Jerry Maguire [20th Anniversary Edition] (Blu-ray)

The Film:

I was recently at an occasion where I was meeting some members of a single of my favourite pro sports teams, and I was having a good conversation with 1 of the newer players. But it’s not like that ought to be a surprise to me, due to the fact I am a fan of lesser common sports on the American sports scale, in big part since the athletes of these sports are far a lot more approachable and modest than the run of the mill football or basketball player. As it turns out, the guy I was talking to wasn’t even creating half of the money I was he was playing for the enjoy of the game, and the funds will sort itself out. Isn’t that how athletes must be? It really is with that tiny powder keg of discussion that enables me to segue into revisiting Jerry Maguire. Cameron Crowe, who wrote and directed the film, possessed expertise writing quirky films that just happened to have components of comedy and romance in them, with out getting full-fledged romantic comedies. His earlier life as a teenaged staff writer for Rolling Stone afforded him the opportunity to have music as the background of several of those films (like Say Something and Rapidly Instances at Ridgemont High), but he used sports as the backdrop for this one.

The title character is played by Tom Cruise Oblivion), a sports agent in a high-powered firm who continues to assistance and advocate for his client, often at all physical fees to the athlete. In a moment of revelation, he thinks that the firm can do better, be much more human, as it had been, and one night writes and publishes a manifesto of sorts that illustrates how to do this. Of course, the firm’s primary motivation is to be profitable and not good, so he is unceremoniously dumped, and he is unable to retain his customers either, except for one, a middle-of-the-pack football player named Rod Tidwell (Cuba Gooding Jr., Selma) whose mouth appears to have a lot more talent than he does. He also has Dorothy (Renee Zellweger, Bridget Jones’s Baby), a secretary who study Jerry’s memo, enjoyed it and leaves the firm with him. From there, each of the male characters seem to have separate revelations from their operate Rod’s willingness to take a hit or two quietly elevates his status within the NFL, and Jerry’s private adaptation into a partnership, where he had previously feared commitment, but was nearly addicted to companionship that was far from serious.

Take into account the scene exactly where Dorothy’s son Ray (Jonathan Lipnicki, Stuart Small) asks to come into the bedroom exactly where Jerry and Dorothy are speaking about Jerry’s thoughts on a dinner with Rod and his wife Marcee (Regina King, Ray). Dorothy asks him to wait, Jerry basically invites him in, and Ray comes in and plops down in the middle of the bed. Jerry’s attempting to steer clear of his feelings, so when the time comes in the film to celebrate, Jerry doesn’t have anyone to celebrate with. This reality dawns on him just as clearly as the moment to write his memo did, and he acts accordingly. In the end, whilst Crowe’s story may not deliver the “anti-greedy sports athlete” message as I may well have inferred earlier, the underlying message is the very same. Never forget what’s critical, and in no way forget what makes you into the person or athlete you are. It really is the people you happen to be around, and the really like of the game that you possess, that drives you into the positions that you attain. That is a lesson we could all understand from.

A actual fast word on all of the transcendent stuff from the film, like the popular lines, and Gooding’s functionality. While “show me the funds!” was a funny line and all, I think it was the late Gene Siskel who helped describe the sequence it was shown in with a lot higher clarity. The utterance is a opportunity for Jerry to evolve from getting cold and calculated, always searching to spin something no matter how silly it is, to a person who acts with a lot more feeling and impulse. When Dorothy says “you had me at hello,” it is simply because of the gesture that Jerry created, not because of the speech he delivers afterward. It’s those moments that make Jerry Maguire nevertheless watchable soon after so several years, along with the charm and wit that Crowe has been identified for delivering for over two decades now.

The Blu-ray:

For the film’s 20th anniversary, a new transfer primarily based on a 4K remaster was included in this release. I do not have the old disc any longer for a comparison but this release is extremely great. Film grain is visible via the film and colors are reproduced vividly without noise or saturation problems. Image detail is the star on this, with factors like Tidwell’s tattoo being far more clear when viewing. Fabric textures and wood grain is even discernible on this also, along with stubble on Cruise’s face. It appears excellent.


There is a DTS-HD MA 5.1 lossless surround track which replaces the TrueHD one on the final release. The music sounds fantastic from the jump and the songs by way of it sound clear and possess solid dynamic variety. Immersion in the events in the course of the games and on the last a single consist of channel panning and possess a greater than expected level of immersion. I never bear in mind how the very first film sounded but this a single is solid listening to.


So all of the extras from 2008 release return for this release, and the image-in-picture commentary with Crowe, Cruise, Gooding and Zellweger restored for this release.

The new release includes a couple of factors: “We Meet Once more” (38:54) is a new retrospective appear at the film, which consists of a lot of footage and interviews from the time of the production. Crowe includes interviews then and now and the piece recalls how the film came together and the NFL’s participation in it. The initial casting suggestions are shared and the evolution to the actors they landed on shown. There is a ton of on -et footage as the cast talks about 1 an additional and the film, and it really is a good sufficient piece. Much more deleted/extended scenes are right here with an introduction by Crowe (20, 55:38) and there are some things here that extend the Kush character a little more, but they are largely extended scenes, with an alternate ending. A photo gallery is the last issue on the disc. Along with a digital copy of the film, there is a CD that houses the soundtrack, and a booklet that consists of the oft-recalled ‘memo’ and an introduction to this new release by Crowe.

