Review Category: DVD/Blu Ray

GOODFELLAS: 25TH ANNIVERSARY EDITION

“As far back as I can remember I always wanted to be a gangster.”

Is there anyone who doesn’t know this quote? Is there anyone who hasn’t seen Goodfellas? And can it really be 25 years since the release of Scorsese’s epic crime drama?

At its heart Goodfellas is a memoir of a gangster life. The central story comes from Nicholas Pileggi’s book Wiseguy: Life in a Mafia Family, a non-fiction account of the life of mobster Henry Hill who latterly became an informant, with Scorsese and Pileggi adding fictionalised embellishments to the screenplay. Set over a period of around 25 years, Goodfellas follows Hill (Ray Liotta), Jimmy Conway (Robert De Niro) and Tommy DeVito (Oscar winner Joe Pesci) as they progress up through the ranks of the crime family through opportunistic cunning and extreme violence. The celebratory feeling that exists in the opening scenes is quickly dispelled during a scene of murderous brutality when DeVito kills a young lackey and the true nature of these reluctantly likeable men is realised.

As outstanding as the performances are from the leads and the roster of supporting actors, including Lorraine Bracco and Paul Sorvino, Goodfellas is Scorsese’s film. The depth of the detail he instils into every frame of film, every movement or mannerism delivered by an actor, every meaningful word of dialogue is brilliant in its simplicity. The naturalistic way the camera observes each scene, allowing it room to breathe and develop, never rushing impatiently towards a punchline or plot point, is an example of masterful filmmaking. Often the story splits into seemingly unimportant tangents that add texture and understanding to the characters’ day-to-day lives. Sometimes relevant, often not, these simple asides create a bond with the characters that many films strive for yet fail to achieve; an understanding of their lives however repellent or barbaric their actions may appear. That you care so deeply about Hill, Conway and even the unpredictably psychotic DeVito is symptomatic of Scorsese’s absolute control over his art with Goodfellas. These aren’t the mansion-dwelling gangsters of The Godfather, these are real men who live on the streets and whose extraordinary lives retain much of the mundanity of normal people. This is a work so full of memorable scenes, both famous and infamous, that it feels as much a home movie as any feature film.

To commemorate the silver anniversary of Goodfellas, without question one of the most loved and revered films in cinema history and Scorsese’s best (it is, let’s just agree on that), there is this special edition Blu-ray release. Alongside an expected but brilliantly insightful new documentary about the film that includes interviews with all involved (except sadly the retired Pesci), there are several other making of featurettes that delve deep within Goodfellas and the gangster world. While there will always be more questions to be asked and analysis to be offered of such an important film, there is enough here to keep everyone happy. Such is the joy in watching some of the most iconic filmmakers of all time, including Scorsese’s long time editor Thelma Schoonmaker, discuss the minutiae of their film you may find yourself watching the extras each time you watch the main feature itself.

Never has the art of filmmaking been so perfectly demonstrated by a cast and crew led by a director at his peak. Never will a film offer so much to the viewer, with something new to discover and enjoy on each sitting. If a film could be perfect, this would be it.

If you already own a copy of Goodfellas, buy this edition. If you don’t own a copy of Goodfellas, buy this edition. It’s that simple.

Special Features: Two audio commentaries / Scorsese’s Goodfellas documentary / Five featurettes / Theatrical trailer / Letter from Martin Scorsese / 36-page booklet

INFO: GOODFELLAS / CERT: 18 / DIRECTOR: MARTIN SCORSESE / SCREENPLAY: NICHOLAS PILEGGI, MARTIN SCORSESE / STARRING: RAY LIOTTA, JOE PESCI, ROBERT DE NIRO, LORRAINE BRACCO / RELEASE DATE: OUT NOW
 
 

ZOMBIEWORLD

Since anthologies have been proving increasingly popular again, it’s little wonder that horror’s prodigal monster has gotten it’s very own. Unlike The ABC’s of Death, Dread Central and Ruthless Pictures’ Zombieworld takes more of a Tales from the Crypt, Creepshow, The House That Dripped Blood et al approach. The shorts are held together with a tenuous narrative, in this case the recently bitten TV news anchor Marvin Gloat desperate to keep reporting even as he turns.

