More importantly, how does this film measure up against the “epics” of today, and how well did this translate to Blu-ray?  Although some films receive a loving restoration (The African Queen), how well would Warner Brothers treat this legendary film?

Film

Based on a novel by Boris Pasternak, Doctor Zhivago follows the life of our eponymous hero as he navigates life in Russia through both World War I and the Russian Revolution. 

Left destitute by the death of his mother, Yuri Zhivago (Omar Sharif in his best role) is taken in by well-to-do friends of the family (the Gromekos).  Trained to be a doctor, yet popular as a published poet, Yuri’s life is ideal, including a predestined marriage to the Gromeko’s daughter (Tonya, played by the lovely and vulnerable Geraldine Chaplin).  However, this idyllic world is torn apart, firstly through World War I (and Yuri’s conscription), followed by his return home to a radically changed Russia.

Yuri’s life is further complicated by him unexpectedly falling in love with a nurse whom he met while serving in the Army.  Lara (played by a beautiful, vulnerable, yet strong Julie Christie) reciprocates these feelings, but their romance remains unconsummated.  In the words of Lara, “Let us do nothing that you will need to lie to Tonya about”.   

The movie itself operates in three main acts; before War and the Revolution in Moscow, after War and the Revolution in Moscow (including escape), and life in the Urals, away from the Revolution.  And although a devoted family man, and still in love with Tonya, Yuri cannot resist the pull of Lara, especially when his family is hiding safely only miles from the town where she lives. 

In his soul a poet, but by trade a Doctor, Yuri Zhivago is one of a type of movie hero that seems to have disappeared from cinema.  He is not a “doer” or a man of action; like most of us in our lives, the world around him changes, and he must do what he can to adapt and survive.  And although he does not overtly fight back against those who would ruin the life he once enjoyed, when challenged, he shares candidly his true feelings about what has happened to Russia, without fear or remorse.  An incurable romantic, a spiritual fatalist, and a flawed man; this best describes Yuri Zhivago.  Yet in his noble bearing, he communicates a dignity that we would all be hard pressed to equal if placed in similar circumstances.

One of the most endearing traits of the movie is how the main characters’ lives intertwine throughout the movie.  Lara’s finace (Pasha) is in the film early as a Bolshevik idealist, in the middle as a ruthless Red leader Strelnikov (during which he has a powerful conversation with Yuri), and at the end (offscreen) as a main motivation for a number of the characters.

Lara herself first appears to Yuri in Moscow as the daughter of a patient he and his guardian visit.  Later on, she appears to him again as a much-needed nurse during a retreat from the World War I front lines.  And lastly, she reappears, living only miles from the old family house where Yuri hides with his guardian and family.

Yuri also has a half-brother, Yevgraf (played with charm, menace, and sincerity by Sir Alec Guiness) who appears in many places in the film.  When needed, he provides the necessary narration to move the story forward, yet he also appears at pivotal moments in Yuri’s life.  Although a member of the Cheka, Yevgraf hides a true and loving soul for his half-brother under his staid and state-centric persona.

Over top of this all, is our Faustian devil, the lawyer Victor Komarovsky (played incredibly well by Rod Steiger).  Through the movie, Komarovsky is a harbinger of nothing but illness to our protagonists, be it through forcing himself on a young Lara while in Moscow, reputedly driving Yuri’s Father into destitution, or threatening and bullying Lara and Yuri in the film’s closing stages.

Although this movie is set during two very pivotal moments in Russian 20^th Century history, the film does not denigrate into historical documentary territory.  Sir David Lean instead captures the essence of what it is to be human, how the heart can override the mind, and shows the both the best and worst sides of human nature.  And to do so would have been impossible without the flawless performances of Sharif, Christie, Chaplin, Guiness, and Steiger. 

It is also easy to understand why Mr. Pasternak’s writings and this film were banned in Russia for many, many years.  Sir David Lean takes a decidedly Western view of Communism; Yuri leaves a vibrant and beautiful Moscow, and return to a filthy, starved, disease-ridden city, full of the most rapacious and petty-minded Communists imaginable.  Humanity seems to have been sucked out of almost every ardent Bolshevik in the movie, never more elequently illustrated as through the character of Pasha/Strelnikov.   

The quality of the film is beyond reproach.  From the beautiful score by Walter Jarre (you’ll be humming “Lara’s Theme” for days), to the sets, costumes, and cinematography (by the legendary Freddie Young), this is truly what a classic epic film is.

For us in our reasonably comfortable North American world, one cannot help feel but a bit of chill when we see how quickly all of the comfort and luxury taken for granted by these characters is ripped away from them.  To me, this is what makes the film most compelling; how would I survive the same things survived by Yuri, his family, and Lara?  Hours after seeing the film, I am still asking myself the same question.

Video

In the words of Alex from A Clockwork Orange, “gorgeousness and gorgeousity”.

This movie is absolutely magnificent.  Sir David Lean knew how to use a camera, how to frame a shot, and how to get the best out of his actors.  Be it lighting placement, shot staging, or using every natural nuance of his actors to convey an emotion, each frame is shot with an exact preciseness.  Wide shots, tight shots, dark shots, light shots – all are done with love and care.  The film itself is also a throwback to the era of true epic pictures from Hollywood; even the sets are fantastic, and are better than virtually anything from that era.

Most importantly, Warner Brothers did an incredibly respectful job with the restoration of this film.  Grain is there (as it should be in a 45 year old film) but is never distracting.  Low light shots are resolved superbly.  Although some of the blacks can tend towards dark gray, there is never swimming grain, macroblocking, or crush.  The movie itself is somewhat sepia-toned, but color is used appropriately with the color red obviously highlighted.

All in all, this is an incredible presentation for a movie released in 1965.  The care used by Sir David Lean in filming the movie allowed the WB restoration team to produce a movie of pure beauty.  Although not perfect, this disc is now the standard by which I will judge the restoration of all classic movies. 

Audio

As is expected, audio simply cannot be restored the same way video can.  If filmed with a mono track with limited dynamics, there is only so much the engineers can do to spatialize sounds, and add top and bottom end to them.

This being stated, the team that worked on Doctor Zhivago deserve the merit star for a top quality effort.  The DTS-MA 5.1 is absolutely incredible for a movie this age, with decent use of the surround channels, and even some LFE information! 

At times the dialog can drop out, and the score can be a bit jarring through the centre channel, something which did having me adjusting the volume more than I prefer to.  This being said, the sound is superb for a 45-year old movie.  

Special Features

Packaged as a “45^th Anniversary Edition Digibook”, this film has every extra a true movie lover could ask for. 

The handsomely bound book contains forty-four glossy full-color heavyweight pages describing a bit about the movie, making a lovely primer for the neophyte (such as myself).  There are also profiles of a number of the main actors in the film, and some candid “behind the scenes” photos.  A great booklet in the opinion of someone who still loves the printed word.