Final Thoughts:

This new incarnation of Jerry Maguire consists of an outstanding transfer and an OK lossless track, and if 1 were to upgrade on the past release, it would be quite a lot for and transfer, as the extras do not supply a lot added justification either. Nevertheless, if you are a fan of the film who has by no means purchased a version on Blu-ray, this has got to be as definitive a version as you happen to be going to get. In sum, if the transfer is worth it to current holders of the film, go for it. For initial-timers? Simple acquire.

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Blu-Ray Testimonials

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Neon Bull (Blu-ray)

As Neon Bull begins, writer/director Gabriel Mascaro gradually supplies us with a lot more and much more details, every single piece effortless to grasp but forming a strange and distinctive picture. 1st, we see a pile of animals, packed together in a way where we can hardly make sense of exactly where a single ends and the other begins. Then Iremar (Juliano Cazarre) grabs one of them by the tail, stroking the tuft of black fur at the end of it. After a moment, it becomes clear that he is rubbing it with dust, and then there is the sound of a door opening and the animal disappearing. Moments later, we learn that it is a bull, element of the vaquejada, a variety of rodeo exactly where two males attempt to pull the bull onto its side employing the tail, and the dust that Iremar rubs into it is to support the cowboys form a tighter grasp.

As Mascaro’s film continues, Neon Bull reveals itself to be a story of contradictions, mostly built around conventional gender roles or concepts of masculinity and femininity, blending factors that are thought of as rough and violent with factors that are thought of as soft and lovely. It is a somewhat unconventional film, not driven by a lot of an overarching story or underlying narrative, but also not nearly as pensive as a lot of foreign films that reject standard storytelling, with each person scene forming a miniature story about a moment in the characters’ lives. It really is not a film about massive epiphanies or sharply-defined themes, but far more about filling in the complexity of exclusive characters who occupy a exclusive world.

At the heart of the film’s contradictions is Iremar, whose job is to help wrangle the bulls employed for the vaquejada. He operates alongside the somewhat slovenly Ze (Carlos Pessoa), whose belly pokes out from underneath his T-shirt, and they are accompanied by Valquiria (Abigail Pereira), who cooks for the guys, and her daughter, Caca (Alyne Santana). The four of them live with each other in the back of an empty yellow construction truck, sleeping in hammocks, setting up small makeshift kitchens wherever they go. Iremar does not seem to thoughts operating with the bulls, but his dream is to become a fashion designer. Soon after appearing in the first scene, performing his job, he is further introduced measuring Valquiria’s hips and stomach for a dress he is designing for her. Some might then suspect that Iremar is gay, but he is not, even though his motives in sneaking a porno mag away from Ze is using the girls inside as models on which to draw his designs. Ze mocks the sight of Iremar sewing, and the ensuing squabbling right away turns into a swearing match.

In playing with the standard divide in between masculinity and femininity, Mascaro also delves head-on into frank depictions of sexuality. In truth, the movie’s very first sexual scene could be its most shocking, in which Iremar and Ze sneak into an auction exactly where purebred horses are being bid on, and try to steal semen from one particular of the horses. In order to do this, they have to excite and stimulate the horse, which Iremar does personally. Later, Mascaro shows a feminine man, who spends very a bit of time preening his luxurious hair, performing oral sex on a lady, and a man obtaining sex with a pregnant woman. The film presents these scenes so naturally that it feels feasible that they feature unsimulated sex. I have seen a quantity of standard films (as in, films not marketed as pornography) that promote the use of unsimulated sex, and it always becomes the focal point of watching the film. With Neon Bull, the information are a mystery, and the scenes are sexier. Mascaro also breaks from tradition by including a scene with a group of males bathing collectively, all of them completely nude.

Interspersed all through the film are little vignettes that seem to be separated from the core narrative: a shirtless man performing a sort of dance routine with a horse, in which the horse slides down onto its side and the man lays on prime of it, prior to affectionately rubbing it like 1 would a dog. There is also the peculiar sight of a attractive woman, wearing a horse mask on her head, dancing for an unseen audience. Later, it is revealed she is portion of some sort of strip show and that Iremar has created her mask, even even though that explains much less than it sounds like it may possibly. There are tiny details that puncture the farm-esque lifestyle of the bull wranglers: a gorgeous metal horse head fountain, a rock painted to appear like a wave, a field complete of colorful streamers that have turn into garbage, peppered inexplicably with mannequin parts that Iremar rescues for his designs. On the fringes, more gender-primarily based contradictions: a man promoting panties and a woman promoting cologne, the uncouth Ze becoming assigned to appear right after a beautiful, elaborately preened show horse, and a female security guard who wouldn’t consider twice about using her gun even though her male pal is afraid of it. Neon Bull allows us to loosen up, comfortably in these contradictions, contemplating them, forming a quiet but particular portrait of an unusual community.

The Blu-ray
Kino retains their striking poster art for Neon Bull on Blu-ray, which is a literal neon bull — a single splattered with a substance that glows beneath ultraviolet light, as observed in a scene in the film. Logos and text make the design a bit cluttered but the image remains eye-catching. The 1-disc release comes in a non-eco Viva Elite case and there is no insert.

The Video and Audio
Presented in 2.39:1 1080p AVC and with a DTS-HD Master Audio five.1 soundtrack (Portuguese with optional English subtitles), Neon Bull delivers a strong, if subdued presentation on each fronts. Mascaro and cinematographer Diego Garcia go for a naturalistic look that enables for colors as vivid as the ones presented on the cover art, and deftly captures sunlit green grass, Iremar’s pink shirt, the yellow of the truck they sleep in. At the same time, it really is by no means an eye-popper, rendering the images vividly but with faint, dusty good quality to them, turning every thing a hair pale. Sound contains the crowd atmosphere of the bull cages and bull fights, as effectively as the comparatively quieter scenes of characters just talking to every single other, or not saying anything at all. No anomalies in either the picture or sound have been detected during the presentation. Simultaneously reserved and notably powerful.

