Bored to Death - The Complete First Season (Blu-ray)

HBO's Bored to Death is a half-hour comedy series created by writer Jonathan Ames about writer Jonathan Ames (Jason Schwartzman). In the extras the real Ames states his life informs the series but it is not autobiographical. In the series premiere the fictional Ames decides to become a private investigator like Raymond Chandler's Phillip Marlowe after being dumped by his girlfriend Suzanne (Olivia Thirlby) because the 30-year-old Brooklynite wouldn't quit smoking pot or drinking alcohol, though to be fair he was down to white wine.

The eight episodes of the first season revolve around Ames' unlicensed detective work as he helps others with their lives, which keeps him distracted from having to deal with his own issues, such as accepting why his girlfriend left and trying to complete a second novel. The series' humor is amusing, though frequently dry. The characters are frequently the cause of their own problems, making them familiar to anyone who has seen a few low-budget indie films out of New York.

Schwartzman is a perfect fit as Jonathan, floating between hollow confidence and a malaise brought on by having to be a grown-up; however, although the focal point, Jonathan is the least interesting character of the series. More entertaining are his friend Ray (Zach Galifianakis) and his boss George (Ted Danson). Ray is a comic book writer who is sexually frustrated by his girlfriend Leah (Heather Burns), the mother of two children. Ray is also frustrated because she is constantly on him to improve physically and emotionally. George is the editor of "Edition" and his id is stuck in overdrive as he constantly on the lookout for something fun to do. The series is better whenever either one of them are paired with Jonathan.

The series has drawn an impressive collection of talent to guest star. The roster includes Kristen Wiig and Parker Posey as Jonathan's clients; Bebe Nuerwirth as his book agent; John Hodgman as a writing rival; Oliver Platt as a publishing rival of George's who is also married to Priscilla (Laila Robins), George's most orgasmic ex; and Patton Oswalt as a spy-equipment-store owner where Jonathan shops.

The video is presented with a 1080p/AVC MPEG-4 encode displayed at 1.78:1 that is impressive. Colors are strong and the blacks are rich; the latter helping to evoke film noir from the shadows and delineation on display. There's very good detail such as the clearly seen textures of Jonathan yellow-brown corduroy jacket. There are some scenes with grain issues; light colors of blue and red frame the grain, appearing like the image was blown up from 16mm to 35mm. The DTS-HD Master Audio 5.1 isn't fully used for this front-heavy mix that mainly delivers dialogue. The ambiance is so inconsequential it's not clear why anyone bothered. A little more tweaking could have brought the scenes and the city to life.

There are bonus features on both discs and they come in HD. Disc 1 includes commentaries on episode 1 and 3 with Schwartzman, Ames, and the each episode's director. There are also deleted scenes from episodes 3 and 4 (4 min). On Disc 2 there are commentaries on episodes 6 and 8 with Schwartzman and Ames joined by director Adam Bernstein and Ted Damson respectively. There are two deleted scenes from episode 8 (3 min). "Jonathan Ames' Brooklyn" (13 min) finds the writer joined by Schwartzman as they visit the locations where the series shot. "The Making of Bored to Death (20 min) is a typical look behind the scenes of the HBO series.

Bored to Death is not your usual sitcom so those interested in a slightly different comedy should give it a chance though there won't be much lost by sampling it on DVD.

Article first published as Blu-ray Review: Bored to Death - The Complete First Season on Blogcritics.

BEAUTY AND THE BEAST (1991) (Blu-ray)

The 1980s were of bit of a lost decade for the Walt Disney Company in regards to their animated films. The Fox and the Hound, The Black Cauldron, The Great Mouse Detective, and Oliver & Company didn’t have the same appeal or success as the studio's previous classics. Then 1989 saw a return to glory with the release of The Little Mermaid, which began a ten-year run of successful movies referred to as the "Disney Renaissance". While some Disney films during that period performed better at the box office, the best film was "Beauty and the Beast," a story Walt himself tried to produce since the 1930s.

Adapted from the French fairy tale La Belle et la Bête by Jeanne-Marie Le Prince de Beaumont, the film opens with a prologue told through stained-glass windows of a young prince whose rude, selfish actions towards an old beggar woman result in his being turned into a Beast (Robby Benson). The only way to break the spell is to find love, but he only has until his 21st birthday or the spell becomes permanent.

Belle (Paige O'Hara) lives in a nearby village. She is a pretty young woman who loves reading and has no interest in the wooing she receives from conceited hunter Gaston (Richard White), who is not pleased with her rejection. After her father Maurice ends up a prisoner at the Beast's castle, Belle asks to take his place so he can go home and the Beast agrees, setting up the wonderful romantic tale that unfolds before us.

While the story may be simple and straightforward, it is extremely well told. There are scenes of both comedy and drama that are engaging and entertaining. The characters are very interesting and are brought to life by talented voice actors. The standouts are the Beast's servants Lumiere (Jerry Orbach), Mrs. Potts (Angela Lansbury) and Cogsworth (David Ogden Stiers, who also is the narrator).

Lyricist Howard Ashman and composer Alan Menken crafted an impressive score and collection of songs that earned them Oscars. For those who can't help but join in, the "Sing-Along Mode" option provides the lyrics on screen.

Beauty and the Beast making a dazzling debut on Blu-ray that will surely be talked about as one of the best of the year. The 1080p/MPEG-4 AVC encoded transfer looks exquisite. The vibrant colors burst off the screen like a fireworks display in front of your eyes and blacks are rich and inky. The line work shows good, sharp delineation. The images are free from defect, both physical and digital. Not a complaint, but the high definition brings such clarity that there's a more noticeable difference between the hand-drawn animation and the computer animation in the ballroom sequence as the camera appears to move in 3-D space around Belle and Beast.

The audio delivers a true 7.1 Surround mix with every channel having something to offer. Dialogue nearly surrounds the viewer in its placement and it is always clear and understandable, even the loud, subwoofer-rumblings exclamations from Beast. Sounds take up position in the soundfield and some times move through it. The rears contribute to an immersive experience.

Like the previous Platinum Edition on DVD, the film can be viewed three ways. The Special Extended Edition was released in 2002 and included the song "Human Again." The Original Theatrical Release is self-explanatory. The Original Storyboard Version is the OTR version paired with a picture-in-picture window that runs in the upper left corner. It is comprised of finished scenes, pencil drawings, and storyboards. I only see the most hardcore viewer watching it and it needed to be in a bigger window to better appreciate.

A large assortment of Bonus Features covering two Blu-rays is included with this collection. There is an extremely informative and entertaining commentary track, only available on the SEE version, is delivered by producer Don Hahn and co-directors Kirk Wise and Gary Trousdale.

Under "Backstage Disney", "Beyond Beauty" is a massive feature running over two and half hours provides a thorough examination of its creation. "Composing a Classic" presents Hahn, composer Menken, and Disney historian Richard Kraft discussing Disney and music. "Deleted Scenes" offers two such scenes, an alternate opening and one with Belle in Beast's library. Both were rightly excised.

"Classic Bonus Features" are features from previous releases of the film. "The Story Behind The Story" has celebrities comparing Disney films with their source material. A "Beauty and the Beast Music Video" with Celine Dion and Peabo Bryson. "Early Presentation Reel" finds Hahn and Menken talking about alternate music that didn't make the film.

"Disney Family Play" contains two games, Enchanted Musical Challenge and Bonjour, Who Is This?; a "New Beauty and the Beast Music Video" starring American Idol Season Six winner Jordan Sparks; and "Broadway Beginnings" as the story makes its way to the stage.

There is also a DVD that includes the three versions of the film and a reduced number of Bonus features.

The Beauty and the Beast on Blu-ray is a must-have for your collection due to its reference-quality A/V specs and the overwhelming extras. It may well ruin you on lesser-quality discs.

Article first published as Blu-ray Review: Beauty and the Beast (1991) on Blogcritics.

THE ILLUSIONIST (2006) (Blu-ray)

The Illusionist is a very engaging film as it unfolds, but as time is spent away reflecting upon the story, it doesn't hold up once the trick has been revealed, like most illusions.

Set in 19th century Vienna, Austria, Eisenheim the Illusionist (Edward Norton) is arrested by Inspector Uhl (Paul Giamatti) during a performance, where he appears to be conjuring ghosts, for threats against the Empire and disturbing public order. The crowd is angered.

Uhl reports to Prince Leopold (Rufus Sewell) about Eisenheim and the majority of the film becomes a flashback. As a young boy (Aaron Johnson) Eisenheim meets an elderly man who performs tricks and this is where it is alleged his interest in magic began. He also makes the acquaintance of Sophie, an upper-class girl whose family isn't happy about her cavorting with the son of a cabinetmaker.

The story jumps forward 15 years as Eisenheim the Illusionist brings his act to Vienna. He astounds audiences with his illusions, including Uhl, who informs Eisenheim he is an amateur magician himself. Prince Leopold attends a performance and when Eisenheim asks for a volunteer, Leopold encourages his fiancée, who turns out to be Sophie (Jessica Biel). They later have a clandestine meeting in a carriage, but are unable to escape the notice of Uhl's men. Eisenheim is invited to conduct a command performance and shows up the prince in front of his guests. Sophie wants to be with Eisenheim but escaping the prince will be tough. He's a powerful man, possibly next in line to be emperor, and Uhl and his men are vigilant.

What's happens during the remainder of the story is captivating as it plays out, and revealing it would ruin a number of surprises for viewers, but once the conclusion is reached, it turns out a good portion of it is unnecessary. The motivations of some characters and their natures come into question, which doesn’t seem to be what the film is about.

I want to revisit The Illusionist with the full knowledge of the story to see what my reaction will be. Luckily, there is so much done right. The performances are very good. The cinematography of Dick Pope is marvelous. I particularly love how the look of the flashbacks evokes old movies with a flicker around the frame edges and hints of sepia. Their production team does a great job evoking the time. Philip Glass delivers a very good soundtrack that is worth owning on its own.

I did take issue with some of the digital effects used during some tricks. They stand out as artificial and ruin the illusion of the moment. Since all tricks were based on authentic ones, I would have preferred to see them executed.

The Blu-ray offers nothing but the film and three audio options, which are DTS-HD Master Audio 5.1 and Dolby Digital 5.1 in English and French. Not even captions or scene selection, which seem odd choices. The soundtrack is dialogue heavy and comes mainly from the front speakers. Glass's score and some ambient effects, like the theater audience, augment the scenes through the surround. Effects of horse hooves move across the front channels.

