on it, had this movie not been spewed out first.


Rating Marks:

Image: B+

Sound: A-

Features: D

Storyline/Interest: C-

Overall Rating: C

BROTHERS (Theatrical Review)

Starring: Tobey Maguire (Spider-Man), Natalie Portman (V For Vendetta), Jake Gyllenhaal (Zodiac), Clifton Collins Jr. (Capote), Bailee Madison (TV's Terminator: The Sarah Connor Chronicles), Sam Shepard (The Notebook), Taylor Geare (TV's FlashForward), Ethan Suplee (Clerks II), and Mare Winningham (St. Elmo's Fire)

Directed by: Jim Sheridan (In The Name Of The Father)
Screenplay by: David Benioff (Troy, X-Men Origins: Wolverine)
Produced by: Lionsgate/Relativity Media
Genre: Drama/Thriller/War

Since the war on terrorism began a few years ago, Hollywood has taken the opportunity to explore a rather prominent theme regarding our military heroes fighting the battle, and what mental challenges face them when they return home. Unfortunately those filmmaking efforts have met with some less than successful results even though the films turn out respectable (eg. Stop-Loss, In The Valley Of Elah). Brothers is a similar case.

A presumed dead soldier returns home from Afghanistan (after enduring torture and committing an unspeakable atrocity in order to live), and tries to return to his normal life with his wife, two children, and ex-con brother who has watched over his family in his absence. Soon he grows paranoid, and suspicious over a possible affair between his wife and brother, and discovers that he can't overcome the personal demons haunting him on a daily basis.

As a basic drama the film works, and it has a rather accomplished cast backing it up (including a great performance from Portman, as the wife trying to hold her family together), but there are many times I felt that the film missed many opportunities to be even more riveting and compelling then it potentially could have been. It keeps you interested for sure, but the pace of it lacks energy. Had Portman and Gyllenhaal character's engaged in an even deeper relationship before Maguire's return, there might have been some excellent suspense and electric performances to back it up.

Cinema Experience: C
Storyline/Interest: C+
Final Grade: C+

EMINEM: LIVE IN NEW YORK (Blu-ray DVD Review)

Image: 16x9 Anamorphic Widescreen 1.78: 1 aspect ratio, 1080i High Definition

Sound: English Dolby Digital 5.1, DTS HD Master Audio, PCM Stereo

Features: None

I have to be honest in saying that I am not a huge fan of rap music. But if I were to pick an artist that I had to listen to in that genre, I would, without hesitation choose Eminem. I have always found his material to be lyrically, second to none. On one hand his words can be hilarious, usually with insulting zingers and jokes targeted at other celebrities or high-profile politicians. On the other, they can cut right down to the bone emotionally (i.e. “Cleaning Out My Closet”, a bitter confessional about Em’s volatile relationship with his mother). He has no qualms about throwing the darkest details of his own life into his music, and I have found that trait rather admirable. Some of his best work derives from that hard-edged honesty (like “Stan”, about an Eminem fan whose personal obsession turns into tragedy).

There is no denying that because of Eminem’s style, he is highly controversial. His concerts share in that stigma. Like his albums, Em includes breaks between the songs that act as performance sketches and in this particular concert (taken from a 2005 show at Madison Square Garden) Eminem goes through the act of planning his own suicide. Clearly the man has many demons, and he subsequently fought a battle with painkiller addiction before returning the spotlight recently. With all these themes and facts surrounding the man, it’s easy to lose sight that Eminem is also a gifted performer. Not only is the stage show impressive to the eye, but you see in no time that Eminem can also carry the crowd well and satisfy his fans. Of course the best moments of the concert prove to be from his most memorable songs (capped by the rousing 8 Mile single “Lose Yourself”), but not all of it is thrilling. In the middle of the set list is a series of songs featuring D12 (Eminem’s rap group that he headlines), and they essentially take over the stage with lackluster impact.

On Blu-ray High-Def the concert performance looks great when Eminem is on stage. In many camera angles things are crystal clear, and the visual candy the stage gives off helps with the color. There are other camera shots where you can notice a significant amount of grain and blurring (audience pans are a good example). If you’re buying a concert DVD, let alone a Blu-ray copy, the sound options are always the biggest selling point, and in this area Live In New York does not disappoint. There are three soundtrack options, each offering a choice based on the strength of your speaker set-up. The DTS HD Master Audio is a monster, and will give you a powerful, true feel of what its like to be at one of Eminem’s shows. If you want to soften the effect a bit, lose some of the bass, and blend the sound together, then you can pick a standard 5.1 Dolby Digital Surround. Say you only have two speakers in the front, or you need to keep the concert at a minimal amount of effect, then the disc also has a PCM stereo option. Sadly, the disc contains no special features, a loss considering the subject matter and how intriguing the man can be on camera and in audio.