The Extras
Two further functions are included. 1st, “Rehearsing and Filming Neon Bull (14:34) is a fly-on-the-wall style documentary, produced up of B-roll from the set throughout shooting and a lengthy chunk of material from some sort of early rehearsal session in a generic home. A bit on the dry side. The other is an Interview with director Gabriel Mascaro (21:11). He covers his notion of Brazilian culture and how that played into the generating of the movie, not relying on current visual concepts or exposition in working out the cinematography, not utilizing editing to emphasize which means, how the audience’s understanding of how documentary filmmaking appears could aid audiences get into his film more fully, casting, the honesty of naked bodies, and the filming of each a single of the movie’s essential sex scenes, but also the horse sequence. Although there are some fascinating concepts here, Mascaro’s descriptions of his ideas come off a little presumptuous or overwrought, but I suppose it’s better that he sound a bit insufferable speaking about it than enabling that attitude to show by way of in the film itself.

An original theatrical trailer for Neon Bull is also incorporated.

Without the drive of a standard narrative, Neon Bull might sound like a snooze, but the film’s strategy is sort of light and playful, and it moves along at a nice clip even while carrying out tiny but observing its characters living their lives. Iremar, Valquiria, and Caca are all well-sketched and effectively-performed, enjoyable characters whose odd family connection is endearing. The film is brazenly sexual, which may be also significantly for some American viewers, but those who are prepared to give the film a shot could be shocked by how effortlessly a single engages with this oddly compelling movie. Advisable.

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Blu-Ray Critiques

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Moving Violations (Blu-ray)

In ten Words or Less
Not Bill Murray in a quite ‘80s comedy

Reviewer’s Bias*
Loves: Police Academy
Likes: Wendie Jo Sperber, Jennifer Tilly, dumb ‘80s comedies
Dislikes: Unmotivated plots
Hates: Stupid ‘80s comedies

The Movie
Moving Violations makes an appearance in a vague movie memory from my childhood. While it is unlikely I would have recognized its connection to Police Academy, with which it shares its writers and director, it would be difficult to miss the connection, as it shares the exact same rhythms and structure: a group of ne’er do wells are forced by the legal system to attend training in order to keep away from further punishment. In this case, it is traffic college, not the police academy, and the mean instructor Halik (James Keach) is far more psychotic than egomaniacal, but the concepts and energies of the films are fairly related.

As an alternative of Steve Guttenberg as our sensible-acre hero, we get Bill Murray…’s younger brother John, who plays Dana, a nursery owner busted by Halik when he drops his apple out of his truck window whilst driving. He soon joins a motley crew of driving students, which includes a nerdy puppeteer (Brian Backer, Quickly Times at Ridgemont High), a auto mechanic (Fred Willard), a hypochondriac (Wendie Jo Sperber) and a ditzy rocket scientist (Jennifer Tilly). Murray has a bit of a appear like his brother, and the voice is similar, so it really is simple to see what the filmmakers have been pondering when they cast him, enabling him to join the illustrious ranks of celebrity not-actually-lookalike siblings like Don Swayze and Frank Stallone.

The issue is, Murray is not negative as the leader of this rag-tag group, as they go up against Halik and the judge he’s in cahoots with to pull off a large scam (Sally Kellerman). While he can pull off the wisecracks naturally, he’s just always going to be compared to Bill, and he can’t compete at that weight class. It is a shame, because the rest of the talented cast is fairly solid, including Nedra Volz, who plays a walking sight gag as a nearly-blind elderly lady, who earns far too numerous simple laughs, which includes scenes she shares with an overreacting Clara “Where’s the beef?” Peller and a nutty sex scene that you will really feel guilty for laughing at.

The film is loaded with way also aggressive broad comedy that almost dares you to laugh at it. The scene that introduces Sperber is constructed about forced gags that the Benny Hill would not touch, whilst a pointless repetition joke actually gets recycled and utilized twice in the identical film (and not as a contact-back). It all leads up to an utterly insane chase-scene finale worthy of It is a Mad, Mad, Mad, Mad Globe, that is impressive in its audacity (providing a little bit of almost everything), and also manages to be funny for a single short, shining moment, while also managing to be out of tone with the rest of the movie.

There’s so a lot about this film that’s overflowing in nonsense, with the plot living primarily on coincidences or whatever forwards the distinct scenario it’s serving up at the moment. There are a ton of characters, and the majority are one-dimensional, with no story arc of any sort, current only to let for a scene or two, like Sperber’s hypochondriac, who is essential for all of two scenes, neither of which serves the main plot in any way. As ridiculous (and, as a result, entertaining) as the ending is, the logic of how it plays out is non-existent. (Let’s just forget about continuity, as it’s also absent from this film, unless time can stand still and teleportation exists in this reality.)

The primary concern with this film, besides the general lack of plot and the overall incoherence, is a lack of stakes. If the traffic-school students never succeed, they don’t get their licenses back and they lose their automobiles. Even though clearly a circumstance no one desires to locate themselves in, it really is hardly the kind of point a movie ought to revolve around. The pivot that occurs to set up the finale assists give the characters some decent motivation, but that is fairly late in the game for a 90-minute comedy. It’s meaningless and silly, but not in a way that is going to put it in the class of a Police Academy. You just won’t care adequate about it.

