Review Category: DVD/Blu Ray

The Enemy of the World, the fourth serial from the fifth season of Doctor Who, missing for decades from the BBC TV Archive and recovered five years ago from a dusty storage room in a Nigerian television relay station, was previously released on iTunes and on DVD in 2013 as a special 50th anniversary birthday surprise for fans. The episodes themselves were scrubbed up by the Restoration Team but the DVD boasted none of the documentaries, commentaries and featurettes normally associated with classic Doctor Who’s DVD releases. Here’s the inevitable ‘special edition’ which finally allows the story to be properly supported by a range of bonus material which leaves few stones unturned (bearing in mind that many of the key players from a fifty-year-old serial are no longer with us) in detailing the making of a story which has been thoroughly rehabilitated since its discovery.

Once dismissed as a dull and wordy adventure serial dumped in the middle of what’s often referred to as ‘the monster season’ because of its run of fondly-remembered stories featuring many of the best stories of the series’ top tier of alien adversaries (Daleks, Cybermen, Ice Warriors, Yeti), ‘The Enemy of the World’ is now recognised as an underappreciated gem, a welcome respite from the near-unrelenting string of creature features which surrounded it.

The TARDIS pitches up on a beach in Australia and no sooner has the Doctor stripped down to his long johns and indulged in a bit of seaside horseplay than he and his companions Jamie and Victoria are under attack from gunmen aboard a hovercraft. Doctor Who briefly becomes a cut-price James Bond as the trio are rescued by helicopter and the Doctor is informed that he’s actually a dead ringer for Salamander, a despotic Mexican megalomaniac who has harnessed the power of the sun to generate crops and who has risen to power in the United Zones Organisation. The Doctor is persuaded to impersonate Salamander in order to infiltrate his inner circle and to convince himself that Salamander is as bad as his detractors seem to suggest. Six (distinctly on the cheap) globe-trotting episodes uncover a web of lies, treachery and deceit and the revelation of Salamander’s ultimate deception in an underground bunker in Kanowa.

Enemy of the World is a brisk and inventive story memorable mainly because it’s so entirely uncharacteristic of Doctor Who in 1967. At six episodes it does have a tendency to drag but Whitaker’s script is better than the circumstances of the serial’s making might suggest and Troughton is clearly having the time of his life playing both the Doctor and, in slightly dodgy make-up, the manipulative Salamander. Despite claims that the episodes have been further tidied up they don’t really look much different from the 2013 release but there are some interesting treasures in amongst the extra features, especially the sensitive tribute to Deborah Watling who passed away last year and an interesting if all-too-brief interview with the tireless Philip Morris who discovered the previously-lost episodes. Toby Hadoke’s ‘Treasures Lost and Found’ puts a new spin on the often-dry ‘making of’ format and while it’s a bit contrived and self-satisfied it delivers a poignant and touching end to his quest to find out something new about one of Doctor Who’s least-documented stories.

If you shelled out on 2014’s vanilla DVD release, to double-dip or not to double-dip is the question? In the end, you know you’re going to shell out a second time because it’s classic Doctor Who and it’s worth it and there’s enough entertaining new material here to add a few little grace notes to the recorded history of one of Doctor Who’s most unusual stories.

Extras: Commentary, Treasures Lost and Found (making of), Recovering the past (Philip Morris), Remembering Deborah Watling, Restoration featurette, Jon Pertwee 1991 introduction, 1967 TV trailer, production subtitles, photo gallery

DOCTOR WHO – THE ENEMY OF THE WORLD: SPECIAL EDITION / CERT: PG / DIRECTOR: BARRY LETTS / SCREENPLAY: DAVID WHITAKER / STARRING: PATRICK TROUGHTON, FRAZER HINES, DEBORAH WATLING, MARY PEACH, BILL KERR, COLIN DOUGLAS / RELEASE DATE: OUT NOW

Jojo’s Bizarre Adventure is a manga consisting of several parts, each of which focusing on a different member of the fictional Joestar family taking on a different supernatural threat. Season One adapts the first two of these parts, Phantom Blood, and Battle Tendency. These two chapters may exist in the same series, but they are very different from one another in regards to their protagonists, and their tones.

Phantom Blood starts off as a show that looks like it was adapted from a Jane Austen novel but doesn’t take long to become a Gothic horror. This section of the season is only nine episodes long, so the pacing is fairly brisk. The first episode is used to establish backstory and the second episode to set up the threat, leaving only seven episodes for the main thrust of the plot. There is no padding to the series; no one plot point or character overstay their welcome.