If you’re not interested in rap music in any way than I can’t say that this Eminem show is a recommended experience. It is most likely an absolute must-have if you’re a fan. If you appreciate the lyrics and the artistry that this individual brings to the table, then Live In Now York is a decent showing of that talent.

Image: A-

Sound: A+

Features: F

Storyline/Interest: B

Overall Rating: C+

THE TWILIGHT SAGA: NEW MOON (Theatrical Review)

Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke, Anna Kendrick, Michael Welch, Justin Chon, Christian Serratos, Ashley Greene, Jackson Rathbone, Peter Facinelli, Rachel Lefevre, Elizabeth Reaser, Kellan Lutz, Nikki Reed, Gil Birmingham, and Edi Gathegi (all returning from Twilight), with Graham Greene (The Green Mile), Jamie Campbell Bower (Sweeney Todd), Chris Heyerdahl (TV's Smallville), Charlie Bewley, Daniel Cudmore (X-Men: The Last Stand), Chaske Spencer, Cameron Bright (X-Men: The Last Stand), with Dakota Fanning (Push), and Michael Sheen (Underworld: Rise Of The Lycans)

Directed by: Chris Weitz (About A Boy, The Golden Compass)
Screenplay by: Melissa Rosenberg (Twilight)
Based on the novel by: Stephenie Meyer (Twlight, New Moon, Eclipse, Breaking Dawn, The Host)
Produced by: Summit Entertainment
Budget: $ 50 million
Opening Gross: $ 141 million (3rd highest of all-time)

When the Twilight phenomenon was unleashed on the cinema screen last year, it created a frenzy that has now reached a fever pitch for the sequel. It may be a franchise mostly appealing to female fans, but that's not to say that males can't appreciate it on some level. This installment has undergone some shifts since the first film, now under new director Chris Weitz, and sporting a sprawling supporting cast and more complex special effects (although the CGI wolf pack don't look first-rate, you do feel the power of their presence through the sound).

Even with the added epic scope of the picture, not much has improved in the execution since the original film. The bonus is that if you liked film one, the sequel is rather seamless in connecting the two. New Moon as a film is also pretty faithful to the novel written by Stephenie Meyer. Even though some action sequences are expanded on, nothing much is changed for the sake of the film. But the script seems to be lacking some creative depth that the novels possess, and this is what hindered the original Twilight film as well. The movie seems more concerned with entering the next scene after, rather than developing the character moments that make movies timeless.

New Moon does have a strong cast behind it, but in most cases they don't get enough substance to play with. Michael Sheen, when he appears as Aro Volturi, elevates the film to seasoned heights towards film's end, and his presence in the film is greatly welcomed among the number of young, prospective faces. Ultimately, the film is neither better, nor worse than the original, and it essentially accomplishes what it sets out to do, satisfy the "twi-hards" and remain content in silver-screen mediocrity.

Cinema Experience: C

Storyline/Interest: C+

Final Grade: C

MICHAEL JACKSON'S THIS IS IT (Theatrical Review)

Directed by: Kenny Ortega (High School Musical 1-3)
Genre: Music/Documentary
Current Box-office Gross: $ 67 million

Michael Jackson's death back in June of this year was a monumental event. It would seem that in order to achieve a glorious comeback, he had to leave this world instead of bestowing to the world his final stage performances. The "This Is It" concert was initially a planned 50 performance show in London, England that ultimately, after months of production, planning, money, and rehearsals, never came to be. It was unfortunate that an entertainer as unique as Michael, didn't get a chance to show his fans his final curtain call in its complete vision.

But, in a madly rushed effort after his death, choreographer and director Kenny Ortega compiled the concert as best he could from archival rehearsal footage and special 3-D video segments that were to be used in the backdrop of the stage for certain songs. Even though the film takes some time by interviewing dancers and crew about working on the event, and also shows Michael ironing out his creative process, the film essentially acts as the concert, progressing song by song in the planned set list. It's an intriguing display of what could have been.

