Review Category: DVD/Blu Ray

BLU-RAY REVIEW: THE WIZARD OF OZ 3D / CERT: U / DIRECTOR: VICTOR FLEMING / SCREENPLAY: NOEL LANGLEY, FLORENCE RYERSON, EDGAR ALLAN WOOLF / STARRING: JUDY GARLAND, FRANK MORGAN, RAY BOLGER / RELEASE DATE: OUT NOW

It’s a film almost everyone will be familiar with; its appeal, charm and longevity are unchallenged, but this new 75th anniversary HD edition has been remastered into 3D – so we certainly need to take a look and see how this modern tampering has affected the undisputed classic.  

The story, for those who haven’t been lucky enough to catch one the numerous TV screenings that happen every year, follows Dorothy Gale (Garland) as she is swept up by a cyclone from her monochrome life in Kansas and planted into the glorious Technicolor world of Oz. A place inhabited by all manner of strange people, and one very wicked witch. She must travel to the Emerald City to find a way home, accompanied by some friends she meets on the way; a brainless Scarecrow, heartless Tin Man and a very Cowardly Lion. They all seek a property that’s within everyone, the moral naturally being you just have to realise it.  Lots of singing, dancing and (still very terrifying) flying monkeys ensue along the way.

The film itself still holds up as stunning family-friendly entertainment after all these years, and no matter how many times you watch it. Surprisingly, the 3D rendering actually does give the film (literally) an extra dimension. Whereas it’s not completely necessary, and occasionally the results resemble the old View Master reels – giving a layered appearance which betrays the studio settings more than ever – it’s certainly works and is effective in several moments (Margaret Hamilton’s Wicked Witch pointing straight out of the screen as she cries, “I’ll get you my pretty!”). It’s worth noting that there was no real noticeable light loss or reduction in image quality by the process, the film looking more stunning than ever. No doubt the re-scanning in 8K has something to do with this, because although it won’t actually effect the picture quality at home (by the nature of the format, we’re limited to 1080p) it certainly has allowed more precision work to be done in the 3D conversion, and is completely satisfying – even for the purists! Note, however, the 2D Blu-ray which is also included is the previous 2009 remaster, which – while almost perfect – still has some blemishes.

The new release comes packed with special features including a new 69-minute ‘Making of’ documentary, which covers everything one would need to know about the film – from the troubles of getting the film to the screen, right up to the eventual popularity. This replaces, and indeed covers most of the same ground as, the previous documentary produced in 1990 with Angela Lansbury hosting. This time, however, it’s filmed in HD and we have Martin Sheen doing the narration duties, and actually seems to reveal even more about the film we assumed we knew everything about. The other extras are all ported over from the previous Blu-ray release, but are still worth mentioning as they are plentiful and entertaining. These include a sing-along subtitle track for many of the great songs (as if you don’t already know all the words), audio clips (which are quite lengthy but immensely entertaining) and tons of behind-the-scenes footage.
A wonderful package, beautifully presented. What are you waiting for? Grab your ruby slippers, done those plastic glasses and take a fully immersive trip down the Yellow Brick Road…

 

DVD REVIEW: OUT OF THE UNKNOWN / CERT: 15 / DIRECTOR: VARIOUS / SCREENPLAY: VARIOUS / STARRING: YVONNE MITCHELL, GEORGE COLE, MILO O’SHEA, DAVID HEMMINGS / RELEASE DATE: NOVEMBER 24TH

Out of This World was a short-lived 1962 ABC series that story editor Irene Shubik had developed out of the popular Armchair Theatre strand of programming, and when Shubik followed her producer Sydney Newman to the BBC later that decade, together they revived the format as Out of the Unknown. Comprising four series totalling 49 episodes on BBC2 between 1965 and 1971, beginning in black and white before moving to colour in 1967 with the third series (when Alan Bromley took over as producer), the surviving episodes of Out of the Unknown had long been thought of by archive television aficionados as commercially unreleasable, thanks to a complicated rights situation; anthological in nature, the stories in Out of the Unknown stand apart from one another as entirely unconnected short films (of roughly fifty minutes to an hour’s duration each), most of which had been adapted from the works of popular science fiction authors like J.G. Ballard, Frederik Pohl and Clifford D. Simak. Fortunately, the BFI are a persistent beast, and thanks to their endeavours this autumn sees the release of a seven disc set comprising all twenty surviving episodes (the other 29 were destroyed during the BBC’s culls of the 1970s), along with reconstructions of another four for which the audio still exists (taking the form of simple slide show presentations, using publicity stills to illustrate the soundtracks), one episode that only partially exists and a host of extra features, including commentaries from cast, crew and TV experts on eleven of the extant episodes.