Battle Tendency leaves the horror that defined its predecessor behind for something that feels more akin to an adventure movie. With 17 episodes, it has a greater runtime to work with, and it uses this to set up multiple antagonists whereas Phantom Blood only had the one.

Battle Tendency also distinguishes itself from the episodes that came before with its protagonist. Joseph Josestar has Johnathan’s temper, but he takes everything less seriously and is smart-mouthed where Johnathan was well spoken. The two main characters are distinct in a way that helps to further distinguish their respective series.

One thing that unites these two chapters is how their fight scenes are handled. Although the protagonists each poses special spiritual power, and antagonists are supernatural in nature, their fights are not about power. Instead, battles are won and lost based on the strategy that the combatants employ. By focusing on tactics over raw power Jojo’s Bizarre Adventure avoids the issue of power creep. The heroes don’t need to get increasingly stronger to deal with new threats and the show doesn’t need to keep inventing new ways for them to do so.

This collection doesn’t offer much in the way of special features. The only extras available are the option to watch the shows different openings and its ending without text on the screen.

Jojo’s Bizarre Adventure is more thoughtful than could be expected of a show about burly men fighting. The different parts feel like completely different shows despite common cast members, and the focus on strategy over pure power in each encounter sets it apart from other similar anime. This is a strong example of enjoyable anime melodrama, and worth watching.

JOJO’S BIZARRE ADVENTURE SEASON 1 / CERT: 15 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: JOHNNY YOUNG BOSCH, BEN DISKIN RICHARD EPCAR, PATRICK SEITZ, MICHELLE RUFF, KEITH SILVERSTEIN / RELEASE DATE: APRIL 2ND

There’s prolific, and then there’s Kazuo Hasegawa. Though not a well-known name here in the west, Hasegawa appeared in over three hundred films in his native Japan. With a filmography that long, you can be forgiven for revisiting certain stories – An Actor’s Revenge, coming towards the end of his career, was not only his three hundredth film but a remake of one of his earlier ones. Oh, and he plays two roles in it. Busy guy.

In this 1963 version, Hasegawa’s main role is that of Yukinojō Nakamura, who’s an onnagata, or female impersonator, in the kabuki theatre – think a nineteenth-century Japanese drag act. His troupe visits the town of Edo, where three men draw his attention; decades ago, these men’s scheming drove Yukinojō’s father out of business and led both his parents to suicide. Now unrecognised by them, the actor plans to manipulate his way into their lives, through charming one of their daughters, and eventually get his revenge.

You can see why studios kept hiring Hasegawa; he gives a mesmerisingly layered performance as Yukinojō, who embodies the femininity of his theatrical persona on stage and off, and elicits both scorn and affection with his gentle formality, carefully concealing the ferocious rage bubbling underneath. We see a different, more charismatic, side to Hasegawa in his other role as Robin Hood-like thief Yamitarō, who weaves in and out of the action; in fact, you could be excused for not noticing the two characters are portrayed by the same actor.

The other main selling point of An Actor’s Revenge is its strange but bold cinematography. The exterior scenes take place at nighttime, with most of the screen being pitch black except for certain brightly lit items of scenery; it’s a very theatrical device, and some may see it as a poor substitute for actual location filming, but go with it and you might appreciate the unique, lavish look it gives the whole film.

If there is a weak point, it’s that the script errs to the melodramatic and is particularly let down by some overly drawn out and expository dialogue sequences. At one point, Yukinojō has his own backstory explained to him in detail by his tutor. It’s not subtle.

Nevertheless, this is a film well worth your attention, and not just for Japanese cinema nerds. If that does describe you, however, you’ll love the main special feature – a 50-minute documentary called 100 Years of Japanese Film. This Blu-ray release also comes with four rare archive newsreel films documenting Japanese life, a new audio commentary from critic Tony Rayns, and a fully illustrated booklet of essays – as complete and high-quality a package as we’ve come to expect from the BFI’s releases.