Never neglect to maintain your eyes peeled for the first function-film role of 1 Mr. Don Cheadle, who has all of one particular line. There’s was no guessing the greatness that lay ahead of him from this efficiency, but it all began right here anyway.

The Disc
Kino’s Studio Classics line continues with Moving Violations, which arrives on 1 Blu-ray disc, packed in a common keepcase with the film’s painted poster art on the cover. The disc has a static menu with choices to watch the film, pick scenes, check out the extras and adjust the languages. There are no audio options, but subtitles are offered in English.

The Good quality
When you compare the 1080p, AVC-encoded 1.85:1 transfer on the film with the trailer integrated on the disc, the film looks merely amazing. On it really is personal, it is not bad either, with solid, if sometimes dull color and decent, even though not razor-sharp specifics, adequate to easily make out the fabrics and accessories on the ‘80s fashions, although not exactly eye-popping. Evening scenes (of which there are a lot of) exhibit good black levels, Some jitter is evident in a few scenes, but dirt and harm are fortunately at the barest of minimums. The only genuine adverse is the presence of noise in a few scenes, since no noteable digital distractions have been introduced. (Nicely, that, and how the clarity of the HD presentation reveals some factors that old SD video would have left hidden, like the bra on Sperber’s “nude” character in one particular scene.)

The DTS-HD Master Audio two. track does the trick, keeping dialogue clean and crisp, and the sound effects, score and soundtrack appropriately effective. Thanks to a focus on dialogue, nothing at all about the film needs especially present sound, with the exception of the film’s wacky finale, and what you get will much more than satisfy.

The Extras
Watching the film for the 1st time in a lengthy time, writer/director Neal Israel sits down for a commentary track carried more than from the 2005 Anchor Bay DVD. Israel shares his memories of the production, some moviemaking trivia (like what occurs to automobiles that are broken in films) and his comedic philosophies. Whilst he does a bit of watching and observing, he also talks about the troubles with bearing many similarities to Police Academy and what that did to audience reaction.

Also included is the film’s theatrical trailer (1:28), as nicely as trailers for Up the Creek (a complete plot summary in 3:16), Porky’s II (two:26), Porky’s Revenge (1:27) and Miracle Beach (two:01).

The Bottom Line
Moving Violations, despite the many name-brand acting talents on-board, feels like a knockoff of a far better comedy thanks to the presence of a faux-Bill Murray in the lead. It’s not his fault, as he does a good job, but that’s the reality of this film, a film that is held collectively by the plot equivalent of spit and bailing wire, till a memorable, if insane ending. The Blu-ray looks and sounds quite solid, and provides up a good carry-over further for fans. Fans of Police Academy ought to hold their expectations in check, but this is undoubtedly an encounter for fans of ‘80s comedies.

Francis Rizzo III is a native Long Islander, exactly where he functions in academia. In his spare time, he enjoys watching hockey, writing and spending time with his wife, daughter and puppy.Check out 1106 – A Moment in Fictional Time or comply with him on Twitter

*The Reviewer’s Bias section is an attempt to help readers use the evaluation to its greatest effect. By knowing where the reviewer’s biases lie on the film’s topic matter, 1 can study the review with the correct mindset.

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Blu-Ray Critiques

Nicholas Nickleby (Blu-ray)

Nicholas Nickleby is primarily based upon the classic novel written by beloved novelist Charles Dickens. The adaptation focuses on the story of Nicholas Nickleby: a young man aged 19 who tries to aid the lives of other people who are negatively impacted by his wealthy but unfair and cruel Uncle. Developed by Simon Channing Williams (The Continual Gardener), Jeffrey Sharp (Proof), and John Hart (Revolutionary Road), Nicholas Nickleby is typically impressive and charming (if also somewhat brief) as an adaptation of Dicken’s massive novel.

Nicholas Nickleby (Charlie Hunnam) sets out from home to discover function from his wealthy uncle Ralph Nickleby (Christopher Plummer) after the passing of his father. Nickleby is provided a job operating within a boarding school for kids. To Nicholas’s horror, he discovers the folks running the school, which includes the leader Wackford Squeers (Jim Broadbent), emotionally and physically abuses the young children. Although staying at the college, Nicholas befriends Smike (Jamie Bell), a cripple, whom he becomes a close friend to and to whom he treats like a brother.

Upon deciding to leave the boarding school and it really is cruel leaders behind, Nicholas and Smike set out to find work elsewhere. They travel away from the college and stumble upon a theatre troupe run by Vincent Crummles (Nathan Lane). Although the pay is not as great, Nicholas accepts an offer you to join the troupe. Nickleby and Smike begin to operate with them as actors: they turn into stage performers and help with the productions (like one particular of Romeo &amp Juliet). Inside the troupe, they meet a variety of eccentric characters, including Mr Folair (Alan Cumming), an odd and exclusive person invested in the theatre.

Kate Nickleby (Romola Garai), Nicholas’s sister, is sexually harassed by Sir Mulberry Hawk (Edward Fox), a enterprise partner of their wealthy uncle. Though Kate rejects his advances, Mulberry continues to harass her to sleep with him and tends to make cruel jokes and undesirable advances to her: suggesting to his enterprise acquaintances that she desperately desires to sleep with him and is just also shy to admit her feelings (the notion is met with a table full of jubilantly laughing guys all delighting in the humiliation of Kate).

