Review Category: DVD/Blu Ray

The horror genre has been fairly up and down on TV, but that didn’t stop the BBC from trying with their latest supernatural horror series, Requiem. For a corporation that specialises in crime dramas/murder mysteries, soap operas and Doctor Who, Requiem is something of a bold, new direction, having six episodes with an hour granted for each, which allows more opportunities for character development and building up atmospheric horror throughout. However, while there is some chilling horror for most of the first episode, the rest of the series ignores all of that and becomes a generic murder mystery with the rare occasional supernatural or chilly moment here and there. Despite being advertised as a paranormal thriller, there’s very little horror here, and the mystery itself surrounding Matilda and her true heritage isn’t entirely original, is done more effectively in better mystery dramas, and is cliché-riddled.

Requiem revolves around cello star Matilda Gray, whose mother commits suicide right in front of her, and is wondering whether or not it’s all connected to the disappearance of a young girl named Carys who was abducted from her Welsh village years ago. The first episode contains some grisly moments and creepy foreboding to the whirlwind of supposed spirits that are haunting the Welsh mansion that is featured heavily throughout the series. But then we are revealed the truth by the end of the first episode, and from that point on, all momentum is lost as we learn more about what happened to Carys, the Welsh town and the community that inhabits it. While the mystery itself is passable on its own, it’s not enough to carry a six-hour runtime and the horror is lacking – which is a shame considering the pre-publicity was bragging about this being the scariest BBC production ever.

While there is the occasional scary moment in each of the six episodes (especially during one scene taking place within a shower), these scenes are infrequent and are so sporadically placed, any effective shock value is lost. Even the scares that come later on feel like cheap tactics as means of making these later episodes more intense and interesting since all intrigue and dreading atmosphere goes by the end of the first episode. The local villagers that inhabit this Welsh town are clearly annoyed by Matilda’s appearance and they all wish her ill, and it isn’t hard to see why; she becomes increasingly annoying, pestering the mother of the lost child constantly, as well as a little boy in his school playground. Sure, you could make some defence for her actions given the circumstances, but her obsessive nature clearly shows how cuckoo for coco-puffs she is that you almost want to see her get some help of any kind.

In the end, Requiem is something of a disappointment; it has solid production values, has fine performances, and is a competent series on its own, but the mystery gets in the way of the horror, and this creates a lot of padding so you do get the sense that it’s all incredibly drawn out to a point. The best way anyone can enjoy this series is how it probably should’ve been marketed as: a murder/kidnap mystery with a tad hint of the supernatural here and there. This isn’t a great series, nor is it particularly scary, but it’s not badly made and there are some things within it that can pique a person’s interest, even if the overall ride isn’t quite as gripping as it should’ve been.

REQUIEM / CERT: 15 / CREATOR: KRIS MRKSA / SCREENPLAY: BLAKE AYSHFORD, KRIS MRKSA / STARRING: LYDIA WILSON, JOEL FRY / JAMES FRECHEVILLE, SIAN REESE-WILLIAMS, BRENDAN COYLE / RELEASE DATE: MARCH 19TH

An archaeologist chasing fortune and glory, the owner of a failing Wild West Show and her cowboy crew, a band of gypsies with a mysterious secret discover a Forbidden Valley populated with dinosaurs. Chaos ensues when the cowboy’s capture an allosaurus and when they return to civilisation the creature escapes and does what creatures tend to do in such situations. It eats a dwarf and goes on the rampage!

The Valley of the Gwangi is a curious beast of a film. Released in 1969, it was a box office bomb and in some respects, it’s easy to see why. On paper, it has all the hallmarks of a box office bonanza, cowboys vs dinosaurs! Now that sounds awesome, right? The problem, however, is that the first half of the film is essentially a ploddingly dull, uninvolving B-movie western, the type that was rife during the Western’s heyday of the ‘50s. By the late ‘60s, westerns had become gritty, violent, bullet-bloody horse opera’s courtesy of directors such as Sergio Leone and Sam Peckinpah, so the western elements of Gwangi were already antediluvian. Even Oscar-winning Jerome Morris’ score as good as it is, and he was the go-to composer for Western’s, sounds somewhat dated. The performances from practically all of the cast is perfunctory at best. And if it isn’t perfunctory then there’s an excess of scenery chewing, except that is from James Franciscus, whom would later journey to Beneath the Planet of the Apes, and who manages to bring some gravitas to the proceedings.

