AKIRA: THE COLLECTOR’S EDITION

Thirty years after World War III in Neo-Tokyo, Kaneda and Tetsuo, two members of a biker gang, find themselves wrapped up in a rebellion and a secret military project which is attempting to bring back a powerful Godlike being called Akira. After an accident involving one of the test subjects, Tetsuo is taken by the military and experimented upon.

Akira is a landmark in animated films and Japanese animation. Itself and Ghost in the Shell are widely regarded as classics in their genre and helped to popularise the anime form in western countries. They have been deeply influential, inspiring filmmakers such as James Cameron and films like The Matrix. Their presence is still felt today. Ghost in the Shell, which itself has several television series and films to its name, has been adapted in to a live-action film, notoriously starring Scarlett Johansson, which is to be released next year. A live-action adaptation of Akira has been mooted for several years now, with Leonardo DiCaprio’s production house attempting to make the film. It has had directors attached and then lost, and has struggled to get very far in a murky development hell. It’s not difficult to see why it is such a problem. The 1988 film, adapted by Katsuhiro Ôtomo from his own six-volume manga, is so intrinsically linked to its form that it is difficult to see how it would transfer in to live-action. Akira is a gorgeous film, rendered in beautiful detail through hand drawn animation. Neo-Tokyo, reminiscent of the dystopian Los Angeles in Blade Runner, is full of vibrant neon colours and ground level grime. Its Ôtomo’s eye for detail and visual acuity, honed through his work on comics, though that really sets it apart and puts Akira in another level. The soundtrack by Shôji Yamashiro is one of cinemas most underrated and overlooked, with its complex layering of instruments and voices that adds to the tone and feeling of the film.

Akira feeds off of Japan’s history with the destruction from the atomic bomb, and Akira and Tetsuo both have powers that reflect its city-levelling destruction. Woven in to this are government conspiracies and power struggles and a disaffected youth and population, with several revolutionary and religious groups, who are barely held back by the violent hand of the army. But, within it all, the film never loses sight of its main thrust, the friendship and struggles of two friends: Tetsuo and Kaneda, and it is their bond and arc that is the heart of Akira.

A classic of the animated form, Akira should be seen by all film fans.

Special Features: Three featurettes / Akira sound clip / / Director interview / Storyboard collection / Original trailers / U.S. 2013 Trailer / Original commercials / Glossary / Art cards / Bonus DVD

AKIRA: THE COLLECTOR’S EDITION / CERT: 15 / DIRECTOR: KATSUHIRO OTOMO / SCREENPLAY: IZO HASHIMOTO, KATSUHIRO OTOMO / STARRING: MITSUO IWATA, NOZUMU SASAKI, MAMI KOYAMA, TESSHO GENDA, HIROSHI OTAKE / RELEASE DATE: OUT NOW

ASTERIX: THE MANSIONS OF THE GODS

The most popular series of comic books to come out of France, with over 300 million copies sold, Asterix continues to endure over five decades since its inception and doubtlessly, like many of the enduring characters over the years, the advent and onset of technological advances means that slicker attempts at bringing the character into the mindset of contemporary fans are going to prevail, whether the time is right or not.

The latest Blu-ray release, Asterix: The Mansions of the Gods, is a 2014 3D CGI-animation, which features in its English dub the voices of popular British comedians Jack Whitehall, Greg Davies and Harry Enfield amongst the cast. With some strong, excellent animation on show, it is remarkably old-fashioned in tone and the English voices make it come across a little bit like Carry On Cleo, with the same joyous fun, but lacking those Talbot Rothwell-esque double entendres that earlier generations lapped up.

Based on the comic book of the same name, the story chronicles what happens when the Romans decide to build a hotel, the Mansions of the Gods, at the heart of Gaul territory. Inevitably, old mates Asterix and Obelix are leading a resistance against the idea and plan to destroy the hotel in one fell swoop. A Roman family, who win an apartment in the hotel via a lottery ticket in the Coliseum, are also thrust into the mix.

