Message Board(open 24 hours!)
Twitter - @andredursin(for everything else!)
The smoldering chemistry between Richard Dreyfuss and Holly Hunter generated in Steven Spielberg’s 1989 romantic fantasy “Always” led audiences to demand a follow-up, which they got just over a year later with director Lasse Hallstrom’s English-language debutONCE AROUND (115 mins., 1991, R; Mill Creek).
Ok, wait, “Always”wasn’ta big hit, and most viewers felt Hunter seemed a little out of her element as an object of men’s desire in Spielberg’s just “alright” remake of ‘40s Spencer Tracy fantasy “A Guy Named Joe.” Thus, Hunter’s near-immediate reunion with Dreyfuss in “Once Around” initially came off as a curious casting choice for both performers, though this Boston-set family drama is a far superior movie with Hunter in particular giving a much more relaxed performance.
Writer Malia Scotch Marmo also spent a couple of years in Spielberg’s orbit, co-writing “Hook” and taking a pass at “Jurassic Park” (she was credited in early promotional materials), and her script for “Once Around” looks at the unmarried, eldest daughter (Hunter) of a Boston area family presided over by parents Danny Aiello and Gena Rowlands. When her youngest sister (Laura San Giacomo) goes away on her honeymoon, Hunter’s “Renata” goes on a Caribbean trip to find out how to sell condos. Instead, she meets, and is quickly swept away by, an overbearing yet goodhearted – and much older – businessman (Dreyfuss) whose near-immediate attraction to Renata leads to immediate friction between him and her parents, especially her construction worker father.
A little bit episodic and unsure of its focus – ultimately deciding that it’s a movie about Hunter, plus Hunter and Dreyfuss,andHunter and her family – “Once Around” seems as if it was aspiring to be a Boston variation on “Moonstruck.” However, with the movie’s attention being divided to a degree that no single element comes off as feeling fully nurtured, the picture lacks the dramatic pull of Norman Jewison’s 1987 hit, and the downbeat, melancholic elements of its final act are a little bit much.
Still, there are some lovely moments in “Once Around” and performances to match: Hallstrom had a connection with character-driven dramas, often embracing ensemble pictures like this and juggling big stars in the process. This especially holds true with both Dreyfuss and Aiello, the latter being effectively dialed down (for the most part) from his typical performances seen around this time. Dreyfuss also does a good job underplaying the movie’s most emotional moments, but for the most part this is Hunter’s movie and she’s up to the task. Her heroine is sympathetic and, affected “Baws-tahn” accent aside, highly appealing as she finds happiness from an unexpected source.
James Horner scored “Once Around” but it takes nearly 40 minutes for his sparse score to appear – there are times it doesn’t even sound like Horner, at least until the lovely, melodic conclusion to the movie that’s unmistakably his work.Shot in and around the Boston area (with interiors apparently filmed in North Carolina), “Once Around” earned some good reviews at the time of the film’s release but – having opened in the sleepy weeks of January 1991 – made little impression at the box-office. This first HD release of the film in Mill Creek’s double feature – paired with the Newport, Rhode Island (at least it makes sense geographically) lensedEVENING (117 mins., 2007, PG-13),likewise making its Blu-Ray premiere – features a serviceable if somewhat older looking Universal master (1.85) with clear 2.0 DTS MA stereo sound.
New on 4K UHD
FURIOSA: A MAD MAX SAGA 4K UHD (148 mins., 2024, R; Warner):George Miller directing a sure-fire hit sequel that ended up bombing is not a new phenomenon. Back in 1998 he took the reigns of “Babe: Pig in the City,” a wild follow-up to a smash hit he only produced, and ended up directing a critically well-received yet bizarre, self-indulgent sequel that failed to muster the same audience appeal as its predecessor.
After enormous personal and professional pain spent developing “Mad Max: Fury Road,” the fourth “Max” movie became an instant hit in 2015, despite being so expensive that it didn’t turn a huge profit. Now Miller is back for more – a prequel to “Fury Road” centered around Charlize Theron’s defacto lead, here portrayed by both Alyla Browne and, in its second half, Anya Taylor-Joy. “Furiosa” netted some critical acclaim but died at the international box-office, ultimately going down as a major flop for Warner Bros.
