Review Category: DVD/Blu Ray

THE INCIDENT (1967) / CERT: 15 / DIRECTOR: LARRY PEERCE / SCREENPLAY: NICHOLAS E. BAEHR / STARRING: TONY MUSANTE, MARTIN SHEEN, BEAU BRIDGES, BROCK PETERS / RELEASE DATE: OUT NOW

Made over 50 years ago, The Incident remains an uncompromising and emotionally savage experience. As it begins, Joe and Artie are two completely amoral New York hoods out for alcohol-fuelled, criminal thrills in the dwindling late hours of a weekend. Mugging and beating unconscious a man on his way home, they decide to head to Times Square.

Meanwhile, as the film’s first half plays out, a disparate set of people are all making their journeys home, including gay man Kenneth, older Jewish couple Sam and Bertha, young soldiers Felix and Phillip, African-American couple Arnold and Joan and others who provide a cross-section of society in much the same way disaster movies of the next decade would. Eventually everyone ends up in the same train carriage. It’s here that Joe and Artie effectively hold them hostage for the purposes of tormenting and threatening the group for their own pleasure.

The film holds nothing back with the mean-spirited abuse of the passengers cruel and laced with hatred so that the tension and looming promise of explosive violence to come racks up throughout the second half with an unrelenting intensity. The Incident is a remarkable film that works as both a social commentary in microcosm of the issues of the time it was made and a wider examination of society that speaks to the world we live in now.

For this new release we have a crisp and sharp transfer that showcases the beautifully menacing cinematography of Gerald Hirschfeld and Larry Peerce’s dynamic direction, both working together to make the film vivid and immediate. There are two commentaries, the first a conversation between cinema historian Nick Redman and Peerce that goes into detail about the challenges involved in the making of the film and the intent behind it and this is complemented by a 30-min Q&A with Peerce from the 2017 Wisconsin Film Festival. Peerce remains rightfully proud of his achievement and both are worthwhile. The second commentary from writer Alexandra Heller-Nicholas is completely different, with the focus on the film’s perspective on violence, sexual politics and The Incident’s continuing relevance fascinating and necessary. A trailer for the film rounds out the disc’s extras and in addition to this also included is an accompanying booklet with writing on the film from Samm Deighan and Barry Forshaw along with a reprint of a ‘survival guide’ pamphlet that was circulated during New York’s crime epidemic.

There’s nothing cosy or nostalgic about The Incident and it will absolutely set you on edge. It is a vital, confrontational piece of work that really has something to say about the worst of who we are, supported by some compelling extras. Highly recommended.

FLIGHT OF THE NAVIGATOR / CERT: PG / DIRECTOR: RANDAL KLEISER / SCREENPLAY: MICHAEL BURTON, MATT MacMANUS / STARRING: JOEY CRAMER, PAUL REUBENS, CLIFF DeYOUNG, VERONICA CARTWRIGHT. SARAH JESSICA PARKER / RELEASE DATE: 26TH AUGUST

Directed by Randal Kleiser (Grease, Big-Top Peewee), …Navigator follows the disappearance of twelve year old David Freeman. After falling into a ravine in the woods and losing consciousness, he wakes up to discover that things aren’t quite what they used to be. Making his way home, he finds that eight years have passed and he’s been missing for so long that the police have declared him legally dead. At the same time, in the same town, NASA are investigating a mysterious crashed UFO which, of course, is linked to David’s disappearance…

The first half of the film follows NASA’s efforts to establish the connection between the two cases. The story moves along at a decent pace, and it’s so genuinely riveting that you’ll be surprised to realise that it’s taken a full 45 minutes for David to come face to face with the ship and its occupant, Max (voiced by Paul “Pee Wee Herman” Rubens). When the two finally meet, the film goes full-on adventure mode, with David taking off in the ship and travelling across the US in an attempt to find his family.