If you are long-term fans of the comic books and the umpteen film adaptations over the years, then you will enjoy this one which retains the look and feel of the characters. There is a lot of slapstick violence and cheerful silliness throughout with an element of magic and the occasion Middle Earth reference thrown in.

As such, Asterix is an enduring figure in comics given its history and this will have much to offer those curious about the character, not to mention stimulating interest in the source material.

Perhaps the biggest problem the film might have is being a victim of its own influence, How To Train Your Dragon and Shrek were clearly the sort of animation films inspired by Asterix. However, don’t let that put you off a film that stands well on its own two feet and will be a truly Gaul-ing experience for all to savour.

ASTERIX: THE MANSIONS OF THE GODS / CERT: PG / DIRECTORS: LOUIS CLICHY, ALEXANDRE ASTIER / SCREENPLAY: ALEXANDRE ASTIER / STARRING: JACK WHITEHALL, NICK FROST, CATHERINE TATE, GREG DAVIES, JIM BROADBENT / RELEASE DATE: DECEMBER 12TH

 

DAVID BRENT: LIFE ON THE ROAD

The impact of The Office cannot be overstated. Breaking away from the studio sitcom format and finding humour and pathos in the awkward behaviour of real people, it reshaped TV comedy worldwide and inspired a slew of imitators. It also catapulted Ricky Gervais to stardom – whether you like it or not. With this year’s David Brent: Life on the Road, Gervais returned to the character that made his name.

Fifteen years after being made redundant from Wernham Hogg, David Brent is a sales rep for a cleaning products company. In his spare time, he pursues his dreams of becoming a rock star. As he’s rejoined by the old documentary team, he takes three weeks holiday, hires a band with his pension savings, and goes off on his big tour – mainly taking in venues around Berkshire.

It’s presented in a similar style to The Office, with humour mainly coming from Brent’s delusional ambitions and everyone else’s frustration with him; there are a lot of genuinely funny moments, particularly for fans of the cringe-inducing style of humour you’d expect from this character. While some of the awful songs are entertaining, however, they do all repeat the same gag – with titles like ‘Please Don’t Make Fun of the Disableds’ and ‘Native American’, Brent wants to be seen as compassionate, but causes more offence and makes everyone uncomfortable – and this does get tiring quickly.

The bigger problem with Life on the Road, though, is that it lacks the humanity of The Office, in which likeable characters including Tim and Dawn would offset Brent and prevent him becoming too grating. The closest thing here is Dom (Ben Bailey Smith, aka Doc Brown), a rapper recruited into the band. Bailey Smith puts in a charismatic performance, but the nature of his character’s story – increasingly sidelined by Brent despite being the better performer – means that he doesn’t get a lot to do other than stand by the side of the stage and look annoyed.

Later on, there’s an attempt to get both viewers and other characters to sympathise with Brent. But this comes rather abruptly, with the self-obsessed musician not learning anything or developing, and so the more optimistic note on which the film ends feels tacked on and undeserved. Gervais wants us to cringe at his humour, but it’s this shoddy writing that will make you want to look away.

That’s not to say there’s nothing to enjoy in Life on the Road. Many jokes do land, it’s only an hour and a half so doesn’t outstay its welcome, and Gervais fans will enjoy catching up with this iconic character. But more than anything, it’s not a patch on the series that spawned it; whereas The Office offered an insightful and hilarious skewering of everyday people, this is all about one person and his ego.