The video is presented with a 1080p/MPEG-4 AVC encoded transfer at an aspect ratio of 1.78:1. The film's color scheme uses very rich hues, sunny and bright during outdoor daytime exteriors, dark and saturated for the remainder. Norton's blue eyes pop off the screen and Eisenheim's brown stage background is rich. Blacks are deep and inky. Many scenes have great contrast and exhibit very good shadow delineation. Textures and details are well defined from actor's faces to the marking and jewels on the Prince's sword.

The features are only available on the DVD that is paired with the Blu-ray, another frustration. Writer/director Neil Burger is engaging as he offers commentary and this belongs on the Blu-ray. "The Making of The Illusionist" (7 min) and "Jessica Biel on The Illusionist" (2 min) are two EPK pieces that don't provide much beyond the talent involved trumpeting the project.

While the parts of The Illusionist are greater than their sum and the makers of the Blu-ray made some poor decisions, I enjoyed the film while I was watching it and think it's worth investigating.

Article first published as Blu-ray Review: The Illusionist (2006) on Blogcritics.

HANG 'EM HIGH (Blu-ray)

Clint Eastwood stars as Jed Cooper, a former St. Louis lawman accused a being a rustler in Oklahoma & Indian Territory 1889, not 1873 as the liner notes erroneously state. He is set upon by a posse filled with questionable characters and hanged before the opening credits. Lucky for Cooper, Federal Marshal Dave Bliss (Ben Johnson) comes along soon after and cuts him down. He is then placed into a paddy wagon and taken before Judge Adam Fenton (Pat Hingle), who finds Cooper's story checks out.

Cooper wants revenge against the nine men who hung him, but Fenton tells him he can't take the law into his own hands. Instead, he offers him a job as a marshal on the condition that he brings the men in alive. Suffice it to say, Cooper hopes they give him a reason not to, but he agrees. While working as a marshal, Cooper questions Fenton's rigid administration of the law, but the judge says it's required to keep people from acting as vigilantes and to earn the territory statehood.

After a few of Cooper's assailants are apprehended, those remaining offer him a bribe. He takes the money because it's what he's owed for the cattle he lost, but things ain't square as far as he's concerned and he plans on finishing the job he started.

Hang 'Em High is a very good western that provides plenty of action while also offering food for thought about justice. There's a subplot about a young woman Rachel (Inger Stevens) who is obsessed with looking for her husband's killers. She becomes entwined with Cooper, and while the parallel is evident her character doesn't add much to the story. It's great to see a lot of familiar faces in small roles, such as Bruce Dern, Alan Hale Jr., Dennis Hopper, and L.Q. Jones.

The video is presented in a 1080p/ MPEG-4 AVC encoded transfer with an aspect ratio of 1.85.1, and looks very good for its age. The colors are well rendered, from the natural colors of the New Mexico exteriors to the vivid hues on set, most notably in the brothel where they pop with brightness. Blacks are adequate and the disc does well with shadow delineation. Natural film grain is noticeable without being distracting. There are minor specks of damage, white and black, throughout the film, signaling a need for a restoration. The scene where Jed and Rachel get caught in the rain and find shelter in an abandoned house is especially bad.

The source was a mono mix and is available as DTS-HD Master Audio 5.1 and Dolby Digital 2.0, the latter being a more authentic experience for the purist. Naturally, the 5.1 is front heavy, but there is some minor ambiance, such as when a large crowd gathers to watch the hanging. The dialogue is clear and understandable. The music makes most use of the surrounds, and there's not a great deal of low end, even making the gunshots sound high pitched.

Hang 'Em High will be a welcome addition to the video library for films fans of westerns and Eastwood. The Blu-ray offers a pleasing high definition experience. It comes with a DVD, but it's highly disappointing that there are no special features included to pay worthy tribute to the film and those who worked on it.

Article first published as Blu-ray Review: Hang 'Em High on Blogcritics.

HIGH ANXIETY (Blu-ray)

Surrounding himself with talented writers and actors, Mel Brooks was the king of film parodies during the 1970s, and probably the envy of many directors due to the different genres in which he worked. From 1974 to 1976, he released comedic versions of a western (Blazing Saddles), a black-and-white horror film reminiscent of the classics made by Universal Studios (Young Frankenstein), and a silent movie (Silent Movie). His last film of the decade was High Anxiety, which spoofed the Master of Suspense, Alfred Hitchcock.

In the film, Brooks plays acrophobia sufferer Dr. Richard Thorndyke, who comes to Los Angeles to run The Psycho-Neurotic Institute for the Very, Very Nervous after the death of the previous administrator. There are suspicious goings-on at the Institute with both the patients and staff, but before Thorndyke can make sense out of any of it, he heads north to San Francisco for a conference. While there he meets Victoria Brisbane (Madeline Kahn), daughter of millionaire Arthur Brisbane, a patient at the Institute because he thinks he's a dog. However, the Arthur Brisbane Thorndyke met is not Victoria's father. As Thorndyke gets closer to the truth, he is framed for a murder. He strives to uncover all the mysteries while having to deal with his high-anxiety disorder.

Because it doesn’t reach the consistent, hysteric heights of Brooks' best work, High Anxiety likely won't appeal to everyone. There are funny moments throughout, such as Harvey Korman's Dr. Montague pretending to be a werewolf in order to scare a patient behind Thorndyke's back and the entire performance of Cloris Leachman as Nurse Diesel, similar to her portrayal of Frau Blücher in Young Frankenstein. However, High Anxiety seems more an homage to Hitchcock and other films rather than a parody, and half the fun comes from figuring out the references. Those with limited film history knowledge will likely be left wondering what is going on in many scenes. There are also a few gags that just fall flat.

The video is presented with a 1080p/AVC-encoded transfer and an aspect ratio of 1.85:1. The picture is not overly impressive for high definition. Many of the backgrounds are soft, causing the images to appear flat. Colors have mild, consistent hues in a production design that uses a lot of earth tones and grays. Skin tones are relatively consistent.

The 5.1 DTS-HD Master Audio is front heavy as expected for a comedy filled with dialogue, which comes through clear. The surrounds are mainly used for the score with very limited ambiance and the subwoofer doesn't have a great deal to contribute. The Isolated Score Track special feature allows full appreciation of John Morris' score.

There are three other special features. The "Don't Get Anxious! The Trivia of Hitchcock Trivia" pop-up track, which is not restricted to Hitchcock, is amusing and informative. The "Am I Very, Very Nervous?" test, a silly series of questions and answers to check if viewer is anxious, blocks the scene and could be done without. New to Blu-ray is "Hitchcock and Mel: Spoofing the Master of Suspense" (29 min), a very good feature with Brooks and others talking about film.

High Anxiety is not a must-see comedy or a must-own Blu-ray, but film fans should rent it for a good evening of laughs.

Article first published as Blu-ray Review: High Anxiety on Blogcritics.

UNDER THE SEA (Blu-ray)

Originally an IMAX 3D film and now appearing on DVD and Blu-ray, Under The Sea spends 41 minutes transporting the viewer to the Coral Triangle and Great Barrier Reef of the South Pacific to witness what life is like there. Narrated by a restrained Jim Carrey, this film is a sequel of sorts to director Howard Hall's previous IMAX hit, Deep Sea, as we see creatures going about their routines of eating, procreating, and surviving.

In high definition the footage looks amazing and anyone who enjoys watching nature films will enjoy the many highlights. As a large school of striped catfish eats algae off the floor, they resemble a wave rolling along as the back row continuously jumps to the front. An even larger school of baby convict fish seems to impossibly funnel into a burrow. A field of garden eels, some as high as six feet, sway in the current-like crops in a windy field. We see a number of creatures eat, but the most compelling is a turtle make a meal out of a jellyfish. The footage indicates the fish pay no attention to the camera, but a group of Australian sea lions are very curious about what they are doing.

About 25 minutes in, the purpose of the film is made clear as we get a global-warming message about changing ocean temperatures and the effect on coral reefs. Carrey also talks about the "changes we are causing to our atmosphere, our oceans, and our planet" that lead to ocean acidification from too much carbon dioxide and eventual extinction. It's not heavy-handed but is unexpected.

The IMAX film was given a 1080p/VC-1 encoded transfer and a 1.85:1 aspect ratio. The colors are very vivid, both under the water and above it. There's depth to be seen even without special glasses, and textures close up are very finely detailed. The audio DTS-HD Master Audio 5.1 immerses the viewer among the ocean effects of volcanic gasses and movement of the fishes. Jim Carrey's narration is clear and comes out the front speakers, mainly the center channel with support from the sides. There is some directionality as larger creatures move about. Effects added later such as the crunching of crab shell and a loud smooch from a sea lion sound inauthentic. The bass adds subtle presence to the soundtrack. The film is subtitled in English SDH, French, Spanish, and Dutch.

"Filming IMAX: Under the Sea" (7 min) is a brief making-of special feature. A lot of hard work was involved since the crew used a 1,300 lb. camera rig that only shot three minutes of film at a time. Exclusive to Blu-ray is a collection of webisodes (12 min) that document five of the expeditions where the crew shot: Papua New Guinea – New Britain, Papua New Guinea – Milne Bay, South Australia, The Great Barrier Reef, and Indonesia.

Under The Sea is another very good addition to the IMAX library. While I am not sure how many repeat viewings it will generate, nature lovers will find the Blu-ray well worth renting. Available on Blu-ray Combo Pack, DVD, and for Download.

The Lord of the Rings - The Motion Picture Trilogy (Theatrical Editions) (Blu-ray)

Behind the first Star Wars trilogy, Peter Jackson's Lord of the Rings, an adaptation of J.R.R. Tolkien's classic fantasy novels, has been the most eagerly anticipated series to debut on Blu-ray. That will be remedied on April 6th; however, fans of the films will likely be torn in reaction to this set. It presents the theatrical versions, as opposed to the Extended Editions, which are likely to be released when Guillermo del Toro's The Hobbit hits theaters. The Blu-ray quality isn't as good as the format allows. Also, a letdown are the extras, meager compared to previous LOTR releases, are placed on regular DVDs.

The Fellowship of the Ring opens with the story of the Dark Lord Sauron and the One Ring created to rule over the people of Middle-earth and his defeat on the battlefield. About three-thousand years later, the hobbit Bilbo Baggins (Ian Holm) found the Ring during his adventure detailed in The Hobbit. Sixty years after that at his eleventy-first birthday, he left the Shire and the Ring behind. The wizard Gandalf the Grey (Sir Ian McKellen) learned Bilbo had the Ring and of Sauron's return. Gandalf enlisted Bilbo's nephew Frodo (Elijah Wood) to get the Ring out of the Shire. Gandalf tells the wizard Saruman (Christopher Lee) what he has learned, but Saruman has already joined the Dark Lord's cause and is creating an army of creatures.