One of the funnier shorts is David Muñoz and Adrian Cardona‘s Fist of Jesus, where God’s son botches his first pop at resurrection and sparks a zombie outburst. The answer is a splatterpunk malaise splicing anarchic Evil Dead effects with Monty Python‘s kooky slapstick. Credit is due for arming our Lord and Saviour with dead fish and pitching him against undead cowboys. A more subtle, and arguably funnier, effort is Luke Asa Guidici‘s Certified, a wind-up of Americana where a little girl terrifies a mailman to devilish effect.

But it’s not all gore worship, the best of the anthology are the more understated entries, including Phil Haine’s I Am Lonely where a bloke finds his flatmate dying from a bite wound. It’s essentially a monologue, loaded with subtle laughs and a killer twist. Zach Ramelan‘s Dead Rush is more straight-up survival horror, with a first person perspective to keep things lively. Others are boring or just downright annoying, Temportal in particular is especially dated and trite.

There’s some genuine talent on show here, the best short in the collection being Cameron McCulloch’s Home. The Australian-set short demonstrates the best use of props, shots and script, making for a surprisingly moving conclusion. After a few shorts under her belt, it’s about time McCulloch took on a feature.

Zombieworld is a cross-continental, undead celebration splicing trash and gold together. You get whiplash from the continual shift in tone and style and dreadful CGI, but it’s a gory curiosity that any zombie fan should be glad to get their grubby hands on.

Special Features: Marathon Apocalypse short film

INFO: ZOMBIEWORLD / CERT: 18 / DIRECTOR: VARIOUS / SCREENPLAY: VARIOUS / STARRING: KEVIN ALLEN-BICKNELL, JOSE MARIA ANGORRILLA, RAY ARALIOS, IBBY BAKALOUMA / RELEASE DATE: OUT NOW

THE HAPPINESS OF THE KATAKURIS

Directing and releasing multiple films every year is a tall order for any filmmaker, but cult favourite Takashi Miike had his work cut out for him. After bloodying the underground, and courting commercial plaudits and acclaim with ultra-violent and sexually explicit works, he had to throw a curveball to keep audiences engaged. The Happiness of the Katakuris, a film as slippery to define as it is categorise, is exactly that.

Based on the Korean comedy The Quiet Family, the film shows a family out of work who immerse themselves into a pet project; opening a bed and breakfast in a sparse but beautiful mountain region on the promise of a new road to drive guests their way. When their first guest finally arrives, he kills himself. The second and third, likewise, end up as stiffs. Instead of facing the inevitable bad publicity, the family bury the bodies. Things get odder and odder.

Although the film is like watching a series of visual non-sequiturs, it’s a complete work, with a clear cut structure. But it takes unexpected tangents into subplots that ultimately fizzle out, and takes regular breaks for fantastical asides. Whether it’s the song and dance numbers the family ostensibly use to share and commutate their grief, or the trippy claymation sequences.

With its great ensemble cast, including the late rock star Kiyoshiro Imawano, a wicked sense of humour and excellent choreography, it stands well on its own merits. Whether it’s a satire or not, it’s the most enjoyable work of Miike’s impressive oeuvre.

Special Features: Audio commentary / Documentary / Featurette / Interviews / TV spots / Trailers / Booklet

INFO: THE HAPPINESS OF THE KATAKURIS / CERT: 15 / DIRECTOR: TAKASHI MIIKE / SCREENPLAY: KIKUMI YAMAGISHI / STARRING: KENJI SAWADA, KEIKO MATSUZAKA, SJINJI TAKEDA, KIYOSHIRO IMAWANO / RELEASE DATE: JUNE 22ND

 

CAN’T COME OUT TO PLAY

John McNaughton’s debut was the groundbreaking and surprisingly low-key Henry: Portrait of a Serial Killer. His last feature was in 2001. It’s good to have him back.

Can’t Come Out to Play (aka The Harvest) could best be described as brooding. It begins with Maryann (Natasha Calis) moving into her grandparents’ remote country house, having recently lost both parents. Isolated and filled with grief, she chances upon Andy (Charlie Tahan), a wheelchair-bound neighbour of roughly her own age – and a prisoner in his own home.

To say any more would be to spoil the effect, for while there are a couple of twists in Can’t Come Out to Play’s tail, and rather big ones too, that’s not really what McNaughton’s film is all about. Rather, it is an exercise in the accumulation of unease, a disquiet that pays off dramatically in the second half. There are none of the histrionics of McNaughton’s underrated gem Wild Things; instead the performances are universally understated – almost deliberately muted, even – making the revelations in the latter sections of the film all the more surreal. The only character who truly gets to bite is Samantha Morton’s Katherine, and while the composure of those around her might seem improbable, the way in which it isolates her as the story unfolds is perfectly consistent as both characters and plot unravel.