Extras: Music Videos / Commentary / Making Of / Outtakes / Deleted Scenes

DAVID BRENT: LIFE ON THE ROAD / CERT: 15 / DIRECTOR & SCREENPLAY: RICKY GERVAIS / STARRING: RICKY GERVAIS, BEN BAILEY SMITH, TOM BASDEN / RELEASE DATE: DECEMBER 12TH

 

MIAMI VICE: THE COMPLETE COLLECTION

From the good people over at Fabulous Films Ltd, classic ‘80s cop drama Miami Vice, which comprised of 5 series, totalling 111 episodes, is being brought to Blu-ray in high definition. STARBURST had a sneaky peek…

From executive producer Michael Mann, Miami, for all of its glamour and beauty, is riddled with a seedy underworld and it’s the job of Sonny Crockett (Don Johnson) and the Miami PD’s Vice Unit to bring it down. However, on a routine assignment, Crockett (initially) locks horns with Rico Tubbs (Philip Michael Thomas), who is revealed to be a NYPD cop looking to take down his brother’s killer; these two men put aside their differences and form one of the most famous TV partnerships of the 1980s.

Miami Vice is now remembered more as a time capsule for ‘80s fashion, but when you watch it you realise just how radical the show was for its time. To begin with, it’s gritty. The bad guys that Crockett and Tubbs pursue are terrifying and you realise that you need cops like these to go after them; this is a credit to Johnson and Thomas who made the writing and characterisation up its game in order to work. Meanwhile, staying on our two heroes, they are not as straightforward a duo as you expect; they come into conflict with each other a lot, and who the “a-hole” of their conflict is flips between them. Again, their characterisation is brilliant; just because they’re cops doesn’t mean you have to like them, but you want them to be the cops out there on the job. Next, another defining feature of Miami Vice is its soundtrack; no TV show before it had integrated pop music into the scenes and atmosphere in quite the same way, and nowadays some programmes don’t do nearly as well! Finally, Miami Vice is also guest appearances galore! Expect to see the likes of Gene Simmons, George Takei, Benicio del Toro, Leonard Cohen, Steve Buscemi, Sheena Easton, Julia Roberts, Frankie Valli, Ben Stiller and Amanda Plummer to name but a few amongst the episodes in the series.

However, modern expectations will deter some viewers from Miami Vice because a lot of stories don’t arc across series and will expand into no more than two episodes (but hey, it still holds up better than the Colin Farrell-Jamie Foxx film incarnation!).

Overall, don’t let this put you off what is a genuinely innovative series, that isn’t as black and white with its characters as you would expect, and also has a good sense of humour about it (including scene-stealing cameos from an alligator named Elvis!). It’s a series that deserves the high definition treatment.

MIAMI VICE: THE COMPLETE COLLECTION / CERT: 18 / CREATOR: ANTHONY YERKOVICH, ANDRES CARRANZA / STARRING: DON JOHNSON, PHILIP MICHAEL THOMAS, SAUNDRA SANTIAGO, OLIVIA BROWN, MICHAEL TALBOTT / RELEASE DATE: DECEMBER 12TH

WOODY ALLEN: SIX FILMS – 1979 – 1985

Having made over 50 films, Woody Allen’s career has had as many ups and downs as a Coney Island rollercoaster. He’s won 4 Oscars for writing or directing out of an incredible 19 nominations (including for acting) and, at 81, is still going strong. But for every Annie Hall or Midnight in Paris, there’s a Curse of the Jade Scorpion or Hollywood Ending to mess with his reputation as a truly great filmmaker.

Concentrating on the period between 1979 and 1985 (following a previous release looking at 1971-78), a new boxset of six films presents a treasure trove cross-section, revealing the light, serious and experimental side of Woody.

It starts with Manhattan. If this was the only film Allen had ever made, he’d still be a bona fide genius. The fact that it came just a few years after his even better Annie Hall is astonishing, and it’s a little jarring not to have those films together as companions. Still, by any standards, Manhattan is close to perfect. The story of an unhappy TV writer dating a much younger girl is astute, deeply moving, hilarious and beautiful. It confirmed Allen, post-Oscar, as a serious artist, and created a massive expectation for his next feature.

