Review Category: DVD/Blu Ray

CHUCK STEEL: RAGING BALLS OF STEEL JUSTICE

DVD REVIEW: CHUCK STEEL: RAGING BALLS OF STEEL JUSTICE / CERT: 15 / DIRECTOR: MIKE MORT / SCREENPLAY: MIKE MORT / STARRING: MIKE MORT / RELEASE DATE: OUT NOW

Wallace and Gromit as filtered through Team America: World Police and Sylvester Stallone’s Cobra. Now that we have your attention, go and seek it out immediately; Raging Balls of Steel Justice is the best fifteen minutes of animated humour this side of South Park. It’s already aired a few times on Film4 now, but this DVD release gives you plenty of room to watch at your leisure. Because you can never be too sure when you might fancy a shot of Steel in your life.

Together with his sex-obsessed robot partner A55 (type it into a calculator if you’re a little slow on the uptake), maverick cop Chuck Steel (essentially Johnny Bravo in a leather jacket) takes on a warehouse full of escaped criminals holding a top banker hostage. Their plan? To kick the poor chap in the balls so many times that his testicles pop out of his nose. Fair to say that subtlety was not high on creator Mike Mort’s list of priorities when putting Raging Balls of Steel Justice together.

What it lacks in story and invention, it makes up for in its visuals; as dynamic, explosive and violent as any classic action film you might care to remember (inevitably starring Stallone or Chuck Norris) its scenes of animated anarchy are up there with any of its live-action counterparts. The humour is juvenile but funny, never outstaying its welcome. Steel and his world aren’t particularly original creations (recalling Macruber, among others) but that doesn’t make their antics any less enjoyable. Mort is currently at work on a feature-length Steel story, so if purchasing this DVD release of his debut helps get it made, even better!

It’s the DVD itself which comes up sorely wanting, though. Given that Raging Balls of Steel Justice has already aired on Film4, one would have hoped for a few extras to go with the film. Alas, there’s not so much as a making-of or director’s commentary in sight. If you’ve already caught it a few times on TV (unlikely, with it airing at silly o’clock in the morning) there’s probably little point in shelling out for the DVD. Unless you really like watching puppets kicking other puppets repeatedly in the nuts.

Silly, violent and ridiculously entertaining, Raging Balls of Steel Justice is the perfect Saturday morning cartoon for adults. It’s a cracking bit of cheese, Gromit.

Special Features: None

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Find your local STARBURST stockist HERE, or buy direct from us HERE. For our digital edition (available to read on your iOS, Android, Amazon, Windows 8, Samsung and/or Huawei device – all for just £1.99), visit MAGZTER DIGITAL NEWSSTAND.

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PULP FICTION: TWENTIETH ANNIVERSARY EDITION

BLU-RAY REVIEW: PULP FICTION: TWENTIETH ANNIVERSARY EDITION / CERT:18 / DIRECTOR: QUENTIN TARANTINO / SCREENPLAY: QUENTIN TARANTINO / STARRING: JOHN TRAVOLTA, SAMUEL L. JACKSON, UMA THURMAN, BRUCE WILLIS, HARVEY KEITEL / RELEASE DATE: OUT NOW

You know how it is when you revisit a favourite film – something wonderful, something which made your personal earth move, something that smashed you around the face because it just reinvented the whole stinking idea of cinema – years after the event and you get that sinking feeling? “This hasn’t aged well, it’s not as good as I remember, it looks really hokey now…” Forget about it; twenty years on Pulp Fiction is as bright, audacious, iconoclastic and downright ruddy brilliant as it was when it first exploded into our lives back in 1994. It remains Quentin Tarantino’s one inarguable masterpiece; the killer follow-up to his sensational, sit-up-and-take-notice classic Reservoir Dogs debut, which made it quite clear that here was a maverick new talent who could very possibly redefine cinema for an entire generation.