The film also makes the correct approach in focusing solely on the lost event, and not on Michael's death. You won't see any footage regarding the crew learning of Michael's passing, nor any of their personal feelings or reactions about his passing (these segments of footage were cut out, but may arise on the DVD release). Even though it's an incomplete vision, the documentary accomplishes what it set out to do, apply a fitting closing chapter to Michael's brilliant career, and leave his life and personal history to other outlets.


Cinema Experience: B+
Storyline/Interest: A-
Final Grade: A-

G.I. JOE: RESOLUTE (DVD Review)

Image: Anamorphic Widescreen

Sound: Dolby Digital 5.1 Surround


If the recent live-action G.I Joe film left any kind of bad taste in your mouth, and if you are one of the thirty-something’s that still follow the brand religiously since your youthful glory days from the 80’s, then fear not kids (disguised now as adults), G.I Joe: Resolute might just satisfy your craving if you let it. When a high ranking Cobra operative is found murdered in Washington, the Joes begin an investigation to uncover if their nemesis is plotting a new terrorist attack. When one Joe is murdered as well, along with the decimation of Moscow by a mysterious weapon, their fears are proven true, and Cobra Commander emerges to hold the world for ransom.

This particular animated G.I. Joe project has a lot going for it to make it a worthwhile trip for a familiar viewer, and is an absolute must for the most die-hard of fans. First off, Resolute was written by critically-acclaimed comic book scribe Warren Ellis (The Invincible Iron Man, Astonishing X-Men). Secondly, the style here is clearly influenced by the fast-paced manga anime genre and it’s a beautiful fit for the new Joes. And third, this is no longer your candy-coated Joes from the 1980’s. Resolute showcases the characters in a much more mature light, as many of them prove to be more viciously lethal than we’ve ever seen them (fans rejoice, Snake Eyes just gets better from this upgrade). Which leads me to the next plus…characters are killed quite frequently in this tale, some are before we are even re-introduced to them, and although Resolute isn’t quite a bloodbath from start to finish, the violence level found here is perhaps the highest ever in a G.I. Joe project.

Even for standard DVD, the picture image quality is quite good. The animation is vivid and colorful, but you can tell it lacks the brightness level to propel it to its best possible state. The sound is an impressively strong 5.1 surround mix, concentrated more on the front end. The disc has a couple of options for supplemental material if you’re looking for any. Now You Know is a teaser promo of the next animated Joe film, which in the clip presented here shows under what circumstances Snake Eyes first hooked up with the Joe unit. It’s very brief, but should entice nicely. The Filmmaker Interviews is like a panel-discussion with some creative minds behind the animated project. This is the most lengthy feature (roughly fifteen minutes), and it covers some topics which most Joe fans will enjoy hearing about, including why some characters were killed off. If you want to flip through some stuff by way of the cursor buttons, there are also some Storyboards and Joe Files available.

Resolute acts as a piece that is self-contained, but one thing about it I like is the acknowledgement to previous Joe continuity (Cobra island for example exists, but it has been long abandoned). Originally starting online as a series of webisodes for the Joes 25th anniversary, Resolute is perhaps the most engaging G.I. Joe cartoon and film experience I’ve ever had. Even though I somewhat enjoyed the live-action film, I concede it didn’t live up to the promise of showcasing the brand at its best. This is the one that gets the job done, and reflects how the Joes should really be portrayed.


Image: B+

Sound: A-

Features: C-

Storyline/Interest: A

Final Grade: B+

PARANORMAL ACTIVITY (Grade: C)

Starring: Katie Featherstone, Micah Sloat, Mark Fredrichs, Amber Armstrong, Randy McDowell, and Tim Piper

Written, Produced, and Directed by: Oren Peli

Distributor: Paramount Pictures
Genre: Suspense/Thriller/Horror
Budget: $ 15,000
Current Gross: $ 83 million


Paranormal Activity is the current film that has benefitted greatly by hype, word-of-mouth, and Steven Spielberg. A tiny independent film that has become the new Halloween 'it' flick. After The Blair Witch Project scared audiences ten years ago with its home video/evidence perspective, and set-up campaign that touted the film as 'real' (when in fact it was fiction), Paranormal takes the same approach but keeps the tale contained in one household.

When a young couple begin experiencing strange phenomena in their house, they make the decision to film their surroundings while they sleep, in the hopes to record and prove the instances. As the nights progress and the experiments get more in-depth, the events get worse and ultimately takes its toll on the couple's ability to live peacefully.