Stardust Memories is one of Allen’s most personal movies about a filmmaker attending a retrospective of his work. As he’s surrounded by fans and sycophants, memories of past loves and chances lost are evoked. There’s no denying the beauty of the film – it’s glorious to look at, but it’s also one of the most difficult in his career, with what was seen at the time to be a sneering attitude towards the very people who had made Allen such a success. Watching it now, with the benefit of his later work in mind, it’s less of a shock, but still not easy to love.

A Midsummer Night’s Sex Comedy followed, as unexpected as could be. A funny and wistful tale of friends on a weekend retreat in the 1900s countryside, it also didn’t fare well with critics, but removed from the weight of expectation it’s absolutely delightful, as playful and visually beautiful a film as Allen has ever made.

His next three films contributed to and heralded a genuinely spectacular period in his career. 

Zelig, Broadway Danny Rose and The Purple Rose of Cairo (Allen’s own favourite) are three small masterpieces. The mockumentary which follows the fortunes of Leonard Zelig, a chameleon like man who takes on the physical appearance of those he’s around, becomes a celebrity and infiltrates some major moments in history, is as technically adventurous as it is funny, once more revealing the tremendous ambition of Allen’s filmmaking. If Broadway Danny Rose doesn’t make you cry with laughter and with pathos, then you’re probably not emotionally ready for a Woody Allen boxset at all, and then, crowning it all, is The Purple Rose of Cairo.

Above all others in this collection, this film brings out all that is genius about Woody Allen. Its originality, its humour, its performances (he always has such GREAT casts), its ambition, both intellectually and emotionally – it’s all there. It’s a truly great work, rounding off this essential collection very nicely.

WOODY ALLEN: SIX FILMS – 1979 – 1985 / CERT: 12 / DIRECTOR & SCREENPLAY: WOODY ALLEN / STARRING: WOODY ALLEN, DIANE KEATON, MIA FARROW, JEFF DANIELS / RELEASE DATE: DECEMBER 12TH

LIGHTS OUT

Taking inspiration from the online short film by the same director which went viral, the big screen debut of David F. Sandburg delves into one of our most primal fears – the dark – and crafts a film that’s big on jumps. But is it truly scary? A family torn to shreds, some of them literally, by a combination of mental illness and the supernatural, have to come together to combat a menacing ghostly figure attached to Mum (or Mom, as it’s American). Can estranged older daughter Rebecca put aside the trauma of her past to help her little brother, a child caught between a mother struggling to keep her head and the demonic presence of her friend, Diana?

As a short film, Lights Out was perfect. At just 3 minutes, it took our fear of the dark and reminded us of how we all felt at some point as a child who believed in monsters and wanted the landing light left on. In fairness, the feature-length version does a pretty decent job of stretching this out, setting out its store in a terrifying opening which reflects the short’s effectiveness. The characters are nicely realised, the set-ups work, and the performances are endearing. Refreshingly, it reveals some of its secrets early on, leaving us in little doubt about what Diana is up to and the fact that Mom is the key to the whole shadowy puzzle.

As horror film monsters go, Diana certainly delivers, even if her name falls short of shivering the spine. Early glimpses of her are bloody creepy. She exists only in the dark and the filmmakers cleverly make us fear every dark area of the frame as the film progresses, making us convinced that she’s going to leap out of every shadow at any minute. It draws to mind both The Babadook and It Follows in its sense of menace. But Lights Out isn’t as effective as either of those films. Diana lacks the motivation to explain why exactly she’s got it in for her friend’s family, and the filmmakers rely too much on loud bangs and sudden bursts of shrieking music to make us jump. There could have been a little more tying up at the end – how will they explain THAT to the police? Also, the connection with mental health issues and the supernatural is dubious to say the least.

Still, jump we do, and there are enough of them to make Lights Out a worthwhile watch. It won’t linger in the mind for too long like great horror does, but you may want to leave that landing light on for a night or two… just in case.