The only misstep is perhaps the prologue, which is used to introduce both one of the main protagonists and several key themes, but which unintentionally points the viewer’s attention the wrong way – the upshot being that it helps maintain the unsettled feel, and distracts the viewer from guessing the otherwise obvious twists.

The music and cinematography are equally minimal, and anyone who enjoyed the matter-of-fact approach of Henry will recognise a similar leaning here. What might have been a deliberately lurid chiller after the fashion of an Exorcist or Amityville Horror is instead cool and creepy, the subdued colours of the autumnal outdoors matching the restrained interiors. There is very little by way of humour or human warmth, and on the rare occasions when the soundtrack indicates a little levity, the moment passes all too soon. Almost the entire film takes place in cold, milky daylight and this opaque quality is reflected in the acting.

The two juvenile leads are excellent, easily the equal of their more distinguished adult counterparts, and the resolution is satisfying and appropriate. Can’t Come Out to Play will be too modest to catch the attention of many, but it lingers in the memory and has a consistency of tone that will impress those who allow it to engage with them.

Oh, but don’t watch it with the kids. They’ll never forgive you.

Special Features: TBC

INFO: CAN’T COME OUT TO PLAY / CERT: 18 / DIRECTOR: JOHN MCNAUGHTON / SCREENPLAY: STEPHEN LANCELLOTTI / STARRING: SAMANTHA MORTON, MICHAEL SHANNON, NATASHA CALIS, CHARLIE TAHAN, PETER FONDA, LESLIE LYLES / RELEASE DATE: JUNE 22ND
 
 

KINGSMAN: THE SECRET SERVICE

When it comes to art, there is this lingering notion that people must strive to be “avant-garde”, yet the pursuit of this seems to come with as much innovation as it does pretention. However, when it pertains to the world of film, artistry can come in many forms and one of the most satisfying is an unashamed embracement of fun. And after his past successes at adapting comic book material, director Matthew Vaughn returns with his adaptation (and much altered – often for the better) of Mark Millar and Dave Gibbons’ The Secret Service. Kingsman: The Secret Service boasted the promise of espionage action and enjoyment, but even the most optimistic among us will be shocked with the results, as this film further exemplifies what a Hollywood hellraiser Vaughn is.

Taking the very different approach (from the comic), in that the agency in question is not MI6 but Kingsman – a secretive organisation that operates via a tailor business. The film tells the story of veteran agent Harry Hart (Firth) moulding a young, streetwise lad nicknamed Eggsy (Taron Egerton) into a super spy. It is a relatively simple set-up but one that takes constant joy in both parodying and paying homage to the conventions of the spy movie genre. This star-studded, ridiculous and deliriously fun romp plays like a retro Bond movie as directed by your inner 14 year old (with a profane gob) and as written by you and your candy-gobbling mates! And while there are the odd minor wrinkles tonally, you’ll be having far too much fun to allow them to be an issue.

Vaughn and Goldman’s script crackles with the violent comic energy of Kick-Ass and the spectacular action of an X-Men film. The dialogue is sometimes suave and other times knowingly cheesy, and the plot delightfully offers a Moore era Bond throwback with Brosnan era technology, that’ll have you asking, “Why so serious, James?” From Sofia Boutella’s razor-legged femme fatale side antagonist Gazelle (think Richard Kiel’s Jaws meets Grace Jones’ May Day or X-Men’s Mystique) to the superb choreography (which recalls Edgar Wright’sThe World’s End), this film offers action aplenty and the constant gut-busting script is the olive in the martini. The opening does throw you a tad as to what to expect, but from there on in the momentum never stops.

The cast clearly love every minute of it too, with young Taron Egerton making a hugely likeable central character to root for. Although many may well be more taken by Colin Firth, who sends his own image up beautifully as he powers the film’s central message that the wealthy are not always the best of us. Indeed Firth and Egerton have a snappy chemistry throughout and are well matched by one of the most fantastically whacked-out bad guys in recent memory in Samuel L. Jackson. This is no The Spirit-style camp; Jackson steals numerous scenes as the film’s rich, colourfully-dressed, lispy, pop culture megalomaniac, whose whole character is as lovingly ridiculous as his plot for a “new world”. And fine support is on offer too in Mark Strong as the Q-esque Kingsman operative, and fans of the source material will giggle at the film’s cameo.