With the exception of a couple of interesting and creepy happenings on camera (a Ouija board igniting on fire, and Katie being pulled from her bed while sleeping), Paranormal is nowhere near as scary as I was led to believe by those who told me about the film and what I read about it beforehand. Based on what I witnessed the film is seriously overhyped, and anyone who can't last through it should hang their head in shame. A haunting ending thankfully elevates the lasting effect of the film (similar in tone to Open Water).

The film deserves a certain amount of respect for being made on the slightest of budgets, and pulling off some impressive special effects. But if you're going in, believing the buzz that the film is revolutionary, forget it. There is some serious borrowings from other films, like Poltergeist, and The Exorcist (the film makes a critical mistake when it enters that territory specifically). I'm not saying the film is a complete waste of an experience, I'm just simply saying that as a viewer, don't buy the hype and judge for yourself. When you do, you'll see that the movie is an experiment unto itself, one pulled off rather well, but still overshadowed by much stronger predecessors.

CHILDREN OF THE CORN *2009 (DVD Review)

Image: 16x9 Widescreen Edition (Aspect ratio – 1.78:1)

Sound: Dolby Surround 5.1

Features: New Directions, Cast Of The Corn, To Live And Die In Gatlin, Fly On The Wall


If you think back to the original Children Of The Corn (now unbelievably 25 years old), one wouldn’t really think there was a need to remake it. It was a small film, but nonetheless gained some cult horror success after its release, after all it spawned several wretched sequels. Based on a short story by none other than author Stephen King in his “Night Shift” collection, Corn is the story of a married couple who travel through the town of Gatlin, Nebraska, only to find that the adults have been wiped out by their offspring. Under the guidance of Issac, a boy preacher who spews his religious orders from an unseen god, all the kids have turned into extremists and zealots. Sure, the original was a pretty bad movie, but it nonetheless maintained a creepy allure that made it memorable. Why go back to the well again?

Well, for starters, this new version of Corn is a slightly different animal than it’s predecessor. The original producer of Corn back in the 80’s, Donal P. Borchers, realized over time that the film they churned out was ultimately a compromise, and that they had made the wrong creative decisions in order to please the masses (like having a happy ending). Now serving as the writer and director of this remake (intended for a TV release, not theatrical like the original), Borchers works off a version of the script that was drafted by King for the original film, and fulfills a vision that is more in-line with the short story. The major difference is within the traveling couple, Burt (Heroes’s David Anders) and Vicky (Battlestar Galactica’s Kandyse McClure), who instead of being newlyweds in love with one another, are volatile spouses who can’t wait to be rid of each other. This change-up alters character’s fates, and ultimately the resolution at the end of the story.

Even though the time-setting in the piece is the same, clearly this version of Corn is a little glossy. But in discovering that it’s also a cheap production, makes it feel like an honorable remake. One aspect that I thought makes this version stronger, is more answers and development as it pertains to the children and their ways/beliefs. This film goes into more detail about how they live, when they are scheduled to die, and holds nothing back about what ritual they engage in to re-produce their numbers (something I’m sure the televised version goes easy on, but here on DVD it’s uncut and uncensored). With that said, this remake is unquestionably edgier, but still isn’t that great a flick.

Visually, the image presented is pretty good. Good lighting and settings produce a respectable amount of detail and color. The sound is a credible 5.1 mix, but it seems at times too powerfully overbearing on the front end. Corn comes with a long feature called “Rough Cuts” which is broken up into four parts to make it easier with selection. The first one, New Directions focuses on Donald P. Borchers and his story of why he decided to remake the film (citing a discontented Stephen King during an interview about the original). Cast Of The Corn interviews the primary actors of the movie, and what they’re thoughts are on the classic version as opposed to the new one, as well as their experiences on set. To Live And Die In Gatlin takes a look at Production Design and Special Make-Up FX through interviews with the Designers for both. Fly On The Wall is perhaps the driest feature, showing random footage of shooting days on the set with cast and crew.

If you know anything about Stephen King, then you’re probably aware that many movies based on his work were ultimately less to his liking. The best example of this was “The Shining” which was originally adapted by Stanley Kubrick in the 80’s, and remade by King (who hated Kubrick’s version) and director Mick Garris in the 90’s. It’s a similar case here, but you find out during Borchers feature that King wanted nothing to do with the new effort. Borchers claims he hopes King can look upon this film and be prouder of the result. He may never know that answer, but as a King fan I can definitely say that Children Of The Corn is a lackluster film in both decades, just stick with the short story.