Frankly, it’s not too hard to see why “Furiosa” struggled to find an audience. Despite carrying a reported budget of nearly $170 million, “Furiosa” looks more like a Zack Snyder movie than a picture from George Miller. Relying far more on CGI than “Fury Road,” Miller has conjured up a green screen-laden prequel that often resembles a live-action cartoon – with animation that’s more visibly lacking in 4K UHD than it might have been even in its theatrical presentation (I can’t speak to that, as like many others, I passed on seeing the film in theaters). The shift from gritty wasteland reality to a fantasy landscape that looks more like a video game is jarring, and there’s not nearly enough dramatic engagement here to compensate.
The story, concocted by Miller and Nico Lathouris, might’ve fared better with a production that relied more on the physical element: juvenile survivor Furiosa is captured by psycho gang leader Dementus (Chris Hemsworth), spends her time watching his sordid activity in the wasteland, then is shifted off to another psycho gang leader, Immortan Joe, who takes her to become one of his “wives.” Eventually Furiosa breaks out and disguises herself as a mute boy in order to infiltrate Joe’s ranks, seeking revenge on Dementus and a way back to her clan.
Overlong at nearly 2½ hours, “Furiosa” intermittently comes to life when Furiosa first becomes attached to Joe’s world, but the film misses an easy opportunity to have her bond with the other “wives,” surprising since the girls are an integral plot element in “Fury Road.” Tom Burke is briefly effective as a weary member of Joe’s clan who takes Furiosa under his wing, but the film, again, doesn’t develop this angle enough so it generates any emotional stakes.
Instead of his characters, Miller is much more interested here in the grotesque (a still birth of a mutated fetus and violence that’s far grizzlier than any of the previous series entries) and delivering lengthy pursuit sequences out on the wasteland road. The issue here is, again, a heavy reliance on CGI that basically becomes a distraction.
Time and time again I was taken out of scenes, wondering how much of the foreground shot was real and where the computers took over, often between a racing car and a phony looking horizon. What’s more, some of the VFX work is shockingly poor, and these issues are amplified by the clarity of Warner’s 4K UHD disc, which has Dolby Vision HDR and shows all the deficiencies in some of the animation throughout. Perhaps if Miller had staged these sequences with the care and attention to detail that “Fury Road” illustrated, “Furiosa” would’ve been more effective – as it is, it’s a pale shade of its predecessor, from its story to its diminished visual presentation.
Warner’s UHD, out on August 13th, includes a Dolby Atmos soundtrack with the before-mentioned Dolby Vision HDR (2.39) grading, limited extras (interview featurettes) and a Digital HD code.
WHEN TITANS RULED THE EARTH 4K UHD: CLASH OF THE TITANS (106 mins., 2010, PG-13)/WRATH OF THE TITANS (99 mins., 2012, PG-13;Arrow):Double-feature 4K UHD from Arrow offers the format premieres of the 2010 remake of “Clash of the Titans,” which performed well at the box-office, and its 2012 sequel, which petered out by comparison, especially domestically where it earned less than half of its predecessor.
Louis Leterrier’s 2010 “Titans” is a wan recycling of the far superior 1981 original, a swan song for effects genius Ray Harryhausen that remains a delightful fantasy for kids and adults alike. The remake predictably takes a CGI’d detour through Perseus’ (Sam Worthington) quest, restaging some of the same set-pieces and with some curious alterations involving his relationship with not one buttwofemale leads this time (Alexa Davalos, playing Andromeda, and Gemma Arterton’s Io) and run-ins with the Gods (including Liam Neeson’s Zeus) that are more combative than supportive. It’s push-button modern studio fare – quite obviously overly worked over in post-production – barely crossing the 90 minute mark before the running time is goosed with nearly a dozen minutes of end credits.
Coming in the wake of “Avatar,” the 3D-released “Titans” nearly crossed the $500 million worldwide mark in 2010, which is more than can be said for its humdrum sequel “Wrath of the Titans.” Sam Worthington is back as Perseus, once again living in his small fishing village with his young son when Zeus (Liam Neeson) comes calling. Unsurprisingly, Zeus demands Perseus’ help once again when Hades (Ralph Fiennes) and Aries strike a deal with the nefarious Kronos to unleash the rest of the Titans and rule human kind. Setting out with a party that includes Queen Andromeda (Rosamund Pike, disappointingly replacing Alexa Davalos), Perseus treks across ancient Greece in order to defeat another army of giants, monsters and similar CGI creatures.