Regardless of your opinions of Tarantino’s subsequent oeuvre, there’s no doubt that Pulp Fiction is the sparkling, sizzling ultimate embodiment of Tarantino’s genius for smart, whip-crack pop culture dialogue, here combined with an extraordinary non-linear narrative. The iconic prologue as Pumpkin (Tim Roth) and Honeybun (Amanda Plummer) prepare for their daring diner heist turns into the captivating, ultra-cool story of Vincent Vega (John Travolta) and his near-disastrous ‘date’ with mobster Marsellus Wallace’s wife Mia (Thurman). Then, we twist and turn our way through extraordinary escapades with aging prizefighter, Butch Coolidge (Willis), the eye-watering story of the fate of young Butch’s father’s watch as told by Christopher Walken’s deadpan Vietnam colleague Captain Koons, and “the Bonnie Situation” in which Harvey Keitel’s “cleaner” Winston Wolfe is called upon to clear up the bloody debris of one of Vincent’s hits with his partner Jules (Jackson). But none of this unfolds with any logical progression; characters drift in and out of storylines, one character in particular is killed in one segment before reappearing later in a segment which takes place earlier. Pulp Fiction is impossible to second-guess and it’s astonishing and heartening to report that it’s as fresh, funny, inventive and endlessly-quotable now as it was twenty years ago.

What better way to celebrate two decades of Pulp Fiction than with this sharp and displayable new anniversary edition? Housed in a sleek black faux attaché case, the collection includes the already-available 2-disc Blu-ray of the movie (which looks stunning in HD) along with a replica Jack Rabbit Slim menu, Big Kahuna Burger carry-out bag, souvenir photos, Pulp Fiction-illustrated twenty-dollar bills and a metal ‘Z’ key ring (“Zed’s dead, baby“). But, of course, the film’s the main attraction here; the rest of the package is just window dressing best enjoyed over a Royale with Cheese…

Special features: Interviews, Retrospective, behind-the-scenes footage, featurettes, Siskel & Ebert feature, Awards show footage, stills gallery, deleted scenes.

THE NEVERENDING STORY

BLU-RAY REVIEW: THE NEVERENDING STORY / CERT: U / DIRECTOR: WOLFGANG PETERSEN / SCREENPLAYL WOLFGANG PETERSEN, HERMAN WIEGEL / STARRING: BARRETT OLIVER, NOAH HATHAWAY, TAMI STRONACH / RELEASE DATE: OUT NOW

When 10-year-old Bastian (Oliver) finds himself in a dusty old bookstore whilst hiding from bullies, he’s shown a leather-bound tome that promises to be ‘too dangerous’ for him to read. Immediately taking the bait, Bastian grabs the book and heads to school, where he decides to hide away and begin reading.

As promised, this is no ordinary book. As Bastian reads, he becomes more and more entrenched in the world of Fantasia and the impending ‘Nothing’ which threatens to devour the world and everything in it. Acting as a counterpoint to Bastian is Atreyu (Hathaway), a child warrior charged with stopping the Nothing and saving the world and the Childlike Empress (Stronach) who is dying as a result. At first, Atreyu is simply Bastian’s literary avatar of sorts, but as the tale continues Bastian begins to realise that he has unwittingly become part of the story he is reading and that he has the key to saving the world and the Princess, if only he can believe.

The tale of The NeverEnding Story is a timeless one. On paper it reads extremely well, capturing the hearts, minds and spirits of children at their most impressionable age. Its commentary on the generation’s ambivalence to books (in favour of video games) has never been more relevant than it is now, and the concept of granting a child’s every wish is incredibly powerful. But (and it is a big ‘but’) as this film celebrates its 30th birthday it suffers terribly in the visual effects department. And that’s an understatement.

Made at the cutting edge of processes like blue screen and puppetry, filmmaker Wolfgang Petersen threw every new effect at this in an effort to bring the fantastical world of Fantasia to life. As a 10-year-old boy myself at the time of release, it worked wonders. 30 years on, it’s incredibly hard to watch. As much as the idea of allowing a new generation to explore this film and its themes seems appealing, the unfortunate reality is that kids have been so spoilt by CGI that the comparatively terrible effects will cloud even the strongest narrative.

The extras are fairly good, featuring a commentary from Petersen and a nice featurette that brings the filmmakers and the Childlike Empress back together to discuss the trials and tribulations of the production. Two further featurettes (both in German with subtitles) cover similar ground albeit with some great behind the scenes raw footage, while a third goes into explicit detail (again, in German) about the restoration process used in bringing this film to Blu-ray.

The irony of this last featurette is that, if anything, seeing this film in such high definition only serves to make the visual effects issues worse. What would, instead, be ideal would be viewing this film on fuzzy VHS as was originally intended.