Rating Marks:

Image: B+

Sound: B

Features: D

Storyline/Interest: C-

Overall Rating: C

WHERE THE DAY TAKES YOU (DVD Review)

Image: 16x9 Widescreen Edition (Aspect ratio – 1.78:1)

Sound: Dolby Surround 2.0

Features: Trailer


Gritty street drama films more often than naught tend to create a lasting, and disturbing impression upon a viewer (especially if it involves drug abuse). For anyone who has ever seen Trainspotting, or Requiem For A Dream, you might know where I’m coming from. Where The Day Takes You may not be a film as flashy, or electric as those previously mentioned movies, but it has enough material in it to leave its mark. Written and directed by Mark Rocco (Murder In The First), who ironically passed away back in May possibly due to foul play, the film focuses on a recently paroled street thug nicknamed “King”, played by Dermot Mulroney (Young Guns). As King returns to the streets of Los Angeles, he rallies together his ‘family’, a collection of runaway kids each with their own individual issues.

And this is where Day has its appeal. There is an incredible cast behind this film, with several high-profile names making brief appearances as well. Sean Astin (The Goonies) is King’s closest friend Greg, and also a rich boy who prefers to be on the streets and constantly drug-fueled (his performance is the most eye-opening). Balthazar Getty (Young Guns II) is an emotionally unstable and paranoid teenager called Little J, who also possesses an itchy trigger-finger. Lara Flynn Boyle (Men In Black II) is the sexually abused, but optimistic runaway looking for a new start. The rest of the cast comprises of Will Smith (his first official film role), Christian Slater, Ricki Lake, Alyssa Milano, David Arquette, Laura San Giacomo, Adam Baldwin, and Kyle Maclachlan (who is creepily menacing as a drug pusher).

Most of the film shows the characters living day-to-day on the streets, but things get really serious when a rival thug is gunned down under a bridge where the group sleeps, and the police think that King is responsible. Soon King tries to orchestrate leaving L.A. with whomever he can, and try a shot at a better life. As a film, it’s clear that Day was an independent undertaking that was most likely under a shoestring budget. Made in 1992, it’s not a bad film even though it’s very basic in structure. The acting is pretty much hit-and-miss though depending on what character you’re looking at. The soundtrack also is a mixed bag, as Melissa Ehteridge is prominently heard throughout the piece and totally goes against the tone of the material, but the film open and closes with the brilliant song choice of “For What It’s Worth” by Buffalo Springfield.

The movie has been out-of-print for several years, so it comes as no surprise that the quality behind it is incredibly below par. The image is dark, it’s grainy, and in many cases hard to see during night sequences. The film looks older than it actually is. At first glance I would have guessed something made in the 70’s or 80’s. The sound is a general surround mix, that is more prominent in the front speakers so do not expect much diversion. It’s a shame too that a film like this, with the number of recognizable faces behind it, could not have produced a DVD with some retrospective features looking back at the film and how it more than likely affected the careers of several participants. Hell, I would have taken a commentary with almost anyone who was in it, but alas all that accompanies the disk is a lowly Trailer.

Curiosity about the cast is what led to me to this film, and if you’ve never seen or heard of it before, then it will probably hook you in for the same reason. Where The Day Takes You is not, by any means a landmark in the genre of street drama, but on some level is does warrant a passing interest if you like indulging in an actor’s early work before their names became more prominent. The critical acclaim this film received is what enabled Mark Rocco to make the grippingly underrated Murder In The First, so it’s intriguing to see how this project elevated careers and creativity..





Rating Marks:

Image: C-

Sound: D-

Features: F

Storyline/Interest: C+

Overall Rating: D-

THE BLACK CROWES - WARPAINT: LIVE (Blu-ray Review)

Image: 16x9 Widescreen (Aspect Ratio – 1.78:1), 1080p High Definition

Sound: DTS HD Master Audio, English Dolby Digital 5.1, LCPM Stereo
Features: None

The Black Crowes have been playing concerts and releasing albums since their 1990 debut album "Shake Your Money Maker." Brothers Chris (who handles the vocals) and guitarist Rich Robinson have set the foundation for the musical style of the band - a unique mix of southern rock, blues, folk, and other elements.
How unique is it? Well, Chris has had eclectic musical tastes for quite a while. In fact, the band's first album included a hit song that was a cover of the Otis Redding song "Hard to Handle." The second album, 1992's "The Southern Harmony and Musical Companion" featured an unlisted version of Bob Marley's "Time Will Tell." Some of the band's other reinterpreted songs captured on audio and video discs include classics from The Band and Willie Dixon. If you look at the playlist for this concert (held on March 20, 2008, at the Wiltern Theatre in Los Angeles in support of the "Warpaint" album), you can see songs originally written by Eric Clapton and the Rolling Stones, among others.