Director Jonathan Liebesman (“Battle: Los Angeles”) replaced Leterrier for “Wrath of the Titans,” a formulaic sequel that oddly jettisons the intention of its predecessor’s reshot ending (which brought Gemma Arterton’s heroine Io back from the grave, only to have her character be deceased from this sequel’s opening frame!). The film also lacks Laterrier’s workmanlike set-pieces – not to mention its 2.35 widescreen dimensions – in an utterly forgettable follow-up with Worthington, at least, looking a little more relaxed.
Both movies were released in 3D and make their 4K UHD debuts with new transfers (2.35/1.85) sporting Dolby Vision HDR enhancement. These Warner-licensed affairs are superlative and outshine their original Blu-Ray appearances, with each film reprising its respective 5.1 DTS MA soundtrack. In addition to attractive, boxed packaging with foldout posters and booklet essays, Arrow has included all the extras from the previous home video releases and added new interviews with producer Basil Iwanyk on both movies.
THE MAN FROM U.N.C.L.E. 4K UHD (116 mins., 2015, PG-13; Arrow):The ‘60s TV spy series returned to the big screen in 2015 after years of stops and starts – the end result is a breezy and watchable, but never particularly compelling, period espionage affair.
Henry Cavill is Napoleon Solo to Armie Hammer’s Illya Kuryakin in director Guy Ritchie’s “origin movie,” setting up the duo on opposite sides of the fence before eventually teaming them up to find a missing German scientist. Colorfully shot, “The Man From U.N.C.L.E.” failed to muster an audience back in the summer of ‘15, perhaps no surprise with the material having fallen out of the “current” pop-culture idiom some time ago. It’s an inoffensive movie that might’ve worked better with more star power among the two leads, and a story with a bit more punch, but it’s nevertheless worth a rental for nostalgia buffs.
Arrow’s 4K UHD (2.41) presentation of the movie debuts a Dolby Vision HDR grading of the film with Dolby Atmos audio reprised from the original Warner Blu-Ray. The uptick in detail benefits John Mathieson’s widescreen lensing with all-new extras including exclusive interviews with co-writer Lional Wigram and co-star Luca Calvani; “Legacy of U.N.C.L.E.,” a new featurette on the film; “co*ckneys and Robbers,” a look at Ritchie’s filmography; legacy featurettes from Warner’s release (“The Guys From U.N.C.L.E.,” “Spyvision: Recreating the ‘60s Cool”); the trailer; an image gallery; and Arrow’s patented liner notes and double-sided fold-out poster.
THE LADY FROM SHANGHAI 4K UHD (87 mins., 1947; Sony):Orson Welles’ sensational film noir has already been released on Blu-Ray a bunch of times, from an early TCM Vault Collection disc (pressed twice, each with its own set of issues) to a Mill Creek release that corrected the issues of its predecessor. Kino Lorber’s effort from just a year ago hails from the same 4K restoration included in Powerhouse Indicator’s UK release, and now that 4K remaster hits 4K UHD – for the first time – from Sony.
Welles’ problematic yet undeniably compelling – and highly repeatable – film coupling him and soon-to-be-ex wife Rita Hayworth has long been a fan favorite, the movie offering a seemingly compromised, hacked-up presentation of a linear story – even though, in some ways, the movie benefits from its off-kilter mood.
The detail level and balance of light and shadow benefit the most on 4K UHD thanks to Sony’s Dolby Vision HDR grading of the original 1.37 B&W image. The Indicator release may remain the best of the Blu-Ray releases for its superb encoding, but this UHD of the actual 4K source one-ups even that disc thanks to its HDR, which is respectful of Welles’ and DP Charles Lawson’s original work while nevertheless enhancing the overall presentation for 4K owners.
Extras are limited to Peter Bogdanovich’s archival commentary, which draws heavily on his relationship with Welles (who found the movie’s score by Heinz Roemheld to be better suited to a Disney cartoon), as well as an interview with Bogdanovich and the original trailer. A Digital HD code rounds out the release.
THE LAST UNICORN 4K UHD/Blu-Ray Steelbook (93 mins., 1982, G; Shout! Factory):Lovely 4K remastered edition of “The Last Unicorn” brings viewers the most satisfying home video presentation yet of this cult classic which arose from the early days of home video.