Also included is an all-too-short CD sampler of the soundtrack, which is a real treat for someone who loves 2-channel classical music.  This alone would have been worth 2.5 discs on its own.

However, in the list of more traditional features, we have some that come on the movie’s Blu-ray, with the balance being contained on an accompanying DVD (all in SD unfortunately).

On the Blu-ray we have a commentary track.  And we are fortunate to still have the genteel Omar Sharif with us, as well as Sir David Lean’s widow, Sandra; he obviously told her many stories in the short time they were married.  Although we no longer have Rod Steiger with us (he passed on in 2002), we are fortunate that he did have some commentary recorded for the film (likely for the 2001 DVD release) – even though he is not a part of the initial conversation, he is seamlessly blended into this track.  Be advised that although this is a better commentary than most, it does still represent listening to other people talk over a movie for over three hours.  And as loyal readers know, I am not a big fan of commentaries, though this one held my attention better than most.

Also on the Blu-ray, we have a two-part documentary (480p – bah!) about Doctor Zhivago, most notably in the words of others in the industry.  A very good piece.

On the accompanying DVD, we have what looks to be a rehash of the special features that accompanied the 2001 “Special Edition” DVD release of the film.  If you do not own the DVD, and love “retro” features, this is your disc.  There are number of vintage featurettes, including interviews, a screen test, and various old “presser” type materials.  Plus, this disc includes the excellent 1995 documentary on Doctor Zhivago, narrated by the ever-eloquent Omar Sharif.

In terms of variety, volume, and quality, this is a wonderfully varied set of special features.  Even the lack of high-def supplements is acceptable considering the age of the film. 

Final Thoughts

Honestly, I did find the thought of reviewing this film a bit daunting.  Not only is it legendary, it comes with a hefty runtime, and a hefty set of extras in its 45^th anniversary edition.  Furthermore, I did find the start of the movie to be a bit slow and confusing, though this all resolved itself once the film progressed. 

However, I cannot remember the last time I was so engrossed in a film, especially developing a heightened empathy for our characters.  This is a tribute to Sir David Lean, who truly captured the emotion of his actors for the screen.  From an excellent story, to an excellent script, to tour-de-force acting performances, this is a top notch film. 

That a 45-year old film looks and sounds as good as this does on Blu-ray is a tribute to Warner Brothers; Doctor Zhivago fully deserves a place of honor in any serious movie collection.

Film

Earth is a nature documentary that was filmed all over the world over a 5 year period. As is the case with Disney nature films, Earth is not a straight nature documentary. Instead, it has a bit of a family focus to it, family friendly if you will, as it follows a trio of families in the wild, a polar bear and her two cubs in the Arctic, an Elephant and her cub in Africa and a humpback whale and her calf as they journey from the tropical waters of the Equator to their feeding grounds off Antarctica.

The film also has more of a warm and fuzzy feeling to it than your typical nature documentary, focusing at times, more on the cuteness of the animals rather than the harsh conditions in the wild. The film also fails to show the wild for what it is at times, gruesome and deadly, as it fails to ever show the death of any actual animals, cutting away at the very end, letting you surmise what happened at the end of the chase. I can only assume that this is the Disney way. However, it does fall a good bit short of reality which, after all, it the very purpose of a nature documentary.

While the folks at Disney may prefer a happier and less gruesome wild, that is just not the way it is out in the wild. The film is well narrated by the great James Earl Jones and features some incredible camera work and visuals. It is the visuals after all that really matter in a nature documentary and the visuals here are simply spectacular, from the white and icy Arctic to the lush greens and fauna of the mid latitudes, the dry and dusty plains of Africa and the beautiful crystal clear blue water of the tropics. While the storytelling here can get a bit too syrupy, the visuals more than make up for that minor drawback, as they are that impressive. Highly recommended.

Video

Simply put, the video quality on this release is fantastic. Try as I might, I could find nothing at all to find fault with on this encode. This is reference material, with incredibly accurate and lifelike colors, deep and rich blacks, bright and bold primary colors and astonishing levels of clarity and detail. You know that this will be great looking film as soon as you see the bright white snow of the Arctic at the beginning of the film. This film simply has it all in terms of image quality, from the whites of the snow, the many different shades of green in the forests, plains and grasslands to the incredible blue waters of the tropics. This is simply as real as it gets folks with the limits of today’s technology, short of actually being there. Each different environment and the varied wildlife are depicted with a staggering degree of realism, detail, depth and three dimensionality. This is an incredible looking disc and as far as I am concerned, the best looking nature documentary yet released on Blu-ray.

Audio

While not quite as impressive as the video presentation, the audio here more than holds its own. The narration by James Earl Jones is captured with exceptional levels of fidelity, capturing the richness of his voice beautifully and placing it perfectly, front and center in the sound field. The same can also be said about the overall fidelity of the entire film, which sounds smooth and rich with excellent levels of transparency and openness and deep and rich bass response.

The audio in the wild sounds very realistic and places you right in the action with the filmmakers. The sounds of the lions as they prepare to attack a heard of elephants is captured with a startling degree of realism. The same can be said of the howling of the wind, thunderstorms, the thundering herd of elephants and the splashing of humpback whales in the sea after breaching. The only real fault I have with the audio here and it is a very small one at that, involves the use of the surrounds. While they are active throughout, I would have preferred that they have been used a bit more aggressively to create a more immersive sound field during the entire film. I would also have preferred a little better integration of the surrounds with the front of the sound field. However, these minor quibbles aside, this is a great sounding film and one that I will not doubt enjoy listening to again and again.

Special Features

Earth is a two disc set, with the first disc containing the Blu-ray copy of the film and the second, a DVD copy of the film so that you can enjoy the film anywhere where a DVD player is available. Any of you with young children will no doubt appreciate this extra which will no doubt come in handy during long trips in the car or on a plane. The Blu-ray disc itself contains two sets of extras, the first being the filmmakers annotations and the second, a making of featurette which I found to be the most interesting of the two.

The making of featurette goes behind the scenes of the making of the film with the director, detailing the five years it took to capture all of the spectacular video featured in the film and the lengths the film crews went to capture it, placing their very lives at risk during the process There is a very interesting scene in the Arctic while filming the polar bears, where one polar bear, smelling cooking food, comes up to and attempts to enter the crew’s hut for a bite to eat, understandably scaring the heck out of the crew. They used all sorts of countermeasures to scare away the polar bear, none of which seemed to work. This footage illustrates the very real hazards that the film crews face when capturing the footage featured in these film, a fact we are often not even mindful of as we enjoy the films. This making of featurette is well worth you time and is at times, just as interesting as the film itself.

Final Thoughts

Earth is a excellent film that features reference level video that is a must own for any fans of nature documentaries. Highly recommended.