Special Features: Commentary by Wolfgang Petersen / Four featurettes / Trailer

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GUN WOMAN

DVD REVIEW: GUN WOMAN / CERT: 18 / DIRECTOR: KURANDO MITSUTAKE / SCREENPLAY: KURANDO MITSUTAKE / STARRING: ASAMI, MATTHEW FLOYD MILLER, NORIAKI KAMATA, KAIRI NARITA / RELEASE DATE: DECEMBER 29TH

‘Cult’, like ‘epic,’ is a word that’s been so freely flung around that its lost most of its potency. That said, if ever a film was going to reinvigorate the term then Kurando Mitsutake’s bombastic Gun Woman is indeed a modern-day cult classic.

Starting off with a headshot, Gun Woman is the story of two hitmen making their way to an extraction point, passing the time by swapping tales of a talented doctor who, after his wife is raped and murdered and he is left crippled, swears revenge on the psycho-sexual killer. In this case, the killer is a cannibal, necrophile and billionaire Japanese playboy, played with grim gusto by Noriaki Kamata. Knowing there’s only one way to get past his maximum security, the doctor trains a young Japanese woman and hides the parts of a handgun inside her body.

Matthew Floyd Miller looks and acts like DC’s Jim Gordon, and his dulcet tones pay lip service to the great kung fu movies of the past. Kairi Narita is effective as the doctor-cum-trainer, but former porn actress Asami gives the finest performance in the demanding titular role.

While Asami spends most of the film naked, including the dynamic fight sequences, it’s easy to see the film as all exploitation. While making clear that ‘God made women superior to men’ it shows the story of a woman’s redemption from prostitution and drug abuse to practical superhero. Whilst there’s a few scenes that look like a particularly bad porno, it’s B-movie gold.

Like Tarantino’s Kill Bill, Gun Woman owes a tremendous debt to kung fu and samurai movies, and wears those influences proudly. But unlike Kill Bill, it’s not nearly as awkward, drawing instead from a wider pool of influences including manga, grindhouse cinema and Luc Besson’s Leon and La Femme Nikita.

The camera work is admittedly amateurish, with most of the exterior shots looking like they were filmed on an iPhone, with filters to match. But it’s honest, marking Mitsutake as one to watch. This way greatness comes.

The soundtrack is killer, all strings, synth and drums, a throwback to Fabio Frizzi’s brilliant scores for Lucio Fulci’s shock zombie horrors.

Given its cultural heritage, Gun Woman is very accessible to any newcomers. With lashings of gore and nudity, and a training montage that blows Rocky right out of the water, this is pure cult cinema. It’s cheap, grubby and ridiculous, but it’s also bloody good fun.

Special Features: On set slideshow / More from Monster Pictures / Trailers

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SIN CITY: A DAME TO KILL FOR

BLU-RAY REVIEW: SIN CITY: A DAME TO KILL FOR / CERT: 18 / DIRECTOR: ROBERT RODRIGUEZ, FRANK MILLER / SCREENPLAY: FRANK MILLER / STARRING: JOSH BROLIN, EVA GREEN, JESSICA ALBA, MICKEY ROURKE, JOSEPH GORDON-LEVITT / RELEASE DATE: DECEMBER 15TH

As for famous line goes, “Walk down the right back alley in Sin City, and you can find anything”. As such, Robert Rodriguez and Frank Miller’s follow-up to their 2005 movie offers to deliver a whole host of varying combustible elements for its audience.

The central point of the film’s narrative is the A Dame to Kill For story, which sees Dwight (Brolin – replacing Clive Owen) involved in a twisted love story of sorts with the stunning, manipulative Ava Lord (Green). Intertwined with this main story, we have three other tales that all drop in at varying points throughout the film’s 102-minute running time; Just Another Saturday, featuring fan favourite Marv (Rourke) as he finds himself caught up in path of destruction after a night on the sauce takes a tumble towards blackout territory; The Long, Bad Night centres on cock-sure gambler Johnny (Gordon-Levitt) cleaning up and make an enemy of Sin City’s power-driven Senator Roark (Powers Boothe); and the sad tale of tormented stripper Nancy (Alba), holding a torch for the deceased Hartigan (Bruce Willis), takes a grief-stricken, bombastic twist in Nancy’s Last Dance.

Out of the collection of stories on show, some are adapted from the comic book source whilst others are new tales from the mind of creator Miller. As ever, though, the entire film is drenched in typical Frank Miller dialogue, hard-hitting, descriptively-grimy, and as sexed-up as an overdosed Viagra user in need of a cold shower. Much like Sin City, this sequel looks absolutely phenomenal in its texturing, its saturation, the way that the background and foreground embrace the characters engulfed within them, and the lightning and tone is simply exquisite – none more so than when casting an eye over Eva Green and her sumptuous curves. That said, the sight of Ray Liotta’s pasty white behind makes you yearn for the grainy, fuzzy days of VHS.