LIGHTS OUT / CERT: 15 / DIRECTOR: DAVID F. SANDBERG / SCREENPLAY: ERIC HEISSERER / STARRING: TERESA PALMER, GABRIEL BATEMAN, MARIA BELLO, ALEXANDER DIPERSIA / RELEASE DATE: DECEMBER 12TH

SUICIDE SQUAD

Back in the late Summer, this writer risked wearing the cone of shame and being shunned by his colleagues, when he gave DC’s latest film Suicide Squad, a film that was being labelled as “ugly”, “sexist” and “a catastrophe”, 9/10. Well now this very reviewer has had a few months to think on this opinion and a few more viewings of the film to conclude, this is a bloody enjoyable experience. After DC ruffled some feathers with its creative decisions in Man Of Steel and tore those feathers out entirely with Batman v. Superman: Dawn Of Justice, hopes were high for this feature – based on the comic series by Robert Kanigher and Ross Andru – being a monumental success. And while the film has defied the awful reviews to make money, there is no denying the DC Cinematic Universe is in a bit of trouble. That said, what is it that makes this film so intriguing?

Cold but effective government agent Amanda Waller (Viola Davis) tries to get her ‘Task Force X’ initiative officially approved. This proposal would ambitiously seek out “the worst of the worst” villains and assemble them, control them and use them as expendable problem solvers for the battles that the ordinary military are “unequipped” (or too sane) to handle. So, naturally it isn’t long before one of these instances arises and this “Suicide Squad” are sent in to solve the world’s biggest threat, or die in the process. That is the potentially fun set-up but be it the studio ordered re-shoots fragmenting the tone, the erratic editing, the various scenes being cut (some of which were promoted), this film had an inescapably troubled formation onscreen. And yet, while it cannot be called a masterpiece, this messy, manic and mad super villain caper remains the cinematic equivalent of punk rock.

This extended edition adds a few interesting bits and pieces, including a cameo for director David Ayer, a flashback between Jared Leto’s Joker and Margot Robbie’s Harleen Quinzel/Harley Quinn and some comedic exchanges in the bar scene (which strongly featured in one of the trailers). This said, if you hated the film before, this extended edition does not immediately rectify any problems, so be warned. That being said, a problematic and controversial movie this may have been but Suicide Squad is still an absorbing antithesis to the established rules of big budget superhero filmmaking. Instilled with rebellious personality and with a plot that veers from backstory building to The Dirty Dozen ensemble film to Escape From New York post-apocalyptic actioner, this is a film that is weirdly distinguished by its roughness and its jumpy presentation. In many ways a signal of how we are becoming a music video culture, this riotous piece of entertainment is filled with genuine creative risks and audio-visual oddness.

If you care to look for a message, there is much here akin to the way the world is heading with institutional abuses of power populating the early half, extreme rightist politics being brought to task and original super villain aspiration intercutting a finale that threatens to succumb to third act syndrome and cliché but somehow works. This writer has not been able to shake the film from the mind since viewing it and one wonders if it will be re-evaluated someday or whether it is forever to be a chaotic ballroom blitz that fails to fit in with a crowded genre. From its unhinged soundtrack (consisting of some uniquely chosen songs from Queen and AC/DC to Eminem and Kehlani) and retro score by Steven Price to its Punkish dress sense, this is a film Ayer has made stand out and while polarising, is a hell of a lot of fun.

The characters showcase more charisma than those in the greyly gravitas strewn Batman v. Superman, with Will Smith being the best he has been in years as assassin Deadshot and Margot Robbie stealing the show as Harley Quinn, in a physical and deeply committed (pardon the pun) performance. And her drip fed relationship with Jared Leto’s curious and compelling gangland revamp of The Joker gives a whole new meaning to My Chemical Romance, as their abusive stockholm syndrome roots are not shied away from. Jai Courtney is shockingly funny as Captain Boomerang (complete with a unicorn fetish), an unrecognisable Jay Hernandez enjoys his own arc as twisted firestarter El Diablo (with New 52 influence). While Killer Croc (Adewale Akinnuoye-Agbaje) and Katana (Karen Fukuhara) provide the more silent and ferocious element to the Squad. Joel Kinnamen’s military ace Rick Flag and his romance with Cara Delevingne’s Dr. June Moone / Enchantress is also an interesting human element. True the real villains of the piece are hardly groundbreaking but with so many bad ‘uns in one film you are spoilt for choice for antagonists, plus the scene thieving Viola Davis is arguably the biggest baddie in the entire film and she is a casting ace as the woman with a plan and unshakable commitment Amanda Waller.