AN ACTOR’S REVENGE (1963) / CERT: 15 / DIRECTOR: KON ICHIKAWA / SCREENPLAY: NATTO WADA / STARRING: KAZUO HASEGAWA, FUJIKO YAMAMOTO, AYAKO WAKAO / RELEASE DATE: OUT NOW

This is a collection of the first six episodes of the Occultic; Nine anime, representing half the series in total. The plot centres on a group of high schoolers who run a blog that discusses the supernatural. While seeking content for their blog they find themselves embroiled in mystery and conspiracy in equal measure. The series combines the tropes of an anime about a high school club with occult mystery.

This combination of elements is at the heart of Occultic; Nine‘s different tones. When the focus of a scene is on the blog itself, the show is light-hearted and comedic. It should be recognisable to anyone who is familiar with other anime taking place within the context of an after-school club.

When it focuses on the paranormal elements of its plot, such as ghosts and mysticism the tone becomes much darker, and the atmosphere becomes tense. The show can go from three people arguing about assignments to the main character stumbling across a body in the space of one scene. It manages these two contradictory natures by slowly building from one to the other.

Sadly, this control over the feeling of the anime isn’t always shared by its grasp on its own plot. The point of view jumps around a bit, moving not only from character to character but back in time as well. For the most part, the show is able to pull this off but it can come across as jarring. This problem is exacerbated by the many little subplots that each draw attention from the main story.

The six episodes present across the collection’s two discs do a good job at building up the plot. These first episodes present the mystery of the series and provide one or two answers and the last episode included here ends at a point which feels like a fitting rather than arbitrary.

This sort of release is not typically great when it comes to special features, but even by this standard Occultic; Nine Volume 1 is lacking. A commonly included special feature is a small selection of trailers. It instead offers the viewer a single trailer to promote the series they have already decided to watch. Its inclusion is basically pointless, and it fails to add anything to the collection.

This is the bare minimum in terms of such a release. The first volume doesn’t add anything to the series that it serves to collect. As for the series itself; it is a well-executed blending of the innocence of high school fiction with the chills and thrills of horror. It can come across as a bit jumbled from time to time, but it is mostly entertaining.

Extras: Trailer

OCCULTIC; NINE VOLUME 1 / CERT: 15 / DIRECTORS & SCREENPLAY: VARIOUS / STARRING: ERIK SCOTT KIMERER, ROBBIE DAYMOMD, ERICA LINDBECK, CRISTINA VEE / RELEASE DATE: APRIL 2ND

Terrifier is an unashamedly simplistic film which is both its biggest strength and its biggest weakness. As prevalent as the concept of killer clowns is, the closest we have to a definitive film icon is Stephen King’s It, and lest we forget that Pennywise is technically not so much of a killer clown as a giant, inter-dimensional spider-being. Yes, he takes the form of a clown to scare children but it feels as though there’s a void waiting to be filled by a true, down-the-line clown slasher icon. Terrifier’s Art the Clown feels like a conscious attempt to give us just that.

Art is a truly enigmatic and memorable villain. He frequently veers into the territory of being genuinely unpleasant to watch, which makes him feel somewhat separate from the usual stable of horror icons such as Freddy and Chucky. Special acknowledgement should be given to David Howard Thornton for a truly wonderful performance and one that easily stands toe-to-toe with the likes of Curry and Skarsgård.

The film is little more than Art chasing and murdering people and that’s all a film like this needs to be. One thing of note is how remarkably good a job the film does of keeping you guessing with regards to who (if anyone) will survive. Its willingness to kill characters makes it almost feel like a Coen Brothers-esque genre deconstruction at times. Whilst being kept on your seat throughout is great, this also has the unfortunate side-effect of new characters being constantly introduced only to be killed off a minute or two later. Fatigue definitely sets in during the third act because you’re not really invested in anyone.

Presented as something of a throwback to horror B-movies of the ‘80s, Terrifier has far more style – both visually and audibly – than the average film of this nature. It’s a surprisingly nice looking film for a movie about a clown chopping people into pieces.

Special features are sadly lacking with the sole extra being a making-of documentary – one where ‘documentary’ is used in the loosest possible sense to refer to some poorly shot and edited mobile phone footage cobbled together, presumably purely to prevent this from being just another vanilla disc. Die-hard fans might get something out of the raw, voyeuristic nature of the content, but more casual viewers likely won’t get through more than a couple of minutes before giving up.

In spite of this, Terrifier is well worth adding to the film collection of any killer clown or die-hard slasher movie fans for the film alone. This is technically Art’s third appearance following a short film and a turn in a horror anthology, but we would be very surprised if more Art the Clown movies don’t soon materialise.