In terms of performances, all of this huge ensemble, which also features the likes of Rosario Dawson, Christopher Lloyd, Dennis Haysbert, Chris Meloni and Jeremy Piven, deliver when called upon, although Gordon-Levitt, Boothe and Green are the stars who really sparkle here. That said, they are also the characters who have the most intrigue and mystique to them. Green particularly shines, harking back to classic screen sirens and vixens of yesteryear.

Sin City: A Dame to Kill For may not be quite as strong or engaging as its predecessor, but it is a strong enough movie to stand as its own beast, brimming with style, sleaze, razor-sharp dialogue and driven by some lavish chewing of scenery by several of its principles players.

Special Features: Three featurettes / Four character profiles

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THE HUNGOVER GAMES

DVD REVIEW: THE HUNGOVER GAMES / CERT: 18 / DIRECTOR: JOSH STOLBERG / SCREENPLAY: KYLE BARNETT ANDERSON, DAVID BURNSTEIN, JAMIE KENNEDY / STARRING: ROSS NATHAN, SAM PANCAKE, BEN BEGLEY, HERBERT RUSSELL, TARA REID/ RELEASE DATE: OUT NOW

Spoof movies are a hard genre to pin down, as a very thin line divides victory and defeat. Essentially a good spoof, to work, has to have not only humour but also a cast and crew that have a degree of affection for the material they lampoon and the ability to handle the tomfoolery with just the right mannerisms. For instance, the king of spoofs, Airplane, had the ridiculous gag-a-minute delivery but the cast were almost entirely unaware that what they were doing was comedy – this is why it works! The script knew when to be overt and covert, and the silliness was a joy to behold. However, in today’s age it seems this art of mainstream spoof comedy has given way to an abundance of dick jokes with tenuous (and often outdated) pop culture gags, all of which are (most detrimentally of all) entirely unfunny. And we would love to announce that this clear send-up of The Hunger Games (a film rife for parody) is a real stand-out for the genre, sadly it is more of the wretched rubbish we have become accustomed to.

Obviously you know what you are getting from a film titled The Hungover Games, and for that reason you can take the wall-to-wall crudeness as a given, but is it too much to ask that the makers of these films understand the point of them? Much like Disaster Movie, Epic Movie and Scary Movie 4 (albeit slightly less dreadful), the film is a complete mishmash of films and parodies all tied together by a plot that essentially sees The Hangover bafflingly meet The Hunger Games. Instead of genuinely just sticking to the main genre at focus, the film throws everything at a wall hoping something will stick, sadly all that does is the odd passing comment on the lack of originality in Hollywood, which is really the only thing that elevates this film above being a complete bomb. Still, these brief moments are hard to notice in a film so full of dildos and bodily functions.

The film’s parodies range from Ted to The Lone Ranger, and when films aren’t being randomly parodied (Carrie, Avatar, Charlie and the Chocolate Factory?), The Hungover Games simply throws some big bouncing boobs at the screen and thinks’ “that’ll do”. This said, it is not as bad as some of Friedberg and Seltzer’s spoofs (which shows just how far this genre has fallen), but saying something is better than Meet The Spartans is about as kind a compliment as “that’s better, you only look quite fat in that shirt”. There was essentially fun to be had in the concept, where the drunken Hangover trio stumble into a survival games scenario – admittedly Ross Nathan (as Bradley), Ben Begley (as Ed) and especially Herbert Russell (as Zach) are good at sending-up the central Hangover group – but the film is just not funny at all.

From teddy bear tea-bagging to underage relationships and dumb housewives, the film never sets its sights higher than the gutter but at the same time you would think a film parodying such hits could find a funny approach. Unfortunately, Josh Stolberg’s film feels like it was just written as they went along, adding bits and bobs about films they might have watched while making it. Plus the whole thing is further devalued by the fact Friedberg and Seltzer only recently released their (even worse) Hunger Games–themed spoof The Starving Games, so it is not even the first Hunger Games-themed spoof out there. For all the explicit gross-out content, the comedic value is tame and the 81 minutes you spend not laughing at this could be spent finding funny YouTube videos. Or actually going on a drunken night out with your mates. In fact, take a camera with you and turn it into a film – it will likely be funnier than this.