The set begins with what would eventually (and somewhat controversially) be the series’ first episode, an adaptation of the John Wyndham short story No Place Like Earth. In spite of carrying some strong ideas (one of Out of the Unknown’s great strengths, chiefly because of how its stories were sourced), No Place Like Earth is also an indication of where the show’s weaknesses would ultimately lie, and it’s easy to see why Shubik would have wanted another episode to kick the series off (she was overruled); without movie-sized budgets, the production could often ill-afford to keep pace with its conceits. Some of the episodes that work better, then, are those that either take place here on Earth (Wyndham’s story planet-hops from Mars to Venus and back), or those that limit their action to a small handful of sets or limited location. The Isaac Asimov story The Dead Past, for example, coaxes an interesting conclusion out of its examination of a temporal paradox, and is a perfect fit for the format. Mike Watts’ original story Come Buttercup, Come Daisy, Come…?, on the other hand, is a lurid but character-driven instalment giving some indication of the series’ versatility; the thing about Out of the Unknown is that there were no boundaries to the invention and variety of the stories, and it is partly because of this that it struck such a chord with audiences and is as well-remembered now as is, for example, the most striking of Nigel Kneale’s work.

Attracting some genuine talent to the project, Shubik managed to bring in writers of the bearing of Troy Kennedy Martin, J.B. Priestley and even Clive Donner in order to adapt the source stories, and they are performed just in these twenty surviving episodes by the likes of David Hemmings, Donald Houston, Anthony Bate and Peter Barkworth, along with hosts of familiar faces from contemporary television. Out of the Unknown would be a feast for the eyes purely in terms of its acting, let alone for the imaginative and rewarding storytelling, and there’s a genuine sense of oddness permeating the entire series which places it as a more sincere and profound cousin to The Twilight Zone.

John Kelly’s documentary, Return to the Unknown, takes the unusual approach of including all of the short orphaned sequences which still exist, which while it might make for a slightly disjointed viewing experience, also makes for a fascinating and compelling one. The 42-minute feature includes a decent number of contributors, many of whom will be familiar to aficionados of 1960s and 1970s television, demonstrating not just how varied the productions were, but also giving an impression of just how fertile a voice for the imagination the series was to be. It’s an educating and absorbing watch, created in a 4:3 ratio so as to best present the clips that are included, and an invaluable inclusion.

It’s heartbreaking that so many instalments are missing, with Terry Nation’s adaptation of Ray Bradbury’s The Fox and the Forest one of only two episodes from the seminal first series not on the set, and Series Three almost entirely absent. But there are compensations; disc four opens with the first episode of the second series, E.M. Forster’s The Machine Stops, which Forster himself described as a “magnificent production” that had “greatly moved” him, while Series Four (which leaned more towards original horror than adapted sci-fi) isn’t as badly represented as the show’s middle period.

Crisply restored by Peter Crocker from materials the better part of half a century old, the lack of time to VidFIRE the episodes lends the stories an even greater sense that with just a little extra expanding out, they might easily have passed for cinema exhibition. No doubt these stories will seem a little sedate to modern audiences, but for anyone versed in 1960s genre television, this set is an absolutely essential purchase.