TERRIFIER / CERT: 18 / DIRECTOR & SCREENPLAY: DAMIEN LEONE / STARRING: CATHERING CORCORAN, JENNA KANELL, MARGARET REED, KAMAL AHMED / RELEASE DATE: APRIL 6TH

The film-within-a-film spoof came to prominence in the late 1970s after a style built in the likes of Spike Milligan’s Q series and Monty Python’s Flying Circus, with Kentucky Fried Movie (1977), a still-funny-at-times mix of irreverent humour and sketches (notably in the ‘Feel-A-Round’ segment) and a lesser-seen film, Loose Shoes (1977), released in 1980 when lead Bill Murray’s star was on the ascendant.

101 Films have managed to secure the release on Blu-Ray in the UK for the first time of the 1987 anthology comedy Amazon Women on the Moon, which follows the same kind of idea and style as those other examples. Directed by no fewer than five helmers, including John Landis, Joe Dante, and Jaws screenwriter Carl Gottlieb, it is a short and sweet homage to late night 1980s American TV when the likes of shows like Soap and Bizarre (which both played on UK TV on Friday evenings during the early part of that decade).

The title refers to a spoof 1950s offering in which three astronauts and a monkey are sent on a mission to our satellite, where they encounter a group of warrior women led by Battle Beyond the Star’s Sybil Danning (who played busty vixen St. Exmin). However, you aren’t getting a great deal of the film, as the film chops and changes between other elements and sketches.

At this point, I must mention the film is very much of its time, with some technological references in this digital streaming era which will certainly go over the head of the younger generation and older fans will get more joy watching familiar acting talent like Steve Guttenberg, Michelle Pfeiffer, Ed Begley Jr, Henry Silva (who was Kane in the 1979 revival of Buck Rogers and whom tended to play drug kingpins in films like Steven Seagal’s Above The Law (Nico), Kelly Preston, Carrie Fisher and Rosanna Arquette.

Of the sketches, the best and mildly amusing one even today remains the sequence with Arquette and Guttenberg, in which she plays a woman who treats his character’s dating history in the manner of a credit check. A lot of the scenes are stylishly spot-on but don’t appear to have the same comedic impact as they did back in the day.

Therein lies the issue with Amazon Women on the Moon. Even back in 1987, you would sense that it was getting to be passé rather like the Police Academy sequels and many of the adolescent sex comedies that were populating the multiplexes. Kentucky Fried Movie and Airplane! remain enduring classics of this style (the latter making the top spot on many comedy fans best-ever lists).

The consolation is at least the film is getting a resurgent release and will be a welcome addition to hard-core fans’ Blu-ray collection.

AMAZON WOMEN ON THE MOON (1987) / CERT: 15 / DIRECTORS: JOE DANTE, CARL GOTTLIEB, PETER HORTON, JOHN LANDIS, ROBERT K. WEISS / SCREENPLAY: MICHAEL BARRIE, JIM MULHOLLAND / STARRING: ARSENIO HALL, DONALD F. MUHICH, MONIQUE GABRIELLE, PHIL HARTMAN, MICHELLE PFEIFFER, STEVE GUTTENBERG / RELEASE DATE: APRIL 2ND

Worldwide flu pandemic. Survivor holes up in family home in bleak, wintry, isolated location. Other survivors try to get in. Tussle and tension and a bit of violence. Who will survive? This is pretty much all you need to know – and all that’s on offer – in this brisk, competent but thoroughly unremarkable cheap-as-frozen-chips post-apoc thriller – originally titled Mountain Fever – by Frankfurt-born director/writer Hendrik Faller who, according to the film’s credits, appears to have copyrighted his own name. Funny old world…

Faller admits he’s influenced by the work of James Cameron (not really seeing it here) and his film broadly occupies the same landscape as the likes of The Walking Dead (but without the walkers) and, in all honesty, any cinematic tale of Armageddon-survival that you may care to reference. It’s an intimate tale with a small cast and as such it doesn’t concern itself with the how, whys and wherefores of the virus which has decimated Mankind. The low budget means we don’t get to see any of the chaos of the end of the world which isn’t necessarily a bad thing, following the ‘less is more’ maxim and some perfunctory dialogue tells us all we need to know about the state of the world according to Fever. Jack (Miller) is an unlikely survivor, a young Brit wholly unequipped to live without the comforts of a world that has apparently fallen apart. He takes refuge in his family’s Alpine home – a few effective scenes of atmospherically eerie location filming – and tries to sit out the end of the world. His uneasy solitude is disrupted when the lively Kara (Korzun) breaks into his refuge and starts to commandeer his food supplies. Jack’s clumsy plan to get her out of the house falls apart when other much more brutal local survivors lay siege to the house and Jack and Kara, not exactly the best of friends, find themselves trapped and forced to work together in order to survive this new and deadly threat.