David and Max are a really enjoyable pair (although, admittedly, David does come across a bit of a wimp at times), and following their escapades makes for some genuinely wonderful family-friendly sci-fi that kids will easily follow but still contains enough mystery to keep grown ups’ attention. Although it might be worth noting for any parents out there that this a bit more sweary than other Disney films – there are a few “shits” (the first time anyone said this in a Disney film, we’re told in the commentary track) and at least one “bastard”!

There are still a fair few grainy bits in this Blu-ray remaster, especially during night scenes, but the picture has mostly been sharpened up incredibly well. There’s plenty of detail that you couldn’t see in the DVD release, and the special effects hold up tremendously, considering the film is over 30 years old.

Previous releases have been fairly sparse on the extras front, with nothing but a director’s commentary (which is included here), but Second Sight’s limited edition contains a treasure trove of information and stories that haven’t been available before now. Behind the scenes photos and footage are spread throughout almost 90 minutes of interviews with the cast and crew, and there’s a stunning 100-page book containing additional photos, production notes and, best of all, the complete original storyboard.

It never seemed like …Navigator would be a candidate for such a release, but the fact that it’s now materialised – and has exceeded expectations – speaks volumes to the high regard in which the film is held. An absolute treat for existing fans, and by far the best way to introduce newcomers to the film, this is most certainly a re-release that’s well worth picking up.

SUMMER HOLIDAY (1963) / CERT: U / DIRECTOR: PETER YATES / SCREENPLAY: PETER MYERS, RONALD CASS / STARRING: CLIFF RICHARD, LAURI PETERS, MELVYN HAYES / RELEASE DATE: 26TH AUGUST

Summer Holiday stars elderly-ladies-favourite Cliff Richard (AKA the Peter Pan of Pop / the English Elvis) as Don, a London bus mechanic who, along with his workmates, converts a double decker into a hotel on wheels, intending to drive it across France during their summer break. As you can imagine, things don’t quite go to plan, as they find themselves in some mildly amusing predicaments involving a very tame car crash, a three-piece girl group, a mime artiste, and a twenty-something female stowaway masquerading as a fourteen year old boy…

Being a musical, characters have a habit of breaking into song and / or dance every few minutes, so there’s a whole lot of shaking going on, along with plenty of kicking, shimmying and gyrating. It’s all very wholesome Sunday afternoon type stuff, and it’s exactly the sort of thing you’d expect to see Cliff taking part in. Summer Holiday was filmed during one of his more likeable / less po-faced phases, and the rest of the cast are equally affable. You feel like you’d be quite happy to accompany them on their journey, which makes the 104 minutes fly by in no time at all.

This brand new restoration looks as good as an almost 50 year old film could do, apart from a couple of split second blurry spots that suddenly click back into HD. Music is often much louder than the dialogue, so you might want to keep your finger somewhere near the volume button.

There’s a fair bit to see over in the extras menu. One brief clip from British Pathe’s archives shows Cliff at bus driving school (where we’re told he “was soon at home on the skid pan”), and another features footage from Summer Holiday‘s chaotic London premiere. Police link arms to hold back throngs of screaming fans, someone’s shoe falls off, a hysterical woman is wheeled into an ambulance, and we’re shown a lady lying on the floor before the plummy voiceover tells us “don’t be alarmed, she’s only fainted.” It’s a shame that the clip is less than two minutes long – we could definitely have taken much more of this.

There’s also a nine-minute interview with music author Bob Stanley, a stills gallery, and a set of four postcards. Of particular interest is the inclusion of Rhythm ‘N’ Greens, a rare half-hour short starring The Shadows which has previously only been released by the band’s fan club back in the 60s. Its bizarre premise tells the history of mankind via a radio show that plays out over Monkees-style sketches, and is well worth a look. The glee on Hank Marvin’s face as he twangs away at a rubber skeleton’s rib cage while dressed as a caveman is an absolute joy to witness!