How much you take from Kingsman will admittedly depend on how much hyperactivity you can handle, but for all Vaughn’s off the leash violence and frenzied thrills, Kingsman never feels to lose it’s groove. Matthew Vaughn’s film has a fitting personal touch to it and by the end you will be shocked at just how accomplished the film is. Pop culture gags, genre satire and social class misconceptions are ideas that are all tackled by a film that looks like mere escapism but has an understated intellect beneath the glamorous visual firecrackers. This is a slick, stonking, espionage caper that may well have already taken the award for most fun film of 2015. Well done Matthew… again.

Special Features: Six-part Kingsman: The Secret Service Revealed featurette

INFO: KINGSMAN: THE SECRET SERVICE / CERT: 15 / DIRECTOR: MATTHEW VAUGHN / SCREENPLAY: MATTHEW VAUGHN, JANE GOLDMAN / STARRING: TARON EGERTON, COLIN FIRTH, SAMUEL L. JACKSON, MICHEAL CAINE, MARK STRONG / RELEASE DATE: JUNE 8TH

MEAN STREETS

In 1973, the year between Godfathers I and II, Martin Scorsese gave us our first look at his version of organised crime. Less polished and romanticised than Coppola’s masterpieces, Mean Streets is no less dazzling and a compelling look at life on the streets.

Set in Scorsese’s childhood neighbourhood of New York’s Little Italy (although largely shot in LA), Mean Streets, tells the story of Charlie (Harvey Keitel), nephew of a local mobster and on the verge of making a name for himself. His ascent is threatened, however, by his friendship with the erratic, irresponsible Johnny Boy (Robert De Niro), as well as a secret relationship with Johnny Boy’s epileptic cousin Teresa (Amy Robinson).

Johnny Boy’s gambling has left him seriously in debt, which he’s both unable and unwilling to pay off. Charlie, a devout Catholic, struggles to reconcile his religious beliefs with his criminal activities, and looks to redeem himself by saving his friend from himself.

Keitel is typically excellent in one of his best performances, injecting the conflicted Charlie with a real sense of humanity and pathos. De Niro, who has the showier role, is equally memorable in one of his most atypical parts. Johnny is both too stupid to fully realise the trouble he’s in and too arrogant to care. He also possesses seeds of the same hair trigger psychopathic behaviour Scorsese would memorably assign to Joe Pesci in Goodfellas and Casino. The pair share a remarkable on-screen chemistry, which they’d display again three years later in Taxi Driver. Mean Streets was Scorsese’s first collaboration with De Niro, and the pair would go on to make no less than eight features together; one of the most remarkable director/actor partnerships in cinema history.

For a director so early in his career, it’s amazing how many of Scorsese’s trademarks are present and correct here. Catholicism, New York, organised crime, unpredictable bursts of violence, the Rolling Stones and cinephilia all feature heavily, as does the director’s innovative use of camerawork. Check out Charlie’s drunk scene, shot in slow motion, with the camera strapped to Keitel’s face. Has anyone ever captured the feeling of drunkenness better?

It was also the first instance of Scorsese’s uncanny knack for choosing the perfect pop song to accompany a scene – only Tarantino comes close to matching him. Here we have one of his best examples, juxtaposing the violence of a fight scene with the chirpiness of The Marvelettes’ Please Mr Postman.

Whilst Scorsese would return to this world many times over the years, Mean Streets remains one of the director’s key films. He grew up around this world, and the result is a believable, intimate portrait. It may be scuzzier and less polished than his later mob films, such as Goodfellas and The Departed, but it’s all the richer for it. Essential.

Special Features: Director’s commentary / Contemporary featurette / Trailer

INFO: MEAN STREETS / CERT: 18 / DIRECTOR: MARTIN SCORSESE / SCREENPLAY: MARTIN SCORSESE, MARDIK MARTIN / STARRING: HARVEY KEITEL, ROBERT DE NIRO, DAVID PROVAL, AMY ROBINSON, RICHARD ROMANUS / RELEASE DATE: OUT NOW

 

THE HOUND OF THE BASKERVILLES (1959)

As you’re probably aware, Hammer didn’t just do horror. Even in the late ‘50s when Hammer Horror was a new and lucrative success for them, they were still looking elsewhere for source material. So when Kenneth Hyman got them the rights to Sherlock Holmes’ most famous adventure, they didn’t hesitate to give it the Hammer Horror treatment. What was that? Didn’t we just mean the “Hammer treatment”? Well no, not really. Hammer knew what they’d suddenly become quite good at so if the story featured a demonic hound then that was good enough for them. It was time to break open the Kensington Gore once more and re-use the set from Dracula (1958).