Joined by fellow Hobbits Samwise Gamgee (Sean Astin), Merry (Dominic Monaghan), and Pippin (Billy Boyd), the foursome head to Bree, chased by Sauron's Ringwraiths, former wearers of the Rings of Power now caught between the living and the dead. When Gandalf doesn't make their rendezvous, the hobbits head to the Elven land of Rivendell with the assistance of a ranger named Strider (Viggo Mortensen), who is also Aragorn, the heir to the throne of Gondor.

It is determined that the only way to defeat Sauron is to destroy the Ring, which can only be done by the fires of Mount Doom where Sauron created it in Mordor. Frodo volunteers for the mission, joined by the hobbits, Gandalf, Aragorn, the man Boromir (Sean Bean), the dwarf Gimli (John Rhys-Davies), the elf Legolas (Orlando Bloom). However, the task is not easy due to Saruman's wizardry and the seemingly endless number of orcs in pursuit.

As the first film ends, the fellowship has broken apart. Frodo realizes the Ring is too great a temptation and must venture out on his own. Merry and Pippin create a diversion and are captured by the orcs. Aragorn, Gimli and Legolas head of to rescue them.

The Fellowship of the Ring is a marvelous adventure. The film creates believable characters for the viewer to care about and sets up a conflict with great stakes. Jackson does a fantastic job as director, delivering epic battle sequences and gentle moments between two characters. It is a very good set-up to propel the story.

The Two Towers refers to the towers of the villains Sauron and Saruman. As the film opens, Frodo and Sam encounter the creature Gollum (a CGI creation whose movements and voice were created by Andy Serkis), a hobbit formerly known as Sméagol, though he no longer resembles one as years of being in possession of the Ring, or more accurately being possessed by it, have taken its toll and he suffers from split personality. Gollum wants the Ring, his "precious" as he refers to it, but agrees to take the hobbits to Mordor. The longer Frodo wears the Ring the stronger its hold becomes on him.

Legolas, Gimli, and Aragorn track the orcs who are taking Merry and Pippin to Saruman at his tower. They pass through the Land of Rohan, currently overtaken by Saruman's armies, and King Théoden (Bernard Hill) is withering away due to the treachery of his advisor Gríma Wormtongue (Brad Dourif). However, there are still men who fight and they destroy all the orcs, allowing Merry and Pippin to escape during the chaos into Fangorn Forest where they meet Treebeard (voiced by John Rhys-Davies), a treelike creature known as an Ent.

Two large battles take place at the film's conclusion against Saruman and his forces. The people of Rohan take refuge at Helm's Deep against the orcs he has sent. The Ents discover forests destroyed to fuel the fires creating Saruman's armies and attack his tower. As the film closes, Gandalf speaks of Sauron's inevitable outrage at the losses and the battle for Middle-earth is about to commence. Gollum continues to get Frodo closer to Mordor, but hints at his own plans.

The Two Towers is a good continuation of the trilogy, and the execution of Gollum is amazing, but the story has some flaws. The theme of the preciousness of nature from the Ents storyline is heavy-handed. The romance between Arwen (Lili Tyler) and Aragorn doesn't seem necessary. We don’t discover until the next film that Saruman is left a prisoner of his tower, watched over by the Ents, which makes for an unsatisfying conclusion to his story, especially in comparison to what takes place in the books.

The Return of the King starts by revealing how Sméagol came into possession of the Ring and became Gollum. Sauron's plan to attack Minas Tirith, the capital of Gondor, is discovered, but the Steward (John Noble) is an ineffectual leader. The elves prepare to leave Middle-earth, but Arwen stays behind because of her love of Aragorn. She convinces her father to create a weapon to defeat Sauron. The rightful King of Gondor takes his throne and summons all the armies he can to battle Sauron's forces, led by the seemingly unstoppable Witch-King, who no man can kill, but once that is made clear to viewer it's rather obvious who will kill him. After Gondor is saved, the King leads his forces to the gates of Mordor.

Due to weariness and the Ring's corrupting influence, Gollum is able turn Frodo against Sam and lures him into a trap in the liar of the creature Shelob. Sam refuses to stop helping and together the two hobbits get to the fires of Mount Doom, but by now the Ring has a great hold over Frodo, and he doesn't want to give it up.

The Return of the King is a satisfying though predictable conclusion to Jackson's epic trilogy, of which all the films were rewarded at the box office and critically lauded. He and his massive creative team did an amazing job bringing Tolkien's world to the screen. The story on the whole is very good as a number of characters showed great growth and believable motivation as the series progressed. The films speak to the contributions anyone can make and working in the service of good. The main cast all did excellent work. While I enjoy the Extended Editions more because the broadening of the story makes the experience so much richer, the theatrical versions hold up very well on repeat viewing. The changes from the books don't hamper the films, although I could have done without Gimli's comic relief. While amusing and likely a requirement in films, it seemed at odds with the character and his race.

One of the first problems with the Blu-rays is the video. All three films are encoded with a 1080p/VC-1 transfer and presented in an aspect ratio of 2.41:1. Fellowship has some serious issues. Digital noise reduction appears throughout removing a lot of details, particularly in faces, causing a number to look unnaturally smooth. Jackson used a great deal of smoke and haze all throughout the movie, affecting the colors, especially dark and night scenes. Blacks have a tendency to crush, such as Ringwraiths in the night. Much of the Rivendell sequence looks very soft, which I would be inclined to think was an intentional choice for the Elven locale if there weren't so many other problems. The higher definition diminishes the digital effects' believability, such as the first view of Weathertop. Although disappointing, it's not all bad. Some scenes have vibrant colors, such as the green grass of the Shire, and textures are evident on occasion.

The Two Towers is a noticeable upgrade, particularly in the flashbacks to Fellowship. The video looks sharper and colors are better rendered. They have a slightly brighter hue and skin tones look more realistic and consistent. The DNR doesn’t seem as intense as now lines and pores can be seen in faces. The digital effects look more believable. A nighttime shot where a horse is about to trample of Merry is very grainy, though.

The Return of the King looks the best of all and that might be in part because it has more to accomplish. While The Two Towers had a number of dark settings, here we get more opportunities for brightness. Minas Tirith is a white castle, which offers a contrast to darkness of Mordor, where Frodo and Sam travel, and the black armor of the invading orcs. Plus, the battle takes place in the daytime as opposed to Helm's Deep. The colors are vibrant and details more clearly defined. The vast differences in appearance to Fellowship are hard to believe considering the films were created at the same time and released only two years apart.

The audio, on the other hand, excels with its immersive experience. All discs are presented with a powerful DTS-HD Master Audio 6.1 track. Dialogue is clear and distinct, from soft whisperer or to rousing shouts. Elven subtitles appear when needed. The many battle scenes make great use of the surround system, though at times a tad overpowering as the forces it represents. There's very good positioning and items move around and through the sound field from tramping armies to whooshing arrows. The "whoomp" of the fell beasts' wings cutting the air and screams and stomps of the oliphaunts add to their foreboding. Two of Howard Shore's scores won Oscars. They compliment the proceedings and help demonstrate the audio's great dynamic range

On the Blu-ray discs, each film is accompanied by its own trailer and ones for LOTR-related video games. The first two films also show the Trilogy Supertrailer. The DVDs, likely a disappointment for the medium alone as all features are in standard definition, present what would have been a good amount of extras if previous releases hadn't spoiled fans.

The Fellowship of the Ring Supplements

"Welcome to Middle-Earth: Houghton Mifflin In-Store Special" (16 min) briefly tells the story of the film's creation, starting with Tolkien's books, which is no surprise considering this publisher is involved as the title indicates. "Quest for the Ring: Fox TV Special" (22 min) is basically an informercial promoting the then-upcoming release. "A Passage to Middle-Earth: Sci-Fi Channel Special" (40 min), although longer, allowing more time to deal with subjects, covers similar territory.

Lordoftherings.net Featurettes originally appeared on the official LOTR website, these brief webisodes cover different aspects of the projects with limited depth. There are also six TV Spots, a music video for "May It Be" by Enya. Oddly enough there is a Special Extended DVD Edition Preview, a reminder of a superior product, and the now-pointless "Behind the Scenes Preview of The Two Towers" (10 min) since we have the film in this collection.

The Two Towers supplements

Two other networks get in on the act of promoting the trilogy with more behind-the-scenes material: "On the Set - The Two Towers - Starz Encore Special" (14 min) and "Return to Middle-earth: WB Special" (42 min). "The Long and Short of it" (8 min) is a short film by Sean Astin. It has nothing to do with LOTR other than it was shot during production and used the same talent. Almost as long is the unnecessary "The Making of 'The Long and Short of it'" (7 min). There should be a special prize if you sit through this.

Repeated are more Lordoftherings.net featurettes, 16 TV Spots; a music video, this time for "Gollum's Song" by Emiliana Torrini; the double-dip tease of Special Extended DVD Edition Preview and the "Behind the Scenes Preview of The Return of the King (12 min).

The Return of the King supplements

"The Quest Fulfilled: A Director's Vision" (23 min) is a good spotlight on Peter Jackson but rather brief considering the size of the endeavor. "A Filmmaker's Journey: Making The Return of the King" (28 min) is slightly better, but still too small in scope. "National Geographic Special - The Lord of the Rings: The Return of the King" (46 min) takes the story and finds parallels. Should be of interest to hardcore Tolkein junkie. Once again there are the Lordoftherings.net Featurettes, 13 TV Spots, and Special Extended DVD Edition Preview (7 min).

Overall, if you are a fan of the theatrical version of the LOTR trilogy and aren't overly particular with the video quality or watching extras, you should be happy with what this set offers. However, I think many fans will be disappointed in this product in its current form and should wait for a price drop at least to send a message to the studio about inferior products. Personally, I am holding out hope for the Extended Edition will see an improvement in the quality of the picture. If not, I certainly wouldn't buy it at full price right when it comes out.

The Lord of the Rings: The Motion Picture Trilogy is also available On Demand and For Download.

ATONEMENT (2007) (Blu-ray)

Director Joe Wright re-teams with Keira Knightley for an adaptation of Ian McEwan's 2001 novel, a story that traverses a good portion of the 20th Century as it explores the devastating impact caused by rash decisions and the costs associated.