Broadly speaking, this is all potentially interesting stuff and yet it never really takes flight, it never finds any pace or momentum. Characterisation is sketchy, action scenes are a little clumsy and by the time our ‘heroes’ are besieged, the drama (such as it is) having already largely shifted indoors, the film has more or less ground to a halt. The final act cranks up the tension again but it’s hard to shake off the feeling that Fever has no more tricks up its sleeve as it slowly grinds its way towards a commendably downbeat conclusion which lacks the necessary emotional punch because the drama has been sluggish and the core characters fundamentally a little generic. Fans of apocalyptic and survivalist cinema are likely to find Fever a little humdrum and unambitious but Faller has at least brought his story to the screen with some style which suggests he might be capable of creating something more effective and memorable given a bigger budget and a slightly broader narrative canvas upon which to paint his pictures.

FEVER / CERT:15 / DIRECTOR & SCREENPLAY: HENDRIK FALLER / STARRING: TOM MILLER, ANYA KORZUN, JULIEN MICHAEL / RELEASE DATE: OUT NOW

Set in 43AD, decades after Caesar’s misguided attempt to conquer Britain, the Roman army returns under the command of Aulus Plautius (Morrissey).

The only problem is that Britannia is controlled by the warring factions of the Cantii (ruled by Ian McDiarmid) and the Regni (ruled by a very potty-mouthed Zoe Wanamaker) who also reside under the magical reign of the Druids, who have a link with the Underworld and who relay the whims of the Gods.

After sacking and burning the first village they come across, the Romans make camp and parlay with all three of the factions, Plautius planning to negotiate and work them all against each other even more than they already are in order to create chaos and make his invasion easier. The only problem is he doesn’t count on the Druids deciding to install new regal figureheads, mutiny in his own ranks, or a little girl that is seemingly written of in a prophecy that is coming true due to actions that he and his army undertake.

The first co-production between Sky and Amazon, this is no Game of Thrones, and it is more than a little whimsical when it comes to historical accuracy.

Morrissey seems to be having a great time, hamming it up, but the whole production seems to be treading water, unsure of what genre it wants to belong to. It looks sumptuous, and most of the acting is pretty good – albeit the accents are all over the place – but it just loses its way when it tries to find a level that it is comfortable on.

The whole production would be much stronger if it decided to be an all-out comedy, perhaps echoing The Holy Grail, or making itself a gritty historical drama that really shows us the grime and horror of 1st Century Britain. Even if it lost the magical elements, it would not be anywhere near as messy as it turns out.

The final two episodes really give us an idea of the missed opportunity here to make a potentially legendary show that would live long in the memory.

Obviously set up for a second season, one can only hope that it narrows the genre spectrum and marches onwards to a more structured future.

BRITANNIA: SEASON 1 / CERT: 15 / DIRECTOR: VARIOUS / SCREENPLAY: JEZ BUTTERWORTH, TOM BUTTERWORTH, JAMES RICHARDSON / STARRING: DAVID MORRISSEY, KELLY REILLY, NIKOLAJ LIE KAAS, MACKENZIE CROOK / RELEASE DATE: OUT NOW

No doubt this Australian DVD release will have strong nostalgic value for those who remember Run, Chrissie, Run! from its original Antipodean broadcast, but the fact that its producers lost confidence enough to pull it from its intended theatrical run should tell you a little about its quality. The truth is, this is pleasant enough to waste an hour and a half, but it ain’t no Witness.

Brit Michael Aitkens stars as Riley, in IRA hitman who bottles an assassination when the intended target’s family turn up at the planned bombing location, and who ends up killing his partner to stop him going through with the hit. his moral compass established, and planning to go on the run from his Irish superiors, Riley fetches up at the Australian home of his ex, looking for the money she’s been hiding from their earlier career as bank robbers in Germany. But Eve (Carmen Duncan, Harlequin, affecting a passable German accent) has other plans, running off with both the cash and her daughter, the eponymous Chrissie (Neighbours’ ‘Plain Jane’ Annie Jones, filming two years ahead of her soap debut), on the lam from both Riley and the mob gunman Terrier (Shane Briant, another Brit) the IRA have sent looking for him.