Special Features: Booklet / Audio commentaries / Episode reconstructions / Stills galleries
 

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BLU-RAY REVIEW: DRAGON BALL Z: BATTLE OF GODS / CERT: 12 / DIRECTOR: MASAHIRO HOSODA / SCREENPLAY: YUSUKU WATANABE / STARRING: SEAN SCHEMMEL, CHRISTOPHER R. SABAT, JASON DOUGLAS, IAN SINCLAIR / RELEASE DATE: NOVEMBER 10TH

Dragon Ball Z is one of anime’s best-loved series, and the latest feature-length addition to the saga, Dragon Ball Z: Battle of Gods, is sure to please any hardcore fans. As the first original DBZ release in over a decade, existing fans of the anime series are welcomed back with open arms, though the film does a pretty good job of isolating any potential new audiences. The anime series reached nearly 300 episodes and this feature assumes the audience will already have a pretty good knowledge of the show. It’s great to see some familiar faces, but characters like Tien, Krillin and Piccolo, although featured, aren’t even named for those who haven’t seen the anime. It’s a little overwhelming to have dozens of characters without any introductions, and definitely problematic for those with no prior knowledge of DBZ. That said, the film goes out of its way when it comes to fan-servicing, with lots of neat little references not just to the DBZ anime series, but also to Dragon Ball and Dragon Ball GT as well.

The plot of Battle of Gods isn’t going to win any awards for originality as it doesn’t really stray from the formula of the show, but it’s true to form with wit, smarts and even a touching moment or two. A cat-like God named Lord Beerus wakes from slumber and realises it’s time for the Super Saiyan God prophecy to come to light. He travels to Earth looking for a Super Saiyan God who might prove to be a challenge in battle and finds our hero, Goku. There’s a lot of build-up to the reveal of a Super Saiyan God, but it’s well-paced, and seeing the formidable Lord Beerus socialising, eating and dancing at a party thrown by Bulma is actually pretty funny.

Dragon Ball Z’s fantastically gripping and epic battle sequences have given Battle of Gods a lot to live up to. There are quite a few small fights in the film that don’t really offer anything that hasn’t been seen before in the DBZ world. Yes, the sequences are rapid, fluid and great to watch, but it’s not until the final showdown between Lord Beerus and Goku that the visuals really make an impact. From Beerus’ blast attack to the dramatic swooping sky fights amongst the skyscrapers of the city, Battle of Gods is cinematically stunning. The final fight sequences perfectly showcase the fluidity of DBZ’s infamous battles with the use of the superb modern visual effects available today, and the result is absolutely breath-taking.

Although it might not appeal to newer audiences, Dragon Ball Z: Battle of Gods is a wonderful homage to the glory days of the original anime series, and it’s great to see that the integrity of the characters and the formula of the show hasn’t changed over time. Battle of Gods is a must-see for any fan of the Dragon Ball universe, but it might not live up to the expectations of new viewers.

Special Features: Director’s cut / Two featurettes / Full-length closing song / US trailer

  

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BLU-RAY REVIEW: THE NAKED CITY / CERT: PG / DIRECTOR: JULES DASSIN / SCREENPLAY: ALBERT MALTZ, MALVIN WALD / STARRING: BARRY FITZGERALD, HOWARD DUFF, DOROTHY HART, DON TAYLOR / RELEASE DATE: OUT NOW

Jules Dassin’s classic 1948 movie The Naked City has been given a new lease of life with a Blu-ray release, featuring a swanky new cover and more extras than you’ll want to watch.

As Mark Hellinger’s irritating voiceover so proudly states, this is different from most other motion pictures you’ve seen, up until 1948 anyway. He goes on to stress the realism, how it was all shot on location, and parts do have the feel of an educational video, the kind parodied on The Simpsons and Fallout 3. Blending a documentary style with the long shadows and loaded tropes of film noir, The Naked City is an evocative portrayal of New York in its near-timeless beauty. The 4:3 aspect ratio does detract from the spectacle, given the overhaul in the sound and image department.

Snaking throughout the proto-documentary shots of the city is the whodunit. Based on a story by Malvin Wald, the story follows the murder investigation of model Jean Dexter. Detectives Dan Muldoon (Fitzgerald) and Jimmy Halloran (Taylor) investigate, moving towards a spectacular conclusion.

William H. Daniels’ cinematography is effortless and artful; despite the lack of sets, he finds the theatre of the streets. The black and white romanticism of New York had an obvious inspiration on Woody Allen’s 1979 masterpiece Manhattan.

The Naked City captures the symbiosis between the city and its inhabitants. Yes, it’s melodramatic and farcical from modern perspectives, but it’s still as vital and heady and well worth your time.