Film 

Set in the 80′s in Los Angeles, Tango & Cash features a tale of the two best cops on the LA Police force.  Ray Tango (Sylvester Stallone) is the Armani-draped hard body who does things his way.  He has an intuition seemingly only rivaled by that of a Jedi and has a shot that’s as accurate as Al’s .38 from the bottom step (i.e. The Godfather).  On the other end of town is the Corvette-sporting Gabriel Cash, or ‘Gabe’ for short.  Gabe is more comfortable his blue jeans and t-shirt and is the more ‘cowboy’ of the two law enforcers and apparently the only cop on the beat who augments his pistol with a gigantic laser site.  I couldn’t tell if that thing was intended to help aim or discover planets.  Both cops appear regularly in the headlines, nabbing bad guys left and right, breaking up drug rings across the big city.  They are regular celebrities in their line of work. 

Enter Yves Perret (Jack Palance), a big time drug and arms dealer determined to make the two heroes’ lives a living hell.  Perret has a plan up his sleeve to put Tango and Cash away for good so he can carry on his underworld business in peace.  When the police duo are forced to team up to save the day and their own hides, there is no shortage of “I’m better than you” and reluctant team effort.  Let’s not forget the beautiful woman who fills the aesthetics niche in the film…Kiki, played by Ms. Teri Hatcher.  Hatcher fills a role of medium importance and does it well.  Yes she is beautiful, but she can act too and easily outdoes Stallone on the screen. 

Ultimately, it’s your typical 80′s action flick.  The acting is sub-par, the comedic delivery is off balance but the butt-kicking is plentiful and action fans will not be disappointed.  Stallone manages a timely laugh-inducing line here and there while Kurt Russell’s efforts are arguably more convincing.  I almost forgot the inevitable bad rock song at the closing credits.  Why does it seem like all 80′s actions films suffer from this?  Rocky IV had it.  Commando had it.  Tango & Cash has it.  Okay, so these aren’t Oscar-worthy films.  Maybe this is more of a personal thing but the bad music thing has always bugged me and cheapens the film a bit.  If you just had a good steak dinner, you wouldn’t want dessert served to you on a garbage can lid, would you?  

Video 

Brought to us in beautiful 1080p High Definition, the presentation continues in a 2.4:1 aspect ratio and VC-1 encode.  For the most part, the video is clean but unfortunately lacks the pick-up of finer details Blu-ray is traditionally capable of.  There are some pretty fantastic looking scenes almost worthy of a Blu-ray demonstration disc.  That’s the good news.  The bad news is that those scenes are limited.  Grain does dot the landscape here and there throughout the film but it’s nothing bad.  Skin tones are consistent and all in all, the film looks good.  The fact that it’s 20 years old is even more impressive.  There are some drawbacks to the visuals but I do not consider them to be a deal-breaker.

Audio 

What started out as a bang-bang speaker fest, ended in flat disappointment.  As is the norm, dialogue was delivered out of the front channels but so were several rounds of ammo.  Action films have the advantage in utilizing surround sound better than any other genre (maybe with the exception of concert Blu-rays).  There are so many more scenes that can serve as a vacuum, inhaling viewers simply by creating a realistic audio experience with yells of duress, flying bullets, colliding vehicles and ear-ringing explosions.  It is too bad that in this example, the film sent these sounds through the front channels far too often, leaving the rear speakers to do nothing more than support the music.  The film’s final assault was reminiscent of a glass of Coca-Cola left out overnight, the sparkling fizz absent from the content.  The beginning of the film was nearly solid in its sound delivery, especially with the helicopter fly-by, yet unfortunately did not maintain this behavior to the end. 

Special Features 

Special features?  What special features?  Maybe their hidden on the disc because all I found was one measly trailer for Tango & Cash.  Either the studio was in a hurry to get this disc out on store shelves or somebody just didn’t care enough to add more content.

• Trailer – presented in the ever mundane standard definition (1:22). 

Final Thoughts 

In summary, don’t expect a lot from this movie.  Just have fun with it as it’s not a film to be taken too seriously.  The wardrobes, music and acting are all dated, but consumable nonetheless.  If you are looking for a hook to hang your action hat on, I suggest settling on Tango & Cash.  It may not be one of the top five tough-guy films of the 1980′s, but it’s not a bad one to watch.  Enjoy two of the biggest stars of that decade in this entertaining shoot ‘em-up flick.

Keanu Reeves has come a long way since the days of Bill & Ted. He really came into his own when given the part of Neo in The Matrix. The film Constantine suits him well as the character is very dark, with not too much emotion. This seems to be the type of character he is used to playing in many of his recent films, including the up coming The Day the Earth Stood Still. Constantine is a film full of action, drama and some scares, which is all a good thing and really is a thrill ride kind of a film.

The original write-up of Constantine has been taken from Ryan Keefer’s HD-DVD review from Upcomingdiscs.com, the sister site of Intotheblu.com . His review is in quotes.

“Written by Kevin Brodbin (who came up with the initial story) and directed by Francis Lawrence, who was previously well-reputed as a music video director (think Tarsem or David Fincher maybe), Reeves plays Constantine as a man with a conflict. While others may think that he has a gift in exorcising and deporting demons, he sees it as a burden, a duty he thinks he should get into heaven for. With the help of a grizzled priest (Pruitt Taylor Vince, Nobody’s Fool) and an aspiring apprentice (Shia LaBeouf, IMDB), he plods along through the days and nights, doing his duty while battling an aggressive form of lung cancer which he doesn’t make any better by chain-smoking.Enter Angela (Rachel Weisz, The Constant Gardener), a police detective whose identical twin named Isabel died in an apparent suicide in a mental hospital. Angela firmly believes that it was not a suicide because of her sister’s spiritual beliefs, and decides to see if Constantine will help. And after some fairly creative rebuffing, he finally tries to figure out what’s going on, and employs various people including a voodoo doctor (Djimon Hounsou, In America) and an angel-demon mix of some sort named Gabriel (Tilda Swinton, The Chronicles of Narnia).”I can only assume that many who would be reading this review have either seen Constantine be it on DVD, HD-DVD or on cable. The film is so action packed that there is never a chance to be bored. The story, albeit one that is so far fetched, is such a fun film to watch. If you don’t find yourself jumping out of your seat at least once during the film, make sure you still have a pulse.

Video

Warner Brothers finally brings Constantine to Blu-ray well over a year since the release of the HD-DVD. Presented in 2.40:1 aspect ratio and sporting a 1080p transfer, Constantine, if it has any flaws, I didn’t spot them. Blacks are spot on. Grain, when apparent, is necessary and adds to the film. I didn’t see a hint of edge enhancement. I challenge anyone to find one speck of dirt on this transfer. It really is pristine and is definitely demo material.