This 1982 Rankin/Bass adaptation of Peter S. Beagle’s book (scripted by the author for the screen) was a troubled production that received scant distribution before becoming widely available on video in the heydey of VHS. Produced with ITC Entertainment – which was on its way out the door – “Last Unicorn” was rejected by Lew Grade’s favored distributor Universal and ended up in the distribution arm of Jensen Farley Pictures, basically an offshoot of Sunn Classics. The picture ended up grossing meager bucks theatrically but, over the years, developed a strong cult following in spite of its inauspicious origins – becoming a family favorite through many VHS and DVD releases, even if some of them, too, were infamous for having poor picture quality and/or censored/sped-up PAL-sourced audio!
Shout’s 2015 Blu-Ray was a strong effort and their fresh Dolby Vision HDR (1.85) grading, derived from a new 4K transfer of the 35mm interpositive is, as you might expect, even better. Colors in the Japanese-animated picture are stronger, contrasts and details all better defined. We’ve come a long way from the original DVD of the movie, which seemed to be based off a VHS master, while 5.1/2.0 audio does justice to Jimmy Webb’s tuneful, mellow score (with America performing the memorable title song), recorded with the London Symphony.
Extras are carried over from Shout’s release, including an eight-minute talk with Beagle, the original trailer (narrated by Ernie Anderson), animated storyboards, and the “True Magic (Redux)” Making Of documentary. There’s also a new profile of Beagle included along with a remastered Blu-Ray from the 4K master, with Walmart selling alovely, limited Steelbook editionfor good measure.
The film is a poetic, surprisingly mature fantasy with a superb cast providing the vocal articulation for Beagle’s characters (Mia Farrow, Jeff Bridges, Alan Arkin, Christopher Lee, Angela Lansbury and Rene Auberjonis among them), and remains one of the more satisfying non-Disney animated films of the 1980s.
THE BIKERIDERS 4K UHD (116 mins., 2024, R; Universal):Moody, uneven yet consistently entertaining period look at a Midwestern motorcycle club, from its relatively humble beginnings as a social hangout for its married founding member (Tom Hardy) to its recruitment of young riders (Austin Butler) through its eventual downfall when it becomes more of a criminal gang.
Jeff Nichols wrote and directed “The Bikeriders,” basing his original script on a collection of ’50s/’60s photographs captured in a book by Danny Lyon. His script moves through numerous years in a “Goodfellas” type of way, narrated by Jodie Comer playing Butler’s girl — a tactic that proves to be the movie’s weakest element as the highly regarded Comer comes off flat, seemingly miscast as a heavily accented Midwesterner (she sounds like she’s channeling Frances McDormand’s “Fargo” role). Nichols’s script has other issues too — Butler’s role is thinly defined, as are supporting parts for Michael Shannon and Norman Reedus — yet I can’t say “The Bikeriders” didn’t keep me watching. There’s a compelling visceral quality to the film and the soundtrack mixes David Wingo’s original score with a number of period tunes in an effective way. It doesn’t completely work yet it’s a decent picture and well crafted.
Universal’s Focus Features picked up the Regency-produced “The Bikeriders” after Disney decided to pass on its distribution. The 4K UHD offers a dynamic HDR10 (2.39) transfer with a highly effective Dolby Atmos soundtrack. Nichols’ commentary, several featurettes, a Digital HD code and the Blu-Ray round out the disc.
DEMONS4K UHD(89 mins., 1985, Unrated;Synapse)/DEMONS24K UHD (89 mins., 1985, Unrated; Synapse):Producer Dario Argento and director Lamberto Bava teamed up for a pair of mid ’80s spaghetti horrors with plenty of gore and zombies to go around. Synapse’s new, individual 4K UHD releases of their two collaborations boast 4K restorations (1.85) on UHD, each from their original 35mm camera negatives, plus reproductions of a movie ticket from the original “Demons” and – in the case of “Demons 2” – an invitation to Sally Day’s birthday party!
Fans should also be delighted by a treasure trove of supplements here, each movie debuting in its own separate UHD for the first time.