DRAGGED ACROSS CONCRETE / CERT: 18 / DIRECTOR & SCREENPLAY: S. CRAIG ZAHLER / STARRING: MEL GIBSON, VINCE VAUGHN, TORY KITTLES, MICHAEL JAI WHITE, JENNIFER CARPENTER / RELEASE DATE: AUGUST 19TH

With his first two movies – brutal Western Bone Tomahawk and prison drama Brawl in Cell Block 99 – director S. Craig Zahler has established himself as one of the most distinctive (and violent) new voices in American cinema. Dragged Across Concrete is set to further enhance that reputation. A slow, sprawling crime drama punctuated by Zahler’s trademark ultraviolence; it’s a slow-burn, but one that more than rewards your patience.

The film follows two cops, Ridgeman (Mel Gibson) and Lurasetti (Vince Vaughn), who, after being filmed getting heavy-handed with a suspect, find themselves suspended without pay. To make up for their sudden loss of income, not to mention the modest life they can give their loved ones on a cop’s salary, the aging Ridgeman convinces his reluctant partner to join him in heisting money off criminals.

Elsewhere, recently released con Henry Johns (Tory Kittles) takes on a dangerous job in order to support his drug addict mother and disabled brother; a new mother (Dexter’s Jennifer Carpenter) reluctantly returns to work, and a gang of extremely violent, masked criminals go about their business with ruthless efficiency. Slowly, the lives of these disparate group of characters come to intersect, with deadly results.

Just as Zahler’s previous movies were radically different takes on Western and prison movies, here he gleefully subverts the conventions of the cop buddy movie. Wisecracks are kept to a minimum, the violence is painfully realistic, and the motivations of the pair are dubious at best. Featuring both Gibson – one half of the greatest duo in cop movies – and Don Johnson as their lieutenant only further reinforces the point that this is about as far from your conventional cop movie as it’s possible to get.

Casting Gibson is somewhat of a masterstroke. Besides the stark contrast between Ridgeman and Martin Riggs, the actor’s – let’s say ‘colourful’ – off-screen persona brings with it a wealth of baggage it’s impossible to shake, adding a murkier dimension to an already less-than-honourable character. It’s the best Gibson’s been since returning from exile, with his world-weariness and knowledge that his advancing years – well aware that he’s getting too old for this shit – means he’s running out of time to give his family (including an under-used Laurie Holden) the life they deserve adding a touch of pathos to what could be an otherwise unsympathetic character.

As for Vaughn, he follows his serious turns in the likes of Brawl in Cell Block 99 and True Detective with another impressive performance here. He’s arguably a better straight actor than a comedic one, and he capably holds his own against Gibson, with the two of them sharing a genuine chemistry.

Elsewhere, it’s always good to see Carpenter on the big screen, albeit in a restricted role – somewhat of a theme with the female characters – and Spawn fans will get a kick out of a lively turn from Michael Jai White (although considering some of the things that happen to him, perhaps not).

With its languid pace, unsavoury characters, and occasional bursts of graphic violence, Dragged Across Concrete is not for everyone. As a character study into the effects of violence of individuals and those around them, it’s compelling viewing, and confirms Zahler’s position as an exciting voice in American cinema.

DUMBO / CERT: PG / DIRECTOR: TIM BURTON / SCREENPLAY: EHREN KRUGER / STARRING: COLIN FARRELL, MICHAEL KEATON, DANNY DEVITO / RELEASE DATE: OUT NOW

As Disney continue apace to remake their back catalogue as live action films, in a move seen as cynical by some and positively glorious by others, we are blessed with Tim Burton’s re-imagining of a masterwork by the nine old men. As The Lion King passes the one billion mark, debate rages on as to whether we really need these new versions. The old vanguard tend to stand by the originals, where the ‘young’ folk are buoyed by not having to put up with boring old 2D animation. The argument is that these remakes are bringing classic stories to a new generation, but we wonder when it will stop; how long will it be before Casablanca is remade in full colour with a new song added for posterity’s sake? All that said, where does Burton’s remake of Dumbo sit in amongst all of this? Can it truly surpass the original? In a word, no.