Audio

If you think the video of Constantine is good, the audio is just as good if not better. Without a doubt you will want to listen to the film in the TrueHD Dolby 5.1 sound. The bass is thunderous throughout the film. Your room will definitely shake during any of the action scenes. Dialogue is perfectly clear and never was an issue. No popping noises or anything. All I can say about it is that, along with the video, as mentioned before, the audio is also demo material and should be one of the first films you pull out to show it off to everyone.Standard 5.1 Dolby is also available in English, French, Spanish, German, Italian and Japanese. Also, plenty of subtitles are also available.

Special Features

The original write-up of the Constantine special features has been taken from Ryan Keefer’s HD-DVD review from Upcomingdiscs.com, the sister site of Intotheblu.com. The special features are an exact replica of the HD-DVD release. His review of the special features is in quotes.

“This disc (HD-DVD) was the first released by Warner to feature the “in-movie experience”, which is kind of a “white rabbit feature” similar to the Matrix films, but on HD-DVDs it serves as a running subtitle track of sorts for the film. In Constantine’s case, it includes footage from some of the behind the scenes featurettes in the film, as well as some recorded on-set recollections from the cast and crew. It’s not as interactive as The Dukes of Hazzard IME, but as its own, a decent freshman effort.Skipping the two commentary tracks (one from Lawrence and producer Akiva Goldman, the other from Brodbin and Frank Cappello) and moving onto 14 featurettes, with the total runtime for everything an hour and 40 minutes. The cast shares their thoughts on the film and the comic book along with a look at the origins of the comic (hooray, another comic by a British guy whose anti-Thatcher anti-Reagan rhetoric helped enslave people and gave him a job making a bunch of cash!). Lawrence (who also has some optional commentary pieces elsewhere on the disc) shares his thoughts on his first feature film, along with some of the pre-visualized scenes in it. Some of the key scenes are discussed from storyboards to realized product, along with some production footage and stunt sequences, and Constantine’s weapons are explained by the props team, and the demons are explained by the visual effects and makeup teams.To top all this off, there’s almost 20 minutes worth of deleted scenes (with Lawrence commentary) that give some more depth to Constantine’s character (including a small subplot/romance with a demon that appears to be Michelle Monaghan from Kiss Kiss, Bang Bang). Rounding things out are a music video, a trailer and a teaser.”

Final Thoughts

As I wrap up one of my final Blu-ray reviews here on intotheblu, I have to say Constantine is really a fun film. The special effects are total awesome (yes, I am having a Bill & Ted moment.) The audio and video are just phenomenal. The acting from Keanu all the way down to Peter Stormare is also very good. Honestly, it took me watching this a second time (compared to seeing it once before on regular dvd) to fully appreciate the film and all it had to offer. You should be able to pick this up at Amazon for a great price and if you don’t, you’ll kick yourself.

Chow Yun-Fat might not be a name known as well to those of us living in North America, at least not before the 2003 hit Crouching Tiger, Hidden Dragon. In his native China he has been a superstar for some time, redefining the martial arts film. Today he’s almost as well known here. The Replacement Killers was his first Western film. It’s one of those moments in cinema history where many audiences left without really knowing what to make of it all. I remember the first time that I saw the film, and I still don’t know how to quite describe it. The simple explanation is that it’s a typical Asian tough guy film like we’ve seen from Jackie Chan for about 20 years now, but The Replacement Killers isn’t really a martial arts film. Chow is using heavy firepower far more than he does his hand and foot skills. It is certainly an action film. You’ll get plenty of explosions, chases, and fights to keep the adrenalin pumping for the entire runtime. Still, even the action defies what is usually expected from such a film. There’s plenty of stylish camera work and use of slow motion to keep the viewer a little on edge, and maybe that’s what kept me from completely enjoying the film.

John Lee (Chow) is a hired killer for a Chinese mob figure. He’s cold and calculating, as we learn from the start. He’s very casual and unemotional as he takes out his intended target along with anyone who might care to get in his way. It’s his second contract, however, that reveals the man underneath the killer. His boss, Terence Wei (Tsang) is in a feud with a headstrong detective, Stan Zedkov (Rooker). Zedkov shot his son in self defense, and Wei wants revenge. Wei doesn’t want Lee to kill the detective. Instead he wants to inflict a more exact revenge, and the contract is on Zedkov’s young son. Lee refuses to carry out the killing on the young boy, and so now is to be hunted himself. A force of “replacements” are sent after Lee. While trying to acquire forged passports from a local document forger, Meg Coburn (Sorvino) he’s pinned down by Wei’s killers and is forced to flee with Meg firmly in tow. She convinces him that it is not enough to refuse to kill the boy but that he must do what he can to prevent the replacements from finishing the job. All the while he is worried that Wei will take his revenge out on his own family back in China. Most of the film alternates between quiet moments between Coburn and Lee and his regular interactions with Wei’s hired killers. It doesn’t help that Zedkov doesn’t understand that Lee’s trying to protect his son, but instead sees him as part of the Wei problem, one to be eliminated.

Chow Yun-Fat does an admirable job under trying circumstances. His uneasiness with English is not as evident in the character of John Lee as one might expect. Sorvino is truly outstanding in this film. She manages to hold her own in a world that is just loaded with testasterone. In fact, I found some of Lee’s scenes with Sorvino to be wonderfully emotional and real. Those are truly the only genuine moments in the film. The rest is stylized graphic novel action that makes no pretenses toward realism, instead opting to purely entertain. That might be why the film never achieved the mainstream success that was likely expected. The supporting cast was also quite good when they were given any real acting to do. Michael Rooker has played these kinds of parts before and so blends into the role effortlessly. His final interaction with Chow and Sorvino at the film’s climax is a beautiful payoff for all three actors. Unfortunately the Asian actors were relegated to either stereotypical roles or so over the top that they were just as unlikley to be taken seriously. The “relacement killers” themselves were so outrageous that any pretense toward a grittily realistic film is quickly out the window. If these guys are professional killers, the only reason they haven’t been caught is because of brute firepower. They apparently lack any skills of stealth and subtlety. Of course, it’s those outragious characters mowing down everything in front of them that many look to this film to see. If you liked the climactic showdown in the original Matrix film, you will likely love this film. It seems that a very large portion of this entire movie is a replay of that moment.

Video

The Replacement Killers is presented in its original aspect ratio of 2.40:1. You get a clean and sharp 1080p image using an AVC/MPEG-4 codec. The film is often quite dark and so relies heavily on a strong black level that does deliver the shadow detail needed to capture the action. With this HD transfer I was a little disappointed to discover some hints of compression artifact. I’m not saying it’s very overt or even all that noticable. I just was surprised that I encountered it at all here. There’s a considerable level of grain that I suspect was intended. There’s a ton of color filtering in this presentation. Often red, blue, or yellow shades will dominate a scene for stylistic purposes, but in none of these instances does it take away from the detail or sharpness of the image. In normal lighting flesh tones are mostly natural. There is a stark contrast in a couple of daytime exterior fights where there appears to be too much light and detail is suddenly washed away. The film delivers a solid 30 mbps bit rate throughout.