Most of the material from the concert is from "Warpaint," which is performed here in it’s entirely. The album itself was released two weeks before the show, and I note this because the crowd's reaction to the material is lukewarm. When the crowd's most visible reaction to any song comes four songs from the end, what does that tell you? However, most bands that play an entire album a few days after its release usually don't get the crowd going successfully. It's not any different for the Crowes, who get points for trying at least. Additionally, when you're playing music from your first studio album in seven years, things can get tricky onstage.

In the band's defense, they had been playing many of the songs live for several years, and some members appear comfortable performing them. Chris Robinson's voice hasn't diminished since the early days, and it's still amazing to hear his voice when he sings particularly when you see that he's wire-thin. When it comes to guitarists, Rich is one of the more underrated of the bunch, and when given the chance to play blues guitar, could probably hold his own among contemporaries such as Robert Cray and Kenny Wayne Shepherd.

Yet despite seeing the Robinson's return to form, Warpaint Live still leaves me feeling a little hollow. The Black Crowes now are not the same band from when they started, and while I understand that such a passing statement is stating the obvious - after all, what band has stayed the same over the years - this new version feels unpolished. Upon further glance, this was the first tour for the band with a new guitarist (Luther Dickinson) and keyboardist (Adam McDougall).

The Black Crowes come to high definition in a 1.78:1 widescreen presentation which is displayed in 1080i high-definition. There is some background detail present, though the image tends to suffer more from softness than anything else. It's not the best filmed performance in the world either; crowds are darker than usual masses, and the house lights could barely shine on my counter (a fault of the venue, perhaps).

Eagle Rock gives the viewer a choice between LPCM stereo, a Dolby Digital 5.1 surround and DTS-HD Master Audio 5.1 tracks. In discerning the difference from the various options , there's a fuller soundstage reproduction from the DTS track, and the rear speakers get a little more activity during some guitar sequences and crowd noise. It's not the most ambient disc as far as Blu-ray concerts go, as the vocals sound a little inconsistent in the center channel, but the guitars are in the front channels for the duration and there's even an unexpected instance of panning. It's good sonically. On this release, you won’t find any bonus features, so I guess this time it’s all about the music.

While it's easy to dismiss Warpaint Live as a band's attempt at trying to regain a foothold in musical relevancy, we might lose context. The Black Crowes' steadfast musical style is here, but it doesn't come off with quite the same gusto. The performance should have that caveat associated with it. In choosing between this and any standard-definition disc, naturally I'll leap for this, but comparing it to other performance features on high definition, I'd put Warpaint on the lower end of the scale. Technically it's not the best Blu-ray concert I've seen, but not the worst either. Specific fans of the band should give Warpaint Live a spin in high-definition, the rest should pass.


Rating Marks:

Image: A-

Sound: A+

Features: F

Storyline/Interest: D

Overall Rating: D+

HOW TO LOSE A GUY IN 10 DAYS (Blu-ray Review)

Image: 16x9 Widescreen (Aspect Ratio – 1.85:1), 1080p High Definition

Sound: English Dolby Digital TrueHD 5.1
Features: Commentary by Director Donald Petrie, How To Make A Movie In 2 Years (HD), Why The Sexes Battle (HD), Girls Night Out (HD), Keith Urban Music Video, Deleted Scenes w/optional Director’s Commentary

When one thinks of great movie couples, you may come up with pairings like Tracy and Hepburn, or Bogart and Bacall. In this day and age, romantic pairings on screen are constantly switched up and played around with. Some work, and some don’t. But apparently one experiment with Matthew McConaughey (A Time To Kill) and Kate Hudson (Almost Famous) did. As is evident in How To Lose A Guy In 10 Days, a best-selling novel which served as a rom-com hit when both stars needed it. In fact, it proved successful enough to re-unite the couple five years later for Fool’s Gold.

Hudson plays Andie Anderson, columnist/self-help guru for a beauty magazine. She advises women how to feng shui their apartments or talk their way out of speeding tickets, but her next project may be the most enticing. After a friend of hers was dumped, she takes up the task of writing an article entitled "How to Lose a Guy in 10 Days." It's a daunting obligation - doing everything girls shouldn't do in a relationship to a randomly chosen guy - but she thinks it can be done.