Special Features: Behind The Hungover Games / Gag reel / Previews

BLAST OF TEMPEST PART 2

DVD REVIEW: BLAST OF TEMPEST PART 2 / CERT: TBC / DIRECTOR: MASAHIRO ANDO / SCREENPLAY: MARI OKADA / STARRING: KOKI UCHIYAMA, TOSHIYUKI TOYONAGA, MIYUKI SAWASHIRO, RIKIYA KOYAMA / RELEASE DATE: DECEMBER 8TH

Part 2 of Blast of Tempest collects episodes 13 to 24. Loosely based on Shakespeare’s The Tempest, of course, and Hamlet, with regular quotes from both making up this interesting but deeply flawed Japanese interpretation.

Based on Kyō Shirodaira’s manga series, the story follows Mahiro whose out for revenge after his sister’s murder the year before. The latter half of the series focusses on the arrival of the Tree of Genesis, which has ensnared the world, despite putting an end to war and poverty. As is often the case, things are far from what they seem.

There’s no English dub, which is no bad thing in and of itself, but there can be up to three sets of subtitles on screen at one time, which without pausing is nigh on impossible to take in. Kicking off with an awful new opening theme, Episode 13, Philosophy of Dreams, is an exhaustive recap over the previous 12, so having seen the first volume isn’t a prerequisite. From Who Did It? onwards, there’s a marked increase in quality, proving there’s a good story there, it just needs some serious editing. Episode 22, Aika Fuwa, is surprisingly moving, with The Battle of Genesis kicking off the climatic and satisfying showdown.

Despite the flourishes of exaggerated manga effects, the animation is high quality, directed with cinematic flair by Masahiro Ando. The characters are largely forgettable, with Mahiro’s sister Aika proving the most interesting, but seen only in flashbacks. Hakaze could have been a compelling character, but winds up being one of the most irritating.

Playing off various mythologies, Blast of Tempest is mismatch of ideas and concepts and even with a few superficial subplots, it has an earnest message at its heart. Like Shakespeare’s aforementioned plays, this is a story about revenge and guilt and the implications of both. It could have been essential anime, but opts for the road well-trodden instead.

Special Features: Openings / Trailers

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DELIVER US FROM EVIL

DVD REVIEW: DELIVER US FROM EVIL / CERT: 15 / DIRECTOR: SCOTT DERRICKSON / SCREENPLAY: SCOTT DERRICKSON, PAUL HARRIS BOARDMAN / STARRING: ERIC BANA, EDGAR RAMIREZ, OLIVIA MUNN, CHRIS COY / RELESE DATE: JANUARY 5TH

From the director of Sinister and The Exorcism of Emily Rose, Deliver Us from Evil is about a veteran member of the South Bronx precinct, NYPD Sgt. Ralph Sarchie (Bana), who has seen more than his share of dark and horrifying events in his line of work, and many of which have begun to poison his soul. Sarchie soon finds his beliefs and understandings pushed to the very limit when he and his partner investigate a bizarre incident involving demonic possession. He then forms an alliance with a renegade priest (Ramirez), who tries to convince Sarchie of the existence of real evil, as well as demons.

The director, Scott Derrickson, is no stranger for creating dark spooky houses, particularly in Sinister where the house in that film suffered from serious electrical problems. Yet with all his films, once you come out of them, you feel like they have amounted to not very much. Apparently, this is based on real life events, which is really a very generous assessment of its relationship with real life. There are spooky setups that are intercut with gags, and then tension is built up very slowly, which then results in a false scare. Then, something really horrible and nasty happens, which culminates with the big fright, and the film repeats this cycle over and over again, which does make the film somewhat repetitive in terms of its narrative.

Despite that, however, there are some interesting ideas at the heart of the film. At the very beginning, we witness soldiers in Iraq accidently unlocking this buried evil and then coming back from that transformed into different people. That has connections to PTSD (Posttraumatic Stress Disorder), and there are also elements that wouldn’t look out of place in TV’s True Detective. What that show did was dealing with ancient evils being unlocked and manifesting in the modern world, and being stumbled upon by detectives that are used to seeing horrible things happening and are being unable at first to discern the supernatural evil from the natural evil.

There are small echoes of that in this film, but yet it goes for full on horror and exorcism, and what the film could’ve needed was more ambiguity in its horror like True Detective, but it doesn’t feel like it had the confidence to do that. It seemed to be like as if it was trying to be both Seven and The Exorcist, and as a result, ends up being neither. Perfectly okay, if ultimately unforgettable.