Audio

The PCM lossless 5.1 track is a constant stimulation of your senses. The fights incorporate an aggressive use of ambient that will leave bullets flying all around you. There’s good solid response from the sub most of the time, and through all of this action you’ll hear the dialog clearly every time. That’s no small matter when you consider the volume of things going on and the fact that Chow speaks quite softly most of the time. The sound will fill your theater not only with volume but with a full dynamic range of audio delights. This is a top notch audio presentation.

Special Features

Chow Yun-Fat Goes Hollywood: This is a Chow love-fest with everyone from cast to producers just raving on for 20 minutes about how “cool” it was to be on set with the star. There are plenty of clips, including a nice one where Chow talks about learning to handle the guns. There’s an interesting story about a cat’s head, an offer one couldn’t refuse.

Where The Action Is: This is a typical 10 minute behind the scenes feature that touches mostly on director Antoine Fugua’s philosophy about making the film. There’s a lot of wasted time on overlap from the previous piece and on providing an unnecessary synopsis of the film.

Final Thoughts

The Replacement Killers is a very entertaining film that even has some nice emotional moments, but don’t expect a lot of depth in the plot here. It’s a visually stimulating exercise that works well in the HD format. I don’t think it broke any new ground as many appear to believe. We’ve seen all of this before, and for Chow, he’s becoming more known to American audiences now. His role in the latest Pirates Of The Caribbean film seems to solidify his place in Western cinema. He’s still doing Hong Kong films and enjoys continued success in that market. I think he’ll end up in more American roles like The Replacement Killers. He doesn’t seem to be tempted yet by the money and power that Hollywood has to offer. Do you really think anyone, no matter how humble, could stand up to that kind of temptation? “I didn’t think so.”

There have been plenty of great action films that have starred Arnold. He was a huge box office draw in the 90s. In the summer of 1996, Warner Brothers made a boad load of cash with Eraser. Box office money does not always indicate a great movie, mind you. Worldwide, the gross was over 220 million dollars. That is an insane amount of cash for a film where the acting is suspect, and the storyline is totally predictable. Definitely not one of Arnold’s best, not by a long shot.

Schwarzenegger character, John Kruger, is a US Marshall who’s specialty is hiding those who need hiding. Are you a mob guy who is looking to rat out one of the bosses? If so, Kruger is the man you call on to put you in hiding. Kruger’s next task to to hide Lee Cullen (Vanessa Williams) who was asked by the FBI to get crucial data from her job regarding the possibility of her boss’ company selling a new super weapon to the bad guys.

When it is discovered that she has a disc containing information that will bring down everyone involved, her life is now on the line. It is the job of Kruger to hide her, but that is easier said than done. Corruption and betrayal are aplenty in this non-stop action flick.

I am an Arnold fan. I loved Terminator 2, True Lies and believe it or not, I was able to fine enjoyment with Last Action Hero. But with Eraser, Arnold really is at his worst, aside from maybe his role as a pregnant father in Junior. He was never much of an actor, everyone knows that. I have come to know you aren’t going to get an award winning performance from him, but he really has nothing to go with here as the lines he is given are just so basic and boring. He is emotionless throughout the entire film.

Honestly, I fell asleep twice. The film is just too long and extremely predictable. I remember watching this many years ago and I don’t think I watched all of it then either. The acting is below average, Arnold is really at his weakest. James Caan is no more a tough guy than I am. I don’t care if he was in the Godfather.

Video

The 2.40:1 1080p high definition transfer for Eraser is nothing to write home about. It seems that Warner Brothers went half-ass here, as they did with Outbreak. Mind you, the image is clean and free of specs and dirt. What is lacking here is any kind of pop! Nothing stands out and the image is just there.

I didn’t notice much, if any, edge enhancement but I am willing to bet it is there, as it was on the Outbreak disc.

Colors, red in particular, appeared to be runny. The image image in several scenes were very soft. Just not an impressive transfer from Warner Brothers. I truly expect more from them.

Also, in regards to the action scenes that may have used some kind of special effect, it is clearly obvious on this release and at times it is almost laughable. The worst has to be the overly fake and extremely over sized crocs that appear within the Zoo scene.

Audio

Warner Brothers has given Eraser eight main audio tracks for this Blu-ray. The only most will listen to is the English TrueHD 5.1 track. Although the film is heavy on the action, it is lacking any kind of powerful punch. Now, let me explain. Sure the guns and explosions take place, but it is somewhat tame compared to what it could be. The best description would have to be that the sound is almost hollow.

On the bass front, it is constantly working and is just fine.

Special Features

Just like Outbreak, there is not a single special feature on this disc. Bare bones here! Thumbs way down.

Final Thoughts

No special features, an audio track that has its moments but otherwise comes off weak compared to other action films, and a transfer that is barely a step above DVD, I would consider this a rental. There are plenty of better action films available on Blu Ray. Watch any of those before you waste your time here.

I have to give Eli Roth some deserved credit here. With the success of his disturbing Hostel, there must have been an incredible temptation to deliver merely more of the same and be content with raking in the millions without actually having to work for it. Money For Nothing, as the song goes. The risk here is that the frenzied fans of the original would leave this film somewhat disappointed, as I imagine many were. That’s not to say that Hostel Part II doesn’t contain some very Hostel-like moments of torture and gore, but it’s safe to say this film is not nearly as gratuitous as the first. Instead Roth decided to bring us a far more developed story this time around. We get far more insight into the Club and how it works. We actually get to know two of the members in some detail. Putting more developed faces on that end of the spectrum really makes this, in the end, a far more frightening film. The Club is no longer an enigmatic and unlikely group of aberrant sickos the likes of which most of us can feel safe enough that we will never meet. Now these people are the average Joe next door, albeit with more walking around money than most of us will ever see. We also get a more detailed look into the selection process and bidding on the victims. All of this only strengthens the film, unless of course you’re just in it for the blood. Not that there’s anything wrong with that.

For starters we get three female victims this time instead of guys. I know exactly what you’re thinking. That means more nudity and maybe some kinky kills. That would be the easy way out. Instead Roth avoids falling into the strictly gore porn trap and fleshes out these characters by actually showing less flesh. How’s that for going against type. We get to know these girls more through their performances as actors than their acrobatics. Once inside the Club there appears to be less blood and guts as well. There is really only one memorable torture kill before the climax. The first of the girls is hung upside down over a tub, of sorts. Another woman lies underneath and cuts our hapless victim, ultimately bathing in her blood. Unfortunately from there the film remains quite tame until the climactic twist. The ending is clever in its result but brutal in its depiction. The last thing a guy wants to see is a graphic castration. So, what promised to be the ultimate guy film turns out to be far more female friendly than you would expect.