It’s not until halfway through the film that we enter the eponymous valley and the pace finally breaks into a gallop. It’s at this point that we also see Ray Harryhausen’s genius at work. It’s displayed briefly during the first half of the film in the shape of a pre-historic miniature horse, but let’s face it, it’s the dinosaurs we want to see. And the dinosaurs are a joy to behold, even if they do appear in oddly various hues. Younger audiences brought up on CGI extravaganzas may baulk at the quaintly jerky stop-motion puppetry, but there’s a warmth and charm that only these type of effects can bring.

The transfer is pristine but the optical process that Harryhausen had to employ to combine his stop-motion with the live action footage is starkly evident. However, even though you can see how it’s being done, it’s done so well as not to matter. The 2.1 channel audio is crystal clear, from Morris’ stirring score to the ear-splitting roar of the dinosaurs.

The extras are sparse to say the least. Return to the Valley is a scant eight-minute interview with Harryhausen, there’s a minute-long Harryhausen anecdote about his daughter’s involvement in the film and a trailer. The package does come with four art cards, a DVD disc and a digital download, but more in-depth documentaries and making-offs would have been preferable.

THE VALLEY OF THE GWANGI (1969) / CERT: U / DIRECTOR: JIM O’CONNOLLY / SCREENPLAY: WILLIAM BAST / STARRING: JAMES FRANCISCUS, GILA GOLAN, RICHARD CARLSON / RELEASE DATE: OUT NOW (HMV EXCLUSIVE)

Whether it is a film you have discovered due to a love of Ray Harryhausen, or you have made a place for it at home every Christmas time, or you came about it via the much-maligned 2010 remake with Sam Worthington, Clash of The Titans (1981) is one of the most celebrated fantasy films of all time. And, of course, like all classic films, it deserves the Blu-ray treatment, but does it stand up?

Clash of the Titans sees Perseus (Harry Hamlin) living an impoverished life when he finds his destiny amongst the Gods, led by his father Zeus (Laurence Olivier); he is to marry Princess Andromeda, the heir to the city of Joppa, who is always promised to the villain Calibos (made hideous by Zeus due to him killing all of the flying horses except Pegasus). And so the quest begins, challenged by witches, gorgons and the Kraken (to name but a few classic Harryhausen creations!) and aided by Pegasus, gentle poet Ammon (Burgess Meredith) and the mechanical owl Bubo, we follow Perseus to his final confrontation with Calibos and the fulfilment of his true destiny.

Clash of the Titans is and always will be a thoroughly entertaining film and has been cleaned up well for the Blu-Ray edition. It is a time capsule for a generation of actors such as Laurence Olivier, Ursula Andress, Burgess Meredith, Pat Roach, Claire Bloom and Maggie Smith and illustrates a pivotal time in filmmaking (films such as Star Wars, Tron and Alien had broken new ground in the way films were made; Clash of the Titans was the last hurrah for old-school film-making and was Ray Harryhausen’s final film prior to retirement). Of course, expectations and tastes in films have changed and whilst some of the plot of Clash of the Titans is purely a vehicle for Harryhausen’s wonderful stop-motion creations, it shows the lack of heart that a lot of the big summer blockbusters of today have.

Accompanying this Blu-Ray release are a gallery of the Monsters included in the film and a conversation with Ray Harryhausen himself. Overall, a superb addition to any Blu-Ray collection and a film which deserves to be remembered.

CLASH OF THE TITANS (1981)  / CERT: 12 / DIRECTOR: DESMOND DAVIS / SCREENPLAY: BEVERLEY CROSS / STARRING: LAURENCE OLIVIER, HARRY HAMLIN, CLAIRE BLOOM, MAGGIE SMITH, URSULA ANDRESS, JUDI BOWKER / RELEASE DATE: OUT NOW (HMV EXCLUSIVE)

Tak Sakaguchi was a former streetfighter who made his acting debut in Ryuhei Kitamura’s gangsters v. zombies actioner Versus. Five years ago, he apparently retired from performing in front of the cameras to concentrate on directing and choreographing – but then Re:Born came along. It’s a film with a USP to stir martial arts’ fans’ loins; here is a brand new form of combat developed especially by Tak (as he prefers now to be known) and director Yûji Shimomura, and whatever the merits or otherwise of the film, enthusiasts will no doubt want to see what ‘Zero Range Combat’ is all about.