Special Features: TBC

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PATEMA INVERTED

BLU-RAY REVIEW: PATEMA INVERTED / CERT: PG / DIRECTOR: YASUHIRO YOSHIURA / SCREENPLAY: YASUHIRO YOSHIURA / STARRING: YUKIYO FUJII, NOBUHIKO OKAMOTO, SHINTARO OOHATA, SHINYA FUKUMATSU / RELEASE DATE: DECEMBER 15TH

Judging by the premise, Yasuhiro Yoshiura’s latest anime feature looked destined to float into cliché. Here we have two civilisations, bound together back-to-back with conflicting gravitational pulls like opposite sides of a coin. Deep underground lies the home of Patema, a young girl whose love for exploration takes her across the forbidden border to the world above. Here she meets Age, a boy who takes it upon himself to look after Patema so she isn’t pulled upwards into the sky, risking his own life against the authorities who condemn her ‘sinner’ existence and want her captured.

At a basic level, it’s a fairly elaborate setup for a classic Romeo & Juliet love story, with the opposing gravity hammering the distinctions between the two groups even further home. In lesser hands, this might have descended into unbearable physics-based cheese with a limp supply of subtlety. Yoshiura, however, rises above the clichés through mind-bending visuals and some sharp writing which keeps the characters grounded even when they’re literally soaring above the clouds.

Perhaps the leanest trick in Patema Inverted is its shifting perspectives. As their paths cross, the camera often spins upside down between Patema and Age’s vision. It’s a simple trick wonderfully executed, helping you understand the fear characters have as they enter the opposite landscapes while consistently delivering a unique visual splendour. A comical heist break-in sequence midway through particularly stands out, where the twisting perspectives and gravity pulls are utilised to full effect for some hilariously inspired moments.

It helps that the film is visually breathtaking without the camera bending hijinks. From the stunning skyline ascents to the claustrophobic environments of the underground, everything here is a pleasure to watch no matter the angle you’re given. Yoshiura’s eye for a cinematic moment coming into its own when the pair take flight, with the sprawling vistas popping from the beautiful lighting effects.

While the story presents few surprises with an ending which is perhaps a little too ambiguous, when it’s so enjoyably spun and well-oiled as this, it’s easy to forgive. The cast of characters are smartly written, the emotional beats sing when they need to, and the unique visuals provide a memorably fresh overcoat. If you’re craving an anime feature outside the golden parameters of Studio Ghibli, you could do far worse than Patema Inverted.

Special Features: Audio commentary / Interviews / Special Messages to UK fans from the director / UK trailers

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BLAST OF TEMPEST PART 1

DVD REVIEW: BLAST OF TEMPEST PART 1 / CERT: TBC / DIRECTOR: MASAHIRO ANDO / SCREENPLAY: MARI OKADA / STARRING: KOKI UCHIYAMA, TOSHIYUKI TOYONAGA, MIYUKI SAWASHIRO, RIKIYA KOYAMA / RELEASE DATE: OUT NOW

Blast of Tempest is an anime adaptation of the Japanese manga series written by Kyō Shirodaira and illustrated by Arihide Sano and Ren Saizaki. Based loosely on playwright William Shakespeare’s play The Tempest, the anime ran from October 2012 to March 2013.

The story follows Mahiro (Toyonaga), the teenage son of a wealthy entrepreneur, whose younger sister Aika (Kana Hanazawa) was murdered the previous year. He is contacted by Hakaze (Sawashiro), the leader of Kusaribe Clan, who has been betrayed by her followers and left on a deserted island. Mahiro agrees to help Hakaze in return for her help in finding out who murdered his sister. He is joined by his best friend and the late Aika’s secret boyfriend, Yoshino (Uchiyama), as they try to prevent the Kusaribe Clan from reawakening the Tree of Exodus; whose power can bring devastation to the whole world.

A mix of fantasy, mystery, romance and action, included in the 2-diss DVD set are the first 12 episodes: “The Mage in the Barrel”, “He Said She Was Very Beautiful”, “There Are Things Even Magic Cannot Do”, “The Cursed Pair”, “Everything Happens for a Reason”, “The Paradox of the Skull”, “First Kiss”, “The Hour of the Princess Suppression”, “Boyfriend”, “How to Make a Time Machine”, “Daughter of Time” and “Absent Thee from Felicity Awhile”. The only drawback of this DVD collection is that there is currently no English dub to include, so non-Japanese speakers will have to use the subtitles. Part 2 will be released on December 8th.

Special Features: None

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