Coming five years after Mad Max (this was shot in 1984, before sitting on the shelf for two years), there’s a stopover along the way involving a debauched punk called Toe (Nicholas Eadie), who gets inveigled into the search for Eve by Terrier and his regional right-hand man Pitt (a young Red Symons) after she shoots up his car, and whose face is plastered all over the promotional material. But really this is a surprisingly gentle, sunny film that might have been better concentrating more on Chrissie and her unexpected displacement.

And that’s the problem with Run, Chrissie, Run!, for while it makes a decent stab at making everything feel plausible, its characterisation – while superficially complex – is rather too thin to fully convince. It’s an issue that’s summarised somewhat in the unlikely dialogue exchanges that occasionally plague the film, and the net result is that while this is engaging enough not to bore, neither does it especially intrigue. You end up just about caring who lives and who doesn’t, and the most interesting development is so clearly signposted it’s almost impossible not to scream at the participants as they dance around admitting it.

Sadly, Umbrella Entertainment’s release comes from an appallingly poor picture source (they obviously didn’t have access to, or the budget to work from, the original negatives), so while this might have at least looked rather pretty unfortunately it doesn’t – and the trailer that follows the feature is almost unwatchable.

 

Extras: trailer

RUN, CHRISSIE, RUN! (1984) / CERT: TBC / DIRECTOR: CHRIS LANGMAN / SCREENPLAY: GRAHAM HARTLEY / STARRING: CARMEN DUNCAN, MICHAEL AITKENS, ANNIE JONES, SHANE BRIANT, NICHOLAS EADIE, RED SYMONS / RELEASE DATE: OUT NOW

Not too long ago, the criminally underrated and rarely watched BBC4 showed a three-part documentary about film music. Charting the evolution of film score (or devolution, depending on your point of view) the three-parter was a little rushed and a little trite. A limited budget meant only snatches of music and access to the world’s best composer’s mate, rather than the maestros themselves. Often, a piano riff tinkled by the very talented musician/presenter was as far as you got, leaving the imagination to fill in the blanks where the soaring violas and melancholic cellos should be. A worthwhile programme but nothing next to Score.

The film opens with a tour around Marco Beltrami’s backyard. Perhaps not that inspiring, until you clap eyes on one of the coolest pianos strung up on gods earth in a breath-taking backdrop. Before we even start on how the film sounds, it fair to say it looks incredible. The archive pieces have been polished to within an inch of their life and the transfers of the film clips themselves look better than on their native Blu-ray.

The sound mix, as you would hope, is pin-sharp. After a first viewing, this reviewer gave it another listen by turning off the screen and really tuning in.

The difference between budgets here gets you pretty much every living composer of stature talking to the camera and sharing their art. Zimmer, Elfman, Desplat, Jones and Newman are all here. Hell, even Moby turns up, but then so does the bloke who scored Transformers. There’s no stinting on Directors either, Cameron trots out his usual lines, but there is some great archive of Williams playing Spielberg the ET theme for the first time.

A section of the film based on how some of the composers ‘collect’ sounds is enthralling, but it is their collection of bizarre instruments that proves all the more intriguing. This is all weaved in amongst a stroll through the history of film music and it is perhaps here that the film falters a little as it leans a little too close to the greatest hits rather than digging into the deep cuts. There’s no anecdotal piece here that the average fan won’t have heard before and the film sheds no new light on the subject nor does it lift the lid on any behind the scenes scandal. What it does do is spend time on technique and most importantly what it is to lend emotional heft to a scene that a director and editor can’t do by themselves.

Whilst the film assumes its audience isn’t stupid, it doesn’t stray into hard-core audiophile territory either and it is all the stronger for it. This is an absolute must for fans of the medium and hey, they also do a lovely set of movie tie-in leggings too.

SCORE: A FILM MUSIC DOCUMENTARY / CERT: E / DIRECTOR & SCREENPLAY: MATT SCHRADER / STARRING: HANS ZIMMER, DANNY ELFMAN, JOHN WILLIAMS, TRENT REZNER, JAMES CAMERON / RELEASE DATE: APRIL 2ND