On “Demons,” that means two versions of the film (longer Italian and the shorter U.S. cut with its own overdubs); uncompressed 5.1/2.0 Italian or English audio on the longer version plus 2.0 DTS MA mono for the U.S. version. There are also commentaries by Kat Ellinger and Heather Drain and an archival commentary featuring Bava; a visual essay on Argento by critic Michael Mackenzie; interviews with Argento, composer Claudio Simoetti, Luigi Cozzi, and trailers. For“Demons 2,”audio options consist of 5.1 English, 5.1/2.0 Italian on its original version along with a “true stereo theatrical mix” for the U.S. release audio. There’s also a commentary from critic Travis Crawford plus interviews with Sergio Stivaletti, Roy Bava, composer Simon Boswell, a visual essay by Alexandra Heller-Nicholas, and brand new English subtitle streams on both versions if you wish to see the movies in Italian. Luigi Cozzi once again appears, discussing the history of Italian horror. Fantastico!
COLLATERAL 4K UHD 20thAnniversary Steelbook (119 mins., 2004, R; Paramount):Hard to believe it’s been two decades since this slick Michael Mann thriller was released, but here’s a 20thAnniversary Steelbook to commemorate the moment from Paramount: a good-looking package for an appropriately stylish Mann concoction. Tom Cruise plays the anti-hero, an assassin who gets wrapped up with Jamie Foxx’s cab driver, in one of Mann’s faster-moving films thanks to Stuart Beattie’s script, one which had been written initially for producers Frank Darabont and Chuck Russell, and reportedly to star Russell Crowe and Adam Sandler! Paramount’s UHD is the same presentation they’ve released before, sporting Dolby Vision HDR and 5.1 DTS MA sound, with the director’s commentary and a smattering of extras present on the accompanying Blu-Ray disc.
New on Blu-Ray
THE INSPECTOR WEARS SKIRTS 3: RAID ON ROYAL CASINO MARINE Blu-Ray (97 mins., 1990; 88 Films)/THE INSPECTOR WEARS SKIRTS 4 Blu-Ray (94 mins., 1992; 88 Films):Separate Blu-Ray platters have been released by 88 Films of the latter entries in the female-led Hong Kong police action series.
“Inspector Wears Skirts 3”finds Sibelle Hu’s Madame Wu heading into quasi-retirement when the “Banshee Squad” is assigned to infiltrate a casino ship where thieves have stashed their stolen weapons. Sandra Ng, Amy Yip, Kara Wai and a returning Stanley Fung are on hand in Wellson Chin’s 1990 sequel, on Blu-Ray in a 2K remaster (1.85, mono) from the OCN with Cantonese mono audio and English subtitles, plus a deleted scene and commentary from genre expert Frank Djeng.
Ng returns, this time alongside Cynthia Khan and Moon Lee in “The Inspector Wears Skirts 4,” the series finale wherein the Banshee Squad is assigned to stop a series of thugs in order to keep their existence in the police force intact. Another 2K remaster (1.85) is on tap here in Cantonese with English subtitles, plus an English dub track. The trailer and a commentary by Frank Djeng puts the cap on another release for HK cinema enthusiasts.
THE STORY OF G.I. JOE Blu-Ray (109 mins., 1945; Ignite Films):Fresh off their brilliant restoration of sci-fi cult favorite “Invaders From Mars,” Ignite returns with a new restoration of the 1945 WWII picture “The Story of G.I. Joe.”
A more interesting, character-driven war picture than you’d typically find from that era, William Wellman’s film looks at the real life exploits of war correspondent Ernie Pyle, played by Burgess Meredith, as he surveys the battlefield with the soldiers of the 18th infantry of Company C., fighting in Italy and Tunisia.Robert Mitchum essays the hardened lieutenant whose leadership keeps his men focused in an emotional, well-performed picture, one which earned Mitchum his only career Oscar nomination and which was selected to the Library of Congress’ National Film Registry in 2009.
Ignite’s Blu-Ray includes a Film Foundation-led restoration (1.33 B&W) with extras including an interview with Bill Wellman Jr.; a featurette on the restoration with Greg Kimble; a video essay by Scout Tafoya; a new Alan K. Rode commentary; trailers; and a photo gallery with original press book and stills. Highly recommended!