The film opens in Summer 1935 at the Tallis estate as the family prepares for the return of eldest child Leon accompanied by his friend Paul (Benedict Cumberbatch). A young teenage Briony (Saoirse Ronan) is writing a play for the occasion and subjects her cousins, a girl about her age and two younger twin boys who are staying because their parents are going through a divorce, to rehearse it. Recently returned from college are Briony's older sister, Cecilia (Knightley) and Robbie Turner (James McAvoy), the son of the Tallis' housekeeper (Brenda Blethyn). Turner's fees were paid by the Tallis patriarch and will continue to be as Robbie heads off to medical school.

Briony notices uneasiness between Cecilia and Robbie. From the house, she only can see an incident at the fountain where Cecilia took off some clothing in front of Robbie and jumped in. Later, Robbie asks Briony to deliver a note to Cecilia. Naturally, the curious teen reads it and is shocked to find Robbie's sexual desires as well as his word choices.

Wright jumps back in the narrative, revealing events so the audience becomes more privy than Briony to the true relationship between Cecilia and Robbie. We see and hear their exchange at the fountain and learn what caused Cecilia to jump in. We see Robbie sent the wrong letter. The true nature of their relationship is made clear so the audience isn't as surprised by Cecilia and Robbie having sex in the library as Briony is when she stumbles upon them.

During Leon's dinner, the twins are discovered to have run away and the meal is put on hold as everyone searches for him on the estate. Making her way through the darkness, Briony is startled by a man running off as he leaves behind cousin Lola (Juno Temple) who has been raped. Lola can't identify the man, saying her eyes were covered, but with what Briony has witnessed recently she is certain it was Robbie. She informs her mother and the police that she saw Robbie rape Lola and uses his letter to Cecilia as an example of his depravity. Although he marches in triumphant with the twins in two, he is promptly arrested.

The story moves ahead to 1940. Robbie is a private in the British army, as prisoners were allowed out to serve. He and fellow soldiers from his unit are in France heading to Dunkirk to be evacuated. Both Cecilia and Briony (played at this age by Romola Garai) are serving as nurses in London, though Cecilia ignores Briony's requests to see her. While talking with her friend Fiona, a flashback shows an incident between Briony and Robbie that better clarifies their relationship and her actions.

Briony goes to Cecilia's apartment where she begs forgiveness of her sister and Robbie. As the couple's anger briefly quells, they demand Briony inform the family and the authorities.

The story leaps again to 1999 where Briony (played at this age by Vanessa Redgrave) is a successful author being interviewed about her latest novel, Atonement. Because of illness, she states it will be her last but points out it really is her first novel as she has been working on it for ages. With the book she hopes, as inadequately as it will be, to make up for the years of heartache and pain she caused those closest to her and to herself.

Wright and team have created a marvelous film in Atonement. Of course it helps to have good source material in McEwan's novel, which was adapted by Christopher Hampton. What's so captivating about the story is the slow revelations of plot and character. Just when you think you have it figured out, it takes sharp turn in direction yet never loses the audience. The talented cast, particularly the leads, bring to life the characters and they come across as real people. Wright gets extra points for an exquisite and no doubt difficult-to-obtain tracking shot that lasts about six minutes, which follows Robbie and his comrades as they navigate through the madness of the Dunkirk beach as drunken soldiers sing and horses are put down.

The video is given an 1080p/VC-1 encoded transfer presented at an aspect ratio of 1.85:1. Seamus McGarvey's cinematography masterfully captures the beautifully decorated Tallis estate and the filth and grime of Europe under siege. Very fine details are on display in the image. For example, when Robbie types Cecilia a letter of apology, the close-up reveals the textures of the typewriter ribbon and paper, including the indentations created by the typing of the letters. Outdoor shots deliver the same clarity in grains of dirt road and rock walls. There are moments when the light from sunshine gets too bright.

The DTS-HD Master Audio 5.1 Surround audio track delivers an immersive world whether in the quiet rooms of the manor or on the raucous fields of war. Sounds move through the channels as buses on the street and airplanes overhead pass by. Dario Marianelli's score is very dramatic at times, including the use of a typewriter in the arrangement, and swells to punctuate scenes. Quiet sounds can be made out just fine, such as a buzzing bee, but some of the softer-spoken dialogue is hard to make out.

Features include a commentary track with Wright; deleted scenes (8 min) also with commentary by Wright; "Bringing the Past to Life: The Making of Atonement" (27 min), which is self-explanatory from its title as is "From Novel to Screen: Adapting a Classic" (5 min).

Atonement starts out as a tragic love story in the vein of Merchant Ivory films but expands its scope not just by following the characters as the ramifications of Briony's actions are revealed but also by exploring forgiveness, from others and granting to oneself. The themes are thought provoking in a film well executed.

(500) DAYS OF SUMMER (Blu-ray)

According to (500) Days of Summer, Henry Miller is attributed with the advice that "the best way to get over a woman is to turn her into literature.” Scott Neustadter updated that sentiment, and with friend/co-screenwriter Michael H. Weber along with obvious influences from Woody Allen's Annie Hall, worked through a previous relationship by creating the year’s best film about love.

Right at the beginning, the film states it's not a love story. Instead, it's about relationships that don’t work out because one person isn’t as invested, an all-too-familiar dilemma for anyone who has spent much time in the dating world. The story is told by jumping back and forth through time over the 500 days greeting-card writer/one-time aspiring architect Tom Hansen (Joseph Gordon-Levitt) was infatuated with Summer Finn (Zooey Deschanel). Summer gets a job as an assistant to Tom's boss and he notices her immediately. He hears she's standoffish, but a connection is soon formed over their mutual interest in The Smiths.

Learning of Tom's interest through drunken co-workers, Summer reveals the feeling is mutual but she makes clear she doesn't want a relationship even though they will do things many people in relationships do, from playful moments in department stores to wild sex in the shower. Tom is a hopeful romantic and Summer doesn't believe in commitment. Along the way, we witness their ups and downs as they travel together for a while down ultimately different paths.

Director Marc Webb, who makes a great debut as a feature-film director, excels at conveying Tom's mood. When in a state of utter bliss, Tom becomes part of a musical dance number set to Hall & Oates’ “You Make My Dreams.” The joy is completely infectious and much in the same way Tom forgets what Summer tells him, it's easy for the viewer to get swept up and forget the warning from the film's beginning: "this is not a love story." Webb uses a split-screen for a sequence to show the difference between Tom's expectations and the reality of the scenes, and has Tom drift into the foreign films he watches to drown his sorrows.

Gordon-Levitt and Deschanel deliver great performances and play off each very well. His character is extroverted, wears his emotions on his sleeve. Hers is the opposite, and because she gives so little, it's understandable that he couldn't see when she had already withdrawn from the situation.

The only negative the film had was the stereotypical advice-spouting young sibling. In a film that had many fresh moments, I was surprised to see such a familiar character. She doesn’t ruin the film, but if she had been cut, the story would have remained intact.

The video is presented with a 1080p/ MPEG-4 AVC transfer displayed at an aspect ratio 2.40:1, though it intentionally fluctuates at times. The colors are rendered well, but lack great vibrancy in part because the color palette makes use of many pastels. Blue is the primary getting the most use. The lines are not always distinct and sharp, but that softness works with the visual storytelling. Details and textures are clearly delineated and there's a sense of depth.

The audio option is DTS-HD Master Audio 5.1, but naturally doesn't have a great deal to do in a dialogue-heavy film. The front center gets most of the work and clearly presents the voices. The surrounds offer occasional ambiance, but nothing to immerse the listener, and the subwoofer is barely used other than during the songs.

(500) Days is chock full of extras for those who want to learn more about the film's creation. Webb, Weber, Neustadter, and Gordon-Levitt take part in the commentary. "Lost Days of Summer: Deleted and Extended Scenes" (15 min) can be viewed with commentary by the gang of four above. "Not a Love Story: Making (500) Days of Summer (29 min)" is self-explanatory. "Summer at Sundance" (14 min) shows Webb experiencing of the festival where the film made a big splash. There are "Audition Tapes" (7 min) of Geoffrey Arend (McKenzie) and Matthew Gray Gubler (Paul) with commentary by Webb. There are also "Summer Storyboards", "Bank Dance" (4 min) directed by Webb, and Music Video: Sweet Disposition by The Temper Trap (4 min).

Deschanel and Gordon-Levitt can be seen in the awesome mash-up Mean’s Cinemash Sid and Nancy/(500) Days of Summer (3 min), "Conversations with Zooey and Joseph" (12 min) where the pair covers topics like their process and Los Angeles, and two Fox Movie Channel specials.

I recommend (500) Days of Summer for anyone interested in an honest, accurate portrayal of affairs of the heart.

Rome - The Complete Series (Blu-ray)

Created by William J. MacDonald, John Milius, and Bruno Heller, who served as executive producer and head writer, Rome was an American-British-Italian joint venture television drama that aired in the United States on HBO. It ran for two seasons from 2005 to 2007, but high production costs made the series unsustainable.

The first season begins in 52 B.C. with Julius Caesar (Ciarán Hinds) and his armies conquering Gaul. The increase in Caesar's stature makes both his friends and enemies nervous, and rightly so, according to the history books. As the season plays out, a civil war erupts as Rome changes from a republic to an empire. It's intriguing to watch the constantly shifting alliances between characters grappling for power in the Senate halls and the bedroom chambers.

The second season opens in 44 B.C. as 18-year-old Octavian—who would eventually become known as Rome's Emperor Augustus—is appointed Caesar's successor to the disappointment of many, such as Mark Antony and Brutus, who had their own ideas on who should hold the position. The struggle for power continues for years, stretching across Europe and into Egypt before concluding with the series finale in 29 B.C.

Throughout Rome, the series also looks at the lives of the common people through the lives and friendship of soldiers Lucius Vorenus (Kevin McKidd) and Titus Pullo (Ray Stevenson). Vorenus is a moral family man who attempts to live by a code. He has been away from his family for eight years when he reunites with them. Pullo's main focus is pleasing his many appetites. They get caught up in the events, some times on opposing sides.

Heller and his team do a fantastic job creating drama and suspense from situations dictated by history. Although viewers may know what the Ides of March brings, the build-up and execution of the events is satisfying due to the screenplay and performances.

The production values are very impressive and it's understandable why the series cost so much. A great amount of detail and work was done to replicate Rome. The large, outdoor scenes are especially impressive spectacles.

Rome – The Complete Series comes to Blu-ray on 10 discs housed in a holder that resembles a book with each disc held in a thick, cardboard page. Themed icons of a sundial appearing under different colors of light appear during loading.