Ralph Nickleby, an increasingly cruel Uncle, believes Kate should accept Hawk ‘s sexual advances. He treats her like a pawn in his business dealings. Nicholas, upon studying of his sister’s misfortune and sexual harassment from Hawk, defends her to their uncle. Their uncle then sets it upon himself to attempt and destroy the life of Nicholas for his defense of Kate and for Nicholas’s attitude towards his company.

Even though numerous issues are grim for Nicholas, he finds some happiness when he meets Madeline Bray (Anne Hathaway),  an artist of little wealth who supports herself and her gambling father, and discovers his own affections for her. Nicholas starts to fall in love with her and a romance ensues amongst them.

 Nicholas sets about helping his sister and other folks about him who are becoming unfairly treated by his uncle. He takes a stand against his cruel and cold uncle. The film (and story) is sprawling, attempting to tell a huge story of Nicholas’s life from youth to being a young man. The film interweaves supporting characters and sub-plots but it’s ultimately a story about Nicholas’s journey. It is also a definite parable about what is crucial in life: though Nicholas may possibly not be wealthy like his uncle he has friendship, adore, and compassion for other individuals: all issues his Uncle, a wealthy business man, lacks totally.

The cinematography by Dick Pope (Happy Go Fortunate, The Illusionist) is strong all through and adds to the style of the filmmaking. This is an impressive seeking film which seems to function in bringing this time-period to life. It operates well with the production design and style work by Eve Stewart (The King’s Speech, The Danish Girl), which manages to convey the usually grim reality of the era: the poverty of the boarding college and the thrown-collectively appear of the theatre troupe. Costume styles by Ruth Myers  (L.A. Confidential, Deep Impact)  add to the look of the film. This is surely a impressive work by the production team.

The music score by Rachel Portman (Benny &amp Joon, The Cider Residence Guidelines, The Duchess) adds a warmth and heart to the filmmaking that is significantly appreciated. Portman’s music enhances the  storytelling of Dicken’s and tends to make the film a considerably much more enjoyable one. This is completely a high quality score.

Douglas McGrath (Emma) wrote the screenplay adaptation of Dicken’s novel and directed the film as effectively. The film is commendable for its impressive ensemble cast (particularly as so numerous talented men and women have been involved in this production) and for its attempt to adapt the function of Dickens with heart. The film does feel a bit quick, even though: sometimes it feels like a cliff notes version of Dickens function.

Unfortunately, it feels as though Nicholas Nickleby isn’t able to fully convey the whole novel, which was a huge literary function. The story jumps around pretty rapidly and it feels like not enough time is spent with every setting or group of characters in the film. The film may well have had far more breathing space as a mini-series. Nonetheless, the film provides a very good story, outstanding production values, and a decent time. It is a great film that is worth one’s time: it just falls a bit short of its high ambitions. Nonetheless,  Nicholas Nickleby is an exciting period-drama which has a lot to provide for Dickens fans.

The Blu-ray:


Nicholas Nickleby arrives on Blu-ray with a 1080p MPEG-4 AVC higher definition presentation in the original theatrical aspect ratio of 2.35:1 widescreen. The film looks powerful and sharp for the most element in its higher definition debut. It’s undoubtedly a worthwhile transfer that presents the film with a decent high-def upgrade. The downside is that the transfer can appear a bit dated and not totally remastered. There are occasional specks of dirt, dust, and the film can show some signs of age currently. It’s not a pristine 4K restoration. Even so, this is a modest and worthwhile upgrade which fans of the film will appreciate possessing. The presentation delivers robust colors and decent clarity.  


The film is presented on Blu-ray with both a five.1 surround sound and two. DTS-HD Master Audio lossless audio presentation. The film is not the most dynamic sounding work even with surround sound. It is a normal presentation for a drama film. This isn’t as immersive a audio expertise as some may possibly want. Dialogue clarity is fine and the music score sounds excellent and is expanded by the surrounds. Otherwise, it’s a quite ordinary sound mix and not a single that stands out as becoming especially fascinating. Even so, the overall clarity remains sturdy and it’s a decent audio presentation.

Subtitles are provided in English SDH (for the deaf and difficult of hearing).

Please Note: This is a Area Free Blu-ray release.


The release includes a booklet featuring an essay by Julie Kirgo.

On disc supplements include:

Isolated Score Track in Lossless 2. DTS-HD Master Audio

Audio Commentary with Director/Screenwriter Douglas McGrath

Producing a Classic: The Producing of Nicholas Nickleby (SD, 29 min.) functions the filmmakers discussing the production of the film.

The Cast on the Cast! (SD, 17 min.) functions interviews with the cast as they reflect on the performances of their fellow actors for the film.

View on the Set: Multi-Angle Function

– London

– The Theatre

– The Kidnapping

– The Proposal

– The Toast

Original Theatrical Trailer

Final Thoughts:

Nicholas Nickleby is an impressively mounted production of Dicken’s classic novel. The film offers a wonderful ensemble cast (which provide outstanding performances). The production design and style impresses all through. The film is an entertaining period-drama but it really is also a bit as well brief in telling the story. It may have been even much more efficient in mini-series kind. Nonetheless, it’s surely a worthwhile film which has plenty to offer.


Neil Lumbard is a lifelong fan of cinema, and a student who aspires to make motion pictures. He loves writing, and currently does in Texas.