The merits of the film are somewhat relative. The first 45 minutes are a rather static introduction, lots of lingering long-shots and sudden close-ups of our protagonist and the young girl he looks after sitting and occasionally walking around, punctuated by infrequent fight sequences, for which not much explanation is offered.

Then Tak gets a couple of sidekicks and the whole thing is laid out; it transpires he’s retired from active special forces duty and his old boss is sending operatives to kill him. The young girl is kidnapped and the scene is set for a face-off. We then get a full 45 minutes’ worth of ‘Zero Range Combat’ as Tak and his two accomplices make their way through the woods to the abandoned building where the little girl is being held hostage, with Tak eventually confronting first his old partner and then his old boss.

During the course of the film, and mostly concentrated in its second half, there are probably in the region of 200 deaths by close combat, and fans of the genre will be entirely satisfied by its conclusion; the story beats in the second half follow exactly the order you’d want and expect, so while there might not be any surprises there is at least viewer fulfilment. Lots of viewer fulfilment in fact, of the throat-slitting neck-crunching variety. Tak himself still looks pretty nimble even at the age of forty, although the sequences where he flexes ready for battle are overdubbed with a sound effect that makes his muscles sound like a bag of marbles being rocked in slow motion, as they prepare for a quick tango in front of the Strictly judges.

The fighting itself is effective and bloody if somewhat obscured by being in such close quarters, but it certainly makes a change from the usual kickboxing or other more traditional techniques, and there’s a staccato kineticism to it that will undoubtedly impress. Altogether anybody who enjoys a bit of screen martial arts won’t be disappointed by a film that’s probably destined to become something of a minor classic of the genre.

Extras: Filmmakers’ introduction, trailer

RE:BORN / CERT: 15 / DIRECTOR: YÛJI SHIMOMURA / SCREENPLAY: BENIO SAEKI, TAK SAKAGUCHI / STARRING: TAK SAKAGUCHI, AKIO ÔTSUKA / RELEASE DATE: MARCH 12TH

Naruto Shippuden Box 31 contains episodes 388-401 of Naruto Shippuden. While some of these episodes depict Naruto & Co fighting against Madara, most of them focus on an extended flashback to the Chunin Exams. By the end of the last episode present the first round two rounds of the exams have been completed, and another round is well underway.

These episodes are far from bad. Plenty of them serves as decent character pieces for the characters they serve to highlight. Neji gets multiple opportunities to show off his style of leadership, Gaara reflects on his friendship with Naruto, and Rock Lee proves his resolve. All of these characters, and more get the time needed to properly explore key aspects of their personalities. Some of their internal reflections may not be anything new for long-time fans, but they are a good way for the character to take stock of previous character development and where they are in their personal arcs.

However, there is no escaping the fact that this is filler. As with previous filler in the series, it comes at a time when it looked like the series was about to receive a substantial pay off on a number of story threads, such pay-off is quickly all but forgotten. Any viewers who are put off by the thought of this much filler might not be missing a great deal if they chose to give this collection a miss. There are few (if any) key scenes that necessitate hanging on to these episodes in particular, especially when considering how easy it would be to find them on a streaming service.

The box’s two discs don’t have much to speak of in terms of extra features, but there is some present. The second of the two discs features a small selection of storyboards for viewers to scroll through and some production art as well (alongside the more typical inclusion of some trailers). These extras offer a decent insight into the transition that the art for the show goes through before the animation is completed, though the storyboard section, in particular, could have been improved with the inclusion of a couple more examples.

What viewers get from Naruto Shippuden Box 31 will ultimately be dependent on what they want from it. Fans of the show who are looking to see the main plot advance will have very little luck with this release. On the other hand, fans who find something to enjoy in the filler despite its function as show padding face the prospect of solid character moments and some engaging fights. Debates regarding filler aside, the Chunin exam episodes are good. The real question to ask before buying this is whether or not that is enough.

Extras: Storyboards/ Production Gallery/ Trailers

NARUTO SHIPPUDEN BOX 31 / CERT: 12 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: MAILE FLANAGAN, YURI LOWENTHAL, KATIE HIGGINS, DAVE WITTENBERG, BRIAN DONOVAN, STEVE STALEY, STEPHANIE SHEH / RELEASE DATE: OUT NOW

Kickboxer: Retaliation is the sequel to the remake of the late-eighties action movie that wasn’t ever really needed to begin with, but nevertheless, we are still saddled with it. The first film, Kickboxer: Vengeance was an egregiously dull movie with constant action sequences that are connected by the thinnest of movie plots, the acting was varied, and the romantic subplot is very rushed and nonexistent. This sequel is a little bit better, but that’s really not saying much.