The visuals are presented in 1080p at an aspect ratio of 1.78:1 and the improvement to the video quality from the higher definition can be seen when accessing the episode previews. Colors are vibrant, particularly the reds, which will be pleasing to Jupiter. Details are vivid with clearly defined textures, such as buildings and fabrics, and edges are sharp. The depth within scenes is evident.

There are issues with candlelight flicker causing banding, creating a strobe effect. Blacks waver between being well rendered and suffering from black crush, evident as detail gets swallowed up in the shadows.

The English DTS-HD Master Audio 5.1 has a great dynamic range. From the fronts, dialogue is clear and understandable, even when characters are talking softly. Great ambiance fills the surrounds, especially from the massive crowd scenes of Roman revelry. The music on the very first menu thumps through the system and also seems mixed a little higher for the credits as well. The subwoofer comes alive during battle sequences.

The set boasts a lot of extras to inform the viewer. Two interactive features can be accessed during the episodes. "All Roads Lead To Rome" provides historical context and "Bloodlines," accessed through pop-up menu, provides character info and explains relationships to others. Thirteen commentary tracks by Heller and Historical Consultant Jonathan Stamp as well as actors and directors in various combinations discuss the series.

"Friends, Romans, Countrymen" covers the characters and plots of the first season. "The Rise of Rome" explores the production design. "Shot X Shot" provides a breakdown of creating a sequence. A grand parade through the streets marks "Caesar's Triumph" becoming Emperor. "Gladiator" focuses on a fight scene. "When In Rome" focuses on the historical accuracy of the series. All these features are in SD.

Stamp discusses the city in "A Tale of Two Romes." Two features examine historical figures that are characters in the series: "The Rise of Octavian: Rome's First Emperor" and " Antony and Cleopatra." "The Making of Rome: Season II" contrasts the seasons and covers new characters. All these features are in HD.

Though occurring two thousand years ago, the characters' motivations and desires in Rome are no different than those of present day. Like other HBO series Oz and The Sopranos, violence is a way of life, occurring when expected yet also at surprising moments. This, and the nudity, may not be everyone's cup of tea, but it's not gratuitous. Rather it is an integral element of the story.

Fans of Rome will be happy to relive the stories, and those who missed it the first time around like I did should discover this well-crafted series, at least through rental.

Up (2009) (Blu-ray)

Led by director/co-writer Pete Docter, the Pixar team have once again revealed why they are a brand you can trust for quality entertainment. Up is a wondrous film of adventure filled with compelling characters and an engaging, multifaceted story. The Blu-ray does a fantastic job bringing the experience home.

Up opens and we meet two children, Carl and Ellie. They quickly bond over a shared adventurous spirit and an admiration for explorer Charles F. Muntz (Christopher Plummer). Through a montage, their life together plays out. They get married, each work at the zoo (she as a zookeeper and he as a balloon vendor), and save for a trip to Paradise Falls. We also see the hardships they endure, including the loss of a pregnancy and Ellie dying. I was caught off guard by such a realistic conveyance of a couple’s life, but the realism was refreshing for a mainstream animated film.

Jumping to present day, Carl (Ed Asner) is a typical grumpy old man and his is the last house in the neighborhood not sold to a corporation that is renovating the area. It’s his only connection to Ellie, and following up on his promise to her, he concocts a plan to get the house to Paradise Falls by flying it with the use of many colorful balloons. Carl accidentally shanghais Russell, a Wilderness Explorer who was under the porch while trying to earn his “Assisting the Elderly” merit badge.

They eventually fly the house near Paradise Falls but have to walk it around the ravine to get it in the right spot. They come across a tall, flightless, indigenous bird Russell names “Kevin” before discovering its gender, and a dog named “Dug” who has a collar that gives him the ability to speak. Dug is one of many dogs owned by Muntz, who has been searching for Kevin and other birds of his species to prove their existence for decades. Years ago, Muntz presented a skeleton and was accused of being a fraud. He’ll do anything to get the bird. Carl is indifferent and just wants to get his house to Paradise Falls. However, Russell works to protect his feathered friend against Muntz and his army of dogs. This forces Carl into choosing a course of action, one that speaks to a larger theme of choosing the past or the future.

With a very impressive 1080p/AVC-encoded transfer and presented in 1080p at an aspect ratio of 1.78:1, Up looks brilliant. The textures are awesome as a great amount of attention to detail was paid all around to items like clothing, the flooring and wallpaper in Carl’s house, facial stubble, paper in books, and the aging of photographs. The film is filled with many lush, vibrant colors from the balloons to Kevin’s plumage and Russell’s Wilderness badges. One great-looking scene features a deep red as the sun rises, although it’s the wrong color because the sun looks deep red as it sets. The film also looks very lifelike when the dogs are falling in the water as if it were actual video shot.

The audio comes in English DTS-HD Master Audio 5.1 Surround Sound, DTS-HD 2.0, French Dolby Digital 5.1, Spanish Dolby Digital 5.1, and English Descriptive Video Service 2.0. The sound team holds their own with the DTS-HD 5.1 track by creating an immersive experience. Whether the subtle sounds of construction off in the distance in the surrounds to being smack dab in the middle of a thunderstorm, the viewer is placed within the story. Michael Giacchino’s triumphant soundtrack is very evocative and sounds great. The dialogue can always be clearly heard and has a great dynamic range, especially helpful when Alpha’s broken translator projects his voice at a high pitch.

Up is filled with high-def extras that will keep fans busy for quite a while. “Partly Cloudy” is the amusing short about where babies come from that has appeared with “Up” in theatres. “Dug’s Special Mission” is a new short showing what Dug was up to before his appearance in the film. “The Many Endings of Muntz” reveals different options the filmmakers consider for his fate. The creative team’s adventures to South America to research the landscape are documented in “Adventure Is Out There.” “Cine-Explore Commentary” presents a Picture-in-Picture of Docter and co-director Bob Peterson (also the voice of Dug and Alpha) offering an in-depth, informative look at the creation of “Up.”

A second Blu-ray disc offers roughly 45 minutes of documentaries that break down different aspects of the film’s creation from character designs to balloon physics. These are great for people that enjoy the nitty gritty of production. “Alternate Scene: Married Life” goes over the montage and, using storyboards, shows one previously plotted. Promotional materials for the film can be seen in “Up Promo Montage” and “Worldwide Trailers”. The Blu-ray set also comes with a DVD of the film along with Bonus Features and a Digital Copy.

Up has a lot going for it: humor, action, emotion, and one of its great strengths is the message at its core. Docter told Christianity Today,

Basically, the message of the film is that the real adventure of life is the relationship we have with other people, and it's so easy to lose sight of the things we have and the people that are around us until they're gone….So, if you can kind of wake up a little bit and go, "Wow, I've got some really cool stuff around me every day", then that's what the movie's about.

Up is one of the best of 2009 and deserves a place in your video library.

Snow White and the Seven Dwarfs - Diamond Edition (1937)

Walt Disney’s Snow White and the Seven Dwarfs is a landmark in cinema history for a number of reasons, most notably being the first feature-length animated film. It retells the Brothers Grimm fairytale about the princess Snow White and her wicked stepmother, known only as the Queen, who is so vain her desires to be the “fairest of them all” drive her to have Snow White killed. When the Huntsman given the task cannot bring himself to do it, he allows Snow White to run away into the woods and fools the Queen by giving her a pig’s heart.

Making her way through the scary-looking forest, Snow White stumbles upon the empty home of the Seven Dwarfs while they are off working in their diamond mine. With the help of animals, she spruces the place up and then falls asleep across a few beds. The Dwarfs return to find her asleep like Goldilocks. Although Grumpy is suspicious, they decide to let her stay. It seems the ideal arrangement until the Magic Mirror reveals the Huntsman’s ruse and the Queen decides to go after Snow White herself.

Snow White is a masterwork on mainly levels filled with iconic moments of animation and song that will forever endure. The Queen’s transformation into an old hag remains impressive. So is the chase sequence of the Dwarfs after the Queen, as exciting as any live-action film. Songs like “Heigh-Ho,” “Some Day My Prince Will Come,” and “Whistle While You Work” were so popular Snow White became the first film to release a soundtrack album. Many techniques used to create this film went on to become standards in the industry, such as the multiplane cameras to provide depth and animation techniques to create realistic-looking humans.

The Blu-ray does a great job presenting the film, although at times the high definition reveals limitations and there are some video issues with my copy that don’t appear to be widespread, so I may have gotten one from a bad batch.

From the opening storybook pages, the colors and sharp delineations of letters look fantastic as they pop off the white pages. The animation portion continues the strong representation of the images in the same, well-rendered manner. Reds and blacks are rich and vibrant throughout. The first scene in the Dwarfs’ diamond mine sparkles and the rain is palpable. The high definition brings out the depth in the shots created by the multiplane cameras. Textures drawn can be seen, but the high definition also reveals their absence, such as in the backgrounds from the use of watercolors.

I was surprised to see many flaws in the images. When first entering the diamond mine, Bashful and Sneezy briefly get double exposed in two different positions. Also, when the Queen asks the Hunter to provide Snow White’s heart, her eyes are out of focus, an issue that happens a number of other times throughout, including when the dwarfs first return home to find Snow White.

The audio is presented in 7.1 DTS-HD Master Audio and a restored original theatrical track. Other than the storm during the film’s climax, I didn’t notice much in the way of subwoofer. The surround doesn’t offer much in the way of ambiance and is mainly engaged for the music sequences, so there’s not much lost in choosing the original mono to recreate the 1937 experience.

The Diamond Edition offers a whole slew of features. An informed audio commentary by film historian John Canemaker is augmented by interviews with Walt Disney. The film can be watched in DisneyView, which compensates for the film’s 1.33:1 aspect ratio by filling in the screen with artwork by Tony Bluth that matches the scenes backgrounds.

Two deleted scenes from the film that may have been repurposed for a sequel that never materialized can be seen in “Snow White Returns” or on their own. The obligatory music video by one of their Disney Channel rugrats covering a classic song stars Tiffany Thorton with "Some Day My Prince Will Come." There are games for the kids. "Mirror, Mirror on the Wall" provides question to see what princess you are. Turns out I am most like Belle. "Jewel Jumble" is basically a version of Tetris and "What Do You See" provides obscured images from the film. Since their potential audience is at hand, Disney offers a sneak peek at their upcoming The Princess and the Frog.

Disc 2 continues the bounty of behind-the-scenes materials sure to drive amateur film historians and Disneyphiles wild. Not only does it cover the history of the film and its influence, but examines many aspects of the production, including the writers, music, art department, animation department, live action reference, ink and paint, camera department, and the sound stage. There is an extensive amount of galleries that look at storyboards, visual development, abandoned concepts, background, layout, animation art, live action reference, publicity, and production photos.