And that's where McConaughey comes into play. As advertising executive Ben, he works for his boss Philip (Robert Klein) to help land DeLauer Diamonds as a client. However, Ben has competition in two female coworkers for the account. The girls and his boss agree that if Ben can make a woman of their choice fall in love with him by the date of the big DeLauer gala, he's got a chance to pitch the account. Later in a bar, Ben finds Andie, who is selected by Ben's coworkers as a suitable subject for him to work his magic. Consequently, Andie sees Ben as the perfect man for her article.

Sounds confusing? It's not really. They're both using the other for ulterior motives. Andie does all the things that are designed to repel a man; Ben takes them all in stride because he's just holding out to win the bet. The problem is that this comedic setup tends to drag on, to the point where you feel each and every one of these days playing out real time, particularly as Andie comes off as the whiny, overly possessive girlfriend every few minutes. And honestly, it’s a shame to see McConaughey trapped in these films when he’s capable of being so much more dramatically. The saving grace here is that his chemistry with Hudson works, and lord knows he’s tried to branch out with other leading ladies with less-than successful results (ex. Sarah Jessica Parker, Jennifer Lopez, Jennifer Garner).

As a Blu-ray release, I have to say I was disappointed over-all with this one. From an image perspective, blacks are consistent though not really deep, background depth is scarce and can only be found on the occasional exterior shot, and image detail both in the foreground and backgrounds are lacking. There are many instances that I believed I was watching a standard definition DVD. This TrueHD sound mode is one of the weaker tracks I've heard in recent memory. Dialogue is unbalanced and soft in many areas of the film, and it's devoid of any speaker panning, directional effects or subwoofer engagement. And I say all this knowing the film is a dialogue-driven romantic comedy devoid of any action or sonic immersion.

It appears that a couple of extras from the original release have been dropped and replaced by other extras, and a Deluxe Edition was released day and date with this Blu-ray. The Director’s Commentary has been retained for the track, and it's not earth shattering in terms of its revelations. He talks about the things they shot (and subsequently cut) and recalls the shot/scene intentions. He remembers the supporting cast choices made for the film, and his thoughts on everyone's work during the production. You're not going to learn too much after listening to his track. The Deleted Scenes include an optional commentary track, and aside from one deleted scene in the opening montage, you're not missing much.

The first of three new supplements is How to Make a Movie in 2 Years, a crew-exclusive look at making the film, starting with the novelist’s inspirations for putting the book together, to producers Christine Peters and Lynda Obst discussing what they liked about it, and how they got financing and secured the cast. They talk about the difficult preproduction process and Director Donald Petrie's personality influence on the cast. While it's nice to see this nontraditional look at making a feature, some cast participation would have been nice. Next is Why the Sexes Battle, which examines this very reason from two relationship experts' points of view and how the characters would fit into a real-life fabric. The last new segment is Girls Night Out, wherein the authors provide some more details about why they decided to do a book. Thankfully these features are presented in HD, otherwise it would be total wash. A Music Video by Keith Urban is the last extra on the disc.

I can’t say I’m a big supporter of this one. The premise is cute, but the film is too long to have the charming attributes necessary for a solid romantic comedy, and the extras are an insomniac's test. Do yourself a favor, if you must indulge in, or let alone own this movie, then stick with the original standard release. That one still gives you everything that this one does…and it’s more than likely cheaper.

Rating Marks:

Image: B-

Sound: B-

Features: C

Storyline/Interest: C

Overall Rating: C

DISTRICT 9 (Grade: C+)

Starring: Shartlo Copley (Alive In Joburg)
Written & Directed by: Neil Blomkamp (Alive In Joburg)
Co-Written by: Terri Tatchell
Produced by: Sony Pictures/Wingnut Films and Peter Jackson

District 9 is a $ 30 million dollar sci-fi flick that is a small fish in a very big pond of summer movies. When plans for the adaptation of the video game "Halo" fell through, Jackson decided to utilize Blomkamp's visual prowress into a tighter movie, but with strikingly similarities to the Halo material.

When a colony of food-deprived aliens known as "Prawns" land in a small part of South Africa, they are relegated to District 9, a zone that is set-up to accomodate them but forbids them from venturing any further into human territory. When a human worker enters the zone in an effort to begin a massive re-location process, he's infected with a viral component that begins to re-structure his DNA into one of creatures. He is soon the most wanted man on the planet by military forces because he's the first human who can operate their alien weapons, and also by the Prawns, who see him as a key into getting them home.