Special Features: Commentary with Malvin Wald / Two featurettes / Stills gallery / Trailers
 

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BLU-RAY REVIEW: THE HOUSE OF MAGIC 3D / CERT: U / DIRECTORS: BEN STASSEN, JEREMY DEGRUSON / SCREENPLAY: JAMES FLYNN, DOMINIC PARIS, BEN STASSEN / STARRING: MURRAY BLUE, DOUG STONE, GEORGE BABBIT, GRANT GEORGE, SHANELLE GRAY / RELEASE DATE: NOVEMBER 17TH

There is something to be said for having a heart; a film with a brimming core can make one instantly look past all else and fall in love with it. No more is this the case than with animation, think of Pixar’s best output or the incomparable work of Studio Ghibli, those studios deal in films with heart, warmth and emotion beneath their animated sparkle. Indeed animated features nowadays are expected to look fantastic but the competition dictates that the characters and plot be almost as polished. However, as we said at the start, heart can mean a great deal and whilst Belgian-American-French production The House of Magic 3D (also known as Thunder and the House of Magic) boasts a simplistic narrative, it comes with a rare amount of genuine joy that will please all ages.

The plot sees a ginger cat (later named Thunder- voiced by Murray Blue) abandoned at the side of the road; scared and lost he looks for a home and finds a rather dark looking old house. This house belongs to a rather eccentric but kindhearted old magician named Lawrence (Doug Stone), who is surrounded by all manner of magical toys, critters and trinkets. But all is not well when Lawrence’s calculating estate agent nephew Daniel (Grant George) comes snooping. The plot is pretty standard in set-up and many may notice similarities to films like Bolt. There is also the usual sub-plot of the newcomer (Thunder) being given a hard time by locals (grouchy rabbit Jack and his friend Maggie the Mouse) not wanting to be out shadowed (ala Toy Story). That being said, in spite of a few clichés, this film is directed towards a pure family market and when it comes to magical moments, it offers plenty of its own.

The film’s cast of characters are not the deepest but each one is eminently likable and kids may have a hard time choosing their favourite (although the speechless little light bulb man, Edison, has to be a top choice). Thunder is voiced well but sparingly by Blue and mostly it is the smoothly lovely animation that does a lot of the talking. Thunder makes a fine lead to the film and despite some meaner moments, watching Jack (George Babbit) and Maggie (Shanelle Gray) change their opinion of Thunder is surprisingly effective. Lawrence is a brilliant human centre to the story – think the zaniness of Doc Emmett Brown meets the happiness of Mister Geppetto and while his estate agent nephew is not the most memorable villain, he has his crazed moments. The characters, like the plot, don’t reinvent the wheel but they work well in a very sweet and colourful film.

From a brilliant Halloween-esque haunting scene to some excellent 3D thrills, this house is visually majestic. There are nice messages of old school entertainment being timeless and an idea of embracing your childlike delight. There are a few touching moments in the film pertaining to finding a real family and even when the film feels familiar it doesn’t hammer home its points or rely on lazy humour. Ramin Djawadi’s generous score backs a rather nostalgic little film that is littered with some surprising (and older) popular music. The House of Magic 3D reminds one of A Monster in Paris 3D, in that it is not anything that pushes animated boundaries but offers a great big warm centre that will make it an absolute winner with kids and adults will be smiling along with them. Lovely entertainment.

Extras: Trailer

  

DVD REVIEW: SHAUN THE SHEEP: CHRISTMAS BLEATINGS / CERT: U / DIRECTOR: RICHARD STARZAK, CHARLES COPPING, DAVE ALEX RIDDETT / SCREENPLAY: CATHERINE WILLIAMS / STARRING: JOHN SPARKES, JUSTIN FLETCHER, KATE HARBOUR, RICH WEBBER / RELEASE DATE: OUT NOW

Christmas Bleatings is the latest release from Aardman to feature Shaun the Sheep. The DVD presents ten short episodes, originally broadcast on CBBC during February 2014. The episodes in question are the first half of Series 4, which comprises Cones (a tale of ice cream based madness) through to The Spider (the clue is in the title). One episode from this run (The Rabbit) is missing and is replaced by Fossils, an episode from December 2012.