To be honest, we exaggerate a bit. A proper Hammer Horror deliberately attracted an X-certificate and wore it like a badge of honour. The Hound of the Baskervilles went for a more modest A-certificate but it was hardly family-friendly for the time. The BBFC must have been in fairly lenient mood that day. Nevertheless, they cast their two big horror stars in the lead roles: Peter Cushing as Holmes and Big Chris brilliantly subverting expectation as Sir Henry Baskerville himself. Lee had only recently become a star and was just known for monsters and villains. Here he’s cleverly set up as a rotter only to be revealed as a thoroughly decent chap and the romantic lead. There’s blood, sacrifices, mutilations and even that ever-present Hammer Horror trope: class warfare . Yes, really. Hammer knew what their target audience wanted. There’s also a tarantula and that hound. We’ll come to him in a moment.

You know the plot so we won’t go over it again – however, you’ll not be surprised to learn that Hammer took some liberties with the source material. But it’s still good solid stuff and Holmes-aficionado Cushing seems to be having a ball with his usual attention to detail. A fine Holmes and a role he’d reprise on the telly. André Morell’s Watson is also commendable for shedding the comedy traits Nigel Bruce had so firmly embedded in the public consciousness all those years earlier. But what makes this such a great Holmes-outing is the terrific atmosphere. It’s the first colour adventure for the detective and the lurid Hammer-look just really suits it. Baskerville Hall and the moors have never looked better and we’ve got to point out the Blu-ray transfer here. This reviewer hasn’t been entirely satisfied with the HD Hammer discs so far – the lighting and colours often just look “wrong” – but they seem to have finally nailed it with this one.

Any flaws? Well there isn’t really enough foggy London for Sherlock Holmes (wrong story we suppose) and then there’s the titular Hound. At the climax we get a docile looking dog in a mask. It’s rubbish. But at least it raises a smile and that’s what Hammer has come to be all about.

Special Features: Audio commentary / Three documentaries / Trailer / Booklet

INFO: THE HOUND OF THE BASKERVILLES (1959) / CERT: PG / DIRECTOR: TERENCE FISHER / SCREENPLAY: PETER BRYAN / STARRING: PETER CUSHING, CHRISTOPHER LEE, ANDRÉ MORELL, MARLA LANDI, EWEN SOLON, FRANCIS DE WOLFF, DAVID OXLEY / RELEASE DATE: OUT NOW

TRAPS (PASTI, PASTI, PASTICKY)

For anyone feeling a little squeamish, of vegetarian inclination or just full from a hearty meal, the graphic opening scenes of Traps (or Pasti, Pasti, Pasticky to give its original title) that feature pig castration may prove a little difficult to stomach. These images also feel burned into your retina somehow; a poignant, pre-emptive piece of filmmaking that becomes disturbingly relevant later in the film.

For Czech new wave director Vera Chytilovà, filmmaking was a mission. She became a dominant force in the industry and was often described as a militant feminist, although she preferred the term individualist. Traps bears many of the hallmarks that justify both these labels, and even now remains both boldly ambitious and deeply flawed.

After being raped, Lenka (Zuzana Stivinová) exacts immediate revenge, drugging her attackers before castrating them (remember those images?). She then withdraws into herself, unsure of her actions and of the true motives of those around her. The two men, Dohnal (Miroslav Donutil), a reforming politician, and Petr (Tomás Hanák), and advertising executive in search of his muse, try in their own ways to ill-advisedly make amends while also struggling to restore some normality to their lives.

Traps varies unpredictably in tone throughout, at times veering from bawdy, almost slapstick humour, to dark, emotion-filled moments that are as uncomfortable to watch as the castration scenes. Chytilovà also makes no attempt to hide her distaste of the political and social “elite” that populate her film, the central characters only learning to understand and face the consequences of their actions once they have already received their lifetime sentence.