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Blu-Ray Critiques

Masks (Blu-ray)

The Film:

The demanding, life-altering procedure of when performing artists discover the extent of their talents has been the topic of different kinds of media for a while now, but it finds a especially potent home in the horror-film realm. From outlandish supernatural classics of Italian giallo cinema to modern day-day representations of psychological drama, cinema has captured the mental challenges endured by the performers in honing their craft and twisted them with each other with macabre metaphors and surreal visions, blurring the lines amongst reality and nightmare. Germany’s Masks delivers a much more literal but straightforwardly disturbing glimpse at performing arts development, utilizing the paths and strategies that actors — along with their mentors or instructors — go down to unearth their correct possible as a setting for madness and physical torture. Visual flair and a stirring atmosphere inspired by genre classics compensate for director Andreas Marschall’s shallow take on the creative method, rendering one thing chilling and twisted but inconsequential.

A beautiful yet struggling stage actress, Stella (Susen Ermich), finds herself bouncing among auditions with out the casting directors appreciating her limited talents, leaving her unable to locate a home for her acting style. Between the disappointments, she learns of a particular type of conversatory some distance away from where she lives with her boyfriend, a place that specializes in drawing out raw emotions from upcoming actors by means of visceral, immersive, occasionally damaging techniques. She tends to make the journey and gets wrapped up in the harsh and isolated culture of the company, where she sees other actresses pushed to their physical and mental limits by means of clandestine, closed-off methods that stem from the school’s originator, Matteusz Gdula. Stella struggles to enhance and integrate inside the organization, till she herself gets drawn into these bizarre techniques, which shine a light on the unsettling events that actually come about behind closed doors at the theater.

Masks may possibly not function a coven of witches or ballet dancers –not to mention swapping the moody synth stylings of Goblin for harsh guitar strums and piano strokes — but the reverence and parallels to Dario Argento’s seminal horror film Suspiria come in swift and quick as soon as Stella arrives at her destination. Cinematographer Sven Jakob-Engelmann embraces each warmth and twists on naturalistic color as the camera follows the actress into the conservatory nestled a very good ways away from civilization, whose cramped corridors cast ominous shadows over the performers in a setting overtly reminiscent of classic Italian horror cinema. Unsafe secrets could loom within the walls of the theater, but the film’s design misconstrues its echoes of previous horror films for sufficient-sufficient plotting to hold one’s interest in the Gdula theater firm. In a sense, the way that Andreas Marschall tempers the outlandish undermines the intrigue in Masks, neglecting to bridge the gap between Stella’s problems with her craft and the property of horrors that awaits her.

Partly, that is since it’s hard to know what to make of our protagonist, Stella. In other semi-metaphorical depictions of the creative method like this — Black Swan also right away comes to thoughts — the performer has a degree of accomplishment or objectively appreciated talent that could be pushed further, which aids to guide the point-of-view by way of their trials. In Masks, the actress instantly gets thrown beneath the bus as untalented, regardless of Susen Ermich’s perfectly appropriate delivery of her performances ahead of the casting directors, which crafts an enticing but muddled psychological atmosphere as she works her way deeper into the theater’s teachings. There is anything to be stated for the extents in which an unappreciated or untalented actress may be willing to push herself in order to project authentic emotion, but we’re not truly permitted into Stella’s head adequate to appreciate that, and her wavering constitution becomes an integral part of the suspenseful components that manifests later on in the film.

I know, I know: that’s a lot of speak about story and pathos in what’s in the end supposed to be a horror film. Factor is, Masks does not push the envelope with its gore or scare tactics largely simply because of that balancing act among surface-level terror and the psychological turmoil suffered by Stella, driven by her wavering sanity and perception of how she’s getting twisted into a better actress. Susen Ermich handles becoming a vulnerable but perceptive victim rather nicely as she slips by way of the hallways of the college, which descend deeper and deeper into a giallo-infused funhouse of bold colour, tweaked angles, and harsh photography while creating its sufficiently macabre imagery. The twenty-minute culmination of the Gdula school’s “teachings” at the end doesn’t create as a lot suspense as hoped for, even though, as an alternative revolving around slippery plot twists and stagy displays of bloodiness that overly emphasize style more than substance. Masks surely reminds a single of the Italian horror genre’s reat, but it does not project its distinctive attributes loud sufficient to take center stage.

The Blu-ray:

Reel Gore Releasing have provided fairly a sharp package for their Blu-ray of Masks. Contained within a wide-width cardboard slipbox, a two-disc, clear-material (non-eco!) case holds the Blu-ray and DVD presentations of the film, and it shares space inside the box with a complete-width Booklet — which attributes a republished overview of the film and an interview with Andreas Marschall — and a Soundtrack CD featuring the tunes discovered in the film.

Video and Audio:

As an ode to the Italian horror genre, it should not be any surprise that Masks comes equipped with a wide variety of colors in its cinematography, infused with each reflections of the classics and contemporary touches in terms of detail and grit. The transfer from Reel Gore releasing frames the film at two.35:1 in a 1080p AVC digital presentation, and it really is an exceptional a single. Complicated displays of contrast are no difficulty, providing inky black levels that are not obtrusive to the essential information concealed in shadows. Fine detail can be spotted in jewelry, burlap sacks, and close-ups upon Susen Ermich’s disarming attributes. The genuine places that the discs shines are in the pools of colour scattered all through: natural greens and reds in foliage overgrowth showcase the disc’s subtlety the warmth of skin tones in sunlight and stage lighting are robust but natural and acidic greens and blues craft a sickly atmosphere with out becoming oversaturated. Some digital flatness keeps factors a notch or two below, but it really is a rather strong transfer otherwise.