The stories are each around seven minutes long (with credits), making the release easy to dip in and out of. In reality, it is more likely you will want to watch several episodes once you get started. If you didn’t catch them when transmitted, the stories cover the return of Shaun’s old friend the Alien, 3D TV, a birthday party, and wash-time for the Farmer. The productions are as well-animated as ever and all up to the standard we expect from Aardman.

Despite the presence of one story broadcast in December 2012, there is no Christmas theme to any episode in this collection, a disappointment given the product’s positioning as a seasonal offering. That aside, Shaun the Sheep is as wonderful as ever and this is highly recommended for any parent (or fan) that wants something to watch over the holiday period that can appeal to the whole family.

If you want entertainment, you can’t go far wrong.

Special Features: Teaser trailers / Shaun the Sheep: The Movie sneak peek
 

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Some films truly are only acceptable at Christmas, take Jingle All The Way for example, any other time of the year it seems out of place but when viewed at Christmas it is a funny, warm and lovable joyous festive classic (or maybe that is just us?). Indeed Christmas, more than any other occasion, is all about good tidings and many cinematic offerings capitalise on this ‘goodwill to all flicks’. Enter this animated festive family adventure, which seems to suffer from a chronic (and possibly candy-driven) sense of déjà vu- and not just because of the time travelling plot. Saving Santa is a film that on the good side makes you appreciate your favourite Christmas films, mostly because it shows how forgettable some can also be.

The film looks at hapless inventor, voiced by Martin Freeman, Bernard D. Elf (did you see what they did there?) and how he comes to learn the time travelling secret of Santa’s slay, which he is forced to use to save the North Pole from an invasion by an obsessed mailing entrepreneur. As plots go it sounds pretty wacky but it is a shame to say that Saving Santa is not ho-ho-ho-ly entertaining and setback by its inferiority to other favourites it borrows from. Fact is, that very young kids may be amused but if they have already seen the likes of the excellent Rise of the Guardians or Arthur Christmas, then they’ll be twiddling their thumbs during this brief but still rather dull effort. The biggest issue with the film is that the plot is just not all that interesting, despite a talking reindeer and an elf interrogation. The film feels underwritten and laid back when it comes to the gags and falls short of other, better, movies (some of which you can catch on TV already).

Despite running at just over 1 hour and 20 minutes, the film recycles numerous jokes (mostly about shovelling reindeer dung) and the time jumping restarts wear incredibly thin. Add to this the fact that Saving Santa cannot really decide if it wants to be a musical (in the vein of Henry Selick’s masterpiece The Nightmare Before Christmas) or not, thanks to a handful of misplaced musical numbers. This said, the film is saved by some enthused moments of vocalising by Freeman and by a last ditch (and moderately successful) attempt at emotion, even if it is concerning a villain that is little more (dress it up in all the CEO megalomania you like) than a postman boss with mummy issues. It is annoying really because with the likes of Tim Curry, Noel Clarke and Joan Collins on-board you at least expected some vibrant personalities amidst the characters. Unfortunately they remain as forgettable as the film’s jokes and songs.

The visuals are colourful if unadventurous and by all means not everything needs to be perfect (or even great) when it comes to films like this. For sure some kids (the younger the better) may enjoy this Elf-laden adventure, it is certainly inoffensive enough. That said, kids that have been around long enough to see other better Christmas films will likely be less in awe of this tepid adventure and more puzzled with questions like, How many times are they going to do it again? Why is that Elf so annoying? Why does Santa sound funny? And how much poo can a reindeer do? Meanwhile all you parents out there will be sat mentally mulling over the Christmas list again. Tis the season to be jolly for sure but even so, there are more magical adventures out there than Saving Santa 3D.

Extras:

Saving Santa Recording Sessions, Why Saving Santa?, Some Kind of Miracle Music Video, Trailer

  
 

BLU-RAY REVIEW: THE DAY THE EARTH CAUGHT FIRE (1961) / CERT: 15 / DIRECTOR: VAL GUEST / SCREENPLAY:  WOLF MANKOWITZ, VAL GUEST / STARRING: EDWARD JUDD, JANET MUNRO, LEO MCKERN, MICHAEL GOODLIFFE, BERNARD BRADEN / RELEASE DATE: NOVEMBER 17TH

At the start of the ‘60s, the Cold War was pretty hot; the Cuban Missile Crisis was yet to come along and demonstrate the world’s ability to pull back from the actual brink and CND was at the height of its pre-Reagan popularity. In short, we were all convinced the world was about the end. There was also a realisation here in the UK that we weren’t actually big players anymore and that, to our embarrassment, the ‘end’ was unlikely to need British assistance. Oh, the indignity. It’s against this background that Val Guest produced this classic piece of British cinema.