This random approach to narrative makes the film difficult to follow at times. The rape, while being key to the plot and disturbing almost through its lack of perceived violence, becomes a secondary priority in comparison to the men’s castration; Chytilovà sporadically presents Dohnal and Peter as the victims who just want to move on with their lives. This imbalance leads in part to some scenes that are both distasteful and unpalatable and while the director’s overall message is clear, it becomes murky and perhaps even misguided at times.

There is one unarguable element to Traps, and that is its reluctance to fall into conventional classification or genre. At heart it is a strangely twisted black comedy containing moments that will make you laugh out loud. Behind the humour, though, there is serious intent by its maker to cast a critical eye over the political landscape of her country in the 1990s. Traps is not for everyone and yet contradictorily contains moments that everyone will relate to or find of interest. As an example of Czech filmmaking of the period, a time of confusion and expression that reflected the country itself, Chytilovà’s dark feature is a perfect example. Traps isn’t a film you will return to time and again, but it is a film that will remain with you for some time.

Special Features: None

INFO: TRAPS (PASTI, PASTI, PASTICKY) / CERT: 18 / VERA CHYTILOVÁ / SCREENPLAY: VARIOUS / STARRING: ZUZANA STIVINOVÁ, MIROSLAV DONUTIL, TOMÁS HANÁK, MILAN LASICA / RELEASE DATE: OUT NOW

Crime has been a part of the human condition about as long as rain has been part of the British summer, so perhaps it is only natural that there’s a whole variety of films dedicated to shootings, ganglands, and hits. Over the years, the Crime genre has given us some thrilling highs in Coppola’s The Godfather, Scorsese’s Goodfellas and De Palma’s Scarface. However when we talk about exciting crime flicks, many fans will immediately list some films of Asian origin- like John Woo’s Hard Boiled, Johnnie To’s Election and more recently Gareth Evans’ The Raid 2: Berandal. So as Revenge of the Green Dragons blends the best of American (the film is executively produced by Martin Scorsese) and Asian (the film is co-directed by Internal Affairs’ Andrew Lau) Crime Drama, this really ought to be a shoe-in for a gripping, violent, stylish and perhaps poignant experience. Sadly, this is not an apt description for Revenge of the Green Dragons.

The film centres on a (based on true events) 1980s New York-set story of two Chinese immigrant brothers Sonny (Justin Chon) and Steven (Kevin Wu), who are recruited by and rise up the ranks of violent gang “The Green Dragons”. However the gang’s brutal activities and criminal dealings soon force the attention of the law and the brothers’ bond is severely tested. What sounds like a potentially hard story of police negligence, illegal immigration, brotherhood and a deconstruction of the American dream (mentioned but not explored), is in fact more an occasionally stylish violent caper with very little to distinguish it beyond that. Revenge of the Green Dragons has a potentially exciting story here but only ever seems to posture and not perform. The opening is brutal and attention grabbing and while some of the wincing scenes of violence are effective by the time of the limp finish (which veers away from the story’s later revenge set up), the film becomes little more than a beige Crime/Drama.

The influence of Scorsese is not felt much and the direction is disappointingly straightforward and by the books. True the final twist may surprise some but when you don’t particularly know why you should care it means nothing. Some of the film’s most violent moments feel forced (a rape scene in particular) in order to try and provoke a response and, as a result, many may find the film reprehensible attention-seeking at points. It is a very unfortunate result to a film that certainly is not the out and out garbage some critics have suggested but is just a film that will disappear from your memory shortly after its end titles roll.

It is not all bad, Justin Chon gives a great performance as Sonny and there is an amount of appeal to his character and his connection to Wu’s Steven. The film also looks great at certain points (even if style often takes over substance) and there are the occasional flourishes to the story (especially in it’s earlier moments). Sadly this is drowned out to a great degree by the film’s messy flaws, the biggest of which is it’s thoroughly lacking plot, which just chooses the usual routes taken by the gangster genre and makes it do. The film has very little to say and when it makes a point; often the movie leaves it unexplored. It says it all that after viewing the film, we felt the most lingering aspect was its great looking dragon gun smoke poster that recalled the Danish film adaptations of Steig Larson’s Millennium Trilogy. In fact, watch those movies instead or just revisit Internal Affairs or Goodfellas because there is very little here that demands to be seen. Maybe we have been spoilt over the years with excellent Crime Drama and as a result we are being a touch harsh here with what is a fairly average (not entirely awful) film but considering the talent and potential involved in this project, the results can’t help but come as a pretty big disappointment. In short you may find something to enjoy in this film but unfortunately it suffers greatly next to the copious back catalogue of the genre and in the end the biggest crime here is the lack of memorability and fire in this dragon. 