Many fans, if they don’t have them in their collection already, will be glad to discover the following Disney shorts in different sections on the disc: “Babes in the Woods,” “The Skeleton Dance,” “Music Land,” “Goddess of Spring,” “Playful Pluto,” “Flowers and Trees,” “The Old Mill,” and “Steamboat Willie.” Some of the work in these early shorts assisted in Snow White’s creation.

While many in Hollywood at the time called Snow White “Disney’s Folly” during its lengthy production, I would like to offer, as Walt does in the film’s credits, “my sincere appreciation to the members of [his] staff whose loyalty and creative endeavor made possible this production.” That also extends to the people who now continue to watch over its legacy.

An American Werewolf in London - Full Moon Edition (Blu-ray)

After a string of comedic box-office successes (Kentucky Fried Movie, National Lampoon’s Animal House, and The Blues Brothers), director John Landis had the clout to pick his next project. He veered away from comedy to a screenplay he first worked on in 1969 while a production assistant in Yugoslavia on Kelly’s Heroes. An American Werewolf in London was Landis’ take on the Wolfman.

David (David Naughton) and Jack (Griffin Dunne) are backpacking their way through Europe. The film opens with them traversing through the moors of Northern England, but all Jack can think of is hooking up with a woman in Italy. A creature, not clearly distinguished on screen, kills Jack and injures David, who is taken back to London to be cared for and awakens from his injuries three weeks later.

David is visited by Jack’s disfigured ghost, who informs him a werewolf attacked them and that David will become one at the next full moon. To stop the cycle, Jack tells David he must kill himself to protect others. This will also release Jack’s spirit from limbo. David isn’t sure if he is really seeing Jack or dreaming, though. Upon David’s release, Alex, a nurse at the hospital, in a combination of pity and attraction, takes him to stay at her place—where they have sex.

The next evening, Alex goes to work at the hospital and David changes into a werewolf, rampaging the city. He awakes naked in a wolf pen at a zoo and, after hearing about a series of grisly murders, realizes Jack was right. With a full moon set to rise again, David is unsure of what to do.

An American Werewolf in London is an enjoyable horror film. It’s not too scary because it mixes in the right amount of humor without turning it into a comedy. What makes the film work is the believability of the situations and the tension created by Landis’ pacing. While the wolf attacking someone is startling, the real thrills come from the wolf stalking.

Not content to use previous Hollywood magic of lap dissolves where hair was added to a man sitting still in a chair, Landis felt the transformation of a man into a wolf would be extremely physical and likely excruciating. He hired makeup/special effects artist Rick Baker, who with his team delivered groundbreaking work that not only remains impressive nearly three decades later, but helped bring about the annual honor by the Academy of Motion Picture Arts and Sciences for recognition of work in this field.

The Blu-ray video is presented at 1080p High Definition Widescreen with an aspect ratio of 1.85:1. Right from the opening shot, a good amount of grain is seen and it's pervasive throughout the film, especially during low-lit, exterior shots. The color is muted with the most vibrancy coming from the green vegetation and the red of blood, call boxes, and buses. There are imperfections in the video from the source, such as a scratch that runs through the frame during a brief bit in a bar scene. This is likely as good as the film is going to look without restoration work done.

The audio is English DTS-HD Master Audio 5.1 and the viewer’s language must be chosen at the beginning of the disc. The gunfire is loud and booming. The wolf attacks come mainly from the front center speakers with minimal surround support. The music and effects have been remastered but the dialogue noticeably has not, resulting in them not blending together well in the mix.

There are two all-new features. Beware the Moon is a feature-length documentary as long as the movie itself and is filled with current interviews and behind-the-scenes footage. It’s very informative. Fans of film and filmmaking will enjoy this, especially those intrigued by make-up effects. And in “I Walked With A Werewolf” (8 min), Baker reflects on the film as well as the upcoming motion picture, The Wolfman, which this release was likely tied into before it got pushed back to February 2010.

Additional Features are from previous home video releases of the film, including commentary by Naughton and Dunne. I was surprised Landis and Baker weren’t included as well, but they speak enough about their work in the other features.

“Making An American Werewolf in London” (5 min) is a PR piece created at the time of the film’s release. “Interview with John Landis” (18 min) and “Interview with Rick Baker” (11 min) were recorded in 2001 and if you don’t get to these first, their responses will have already been covered. “Casting of the Hand” (11 min) presents archival footage from 1980 with Baker making a mold from Naughton for transformation. Outtakes (3 min) are included, but as there’s no soundtrack, there’s not much value. There’s also a Storyboard Comparison of the Piccadilly Sequence (2 min) and a Photograph Montage (4 min).

The cult-classic status of An American Werewolf in London is certainly warranted, and it will make for fun viewing as Halloween approaches. Landis fans should keep an eye out for two instances of “See You Next Wednesday” and a cameo.

M*A*S*H (1970) (Blu-ray)

Based on Richard Hooker’s novel MASH: A Novel About Three Army Doctors and, as it turns out according to the extras, on Ring Lardner Jr.’s script, to the screenwriter’s initial chagrin, Robert Altman and the cast deliver a brilliant military farce equal to classics like Duck Soup and Dr. Strangelove.

In fact, while M*A*S*H is celebrated as an antiwar film, set in Korea though made about Vietnam, the anti-authority anarchy plays out very much like an R-rated Marx Brothers movie would have particularly because there’s not so much a story taking place but rather characters making their way through a series of comedic vignettes. However, the film isn’t solely about getting laughs as the bits of comedic insanity are separated by the insanity of war as the seemingly never-ending supply of the bodies never abates.

As the film opens, we meet Hawkeye Pierce (Donald Sutherland) and Duke Forest (Tom Skerritt), two newly arrived surgeons to the front whose skills in the operating room rival their moves with the ladies. Rather than wait to be assigned a jeep, Hawkeye’s character is defined immediately by his decision to steal one and head off to the 4077th Mobile Army Surgical Hospital. Once at camp, they immediately put their stamp on the place by requesting the pious Frank Burns (Robert Duvall) be removed from their quarters and teaching Ho-Jon, a local teenager, how to make martinis. They soon get a new tentmate, Trapper John McIntyre (Elliot Gould), who proves his worth by pulling olives out of his jacket, a luxury they have endured without.

The time is passed by drinking and carousing and playing pranks on those who don’t join in the fun, namely Frank and chief nurse Margaret Houlihan (Sally Kellerman), who earns the nickname “Hot Lips” after a passionate night with Frank is broadcast over the camp PA system. Yet they still find time to do good work. By creating a mock assisted suicide, they prevent “Painless Pole” Waldowski (John Schuck), the unit's dentist, from killing himself after he thought his performance failure with a nurse meant he was a homosexual. Trapper and Hawkeye go to Japan to operate on a Congressman’s son. After a very funny football game against General Hammond’s team, Hawkeye and Duke get their papers to go home, and the war keeps going.

The video is presented in a 1080p high definition transfer with an aspect ratio of 2.35:1. Videophiles may be disappointed in the sharpness, but when the film was shot, Altman purposely used a lot of diffusion and wanted the image to look dirty to contrast it with the pro-war films 20th Century Fox was shooting at the time: Patton and Tora! Tora! Tora! It almost looks like DNR was performed, but Altman clarifies this in supplementals.

The color palette is mostly muted earth tones. The characters wore olive drab uniforms and lived in olive drab and tents. The few instances of bright color are the white uniforms and red blood in surgery and a few outfits Hawkeye and Trapper wear, such as their golf attire.

The soundtrack doesn’t make much use of the DTS-HD Master Audio 5.1. It is mainly dialogue, a good portion of which overlaps, making it tough at times to make out everything being said, but that’s Altman’s style. The front center presents the majority of the audio as both the surrounds and subwoofer get minimal use. Might as well use the mono track.

The Special Features offer a Blu-ray exclusive interactive feature for fans revisiting the film. It keeps track of elements such as Spirits, Sanctity, and Shenanigans. There’s even an Altman Mumble Meter to count the moments of overlapping dialogue.

All the other features are brought over from the DVD release. They are presented in standard definition and repeat some material. There’s a commentary track by Altman but he doesn’t speak continuously and long pauses occur. He covers the making of the film and trying to stay under the studio executives’ radar. He also mentions Gould and Sutherland trying to get him fired early on because they didn’t trust his methods. He didn’t like the TV series. Thought it was racist, and he got Alan Alda’s name wrong.

“AMC Backstory: M*A*S*H” (24 min) - Altman, producer Richard Zanuck, film critic Richard Schickle, and many members of the cast talk about the film for the cable channel program.

“Enlisted: The Story of M*A*S*H” (41 min) – This doc is much better and makes Backstory superfluous. Though it covers the same ground, it’s more in-depth, and features more interviewees.

“M*A*S*H: History Through the Lens” (44 min) - This History Channel Program uses the movie to tell the story of the real war surgeons.

“Remembering M*A*S*H: 30th Anniversary Cast & Crew Reunion” (30 min) - Held at LACMA theater in 2000, the Fox Movie Channel presents Altman their first Legacy Award and a discussion of the film with the cast. I was lucky enough to be in audience and appear on camera a couple of times seated in the back. It's good to live in Southern California.

The humor of M*A*S*H is not dated and nor diminished on repeat viewings. Classic moments like Margaret’s outburst in Colonel Blake’s tent and Radar’s non-reaction to getting spit on still illicit the same laughs. However, with that being said, just being on Blu-ray does not make it “even funnier” as the case jacket states, and the moments the war are sobering amidst all the inebriation.

I strongly recommend adding this Altman masterpiece to your collection especially for those interested in making films because a lot of rules are broken, yet it works.

KAGEMUSHA - The Criterion Collection (Blu-ray)

From his debut as a director with Sanshiro Sugata (1943) through to Red Beard (1965), director Akira Kurosawa averaged releasing one film a year. That’s an impressive run even before taking into account how many were widely acclaimed the world over. However, Kurosawa began to have trouble raising money for projects with Japanese studios. He headed to the United States but didn’t complete a film. The winter weather derailed his attempt to shoot The Runaway Train and then, according to Donald Richie’s account in The Films of Akira Kurosawa, he got himself fired from Tora! Tora! Tora! likely due to clashes with 20th Century Fox executives.