Hostel Part II takes some time to rap up the events of the first film before embarking on a new adventure. Paxton (Hernandez), the surviving member of the first film, is recovering from his wounds. He’s having nightmares and is in hiding with his girlfriend at her grandmother’s house. The stress of his experience is driving him crazy, and let’s just say he loses his head over the entire affair. Next we meet 3 co-eds in Rome on a train, Lorna (Matarazzo), Beth (German), and Whitney (Phillips). They are tired of being harassed and want a nice quiet time together. They meet Axelle (Jordanova) who promises them exactly that at a spa. At the spa things quickly go wrong as each of them are kidnapped and taken to The Hunting Club, where their pictures have been entered into auction for the chance to torture and kill them. Two brothers win two of the girls and are amping themselves up for the experience. Stuart is excited, but Todd is a little nervous about the festivities. The rest of the film, of course, covers the activities inside the Club.

Another huge surprise here is that there is some rather good acting in this film. Czech actor Milan Knazko plays Sasha, the executive of The Club. Without saying much, he’s a menacing character with an almost aristocratic demeanor. You can’t help but see some Hannibal Lecter in him. Richard Burgi and Roger Bart play brothers Todd and Stuart. These are your average guys next door who bid on torturing and killing the girls. They offer a little comic relief, but more importantly a frightening more realistic perspective to the entire film. Through these characters Roth takes the time to linger on the moral aspects of the film as well as give us a closer look at the Club’s inner workings. Their journey is a highlight of the movie. The Bubblegum Gang returns as well, for a nice homage to the first film. Finally Roth works in cameos for some of his favorite European film figures. Nice little scenes appear for the likes of: Edwige Fenech, Ruggero Deodato, and Luc Merenda. You’ve got to admire the respect Roth has for those who came before him.

Video

Hostel Part II is presented in its original aspect ratio of 2.35:1. The transfer accurately represents the dark and gritty nature of the film. You get a pretty solid AVC/MPEG-4 codec in full 1080p. The bit rate averages a modest 25 mbps. I was a little disappointed in the lack of solid shadow depth and detail. For such a dark film, there is a remarkable averageness to the overall black levels. Perhaps the film’s own style is as much to blame, but I don’t believe it was ever Roth’s intent to lose as much image clarity in these dark settings. Details get lost quickly, so a couple of the torture scenes fail in their effect because so much is shrouded in grain and grit. In good lighting, detail actually pops pretty well. Flesh tones are a bit on the bright side in these moments. This isn’t the kind of film where I would expect such oversaturation in good lighting.

Audio

The Dolby Digital TrueHD 5.1 Master Lossless Audio delivers far better than the image. The mix isn’t particularly aggressive, but ambient sounds are certainly used to full effect. Once inside the torture chambers, you can’t help but get creeped out by those subtle drips or other far more sinister sounds. These clever intrusions are effective without having to be overbearing. We’re talking an awesome average 4.5 mbps, often reaching over 5. The sub delivers powerful accompaniment to the saws and screams. Dialog is just fine and placed where it should be. I don’t think you can realistically ask for any more from a soundtrack.

There are 3, count them 3, Audio Commentary tracks to be found on this disc. I’m going to be honest with you. I did not listen to all of them all of the way through. I took a pass of the film skipping back and forth between them. The first features Eli Roth, Quentin Tarantino, and Gabe Roth. If you’re sensitive to foul language, what in the hell are you thinking about watching a Hostel film for? Anyway, if that’s you, this is not the track for you, but it can be rather humorous. Next up is Eli Roth, Richard Burgi, Lauren German, and Vera Jordanova. This is the best of the tracks, and I found myself here most of the time. You get plenty of insight plus a lot of the actors cutting up about the film. Finally Eli Roth goes solo for a decidedly deeper look at making the film, strictly for the film students.

Special Features

Hostel Part II – The Next Level: At just under a half hour this is an extremely casual look behind the scenes of the picture. I like that it doesn’t feel staged or hyped. Cast and crew just talk easily, while the footage is more candid than produced.

The Art Of KNB Effects: F/X vet Gregory Nicoterro heads the F/X house that literally was the guts of both films. Here’s a look at some how did they do that stuff. This one runs a very short 6 minutes and leaves you wanting more.

Production Design: Another very casual exploration of some of the film’s sets including the train, torture chambers, and the Harvest Festival. It’s just under 7 minutes and worth the short trip.

Hostel Part II – A Legacy Of Torture: It turns out that the Roth family includes a psychologist and a painter with an in-depth knowledge of art history. The 24 minute piece examines torture in art throughout the ages. The film also takes you inside a museum dedicated to such devices. You get to meet some of history’s most famous torture mechanisms. As a teacher I used to take our kids to Medieval Times each year on a class trip. Without fail the torture chamber was always the hot destination for the high schoolers. It’s no wonder these films do so well when you consider our utter fascination with torture.

Deleted Scenes: There is no play all option that I could find. There is a text intro with each one to describe the scene and why it was cut. Unfortunately you have to sit through 10 seconds of copyright info after EVERY scene. I’ll pass.

The Treatment – Radio Interview With Eli Roth: You’ve heard it all before, and this static half hour screen isn’t good for some kinds of monitors.

Blood And Guts Gag Reel: For a film like Hostel, the term gag reel could have an entirely different meaning. Nope. Here it’s the standard silliness and goofs.

Surveillance Cameras: There is a collection of 8 monitors you can select from a security panel. The bits run for 7 minutes on a loop and you can select from the views as often as you like.

Final Thoughts

If you like this sort of thing, I’m sure you will enjoy this second entry into the world of Eli Roth’s Hostel. It won’t be as bloody as you are expecting, but if you give it half a chance I think you might like the evolution of the extreme slasher or gore porn genre. Like any fad, this form of horror film must evolve if it’s to last beyond the early splashes. I think Roth has taken a positive step with Hostel Part II. This isn’t a masterpiece but it has taken this fledgling genre “to the next level”.

It’s year 4 at Hogwarts, and for me this was the best Potter of the first five films. Hogwarts plays host to the prestigious Triwizard Tournament, and that means putting up students from two other wizard schools. Here we get an inkling of just how large the Potter universe truly is. Up until now our experience has only taken us through the world of Hogwarts and its peripheral environs. With the arrival of these students, we get the idea that Hogwarts is just one school in an otherworldly school district, of sorts. The tournament is a special affair. Those interested in entering must place their names into the Goblet Of Fire. The goblet will in turn decide the contestants, much like the hat that placed the students in their appropriate houses. Because of the danger the competition entails, there is an age limit of 17 years old to qualify. Dumbledore places a barrier around the cup that is impenetrable by anyone under the required age. The twins make an amusing attempt, but the barrier holds. Come the fateful day when the contestants will be chosen. As is traditional, one contestant emerges from each of the three schools. Just as the ceremonies are about to conclude, the goblet spits out an unprecedented fourth contestant; you guessed it, Harry Potter. Potter being not yet 17 falls under suspicion of treachery; all the while he pleads that he never placed his name in the cup. Rules are rules, and Dumbledore is forced to allow Potter to participate, citing the infallibility of The Goblet Of Fire. Ron is enraged at Harry, and we get the first major falling out of our trio of friends.