Extras: Audio Commentary with Directors, The Not So American Dream, A Claustrophobic World, Stitches In Time, Deleted Scenes

INFO: CERT: 15 / DIRECTOR: WAI-KEUNG LAU, ANDREW LOO / SCREENPLAY: ANDREW LOO, MICHAEL DI JIACOMO / STARRING: RAY LIOTTA, JUSTIN CHON, SHUYA CHANG, KEVIN WU, HARRY SHUM JR. / RELEASE DATE: JUNE 29TH

NADIA: THE SECRET OF THE BLUE WATER – COMPLETE COLLECTION

The ‘90s were a golden age of anime, from Dragon Ball Z and Ghost in the Shell to Cowboy Bebop and beyond, it was a time when anime well and truly went global. Nadia: The Secret of the Blue Water tends to get forgotten about when fans get misty eyed and nostalgic, but with this five-disc Blu-ray set, it’s about time that changed.

Perhaps more than any other series, Nadia has a perfect pedigree, based on a short story by Hayao Miyazaki, itself very loosely based on Jules Verne 20,000 Leagues Under the Sea, and co-directed by Neon Genesis Evangelion mastermind Hideaki Anno. It uses the Verne story as a springboard to tell the tale of an alternate 1889, where Gargoyle, a sinister and industrious villain, strives to restore the Atlantean empire to dominance over humanity.

Jean Ratlique is a gifted and goofy whiz kid, tinkering at inventions which all inevitable fail. After saving circus performer Nadia from testy red head Senorita Grandis Granva and her two goons, the inventor Hanson and dandy Sanson, they go on a long mysterious journey to uncover the secret of the strange blue gem that hangs around Nadia’s neck: the blue water. Orbiting the centre of their journey is Captain Nemo and his submarine The Nautilus, making for a vivid take on the source material.

The animation is very in keeping with the Studio Ghibli style, who had really hit their stride by the early ‘90s. It might not be up to the same scrupulous standard, and the quality does fluctuate throughout, but there is an acute attention to detail, especially given the impressive roster of machinery and the scope of the story’s ambition. It might be at odds with today’s animation, though it’s a style fondly remembered, and memorably brought back to life in series like Gurren Lagann.

Alternating between dubs is a good idea, and gives you an insight into western attitudes to anime at the time. Many of the English voices either don’t fit their characters or mewl through terrible French accents. But other performances including Nadia (Meg Bauman) and Nemo (Ev Lunning) are fairly strong. To get the most out of the series, stick to the Japanese dub. But in whatever language, the soundtrack is superb and energetic, utilising cool jazz pieces, ominous synth and playful, jangly pop ballads.

Episode 22, Electra the Traitor, is the series highlight; a gut-wrenching and emotionally-charged peak. While the plot twists are easy to predict, it doesn’t soften their impact. But Nadia is a series of halves, and after this highpoint the character development wanes, the plot loses steam and the filler sets in. Episode 34, My Darling Nadia, is the dull apotheosis, made up of clip shows and musical numbers. It isn’t until the next episode that things start to pick up again. Once back on top form, it makes for a resonating and satisfying end. With some serious cuts, it could well be one of the greats.

Nadia: The Secret of the Blue Water, like Neon Genesis Evangelion, is about adolescence and adulthood, the gulf between and the transition from one to the other. It chronicles the friction between science and nature, of technology and faith in a hugely influential, effortlessly funny series, with archetype setting and dynamic characters on a memorable and poignant journey. It’s a near essential series that frequently goes unexpected places, taking a genuine intellectual look at ethics and philosophy. While the lack of real extras might make the £50 price tag steep, it’s a must have.

Special Features: Opening and closing animation / TV spot / Trailers

INFO: NADIA: THE SECRET OF THE BLUE WATER – COMPLETE COLLECTION / CERT: 15 / DIRECTOR: VARIOUS / SCREENPLAY: VARIOUS / STARRING: NORIKA HIDAKA, KENYUU HORIUCH, YOSHINO TAKAMORI, AKIO OHTSUKA, MEG BAUMAN, EV LUNNING, NATHAN PARSONS / RELEASE DATE: JUNE 22ND