There’s a lot of nuance and complexity in the sound style as well, accentuated effectively by the German 5.1 DTS-HD Master Audio presentation. The element that stands out the most, if the incorporated soundtrack with the Blu-ray presentation wasn’t an indication, is Sebastian Levermann’s ravishing score the plucks of guitar strings, the strokes of piano keys, and other ominous touches all through are razor-sharp and extremely hefty. Dialogue sustains an even and organic rhythm with the rest of the track, whilst the higher pitches of screams are embraced with out distortion on the greater-finish side of the track. Surround sound isn’t really a priority, where the occasional chirping bird or other atmospheric event travels to the back channels, some that sound natural and other individuals that sound a bit like a bloated 2-channel stereo track. When the sound demands to hit hard, with a stab or a thud, even so, it delivers a satisfying aural efficiency, supported by wealthy bass levels and satisfying mid-range clarity. English and Spanish subtitles are offered.

Specific Functions:

Alongside a series of Deleted Scenes (4:15, 16×9 HD), two Trailers, a Music Video Clip (4:26, 16×9 HD), and a photo Slideshow, Masks arrives with a fifteen-minute Behind-the-Scenes (15:02, 16×9 HD) video about the production, a voyeuristic glimpse at crafting the film. It offers a candid look at production elements — directing the actors, honing their appearances, navigating the cameras via cramped and dark spaces — which makes for engaging and substantive viewing, though the inclusion of horror-movie music all through is not genuinely required.

Final Thoughts:

Masks totally oozes the style and mood of classic Italian horror films, wrapped around a story of a functionality artist who joins a peculiar college to hone her craft, a place with a dark history and bizarre happenings involving the students. Bold, however conscientious cinematography captures lavish shades of colour and shadowy corridors as the actress, Stella, navigates the labyrinth of each the school and her emotional state. It’s a well-worn idea that can nevertheless perform under the correct circumstances, but Andreas Marschall does not very do adequate with its distinctive components to elevate its odes to giallo horror-thriller cinema. The film itself is definitely worth a Rental, but die-hard fans of this kind of material will truly appreciate the little information that went into the Blu-ray package, which arrives with solid audiovisual properties and a nice fifteen-minute glimpse at creating the film.

Thomas Spurlin, Employees Reviewer — DVDTalk Critiques | Individual Weblog/Website

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Blu-Ray Reviews

The Bullet Train (Blu-ray)

The Movie:

Twilight Time’s packaging for The Bullet Train touts the 1975 Japanese thriller’s potential influence on the ’90s blockbuster Speed, but The Bullet Train‘s style and tone is pure ’70s disaster spectacle. Inspired by the Hollywood blockbusters of the time, The Bullet Train is packed to its gills with stars, like The Seven Samurai’s Takashi Shimura, Kinya Kitaoji of the Battles With no Honor and Humanity series, and even Sister Street Fighter herself, Etsuko Shihomi. You can be forgiven for missing them, nevertheless, considering that several stars only appear onscreen briefly and fairly significantly all of them are upstaged by the premise. Even martial arts legend Shinichi “Sonny” Chiba, who is second billed, barely gets a opportunity to form a character.

The Bullet Train‘s hook is that there’s a bomb on a high-speed train that will explode if the train ever drops below 80 kilometers per hour. Disgruntled operating man Okita (Ken Takakura, Riding Alone for Thousands of Miles) and his two misfit collaborators are behind the bombing. As opposed to in most Hollywood flicks, these conspirators are not psychopathic madmen or criminal masterminds. They are just regular males who feel dumped on by society, so they have decided to score a small ransom funds to even the scales. Okita is a likable antihero, equivalent to Sterling Hayden’s character in The Killing, which leaves viewers flip-flopping about whether we need to root for him or hope that his plan gets foiled.

Director Junya Sato and co-writer Ryunosuke Ono indulge in a lot of familiar disaster tropes, such as a pregnant passenger on the speeding train who goes into labor and a criminal in transport who requires benefit of the crisis to attempt to escape. But mainly the filmmakers treat the train as a brewing cauldron of vague chaos, so that Sato can concentrate on the efforts of the conspirators to safe their ransom, the cops’ efforts to thwart them, and the train company’s efforts to defend their passengers. Ken Utsui plays the thoughtful, super-intelligent train dispatcher whose concern for the human lives at stake makes him the emotional anchor of a fairly schematic flick.

Sato attempts a modicum of emotional depth by riddling the film with flashbacks, which flesh out the conspirators’ backstories. Even so, these flashbacks never ever really supply a straightforward explanation (or excuse) as to why these characters would react to their difficult luck by placing the lives of 1500 passengers in danger, which most likely explains why most foreign releases of the film have cut these sections out. Back in 2006, DVD Talk’s Stuart Galbraith IV reviewed the shorter “international” version and found it quite underwhelming. It’s easy to see why, since, if you lose the flashbacks, you essentially shed the sense that anyone onscreen is a dimensional human getting. The uncut, 152-minute version presented on Twilight Time’s Blu-ray is nevertheless not a excellent movie — it is overstuffed and drags at different intervals — but it has an uncommon personality which distinguishes it from other flicks of its ilk.

The Blu-ray
Twilight Time brings The Bullet Train to Blu-ray in a restricted edition of 3000 copies. The disc is accompanied by a color booklet featuring a liner note essay by TT’s Julie Kirgo. Unlike numerous of their titles, THIS IS Area A LOCKED.