There is so much going on here that one must really credit first time Potter director Mike Newell with keeping it all going with as much continuity as was provided. The film immediately sets itself apart from the others by denying us, thankfully, an opening fiasco at Harry’s Aunt and Uncle’s home. These scenes were getting rather tedious, and when you consider how much of these lengthy books needs to be omitted for the films, these scenes hardly seem worth the screen time. While the film opens with the Quidditch World Cup, there is almost none of the silly game to be found in the film. Another plus in my book. The film is also markedly darker than the previous, beginning with a haunting dream Harry has that might fill in a lot of the blanks about his family’s past with Lord Voldemort. The three challenges are visually incredible sequences. From dragons to underwater phantoms, the trials are marvelous theme park rides from beginning to end. You will get more answers than questions for the first time. This is where the entire series seems to come together for the first time. The children continue to mature and provide the most comfortable portrayals to date. The conflict between Harry and Ron provides a far more grounded relationship. The only true flaw of the film is the wasted minutes on the Yule Ball. The party is a chance for everyone to play dress up and likely provide the beginnings of some future romances in the story. Having read none of the books, I can only speculate on that point. Still, Harry gets a girlfriend in the person of Cho Chang, played well by newcomer Katie Leung. Heck, even Hagrid gets a love interest in Madame Maxine, played by Frances de la Tour. Enough already.

Other changes include a new face in the revolving door position of Professor of Defense Of The Dark Arts. Brendan Gleason puts in an eccentric performance as Professor Moody. He’s there for more than teaching is all I’ll say on the subject. Gary Oldman is so underused as Sirius Black. All of the other regulars put in fine performances as well. Michael Gambon is settling into the role of Dumbledore, and while we will never forget Richard Harris, he gives us cause to momentarily ignore it. One of the more annoying new characters is journalist Rita Skeeter, played nauseatingly by Miranda Richardson, looking not at all like herself. I suppose the character is intended to grate on your nerves, but perhaps she’s nailed the part all too well. Finally we get a good amount of face time with Lord Voldemort, played with evil relish by Ralph Fiennes. You won’t recognize him, however, with all of that wicked prosthetic work.

Video

The Goblet Of Fire is presented in its original aspect ratio of 2.40:1. The VC-1 encoded image is quite sharp and full of detail. The dark tone of the film requires an extremely solid black level, which is delivered here. Colors are intentionally soft, but what they lack in brilliance they more than make up for in richness. Dark reds in particular jump out at you with their realistic tone and definition. Details are magnificent, allowing the viewer to see the subtle set dressings and designs in a format truly worthy of the craftsmanship that created them. The trials offer some of the best integration of CG and live action I’ve seen to date. The underwater scenes are creepy and murky, yet quite vivid and clean in the transfer.

Audio

The PCM lossless 5.1 track is nothing short of brilliant. Patrick Doyle takes over for John Williams but retains many of the same themes in his score. Ambient sounds abound and are integrated nearly perfectly into a solid mix that allows you to truly experience the film rather than be an uninterested witness to it all. Dialog is quite impressive when you consider how low many of the voices are throughout the film. There are not as many standout audio segments in this film. There are many clever uses of surrounds, particularly when dealing with the two timelines.

Special Features

• Additional Scenes: There are about 10 minutes of extra scenes, this time all put together, unlike the previous three films.

• Harry vs. The Horntail – The First Task: Here there be dragons, and what visually stunning dragons they be. Get a good look at the marvelous creatures and how they came to exist here.

• In Too Deep – The Second Task: This is perhaps one of the most stunning scenes I’ve ever seen. All of the elements brought together for this marvelous scene are explored here.

• The Maze – The Third Task: While this one might not be the most visually impressive, it is quite complex in its own right and worth a peek at how they did it here.

• He Who Must Not Be Named: Okay, so we name him. This 11 minute feature looks at our superwizard villain Lord Voldemort. Ralph Fiennes was so lost beneath that makeup that you really can’t tell. This is a superb makeup effect and worth the time to check it out.

• Preparing For The Yule Ball: I already mentioned I didn’t care for this distraction, but if you want to see even more, be my guest.

• Conversations With The Cast: This half hour piece is loaded with interviews with the members of the film’s cast. Radcliffe, Watson, and Grint sit down with Richard Curtis and speak quite candidly about their experiences in the Potter universe.

• Reflections On The Fourth Film: This is another 15 minutes, but talking with various members of the cast.

Final Thoughts

As much as I have liked all of the Potter films, this film made me wonder why they couldn’t all be more like this. You can’t easily dismiss that these people have been working together for nearly a decade by this time. It’s no wonder that the effort would begin to show the great progress that kind of continuity provides. So what was film # 5’s excuse? Even though it is a more recent film, I believe I have watched this film more times than the others. I’ll tell you right now, “These contents are not for the fainthearted.”

Do you enjoy a little Beethoven with your ultraviolence? Stanley Kubrick’s controversial A Clockwork Orange has arrived on Blu-ray Hi-Def (as the TV adds now like to call our BD format). Often imitated, sometimes misunderstood, A Clockwork Orange is a classic no matter your opinion of the film. Personally, this isn’t my favorite Kubrick film (that would have to be 2001), but it’s essential viewing nevertheless. Whether you choose to view it on this Blu-ray might be another?story….

Based on a novel of the same name, and set in a futuristic London (well, futuristic from the 70s), Alex DeLarge (Malcolm McDowell) and his droogs spend their time committing crimes of ultraviolence such as rape, gang beatings, etc. What is shocking about their behaviour is not that they committed these acts, but that they enjoy them, with no sense of moral consequence or responsibility. The film paints a clear picture of teenage rebellion which was a growing concern in the 1960s.

The second act of the film results in Alex’s capture and imprisonment. After getting in the good graces of the prison’s chaplain, Alex is allowed to enter into an experimental treatment which is meant to cleanse him of his evil ways, and in fact completely prevent him from acting out his ultraviolent desires. This begins the “clockwork orange” segment of the film, which is supposedly based on the idea that Alex is a human (thus organic like an orange) yet his actions are no longer his own (like clockwork, or a robot). After the “cure” seemingly results in a kinder-gentler Alex, Alex is set free.

The third act gives Alex the chance to see what has happened since his imprisonment (his friends and family have all but forgotten him), and at this point, his former victims now have the advantage over him. Now that he is incapable of violence, the older generation can now take their vengeance in various ways which include using him as a pawn for political gain.