On the plus side, being a martial arts movie it’s crammed with many fight scenes and, to a certain extent, it kind of delivers on that front. It’s solidly choreographed, and the scenes are diverse, so not all of them feel repetitive of one another. It’s clear that the makers of this movie were trying to give each sequence its own uniqueness, like the finale where our main protagonist takes on the Mountain from Game of Thrones and you see this contrast with the martial artist against the gigantic muscle-bound monstrosity. That’s one style/type of fight, and yet there’s also two different long fight scenes that look as though they were done in a single take, so this movie does offer some variety. The actors involved aren’t the best actors in the world, but they are passable enough with Christopher Lambert hamming it up as a criminal mastermind.

Those elements do help add some flavour to spice things up, but even those elements aren’t enough to make this movie any more than just average. There’s way too much speeding up and slowing down during the fight sequences (this movie must’ve been Snydered!), there’s some pretty bad green screen effects scattered throughout, and the story is so cliché-riddled with so many tropes included that have been done to death a bajillion times, and those tired tropes and hokey dialogue got in the way of bonding with the characters so you just don’t end up caring about any of them despite the characters going through some tough scenarios during this movie. The romantic subplot still feels underdeveloped, and despite the obviously gorgeous Sara Malakul Lane trying her hardest, her character gets lost in the grand scheme of things just like in the first film. Oh, and the very beginning of this movie involves our couple suddenly dancing a tango on a train before a fight scene breaks out. Boy, that was weird.

In the end, Kickboxer: Retaliation is a slightly better movie than the first one in that it’s more consistent, but even then this film feels like watching a series of fight sequences that are loosely connected by a wafer thin plot. If you are a martial arts fan then you might get some enjoyment value out of it, but as a movie-viewing experience this is still lacking in that department. Best advice: just rent it.

KICKBOXER: RETALIATION / CERT: 15 / DIRECTOR: DIMITRI LOGOTHETIS / SCREENPLAY: DIMITRI LOGOTHETIS, JIM MCGRATH / STARRING: ALAIN MOUSSI, CHRISTOPHER LAMBERT, JEAN-CLAUDE VAN DAMME, MIKE TYSON, SARA MALAKUL LANE, HAFÞÓR JÚLÍUS BJÖRNSSON / RELEASE DATE: OUT NOW

Dragon Ball Z Movie Collection Six: Fusion Reborn/Wrath of the Dragon is the final such collection in the series. After his brief absence for most of Collection Five, Goku has returned, and is a much more central presence in this collection, though he still isn’t quite the main character in Wrath of the Dragon.

The stakes in Fusion Reborn are the highest they have been in a Dragon Ball Z movie up to this point, except maybe for Bojack Unbound. While the threat posed by most villains in the series is limited to Earth, in Fusion Reborn the heroes find themselves against a foe who threatens all of reality.

Fusion Reborn is a prime example of how strange Dragon Ball Z can be. The series has always employed oddball humour, but this movie incorporates it much more cohesively into the plot than earlier movies did despite the increased danger facing the heroes. When he first shows up, Janemba is deceptively goofy, and much of the humour comes from watching him bounce around with little regard for his surroundings. There isn’t a distinction between the action and the comedy, rather the comedy underscores the whole movie constantly, giving it the feel of an action comedy rather than an action with comedy. This is a balance the movie pulls off, thanks to the oddball (at first) nature of the villain, and the subplot, which sees Goten and Trunks deal with a horde of escapees from hell (including one notable cameo).

Wrath of the Dragon is a different kind of Dragon Ball Z movie. It moves away from the tone that Dragon Ball Z had established and back to fantasy feel of the original Dragon Ball. The heroes use the Dragon Balls to free Tapion (an ancient warrior) from his prison, but he brings a terrible monster with him. Said monster is a departure from the norm these movies, and one of only a small handful of giant Dragon Ball Z antagonists. It doesn’t have a plan, or a vendetta, it is almost like a monster from the Godzilla franchise turned up in Dragon Ball Z, and it is a refreshing change of pace.

This movie also provides something of a character arc for Trunks, who gets close with Tapion and forms a brotherly bond with him. This provides the films emotional core and it is done well. The connection between Tapion and Trunks feels natural and has space to develop over the course of the story. The whole thing has a wistful tone to it that is rare for this franchise.