After all these months, David Ayer’s artistic statement has inspired some pop cultural kick back (did you see all the Joker and Harley’s on Halloween…slightly disturbing) and despite what is structurally wrong with the film, it all somehow still ends up as joyous. Like a living breathing comic, watching this is like flicking pages, and throughout you are entertained by the sheer madness of this amalgamation of promotional narratives, music video and comic book mythos. This is a film this writer is still seeing messages and meanings in and whether David Ayer intended so or not, he has crafted a truly unusual film with unexplored depth and that one minutes sees Batman drive right into a scene straight out of Batman: The Animated Series and another minute sees a villain sipping an espresso.

Suicide Squad ain’t pretty in some ways but it is seriously frantic and frankly unfathomable fun. This Extended Cut adds a few interesting things but if you loved what hit cinemas, you’ll love this, likewise if you didn’t, well you won’t be buying it will you? Nor reading this review. So does this writer stand by the rating? Yep, well “You know what they say about the crazy ones…”

Special Features: Extended Edition / Featurettes / Gag Reel

SUICIDE SQUAD / CERT: 15 / DIRECTOR: DAVID AYER / SCREENPLAY: DAVID AYER / STARRING: MARGOT ROBBIE, WILL SMITH, JAI COURTNEY, VIOLA DAVIS, JOEL KINNAMAN, JARED LETO, CARA DELEVINGNE / RELEASE DATE: 5TH DECEMBER

KICKBOXER: VENGEANCE

As Hollywood continues to remake some of the most popular and iconic films of all time, it seems only fair that some of the average ones receive the same treatment. As such, we have Kickboxer: Vengeance, a film no one probably wanted, but we’re getting anyway.

In the 1980’s Jean-Claude Van Damme made a raft of cheesy, Bruce Lee rip-offs whose success was based entirely on the actor’s physical charisma and awkward, yet charming style. Bloodsport was undoubtedly the high water mark, and proved a perfect platform for Van Damme’s swaggering skills. Now, too old to take the lead in a Kickboxer remake, he becomes the trainer to a new Kurt Sloane (Moussi) – think Creed but with less plotting.

To avenge the death of his brother at the hands of Thai behemoth Tong Po (a wasted Dave Bautista), Kurt must learn from the fedora sporting Van Damme, and channel a new fighting ethos. The training montage itself is the highlight of the film, with plenty of nods to the latter’s filmography while showcasing Moussi’s martial arts abilities. Sadly, there is little else to distinguish Kickboxer: Vengeance from any other straight-to-VOD revenge thriller that you might find nestling in the dark corners of Netflix.

Van Damme has never been the strongest of performers but his screen presence has always carried him through. Here, he is Oscar-worthy in comparison to a supporting cast that stutters and stumbles along like first year drama students. Moussi does his best in what is an early role, and has enough likeability to suggest this could be the start of a decent, if low-key career for him. Gina Carano is miscast as a shadowy fight promoter and Bautista barely utters a word in a role that he clearly signed on for prior to becoming the star he is now.

What should impress in a film with this title are the fight scenes but disappointingly they all feel a little bland. This was evidently a tight shooting schedule, and you get the distinct impression the fights have been crudely constructed in the editing room. Quick cuts and inconsistencies are rife as conflicts become wearily repetitive.