A lot will ride on how the viewer feels about the Burton aesthetic, for this is full-tilt Burton in largesse, a film where the darks are on the verge of muddy, even on shiny Blu-ray. Indeed, the ‘dark’ permeates all parts of the story, making a classic animation – known for being bleak in parts – just, well, too bleak. Too bleak for an adult viewer and far too bleak for your little ones.

Colin Farrell plays a returning war veteran, lighter of limb and stripped of his ability to really communicate with his young family. For a film titled Dumbo, it really isn’t about our floppy-eared friend, but rather the travails of a father reconnecting with his children. This is where the film falls down. It’s a story worthy of being told, but not at the expense of sidelining your star attraction, and boy can the three family members talk.

On Dumbo himself, there is no doubt he is beautifully realised, but almost too much so. One of the (few) criticisms levelled at The Lion King is that the mouths of the photorealistic animals move chunkily – not a problem here, as Dumbo doesn’t speak as such. But he does fly, and a photorealistic flying elephant reminds the viewer of the impossible aerodynamics involved. It’s a small point, but it really does matter. That said, it’s impossible not to fall for his oversized puppy dog eyes and those ears that are, varyingly, wings, coat and cloak to the little chap.

Unsurprisingly, Keaton and DeVito steal the show, both chewing the scenery with delightful aplomb, and the score is as bombastic as you would expect.

As a remake, Dumbo falls a little flat. As a new movie, devoid of its predecessor, it could pass muster with a little more prudent editing and a script trim. Dumbo makes for reasonable Sunday afternoon viewing, but it’s not a patch on the original.

MISSING LINK / CERT: PG / DIRECTOR & SCREENPLAY: CHRIS BUTLER / STARRING: HUGH JACKMAN, DAVID WALLIAMS, STEPHEN FRY / RELEASE DATE: OUT NOW

Laika, the animation geniuses behind films like Coraline, Kubo and the Two Strings and Paranorman, return with Missing Link.

Adventurer and monster discoverer Sir Lionel Frost (Hugh Jackman) is vilified and ostracised from the Adventurers Society. He sees his chance to prove them all wrong when he’s summoned to America to find the legendary Sasquatch (Zach Galifianakis). Finding him, he’s shocked to discover a well-spoken and friendly creature, renamed Mr Link, who only wants to rediscover his relatives, the Yeti, hidden in Shangri-la. But they’re followed by the evil Lord Piggot-Dunceby (Stephen Fry) and Willard Stenk (Timothy Olyphant) who want to stop them.

It should be no surprise to anyone who’s seen a Laika film before that Missing Link is a wonder of puppetry and stop-motion animation. They breathe life and character into extraordinary puppets, creating worlds and scenes that thrum with a pulse right down to the finest detail. With CGI so prevalent, you’ll forget that what you’re watching has been painstakingly moved by hand with such fluidity and skill.

But, of course, it’s not all about craft. Laika have created a wonderful film full of humour, heart and entertainment. It’s a story about people and mythical creatures trying to find their way in the world. Both Frost and Link want to be accepted in the world, whether it’s with recognition from their peers or reaching their lost family, but it’s through adventure and experience they learn that perhaps that’s not what life is about – friendships that blossom along the way grow to be the strongest pull. Missing Link may not have the high gag rate of something like The Lego Movie or Cloudy with a Chance of Meatballs, but it’s consistently entertaining and funny and doesn’t let momentum sag.

When you’ve seen Missing Link and wondered how they put it all together, head to the extras for an in-depth look. A series of short features cover their process, including the creation of the puppets and the blending of hand-moved puppetry and physical sets with CGI layers. It’s incredible to see the detail and skill that goes into every scene, shot and movement, showing why it takes the studio three to four years to shoot a movie. And it’s all worth it.

Missing Link is another entry to Laika’s incredible filmography, meticulously and lovingly crafted by filmmakers at the top of their game. It was unfairly overlooked at the cinemas; don’t let the same thing happen with its home release.