The Americans and the Russians have let off simultaneous nuclear detonations and suddenly we’ve got freak weather conditions and a solar eclipse that turns up ten days early. We all know that’s never a good sign and we’ll assume you’ve already worked out what the stupid buggers have gone and done. The movie tells the story through the eyes of the Daily Express newsroom as the journalists guess at the details of the catastrophe and eventually work out the exact amount of doo-doo mankind is in. It’s this method of storytelling that makes the film such a triumph.

There’s a real feeling of authenticity and the workings of pre-Murdoch Fleet Street are genuinely fascinating to watch. Despite the almost documentary-feel, there’s some good turns in here from Edward Judd as the troubled and off-the-boil ace-hack who serves as the main protagonist as well as Janet Munro as the love interest and inside-girl at the ministry. But it’s Leo McKern who steals the show with one of his career-best performances (and he’s got quite a few to pick from) as the Express’s veteran world-weary science correspondent. The script is pretty sharp and McKern is absolutely in his element with the material as he bemoans the world’s idiocy and the ubiquity of the American Coca-Cola he’s forced to drink as the temperature rises and the water runs out. On the downside, everyone irritatingly uses exactly the same form of witty banter but that’s often the way with ‘60s’ Brit-flicks so we won’t dwell on it. In fact, even Arthur Christiansen, the legendary Daily Express editor, is seemingly brilliant as himself. We say “seemingly” as the commentary reveals that he was actually terrible at delivering or even remembering his lines but they edited what they had to make it work. Actually, he really does come across well so perhaps we can learn too much from these commentaries. Subject of which…

Although the Blu-ray transfer looks good, the film did have some pretty cheap FX, ranging from impressive matte-paintings to the actors just standing in front of large photographs. Blu-ray doesn’t do any of these any favours so when Ted Newsom says to Val Guest on the commentary “hey, this is location-shot, right?”, one can’t help but wonder if he’s trying to be funny. But nit-picking aside, this one’s essential. And we haven’t even mentioned Michael Caine.

Special Features: Audio commentary / Trailer / TV and radio spots / Stills and collections gallery / Three nuclear films from the BFI National Archive / Interview with Leo McKern / Two featurettes / Illustrated booklet
 

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BLU-RAY REVIEW: THE HOBBIT – THE DESOLATION OF SMAUG 3D EXTENDED EDITION / CERT: 15 / DIRECTOR: PETER JACKSON / SCREENPLAY: VARIOUS / STARRING: MARTIN FREEMAN, IAN MCKELLEN, RICHARD ARMITAGE, BENEDICT CUMBERBATCH / RELEASE DATE: OUT NOW

Safe to say, whether you enjoy the films or not, Peter Jackson’s Lord of the Rings and Hobbit movies certainly give you value for money on home release. Granted, there is the fact that several versions of the same movie end up released, but that’s a whole different argument altogether.

Plot-wise, The Desolation of Smaug continues Jackson’s Hobbit trilogy, following the story of 13 dwarves, led by Thorin Oakenshield (Armitage), on a journey to reclaim the dwarf kingdom of Erebor. Joining them on this quest are Gandalf (McKellen) and Bilbo (Freeman), with the action taking the group across lands occupied by elves, orcs, giant spiders, and many other interesting creatures. The endgame of this trip is to wind up at the Lonely Mountain, which just so happens to be home to the dastardly dragon Smaug, who doesn’t take too kindly to being disturbed.

So yeah, those who have any sort of interest in these films will already be well aware of the plot by this point – this is a film that was released cinematically last December and that already saw a home release back in April. The selling point of this latest release is the extra content that Jackson et al have crammed in. On sweet baby Blu, the release is made up of 5 discs and includes over 9 hours of genuinely interesting special features, plus the actual movie itself is expanded by 25 minutes, both in 3D and in plain ol’ 2D. Additionally, as well as a gazillion featurettes spread over 3 of the discs, there’s also a commentary included from Peter Jackson and his crew.