If you’re a Van Damme fan, or a lover of 1980’s martial arts films, there is some nostalgic fun to be had, and whatever your personal opinion on Van Damme, he is undeniably a captivating performer. There isn’t anything offensively wrong with Kickboxer: Vengeance, there’s just not enough right for it to be more than a Friday night fix upon returning from the pub with a takeaway. And however successful this one may prove to be, Kickboxer: Retaliation is on the way; and that will feature both Mike Tyson and Ronaldhino!

KICKBOXER: VENGEANCE / CERT: 15 / DIRECTOR: JOHN STOCKWELL / SCREENPLAY: DIMITRI LOGOTHETIS, JIM MCGRATH / STARRING: ALAIN MOUSSI, JEAN-CLAUDE VAN DAMME, DAVE BAUTISTA, DARREN SHAHLAVI, GINA CORANO / RELEASE DATE: DECEMBER 5TH 

THE TRANSFORMERS: THE MOVIE – 30TH ANNIVERSARY EDITION

Transformers: The Movie Megatron

To many, Michael Bay’s big screen cinematic Transformers franchise is merely a shell of what so many of us have ingrained in our memories. You see, there’s a whole generation who grew up on a Transformers property that was fun, engaging, vibrant, easy to digest, and without gratuitous explosions or needless shots of Megan Fox’s behind. And in amongst that beloved property was a 1986 movie that blew our fragile little minds. Now, Manga Entertainment has put together a new HD release of The Transformers: The Movie to celebrate the film’s 30th anniversary. The question here, though, is whether this new release of an old favourite is worth your time.

For those unfamiliar with the ’86 effort, the action initially centres on the seemingly never-ending battle between the Optimus Prime-led Autobots and the Megatron-fronted Decepticons. Taking place after the second season of the Transformers cartoon series – and bringing in plenty of new characters to join our familiar faces – a brutal assault on Autobot City from the Decepticons leaves casualties on both sides, but it’s the new threat of the planet-devouring Unicron (voiced by the legendary Orson Welles in his last ever role) that brings an even bigger problem for our Robots-in-Disguise. To veer any further into story details would head towards spoiler territory for anybody who’s yet to see The Transformers: The Movie, so we’ll leave it there on that front. Safe to say, there’s plenty of action, warmth, heartbreak, and some true acts of utter villainy as the tale unravels.

Whilst the film itself is as fantastic as ever, a true time capsule of its period, the real nitty gritty on this release revolves around things other than the frenetic, pulsating and emotional story itself. To celebrate the movie’s 30th anniversary, we’re given a cleaned-up, crisp remaster of the film, and it never looks anything less than stunning. At the time of its release, The Transformers: The Movie was groundbreaking with so much of its animation work, and here we get to see this already-impressive animated affair looking truly awe-inspiring. Added to that, the hair metal-driven soundtrack and score from the likes of Vince DiCola and Stan Bush never sounded better, with the musical beats perfectly capturing the emotion of the action, be it delivering a sense of dread and sorrow, or simply making the viewer feel as pumped up as a kid full of too many Skittles.

Where the bonus material is concerned, most notable about this new release is the ‘Til All Are One documentary. Just shy of an hour in length, this retrospective is a must-see for fans of the Transformers, and we get to see input from some of the key cast and crew involved in the film. The audio commentary included is one that also accompanied the 20th anniversary release, but that doesn’t make it any less interesting. Similarly, some of the featurettes have been seen before, although there are also a couple of nice new additions that look at the process of restoring this classic for its 2016 release.

Yes, it was initially used as a tool to introduce a new range of Transformers toys, but The Transformers: The Movie is a breathtaking, brilliant, at times brutal, balls-to-the-wall animated movie that perfectly captures the fist-pumping adrenalin and heart of its time. And with this new release from Manga Entertainment, fans have finally been given the release that their inner child has always yearned for. Brimming with extras and being exemplary in its restoration work, The Transformers: The Movie – 30th Anniversary Edition is an extraordinary release that’s nothing short of being a must-have for anybody who’s ever tried to mimic the noise of a robot transforming into a vehicle during their younger days and beyond. If you thought these modern times of Michael Bay basterdising your childhood memories made for some bleak viewing experiences, prepare to light your darkest hour.