OBSERVE AND REPORT Blu-Ray (86 mins., 2009, R; Shout! Factory):Sold as a stoner Seth Rogen comedy – and often mixed up with the Kevin James hit “Paul Blart: Mall Cop” – “Observe and Report” was quickly forgotten at the box-office but yields a moderate amount of laughs. Jody Hill wrote and directed this tale of a mall security guard and aspiring cop who ends up taking on a flasher terrorizing his female customers. Anna Faris and Ray Liotta, as arealcop, appear in this raunchy but not unfunny film which becomes part of the “Shout Select” Blu-Ray line this month. In addition to a director-approved 2K master (2.39, 5.1/2.0 DTS MA), the disc includes a new Hill commentary plus archival extras from the previous Warner home video release (including featurettes, additional scenes, and a picture-in-picture commentary with Hill, Farris and Rogen).
TED LASSO: THE RICHMOND WAY Blu-Ray (1453 mins., 2020-23; Warner):Apple+ breakout series, featuring SNL vet Jason Sudeikis as a decidedly small-time American soccer coach who becomes the unlikely new leader of an English Premier Leaguefootballteam, earned nearly a dozen Emmys throughout the course of its three seasons. The series also generated a legion of fans during the pandemic, though I can’t count myself as one of them, as I just didn’t find the humor or its assorted story lines all that engaging. Quite obviously others’ mileage varied quite a bit, as “Ted Lasso” became a sensation for the fledgling Apple service, and now comes to physical media for the first time. Warner’s Blu-Ray, dubbed “The Richmond Way,” offers the complete series in no-frills, solid 1080p transfers and 5.1 DTS MA soundtracks. No extras are included other than an 18×12 bonus poster.
COCAINE WEREWOLF Blu-Ray (79 mins., Unrated, 2024; Cleopatra):After “Cocaine Bear” comes the natural indie cash-in, “Cocaine Werewolf,” that finds a group of aspiring filmmakers shooting a horror movie in northern Pennsylvania when they run into anactualwerewolf. Mark Polonia mixes humor with horror in a low-budget affair that doesn’t take itself too seriously (for obvious reasons!). Cleopatra’s Blu-Ray is out August 13thwith a 1080p transfer, exclusive director’s commentary, and an image slide show.
RIDE Blu-Ray (114 mins., 2024, R; Well Go USA):Jake Allyn co-stars and directed this “modern west” drama about a recently-paroled bull fighter (Allyn himself) who helps his father (C. Thomas Howell) in pulling off a heist in order to raise funds for his younger sister’s cancer treatments. Gritty characters and relatable situations make this picture worth tracking down, with Allyn receiving strong support from Annabeth Gish and “Yellowstone”’s Forrie J. Smith among his ensemble cast. Well Go’s Blu-Ray is out August 27thfeaturing a 1080p transfer, the trailer, and interviews with the cast.
Also New From Mill Creek
DEER CAMP ‘86 Blu-Ray (85 mins., 2024; Mill Creek):Six friends from Detroit end up on a hunting trip they soon wish they never embarked upon in L. Van Dyke Siboutszen’s goofy horror comedy, which features a Native American spirit coming back to seek revenge for the murders of indigenous women. Well-paced and at least smart enough not to overstay its welcome, this appealing B-movie should entertain buffs despite its weak stinger finale (1.85, 5.1 DTS MA).
ICONS UNEARTHED: THE SIMPSONS Blu-Ray (aprx. 5 hours, 2024; Mill Creek):Brian Volk-Weiss’ terrific documentary series has charted the history of “Star Wars” (released earlier this year on Blu by Mill Creek) and does the same here for “The Simpsons.” Uncut interviews (totaling 11 hours) with former Fox executives plus show runner Bill Oakley and executive producer Ken Estinare included alongside the documentary proper, which looks at the never-ending series’ origins as part of “The Tracey Ullman Show” and its continued success, even if it’s no longer at the peak of the pop culture lexicon.
ULTRAMAN TAIGA Complete Series Blu-Ray (aprx. 11 hours, 2019-20; Mill Creek):A new agent for EGIS is also the latest Ultraman in this recent incarnation of the long-running, giant Japanese super-hero. Mill Creek’s now-available Blu-Ray offers 1.78 HD transfers with Japanese 2.0 DTS stereo audio and English subtitles across all 25 episodes of the “Taiga” series as well as the 2020 movie follow-up “Ultraman Taiga: The Movie – New Generation Climax.”