Kurosawa returned to Japan and formed a production company with directors Kon Ichikawa, Keisuke Kinoshita, and Masaki Kobayashi. Each member was supposed to make a film, but the first, Kurosawa’s Dodesukaden (1970), failed at the box office and the group ultimately disbanded. Kurosawa then made Dersu Uzala (1975), mostly financed by the Soviet Union. In 1978, Kurosawa returned to America and with the help of filmmakers George Lucas and Francis Ford Coppola got 20th Century Fox to co-finance Kagemusha (1980), now released on Blu-ray by The Criterion Collection.

The film, whose title translates as “Shadow Warrior,” is similar to a Shakespearean historical play as it presents the downfall of the Takeda clan, which culminated at the Battle of Nagashino in April 1975. Kagemusha opens two years earlier with three identical-looking men seated in a low-lit room. Takeda Nobukado introduces his brother Takeda Shingen, a powerful warlord, to a thief spared from execution because of his likeness to Shingen. Both men agree the thief would make a good double with training. Shortly after being wounded by an enemy sniper, Shingen dies, but he left two standing orders: the news of his death must be kept for three years and his men should guard their domain and never move from it.

Keeping up the ruse proves very difficult. The patience of Shingen’s counselors is tested by the thief’s behavior; enemy warlords Tokugawa Ieyasu and Oda Nobunaga have sent spies to learn of Shingen’s fate; and Shingen’s son, Katsuyori, is severely disappointed he was passed over as heir to the Takeda clan for his young son Takemaru. The sin of pride becomes a common theme with many of the characters.

Particularly on Blu-ray, Kagemusha looks outstanding in 1080p with an aspect ratio of 1.85:1 in part because Kurosawa is such a master at creating images. The film has many vivid, memorable scenes, like the dream sequence, and the battle sequences are brilliantly choreographed. With so many extras used as soldiers, the scope of the epic has authenticity. There’s a lot of grain in the image, but thankfully no DNR was used, allowing the ornate details of the costumes to be clearly seen. I saw no flaws in the picture.

The cinematography is exquisite, likely due in part to the paintings Kurosawa created for the film as he awaited the green light. Although only his third color film, he makes great use of it. Filled with a lot of pageantry, Shingen’s armies outfitted in reds, greens, and purples standout amongst the blue sky and green fields, and a different hue of red is used for blood. The blacks come up slightly short.

The audio is presented in DTS-HD Master Audio 4.0. Shinichiro Ikebe’s score pumps out the speakers subwoofer right as the film begins. It sounds good but too clean, as if it was remastered at a louder level, causing it not to blend well in the mix with the softer Japanese dialogue. The effects are strong from the gunfire to flags rippling so hard in wind they sound like roaring fire.

As with many Criterion discs, it is packed with special features. “Lucas, Coppola & Kurosawa” contain separate interviews from 2004 where the American directors discuss their involvement in the Kagemusha’s creation. Forty minutes of the film’s making is presented from the Toho miniseries Akira Kurosawa: It Is Wonderful To Create. “Image: Kurosawa’s Continuity” shows the work of Masayuki Yui (Ieyasu) who took Kurosawa’s storyboard drawings and painting and matched them with audio to create an abridged version of the story. “A Vision Realized” is a gallery that compares over 20 storyboards with scenes from the film. Five Suntory Whiskey commercials, ranging from 30 second to a minute, show Kurosawa on the Kagemusha set. Coppola appears in two of them.

To learn more about the film, the commentary track by Stephen Prince, author of The Warrior’s Camera: The Cinema of Akira Kurosawa is informative, covering themes and ideas in Kurosawa work’s, and the accuracy of the historical events. The most beneficial element is for those who have seen the film before: Prince points out 20 minutes cut from the original Japanese version.

Kagemusha is one of the latter gems from Kurosawa's career and this Blu-ray edition is a great way to appreciate it.

The Black Crowes - Warpaint Live Blu-ray

Having great confidence in the album, likely because they had heard it as opposed to simply passing judgment from one new song and the band’s catalog (say like David Peisner, formerly of Maxim), The Black Crowes toured in support of Warpaint and performed it in its entirety. This Blu-ray captures their concert at The Wiltern Theatre in Los Angeles, California on March 20, 2008, less then three weeks after Warpaint’s release, which was was previously listened to and reviewed here.

Playing the album in order, the concert starts with the joyous “Goodbye Daughters of the Revolution.” When Chris Robinson requests people “come join the jubilee,” it makes for a perfect start to the festivities. He sounds in fine form whether belting out a rocker or delivering a ballad. Back-up singers Charity White and Mona Lisa Young make for great accompaniment.

The presence of Adam MacDougall’s organ and Sven Pipien’s bass really come through on Evergreen’s arrangement. Chris strapped on an electric guitar to augment his brother Rich and Luther Dickinson for “Wee Who See The Deep.” Dickinson switches to mandolin for the country rocker “Locust Street.” During the lead in on “Movin’ on Down the Line,” MacDougall’s organ sounds like its underwater, reminiscent of John Paul Jones’ playing on Led Zeppelin’s “No Quarter.” Steve Gorman comes out from behind his kit wearing a marching bass drum and drum major regalia for a rendition of Reverend Charlie Jackson’s inspirational gospel number “God’s Got It.”

After taking a break, they return for a short second set. They open with Delaney, Bonnie & Friends “Poor Elijah - Tribute To Johnson,” followed by two slow, bluesy songs that flow well together from The Southern Harmony and Musical Companion era: B-side “Darling Of The Underground Press” and “Bad Luck Blue Eyes Goodbye.” They create a Bramlett bookend with Eric Clapton’s “Don’t Know Why,” which Delaney co-wrote, and leave the stage. They come back to encore with The Rolling Stones “Torn And Frayed” and close out the night with a grand flourish with Moby Grape’s “Hey Grandma.” Chris played acoustic guitar on the former and electric guitar on the latter.

No slight intended to anyone else but the main highlight of getting to see the Crowes live in action is witnessing the brilliant talents on display by new member guitarist Dickinson whose contributions have really propelled their sound to great heights.

The video is presented in 1080i High Definition Widescreen with a 1.78:1 aspect ratio. The band plays under a haze of stage smoke and shifting multi-colored lights, contributing to why the details lose some of their sharpness at times. There is some occasional video noise, but not enough to ruin the viewing experience.

The audio is defaulted to LPCM Stereo and is also available in Dolby Digital 5.1 and DTS HD Master Audio. The DTS offers a good dynamic range while the bottom end is well delivered through the subwoofer. The audience can be heard well in the surround speakers as the show opens and in between songs

Warpaint Live offers a fantastic night of music for Crowes fans, or at least 103 minutes depending on when you watch it. The Blu-ray captures the sights and sounds of a Crowes concert. The only thing missing is the (herbal) smells.

Generation Kill (Blu-ray)

From the team of David Simon and Ed Burns, the executive producers/writers of The Wire and The Corner, comes the 11-time Emmy-nominated Generation Kill on DVD and Blu-ray. The seven-part HBO miniseries is based on the book by Rolling Stone writer Evan Wright, which began as a three-part series of articles, the first of which went on to win a National Magazine Award for Excellence in Reporting in 2004. He details his time in 2003 embedded with the Marine Corps’ 1st Reconnaissance Battalion during Operation Iraqi Freedom. While the deserts of the Middle East are half a world away from Simon’s normal milieu of the streets of Baltimore, the theme of individuals struggling within a bureaucracy is a familiar one in his work.

As the series begins Wright (Lee Tergesen) joins up with the Marines in Kuwait where he is assigned to ride in Bravo Company’s lead vehicle, which is commanded by Sergeant Brad “Iceman” Colbert (Alexander Skarsgård) and driven by wisecracking Corporal Josh Ray Person (James Ransone). The Marines aren’t thrilled about having to deal with Wright; they figure his left-leaning magazine will paint the soldiers in a bad light to its hippie readership. However as consolation, many of them enjoy the picture of Wright’s girlfriend.

Over the course of the seven episodes, which roughly covers the three months Wright was in the field, we witness the Marines’ journey as they invade Iraq and occupy the city of Baghdad. The days are filled with lethal action and relentless tedium, and they never know if the next Iraqi they meet wants to shower them with flowers or bullets. The fog of war affects their efforts, as does being poorly supplied.

On the front lines, they are constantly put at risk having to discover the correctness of decisions; some of which are made to impress higher-ups while others are no more informed than a coin flip. A few men question their superiors at different times, but this stems from losing trust in their superiors’ competence to adequately protect the men. As a result, two captains have been derisively nicknamed Encino Man and Captain America.

The Marines appear like any other group of people in that a bond unites them and compels them to work together, yet it doesn’t mean they all like each other. There are personality clashes and racists as expected, but most intriguing is seeing some Marines shun Lance Cpl. James Trombley. At a time when the rules of engagement declared all Iraqis hostile, Trombley’s eagerness to get in on the action contributes to his shooting at camel herders off in the distance. However, it is discovered the men he shot at were a couple of unarmed Iraqi boys when their relatives bring them in for medical attention.

While the battle scenes are intensive, the most compelling moments take place as the Marines deal with situations they are not trained nor prepared for. In particular, during a very tense situation as they deal with crowds of Iraqi civilians in Baghdad, a Marine shoots up a car and kills the driver who ignored the warning to stop and headed towards them. It is powerful scene because while the Marine’s response is understandable, regardless of the driver’s intent, he is affected by it.

The miniseries is presented in 1080p High Definition with an aspect ration of 1.78:1. The color palette is rather limited, which is understandable as the Iraqi deserts, recreated in Africa, don’t look like the beaches of Miami. It is mainly comprised of muted variations of green, brown, and blacks with the blacks losing some of their depth and richness during the night sequences. There is evident grain throughout the image, a source choice by the cinematographer.

The DTS-HD Master Audio 5.1 engulfs the viewer in the sound mix, putting them square in the convoy as it rumbles across the desert and does battle. Helicopters roar across the speakers as they fly across the sky and sniper fire rings out from locations. Yet with all the commotion, the dialogue doesn’t get lost. Kudos to the sound team because they will cause your head to swivel around.

Basic Training is an exclusive Blu-ray feature on each episode offering a Military Glossary, Chain of Command Chart, and Mission Map to inform the viewer. Each can be viewed through the Pop Up Menu or the arrow keys on remote.