The film itself is vastly superior to its predecessor, An Unexpected Journey, with far greater action and character development this time out. This is only furthered with the extra running time that The Desolation of Smaug is given here, spacing out certain scenes and removing a few of the minor issues of the cinematic cut. As with the cinematic release of the film and the subsequent home release, this extended edition again looks absolutely stunning, with crisp vibrancy running throughout the film.

Whereas the film has been talked about in great depth over the last year or so, this is a release that long-time fans and the more completist-minded out there will hugely enjoy. In terms of extras, this is a release of The Desolation of Smaug that is as impressive as Gandalf’s beard. Added to that, the main feature itself is a far better one than many had anticipated, transitioning from a slow 20 minutes to become a hugely enjoyable film that makes even Orlando Bloom’s Legolas tolerable. Then there’s the great turns from Benedict Cumberbatch (as Smaug) and Luke Evans (as Bard) that add further to the core group of characters who were established in An Unexpected Journey. Now we just have to wait until December to see the final part of Jackson’s latest trilogy.

Special Features: Filmmakers’ commentary / New Zealand: Home of Middle-Earth – Part 2 / The Appendices Part 9: Into the Winterland / The Appendices Part 10: The Journey to Erebor
 

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BLU-RAY REVIEW: GHOST IN THE SHELL ARISE / CERT: 15 / DIRECTOR: KAZUCHIKA KISE / SCREENPLAY: TOW UBUKATA / STARRING: ELIZABETH MAXWELL, JAMIE MARCHI, MAAYA SAKAMOTO, JYUKU IKYUU / RELEASE DATE: NOVEMBER 24TH

If imitation is still the sincerest form of flattery, than Mamoru Oshii’s seminal Ghost in the Shell is still held in very high regard. Arise is a full-blown reimagining of the anime staple, set across four episodes, with the first two given the sparkle and sheen of a Blu-ray release.

Spearheaded by director Kazuchika Kise (himself an animator on the original), Japan circa 2027 has the stylish neo noir trappings that’s helped define the franchise but with little of the majesty. While divisive, the new character models aren’t half bad, it’s just Motoko herself which is a rigid representation of her former self and, unfortunately, her barnet just isn’t right.

The first episode, Border 1 – Ghost Pain, is the stronger of the two, shedding complex storytelling and opting for the ‘cop show’ format instead. With a narrative wrapped up in double-crossings, framings and a murder mystery, it’s nothing you haven’t seen before. The strongest aspect is seeing how Motoko becomes a Major and is free to pick her own team. Far from the intended reimagining, it feels more like a weak prequel, demystifying her character.

The second episode, Border 2 – Ghost Whispers, isn’t nearly as interesting, but comes closer to what’s expected of the franchise; its story focused on hacking and A.I. With the original being an obvious influence on the Wachowski’s Matrix, it’s disheartening that Arise takes so much from that trilogy, with plenty of slow-mo and a sequence where Motoko weaves her motorbike into oncoming traffic. Its biggest shortcoming, however, is how hard it tries to be cool when the original achieved it so effortlessly.

Each episode clocks in under an hour, and watched together are pretty much two halves of one film. The English dub does leave a lot to be desired, especially Elizabeth Maxwell’s flat tones as Motoko. As the music was such a strong component of the ’95 film, it’s a genuine disappointment that synth muzak is about the best on offer in Arise.

Favouring action over philosophy, Arise doesn’t offer anything particularly revelatory. It may touch on some of the same themes as the original, but fleetingly and never with the same level of consideration. There was plenty of nudity in the original, but it never felt exploitative – in Arise it’s just that, with plenty of shots of Motoko either naked or in her skivvies – and the Lolita-style mobile land mines are just embarrassing.

Arise does a decent, if heavy-handed, job of keeping the franchise alive, which skimps on smarts but not on style. Like a new iPhone, it’s shinier, bigger and more expensive but improves little on its predecessor.

Special Features: Arise at anime expo 2013 / Logicoma beat / Textless opening / Promotional videos / Trailers / US cast and crew commentary
 

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