Special Features: ‘Til All Are One retrospective documentary / Audio commentary / Five featurettes / Animated storyboards / Original theatrical trailers / TV spots

THE TRANSFORMERS: THE MOVIE – 30TH ANNIVERSARY EDITION / CERT: PG / DIRECTOR: NELSON SHIN / SCREENPLAY: RON FRIEDMAN / STARRING: PETER CULLEN, JUDD NELSON, LEONARD NIMOY, FRANK WELKER, ORSON WELLES / RELEASE DATE: DECEMBER 12TH

BRUCE LEE: THE MASTER COLLECTION

It’s the early 2000s. Picture the trailer:

“MIRAMAX FILMS PRESENT THE NEW FILM BY QUENTIN TARANTINO. WHEN YOU ARE LOOKING TO PAY A DEBT, PUT IT ON THE ‘BILL’. THURMAN – LEE – CARRADINE – KILL BILL”

One can only imagine, but millions of fans would certainly have been chomping at the bit to see that film – if all had agreed to appear in it. Considering Thurman’s attire mirroring Lee’s in Game of Death, it would have been an apt homage. Another possible motivation would have been Lee agreeing to get one back on David Carradine, who beat Lee to the lead in the TV series Kung Fu.

One can also only speculate on what might have been if legendary martial artist Bruce Lee had lasted beyond his tragic death in July 1973. However, given his maverick mindset and desire to further the Martial Arts and spiritual message, we sense that Bruce Lee would have gone his own way and created a new genre of filmmaking and higher level of success that would have even transcended his achievements up to and including Enter the Dragon.

Bruce Lee: The Master Collection is the consummate collection of films and documentaries which long-term fans will have no trouble snapping up. There are no fewer than three here: The Curse of the Dragon (1993), Bruce Lee – The Man and the Legend (1973) and Bruce Lee – The Legend (1984). The latter two are variations of the same documentaries and contain vintage archive footage including Lee’s funeral, early films and his first Hollywood screen test. These are contained on the sixth DVD (not Blu-ray) disc.

Of the five completed films in the collection, which are all in Blu-ray and uncut (with the chain-sticks scenes all included throughout), The Big Boss (1971), Fist of Fury (1972) and The Way of the Dragon (1972) are best viewed in their original language with English subtitle versions. Enter the Dragon (1973) and Game of Death (partly shot and filmed by Lee in 1972, but completed with doubles and re-edits by director Robert Clouse in 1978) were shot specifically for the English market.

So, what of the films themselves four decades on? It is safe to say that Lee was one of the first true superstar brands of contemporary cinema and remains a departed talent with considerable crossover appeal to the masses. The same energy and vibrancy that greeted audiences on their original releases is encompassed in its full glory. The remastering of the quintet of offerings in their full versions maintains the celluloid look (digital remastering tends to create a crisper, cleaner look at times when removing the original grain of the image in 35mm).

The plots of the films were very simple – humble man returns to visit his family, gauntlets and challenges are thrown down, thus providing an outlet so Lee can demonstrate his phenomenal feats of strength and skill. Enter the Dragon remains the suitable starting point for anyone unfamiliar with Lee’s legacy, but you can watch them in order from The Big Boss and appreciate how Lee evolved as a screen presence. Like Clint Eastwood, he was an expert in the art of doing less at times, but that would only heighten what he could do if prompted.

Story is secondary here and happily the films provide more than a fair share of action and thrills to the core group they are aimed at. Bruce Lee: The Master Collection is an excellent opportunity to witness what is still only a fraction of what a true world legend could achieve in his lifetime.

BRUCE LEE: THE MASTER COLLECTION / CERT: 18 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: BRUCE LEE, JOHN SAXON, JIM KELLY, COLLEEN CAMP, MARIA YI / RELEASE DATE: NOVEMBER 28TH