All but episode six have a commentary track. The participants in various combinations are Simon, Burns, Wright, executive producer George Faber, producer Andrea Calderwood, directors Susanna White and Simon Cellar Jones, actors Skarsgård, Ransome, Stark Sands (Lt. Fick), Benjamin Bush (Maj. Eckloff), and Key Military Adviser Eric Kocher (Gunnery Sgt. Barrett), and Marines Tech Advisor Jeffrey Carisalez (Cpl. Smith). “Generation Kill: A Conversation” features Wright talking about the film with members of the 1st Recon Marines and their impressions of the series. There is a making-of HBO special, Deleted Dialogues, and actor Eric Ladin’s Video Diaries he shot over the course of the film.

Generation Kill puts a face on the Marines, the fathers and brothers, friends and neighbors, who are risking their lives and killing on behalf of the country, each for their own reason. The cast and crew do a very good job telling their story through Wright's perspective. It’s too bad the networks have gotten out of the miniseries business, but thankfully HBO has filled that void.

THE PINK PANTHER 2 (Blu-ray)

When I first heard that Steve Martin was taking over Peter Sellers’ iconic role as Inspector Clouseau in The Pink Panther (2006), I couldn’t believe it. Now, I don’t automatically discount the notion of remakes. After all, artists in the fields of theater and music frequently interpret other people’s works, and if it weren’t for remakes, the world of cinema would not have classics such as John Huston’s The Maltese Falcon or Victor Fleming’s The Wizard of Oz. Yet, there are some stories and performances so ingrained into pop culture that new enterprises seemed doomed to failure.

I skipped Martin’s first foray, having no interest in the idea and no longer trusting him as a film comedian. I heard nothing good about it, so I was even more surprised to hear there was a sequel, The Pink Panther 2, which I ignored in theaters for the same reasons. I decided to review the Blu-ray set, expecting to savage the film, for purely selfish reasons since it came with an extra disc filled with Pink Panther cartoons. To my delight and surprise, I enjoyed it and was reminded to try something before automatically condemning it.

The story tells the tale of the cat burglar known as the Tornado, who has stolen treasures from countries around the world. An international team of detectives (Andy Garcia, Alfred Molina, and Yuki Matsuzaki) is formed with France’s representative being Clouseau to the great chagrin of his superior, Chief Inspector Dreyfus (John Cleese taking over for Kevin Kline). Sonia Solandres (Aishwarya Rai), a writer about the Tornado’s exploits, also joins the team. Clouseau bumbles along, leaving a good wake of destruction and damage, yet solves the mystery in an admittedly convoluted manner.

Although definitely geared towards a young audience, The Pink Panther 2 is surprisingly funny with all its silliness, from exaggerated accents to elaborate slapstick. There’s a wonderful and possibly complicated bit involving the juggling of wine bottles I hope was real and not CGI augmented. As a fan of the Sellers films, I was glad to see a sequence that paid homage to the Clouseau/Kato fights.

The film is a throwback to early Hollywood comedies and is good for the whole family, except maybe teenagers who are too cool for anything. My 15-year-old niece Sobrino Mono, who had already seen the film gave me a one-word review, "retarded," and had no interest in seeing it again.  Ten-year-old nephew, Sobrino Poco Loco, found the film funny and thought it had a good story, particularly because he was able to solve the crime, which shows the film got him thinking.

The video is presented in 1.85:1. The high definition transfer showed fine details in the foreground, such as the texture of fabrics, but the cinematographer used a limited depth of field, causing most backgrounds to be slightly out of focus. The colors were bright and consistent although flesh tones leaned toward pink. Unfortunately, the green-screen effects, especially when driving or when the skyline was altered, were obvious and distracting.

The audio is available in English in 5.1 DTS-HD Master Audio and 5.1 Dolby Digital. The dialogue is clear, including the exaggerated accents, and positioned in the center. The surrounds and subwoofer are put to serviceable use without being overdone, although they are not called to do a lot. Henry Mancini’s classic theme is a natural standout.

The Special Features include a Gag Reel, which was slightly over three minutes but not very funny; “Drama is Easy…Comedy Is Dangerous” (HD), a look at physical comedy and stunt work, “A Dream Team Like No Other” (HD) focused on the cast. There was also a trivia game: "Master Life – Global Crime Showdown!" The participants need to answer two out of three questions related to an item and location before moving on to the finale with questions about movie. There is also a digital copy of the movie.

Even people who dislike the movie surely can’t be dissatisfied with the standard DVD of Pink Panther cartoons. It is the first disc from The Pink Panther Classic Cartoon Collection and was also released as a single DVD entitled Vol. 1: Pranks in the Pink. In chronological order, it presents the first 27 Pink Panther cartoons, including “The Pink Phink,” Oscar-winner for Animated Short Subject. The creative team can be seen trying to get a handle on the character as the normally mute cat speaks in “Sink Pink” and “Pink Ice.” Although they started as theatrical cartoons, some have a laugh track from television airings, like “Pink Blueprint.”

The combination of material makes The Pink Panther 2 a good choice for the family.

Trade in Warner Bros HD DVDs for Blu-rays with Red2Blu Program

For those who picked the wrong side in the high-definition format war by going with HD DVD and see the red plastic cases that line their video library shelves as a disappointing reminder of the inherent pitfalls that accompany being an early adapter, Warner Brothers is offering some relief to those who double-dipped on the disc players.

Through the website Red2Blu.com, the studio is offering a new program that allows  United States residents to exchange up to 25 HD DVDs out of 128 listed titles for the Blu-ray counterparts. Most can be exchanged for $4.95 each plus shipping and handling, but the titles with multiple discs like Blade Runner - Complete Collector's Edition and television series season sets have a reasonably higher price.

After proceeding through the checkout process, the consumer will need to complete the transaction by mailing in the original HD DVD cover art intact to the processing center. For certain gift sets with different packaging, different instructions are provided.

A confirmation email is sent containing a PDF shipping label that includes a barcode to identify the order. This label either needs to be affixed to the envelope or placed in an envelope along with the cover art. Within four to five weeks the studio claims Blu-ray replacements should be received.

It's a win for everyone who wants to take part and make the switch, considering how much Blu-ray movies cost.  Hopefully other studios will follow Warner Brothers lead.

DOUBT (2008) (Blu-ray)

In a Bronx Catholic church, a year after Kennedy’s assassination, recently arrived Father Flynn (Philip Seymour Hoffman) gives a sermon about doubt. Sister Aloysius (Meryl Streep), principal of the church’s school, is intrigued by the sermon’s origin, because it comes from somewhere, and she suggests to her fellow Sisters of Charity to keep an eye out for anything suspicious.

Sister James (Amy Adams) notices a seemingly unusual closeness between Father Flynn and Donald Miller, an altar boy and the school’s only black student. During her class, Donald is called to the rectory to meet Father Flynn. Upon his return, Donald appears bothered, and she notices alcohol on his breath. Later, she witnesses Father Flynn place a shirt in Donald’s locker, and reports what see has seen to Sister Aloysius, who is troubled because she has seen inappropriate relations between priests and boys before in the Church.

Under the guise of discussing the Christmas pageant, Sister Aloysius, with Sister James recounting what she witnessed, confronts Father Flynn, who doesn’t wish to discuss the matter. Feeling this confirms his guilt, Sister Aloysius continues to press until he reveals Donald was caught drinking sacramental wine and was dealing with it privately. However now that it had come out, Donald would lose the privilege of being an altar boy. Sister James is relieved and accepts Father Flynn’s explanation. Sister Aloysius refuses to believe him, trusting her own certainty on the matter.

After Donald’s mother (Viola Davis) visits with Sister Aloysius, Father Flynn demands she stop her witch-hunt. She refuses, stating she is willing to sacrifice everything to see justice done. She wants his confession, but he repeats there’s nothing to confess. Although admitting he has sinned, Father Flynn never admits to Sister Aloysius’ charges and Shanley never gives us any proof, leaving the viewer only with Sister Aloysius’ certainty.

The story’s resolution leaves everyone deeply affected, including the viewer who is left to determine what really happened, but will never know if they are correct. For every opinion, there’s an equal and compelling counterargument to what the truth is, making Doubt about much more than the mystery presented.

John Patrick Shanley adapted and directed the film from his Pulitzer Prize- and Tony Award-winning play of the same name. His characters Sister Aloysius and Father Flynn are an interesting dynamic, representing different views on the direction of the church. She wants to keep the rituals and tradition; he wants the church to become more progressive. She’s conservative; he’s liberal. The viewer sees this from their views ranging from ballpoint pens to Christmas pageant music, yet Shanley refrains from casting heavy-handed judgments.

The performances by the main foursome are very well done, which is why they received all received Oscar nominations. Streep and Hoffman are particularly brilliant together, creating more fireworks and tension with their delivery of the dialogue than any CGI-filled summer blockbuster. Watching them talk and move around Sister Aloysius’ office in their final scene together is reminiscent of a ballet by two graceful dancers.

Although the strength of the film comes from the writing and one of the best acting ensembles of 2008, Shanley removes the staginess that affects many play adaptations. He does this in tandem with master cinematographer Roger Deakins as together they create wonderful imagery, such as pillow feathers blowing across the rooftops as a metaphor for the spread of gossip.

Doubt is presented in 1080p High Definition with a 1.85:1 aspect ratio. The image looks pristine. The details are sharp no matter the texture, from the ornate designs of Father Flynn’s garments to the brickwork on the buildings. The film makes a great use of color, using a muted scheme in the outside world and vibrant colors within the church buildings. The blacks, of which there are a lot because of the dress code, are very rich and allow for differentiation as the black buttons on the habits can be clearly seen.

The English audio is only available in 5.1 DTS-HD. Although a dialogue-driven film, the surround makes very good use of the ambiance, from the echoing of Father Flynn’s sermons in church to the children in schoolyard and cafeteria to the inclement weather. Howard Shore’s evocative score also fills the speakers. The subwoofer gets very limited use during thunderclaps.

The Bonus Features are led by Shanley’s commentary track where he offers his “random thoughts” about the film. He explains how it was informed by his youth and discusses production. What was most intriguing that he failed to discuss was during the final confrontation when Sister Aloysius asks Father Flynn about giving Donald wine, he says no yet nods his head, which is an intriguing non-verbal signal.

The remaining features, all in HD, include “Doubt: From Stage to Screen” where Shanley and the four actors talk about the transition to film. “The Cast of Doubt” are seated together when they talk with EW.com’s Dave Karger. “Scoring Doubt” features Shanley and Shore. “The Sisters of Charity” is a look at the sisters who discuss their order’s history and their lives. The disc does have one oddity: the inclusion of an anti-tobacco ad before the movie starts. It’s not clear why it’s included other than Father Flynn is seen smoking.

Without a doubt, I highly recommend seeing this movie, which looks spectacular on Blu-ray. It’s one of the few things I am certain about.