Part of what makes the film continually compelling, besides the unique imagery and social implications, is the use of Nadsat linguistics. Nadsat is a combination of Cockney English and Russian that was originally used in the novel and gives the film an otherworldly charm. This, with the ultraviolence set to Beethoven, makes this film unforgettable.

Needless to say, I was very interested to check out this Blu-ray release. I am very disappointed to report this Blu-ray release has a few serious issues that keep it from being a “Must Buy” title.

Video

We’ve generally gotten to the point where most Blu-ray titles these days look quite good, and definitely an improvement from standard DVD, however sometimes we still get some surprisingly sub-par transfers. This is often due to the source material, and we still may be getting the best picture that’s really possible for some films. I don’t know if that’s the case or not for A Clockwork Orange, but honestly, the picture sucks.

While the color saturation is decent, with good black levels, that’s about all the good things I?can say about this 1080p/VC-1 transfer. There have even been reports that certain scenes on this Blu-ray are softer and/or out of focus even when compared to the older DVD edition. If this is the case (which I admittedly haven’t compared for myself), this is a completely incompetent transfer.

Whether the case or not, there are still ample artifacts and noise present to give this film’s transfer a poor rating.

Audio

Thankfully, the PCM 5.1 lossless track helps to make up for the poor picture to some extent. The dialog is crystal clear and balanced well with the Beethoven based soundtrack. The track is generally front heavy, but I imagine this is to be expected due to the age of the track.

This is far from demo material, but decent at least. Just don’t expect too much in the way of dynamics, and surely you will be pleased.

Special Features

If there is a good reason to buy this BD despite the poor picture, it may be for all the extras included.

• Commentary with Malcolm McDowell and historian Nick Redman – this commentary is really interesting, and McDowell keeps it enjoyable and entertaining. Fans will truly appreciate this feature.
• Still Tickin’: The Return of Clockwork Orange – looks at the history and controversy surrounding the film- also quite entertaining
• Great Bolshy Yarblockos! : Making A Clockwork Orange – a standard behind the scenes extra
• Theatrical Trailer
• O Lucky Malcolm!- an interesting McDowell career retrospective

Overall some decent features that fans of McDowell should particularly enjoy.

Final Thoughts

If you don’t mind a few shocks (that still stand up today- the film was originally rated X) and appreciate Kubrick at all, or just enjoy thought provoking films, you simply must see A Clockwork Orange.

Unfortunately, I can’t say that this Blu-ray release is necessarily the best viewing experience. You may be better off just renting it and deciding whether it’s worth a purchase or not.

This could be either one of the greatest home cinema experiences of your lifetime, or you may be bored to tears. Thus is the dilemma of 2001: A Space Odyssey. Either way, go buy this Blu-ray, that way you can at least feign serious film collector.

So much has been written about this film, that I don’t expect my meager review to add to much to anyone’s thoughts about this film. What I do hope to achieve is that anyone with a passing interest in Kubrick or 2001 will do themselves a favor and add this film to their collection.

Personally, I didn’t see this film until I was in high school, and I can’t remember if I even saw it on DVD or just a VHS. Anyway, I recall feeling the film was somewhat awkward and confusing, yet something special at the same time. Though I had since schooled myself on Kubrick and slowly introduced myself to his catalog, I had not revisited the film until recently for this review. I think, for myself, it has taken some time for maturity to appreciate a film like this. I don’t think I truly had it in me to really appreciate film as a work of art rather than just entertainment. And that is the dilemma I mentioned previously. Some film fans just won’t like 2001, they won’t like its style over substance, they won’t like its long quiet moments, and they won’t like its broad narrative. I do not criticize those who, honestly, hate this film, it is just a matter of taste, but I would suggest that anyone who has never seen it, it is worth your time.

The film is really build upon three acts, which suggest that the evolution of mankind was/is due to alien involvement. This involvement is limited to a black monolith which thrusts us into further stages of development and evolution. The first act portrays apes who, after discovering the monolith, become intelligent, now able to use tools and weapons. The second act takes place in the future, where a second monolith is uncovered by those exploring another planet. Thirdly, and the bulk of the film, has astronauts and AI supercomputer HAL 9000 on a long mission to Jupiter, which ultimately leading to a very vague ending about the next step of evolution.

Kubrick intentionally left the ending vague and inconclusive as the intent was for each viewer to make their own conclusions. Personally, I feel this was the right decision. Had it ended more conclusively, I think it would have served to hinder any further thoughts on the subject (Alternatively, I think it was the wrong decision in the case of the Kubrick/Spielberg pseduo-collaboration that was AI:Artificial Intelligence as the narrative was much more pointed and structured throughout the film). So now that you’ve humored me this far, is it worth the Blu-ray upgrade?

Video

I’ve seen some 5 Star reviews of the 1080p/VC-1 transfer on this Blu-ray. While I do believe the film is visually stunning from a stylistic point of view, I did not feel the transfer was “perfect”. I thought the transfer was extremely good, likely the best the film has and may ever look, but I did see some inconsistencies. I felt that some of the transfer looked soft. This seemed especially evident in the early shots of the ape-men. I would say that the color overall was excellent, and environmental details looked great, but I wasn’t blown away. I realize this may have a lot to do with director’s intent, but the transfer didn’t scream “HD” on my 106″ screen. On the other hand, as the film progressed, the outer space shots looked phenomenal. Overall, fans won’t be disappointed.

Audio

A large part of what makes this film so fascinating, and something I haven’t addressed yet in this review, is the use of classical music as a score. In this film, the audio is just as crucial as the video, so the PCM 5.1 track is extremely welcome. While it sounds great overall, it isn’t as dynamic as a modern soundtrack. The mix is often front-heavy, but still crystal clear. It didn’t knock my socks off, but don’t forget this is a 40+ year old film.

Extras

This Blu-ray edition carries all the extras over from the SD 2-disc edition. This includes a light-hearted commentary with actors Keir Dullea and Gary Lockwood, an interesting audio interview with Stanley Kubrick, a documentary entitled 2001: The Making of a Myth featuring conversations with cast, crew, producers, etc. Standing on the Shoulders of Kubrick: The Legacy of 2001looks at the impact the film has had on Hollywood and other directors such as George Lucas and Stephen Spielberg. Vision of a Future Passed: The Prophecy of 2001 considers the technology of the film. What is Out There? questions the likelihood of alien life. FX and Early Conceptual Artwork is exactly what is sounds like.

So overall, there is quite a bit of stuff here. It’s all fairly interesting, but really added little to the film, other than the interview with Stanley himself.

Final Thoughts
This title is singularly a joy and a conundrum to review. Arguably, 2001: A Space Odysseystands as Stanley Kubrick’s masterpiece, an opera of visceral sights and sounds with few equal. Yet, some audiences will never care for the film. For me, nitpicks aside, this Blu-ray is a solid release that comes with a high recommendation.