The Video:
The AVC-encoded 1080p two.35:1 transfer is clean and steady. It features a pretty muted color palette, but colors are nicely balanced and skintones appear appropriately lifelike. This transfer corrects earlier DVD remedies, which have been typically skewed too green. Transfer detail is great, but the movie is nearly completely shot with zoom lenses, which gives the film images an inherent softness.

The Audio:
The film comes with a fairly standard Japanese DTS-HD MA 2. mono audio (with optional English subtitles) that is clear and satisfying. Particular dialogue passages get a tiny crispy on the high finish, but this is comparatively uncommon. For the duration of the large action scenes, the dialogue, effects, and propulsive musical score merge with each other smoothly.

Particular Functions:

  • Isolated music and effects track

  • Huge Film, Massive Panic: Junya Sato on The Bullet Train (HD, 24:41) – Director Sato talks about his experiences creating the film and about how the film did not really take off in Japan till following it became a huge accomplishment in Europe.

Final Thoughts:
Like a excellent marriage of The Towering Inferno and The Taking of Pelham One Two Three, The Bullet Train is a star-studded ’70s disaster thriller that delivers adequate entertainment value to successfully rival the American films that inspired it. Advised.

Justin Remer is a filmmaker, oddball musician, and frequent wearer of beards. A single time, he created a weird cover version of Paul McCartney’s “Fantastic Christmastime.” You should verify it out.

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Blu-Ray Critiques

We Are Twisted F***ing Sister! – Collector&#039s Edition (Blu-ray)

The Movie:

Like a lot of folks around my approximate age, I keep in mind the days of Twisted Sister in the early and mid-1980s, and the launch of their careers into the stratosphere by means of comprehensive airplay of their videos “I Wanna Rock” and “We’re Not Gonna Take It,” one of which included Mark Metcalf, who played Neidermeyer in Animal Residence. Like a lot of individuals around my approximate age, I had little information of the story of the band and their existence to that point, and Andrew Horn’s documentary (titled “We Are Twisted Fucking Sister!”) tries to explain this.

Rather than serve as a career retrospective, the story of Twisted Sister began a decade before the release of its very first album, in clubs in Lengthy Island, New York and New Jersey. The band played covers from David Bowie and Mott the Hoople among other individuals and ultimately hired Dee Snider (then in a band of his own in the location at the time) to front the band. The group began their ascent as Dee and guitarist Jay Jay French would do what they could to stir audience response, and a single night they held up a ‘Disco Sucks!’ sign and that began to plant seeds of interest from the individuals.

Even though the band had not recorded an album, they have been carrying out just about almost everything else in the course of their decade ahead of stardom. They did merchandising, had a fan club, toured England, and although they didn’t have a lot of nationwide or international reputation, these who did see them have been their most significant fans, like a record executive who was threatened with his job if he didn’t cease talking about them at 1 point. They got to England, caught the eye of an executive over there, and dominoes sooner or later started to fall.

Horn interviews the band’s existing and former members along with management and fans as they speak about some of the items they did and the memorable experiences in the years just before generating it large. And all through the film (a mammoth two hours and thirteen minutes, I’ll add), you can see that it really is not just a really like letter to the band but its need to show that there was some sense of…nightlife(? Society?) in that area and what folks liked and did not, the lengths that the musicians took to do some of the things they did, and the film captures these issues nicely. The final thoughts from Snider and French about the break to stardom is a little bit telling too there is some regret in producing some of the choices they did, and possibly they alienated some of their longtime fans in the process, but Twisted appears to have identified a sense of closure to their arc as a band and continues playing today.

In a quiet and wise way “We Are Twisted Fucking Sister!” both covers the roots of the band and also serves as a statement by those still related with them now. It not only gives the novice a deep dive into the workings of the band but shows their motivation and desires in playing, laughs at their errors and revels in their judgments. It is a film by a fan, for the fans.

The Blu-ray:
The Video:

The film is presented in 1.78:1 widescreen and makes use of the AVC codec for its 1080i presentation, with the disc seeking just fine. It juggles a variety of sources like camcorder footage at club shows, stills, old British television show footage is all incorporated into the mix with the modern interviews and factors appear fine all through. Interviews look extremely good and possess ample color reproduction with tiny noise or saturation troubles that weren’t already inherent in the source. This is quality viewing.

The Sound:

Two DTS-HD Master Audio lossless tracks, and I went for the 5.1 over the two-channel selection. The music sounds clean as can be and the interviews are related. There is a lack of channel panning or directional effects to this track, and the subwoofer does engage, albeit sparingly more than the course of the film. But it is fine listening.


You get extra footage. A LOT of extra footage. It’s thrown into a variety of topics (“The Clubs,” “The Fans” and “Attitude” amongst them) and there are a number of interviews in every single. Operating a little longer than the film itself (2:21:44), it is a worthy complement to the film. Horn also contributes a commentary which touches on his connection to the band, how he got some of the interview subjects and material for the film. He supplies backstories on a lot of folks and stories in the film, even though calling it the “Ben-Hur of rock documentaries.” It is a track that is much more remembrance of the events than on the production which is fine. There is also a trailer (2:23).

Final Thoughts:

I came into “We Are Twisted Fucking Sister!” not realizing what to expect of a band that had a couple of hits then went away. I left with a deeper appreciation and understanding of their story and feel that the film does a good job in illustrating that they could deserve a deeper spot in rock history than what they have. Technically, the disc is strong and the additional material and commentary are good. The film has been out for some time now and if you happen to be searching for a alter of pace (and a pleasant surprise), this may possibly be the factor for you.

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Blu-Ray Testimonials