What follows is a bizarre, and wildly different spectacle that is tailor-made for videogame afficiandos. I give points to the movie for being insanely unique, even if it borrows from several films already (think Cloverfield meets The Fly). Sci-Fi hasn't been this mind-wiring in awhile, but unfortunately the film doesn't let you settle in to the themes and nuances that give it strength later on. You're thrust into it at the beginning, and because of that it's tough to get comfortable with the material. Expect some glorious action though, and some killer sound.

I LOVE YOU, MAN (Blu-ray DVD review)

Image: 16x9 Widescreen, 1080p High Definition

Sound: English Dolby Digital TrueHD 5.1

Features: Commentary by Director John Hamburg with stars Paul Rudd and Jason Segel, The Making Of I Love You, Man (HD), Deleted Scenes (HD), Extended Scenes (HD), Gag Reel (HD), Extras, Red Band Theatrical Trailer


So, how many famous comedy duos can you name? Abbott & Costello? Check. Lemmon and Mathau? Done. Rudd and Segel...say what? Yes kids, it’s true. Paul Rudd and Jason Segel (Knocked Up, Forgetting Sarah Marshall) are slowly becoming the new cinematic comedy team to be reckoned with in the 21st century. This time out we find Rudd playing a man named Peter, newly engaged to his girlfriend (The Office’s Rashida Jones) but with a serious problem, he has no best man to stand beside him at his wedding because Peter has no male friends. Enter Jason Segel, who stumbles into Peter’s life while he’s hunting for a ‘bro’, and begins to unearth the inner ‘man’ within Peter (much to the chagrin of his fiancée).

Segel has coined this particular flick as a “bromantic” comedy, and it’s a term that has been used well in the film’s publicity because that’s exactly what it is. Even though the film is laced with homosexual subject matter (which includes SNL’s Andy Samburg as Peter’s gay brother, which as a viewer you don’t buy for one second), the romance angle for Peter is a platonic dream come true. For the first time Peter embarks on all the male shenanigans he never did in his youth, like getting stone drunk with a dude, or rocking out in a garage full of musical instruments. The genius behind Rudd’s performance is that Peter’s inexperience makes him incredibly awkward in these situations. He never has the right ‘cool’ thing to say, and can’t physically show his elation without looking like a moron.

As a film, I would say that I Love You, Man is awkwardly amusing, but not downright hilarious. Some of the supporting cast bring the laughs more than the leads, and I have to give the MVP award to Iron Man director Jon Favreau, who plays a male acquaintance of Peter’s that hates his guts. Man also has a dirty mind in a lot of areas, but it disappointingly never has the stomach to cross the visual bar to back up the dialogue (i.e. Forgetting Sarah Marshall), and that’s why Man feels like it has something missing. Once you get to the additional features, you’ll notice that Man also lost a lot in the editing room, and not all of it was warranted. But we’ll get to that soon.

First let’s talk specs. This Blu-ray edition presents not only the film, but almost all of the special features in high-definition, which is an unquestionable bonus. The movie’s image is a little soft on details and clarity, but the colors really stand out nicely. Man also has a TrueHD track which is obviously a good thing, but the movie never has many opportunities to truly test its mettle. There is a sequence where Rudd, Segel, and Jones attend a Rush concert, and that scene offers the best experience in your speakers (making you feel like you’re standing in the crowd with them). The bonus features are hit-and-miss. The Commentary track is a slight letdown because it’s controlled more by Director John Hamburg, and less by Rudd and Segel. Had they been allowed to cut loose instead of Hamburg yammering on about shooting the flick, the track would have been a winner.

You’ll find a similar letdown with The Making Of I Love You, Man and the Gag Reel. Both features run a little longer than they should, and ultimately they don’t provide a substantial amount of laughs or insight. Ironically the best features on the disc wind up being ones that are usually not on others. The Deleted Scenes, Extended Scenes, and Extras (which shows the actors improving dialogue) are wonderfully funny, and you’ll rack your brain wondering why this stuff didn’t make the final cut. If some of it had, than I Love You, Man would have been even better as a comedy film. Rounding out the features is the Red Band Theatrical Trailer, which inserts a few key moments of dirty dialogue into the familiar PG-13 version of the original trailer.

Sure, I Love You, Man is an amusing, clever, and often times funny flick that is great to escape to when you might need a couple of chuckles. Just don’t expect your sides to start hurting. It has the makings of a very satisfying rental, but not enough chops to warrant a true Blu purchase.



Rating Marks:

Image: A-

Sound: A-

Features: B

Storyline/Interest: B+

Overall Rating: B