Fusion Reborn shows the comedy that the series is known for more effectively than previous films in the series, and Wrath of the Dragon is old school fantasy, complete with giant monster. Together they end the collections of Dragon Ball Z movies on a high note. Each provides something a little different while also offering a glimpse into the heart of the series, making them two of the more faithful Dragon Ball Z movies to be produced.

Extras: Trailers, Japanese Audio, US Audio with Japanese soundtrack

DRAGON BALL Z MOVIE COLLECTION SIX: FUSION REBORN/WRATH OF THE DRAGON / CERT: PG/ DIRECTORS & SCREENPLAY: VARIOUS / STARRING: SEAN SCHEMMEL, JIM FORONDA, KENT WILLIAMS, ROBERT MCCOLLUM, JASON LIEBRECHT, KARA EDWARDS, LAURA BAILEY, CHRISTOPHER R SABAT / RELEASE DATE: MARCH 12TH

These days, it seems that so many of the purported ‘feel good’ movies often fall flat, hollow, or end up being simply too formulaic for their own good. So, when Paul King delivered Paddington back in 2014, many of us grumpy naysayers were sceptical about the chances of this rehashing of the famed marmalade sandwich-munching bear being anything more than your usual paint by numbers fodder. But wow, were we wrong. Delivering a charming picture that could warm the heart of even the most cold-hearted cynic, Paddington was an utter delight. So, how can you possibly match or even top that splendid soiree for the Peruvian bear? You’d think it would be an impossible task, but marvellously King has somehow shocked us once more.

Now well and truly at home with the Brown family, trouble is never far away for the iconic Paddington. When a hunt for a suitable birthday present for his Aunt Lucy’s centenary celebration leads him to a pop-up book at the shop of Jim Broadbent’s Mr Gruber, our resourceful little scamp decides to take on a plethora of odd jobs in order to raise some moolah. Of course, being that Paddington is as graceful as a drunk girl you’d find stumbling out of a kebab house at 4am on a weekend, slapstick hilarity is the order of the day. And no, we’re not even being sarcastic, for this is a film overflowing with moments of genuine comedy gold for all the family. Back to the book-buying business though, and that present is taken off the table after the narcissistic Phoenix Buchanan (Hugh Grant) breaks in to Mr Gruber’s and steals the book. After a frantic chase, poor Paddington is framed, arrested, and locked up at Her Majesty’s pleasure. And all of this is barely the opening act of the movie! Prison breaks, fugitivity, redemption, and a whole lot more ensue, as Paul King gives us one of the greatest sequels of recent memory, somehow managing to possibly even surpass the first film in this ongoing franchise.

Much like the original Paddington tales created by the sadly-deceased Michael Bond, Paddington 2 is a heart-warming story that is brimming with slapstick humour and is served by a strong moral compass and sense of acceptance. Never needing to slap its audience around the face with its motifs, this is a deliciously delightful film that will amaze even the most staunch nonbelievers that such a staple of yesteryear could work just as well – if not better – for a new audience in more modern times.

Paddington 2 is one of those rare movies that simply needs to be seen by all. In a world so full of hate and far-too-frequent heinous acts, this is a picture that reminds us of just what it’s like to be a champion of humanity, to embrace each other and our quirks, and to just – quite frankly – be nice to one another. They’re words that would usually be far too cheesy and heave-inducing for us, but sometimes it just takes a marmalade sandwich-eating, duffle coat-adorned Peruvian bear to put you on the right path.

From a personal perspective, your humble scribe found himself amongst those naysayers who expected 2014’s Paddington to be utter tripe that was merely yet another rehashing of something that has some semblance of name value. Having been wowed by that first movie, there was then the usual ‘yeah, but the sequel will be a bust’ logic when it came to somehow having to match up to its predecessors. Boy, how wrong was I. And if I can be won over by this longstanding favourite of a childhood long since forgotten about, you bet you can be too.

Special Features: Audio commentary / ‘Rain on the Roof’ full screen / Featurette / BAFTA Q&A

PADDINGTON 2 / CERT: PG / DIRECTOR: PAUL KING / SCREENPLAY: SIMON FARNABY, PAUL KING / STARRING: BEN WHISHAW, HUGH BONNEVILLE, SALLY HAWKINS, HUGH GRANT, BRENDAN GLEESON / RELEASE DATE: MARCH 12TH