BUY IT AT AMAZON: CLICK HERE!
STUDIO: Buena Vista Home Video
MSRP: $19.99 RATED: NR
RUNNING TIME: 107 Minutes
• 6 additional minutes of never before seen footage in the movie
• Additional commentary from Jerry Bruckheimer, director David McNally and the Coyotes (originally was 2 different commentaries–Bruckheimer/McNally and one from the Coyotes–but was merged into a single one with additional commentary added)
• Search for the Stars: Casting Piper Perabo, the Coyotes, Mr. O’Donnell
• Coyote 101: Calling the Shots, A Place to get Ugly, Shakin’ It
• Inside the Music
• Deleted Scenes
• LeAnn Rimes Music Video
• Action Overload
• Theatrical trailer
Some of the best news when you’re ten years old? Gots to be a trip to Baskin & Robbins. 31 flavors of creamy goodness as opposed to running after that minimum wage retard in the ice cream truck who’s determined to make you run at least a good quarter-mile further than you have to just to get a goddamned Push Pop. Back in the day a trip to B&R was it for me, man. On a side note it never ceases to amaze me looking back how when you were young and didn’t have much money the smallest things could make you happy. That’s the only explanation I possibly have for The Star Wars Christmas Special, “The First” episode of The Incredible Hulk and Rubik’s Cube, among other things. But there’s no need to explain a trip to the ice cream parlor. And no need to explain getting a double scoop of French Vanilla, Rocky Road, Marble Fudge, etc. If you could squeeze an extra 99 cents out of Mom, maybe even a triple scoop. Heaven.
Coyote Ugly, starring Piper Perabo…
So why all the memory lane bullshit about frozen lactose? Because it hit me while doing this latest review that getting a double dip these days means really only one thing: DVD rehash. Extended, unrated, unauthorized, extreme, uncensored, uncut, collectors, or your average, run-of-the-mill “special” editions. I’ve harped on this on more than one occasion (here) and don’t really need to go into it again. But basically, it’s the big grab for more cash by the studios by offering new things on old discs that should have been on the old discs to begin with. Sometimes they’re actually good, but most times they’re ways to further drain the pockets of sheep. So speaking of the double dip, what’s the flavor of the week? In this case it’s a double double dip. Two Jerry Bruckheimer vehicles from back in Y2K that Disney feels there must be a huge demand to see even more of than we got in the theatres or during the first run of their DVDs. Respectively, they call them Extended Unrated and Director’s Cuts. Collectively, I like to call them Ugly in 60 Seconds.
Thank GOD Coyote Ugly came along when it did. Because for too long now the “hot young chicks with nothing but their big dreams to sustain them” demographic has sorely been underrepresented in Hollywood over the last few years…. On the real, there’s no need to explain this movie. It’s a tried and true formula in film that’s been making money forever. You’ve got a hot young thing (typically human, usually female) that dreams of getting out of whatever situation she’s in and going for the brass ring. There’s difficult situations and setbacks along the way, be they job or family-related. There’s definitely romance involved, and as a rule there’s always a pep talk skulking around the flick somewhere waiting to spring and a sappy yet inspirational theme song waiting to chase it. In the end, the hot young thing overcomes her self doubts, naysayers, believes in herself and achieves her dreams. Queue theme song, roll credits. As a pseudo-subgenre of the chick flick, you could call it the “Go-For-It” genre for lack of a better term.
You need examples? No problem: Save The Last Dance, Honey, Center Stage, etc. etc. Are these movies bad movies? For the purpose they’re intended – that being to inspire and appeal to and perhaps even empower the young girl demographic – no. For the rest of us, it’s doubtful that these types of films are going to be our bag, but it’s a sure bet they’re probably the most formulaic genre of any out there. For the most part you can sum up any of these by comparing it to the most famous of these films – Flashdance. Save The Last Dance is a “hip hop Flashdance”, Center Stage is “Flashdance at the ballet”, Honey is “Flashdance for the retarded”…. See how easy that is? Applying this complicated formula, Coyote Ugly would then be “Flashdance meets Cocktail…with more tits and ass;” and there you have it.
Anyway, Coyote is the story of Violet Sanford (relative newcomer Piper Perabo), a New Jersey suburbanite who works at the local pizza joint but who dreams of becoming a songwriter in the Big Bad Apple. So she makes the 42-mile move, even though her father (John Goodman) isn’t thrilled to see her go. Violet ends up pounding the pavement and meeting rejection from every record company in town, who won’t even listen to her demo tape. The only “success” she has is in giving her tape to “Mr.” Kevin O’Donnell (Adam Garcia) when a buddy of his dupes her into believing that he’s a music exec, when in fact he’s merely a grill man. Violet is mortified at the deception, but they eventually make up and begin dating (Yea!!). It’s not long, however, before Violet’s nearly broke and in danger of having to move back home. But a chance meeting with three gorgeous bartenders (Tyra Banks, Bridget Moynihan, Izabella Miko) who are waving wads of cash around leads her to apply at the bar where they work – Coyote Ugly.
…newcomer Izabella Miko…
The owner of the bar is Lil (Maria Bello), a tough, no-bullshit chick who runs a tight bar where the girls entertain the patrons with sexy dance numbers on top of the bar and slick bottle work. Lil takes Violet on as her newest girl and although she doesn’t catch on right away, she eventually fits right in with the raucous atmosphere and uses the money she makes to further her songwriting aspirations. But her main obstacle to exploring her dream fully is an extreme case of stage fright, which she attributes to genetics from her mother (what do you want from me, I didn’t write the damn thing). Kevin tries to spur her on using various techniques, but when she bails on a music gig he set up for her, he causes trouble at the bar and gets her fired. Add to that the fact that her father saw her shaking her ass on the bar like a stripper and is ashamed of her, and that’s the classic low point for Violet. She then has to try to get her dream off the ground, get her father’s respect back and make things right with Lil and Kevin. If you can’t guess how things work out from there, well, you’re stupid.
Coyote is such a textbook example of one of these “Go-For-It” chick flicks that there’s a pop quiz after viewing it. It’s devoid of any originality or surprises, unless you count John Goodman’s character ending up in the hospital…and considering Goodman’s weight, I always expect him to be in the hospital. I dig Goodman’s work immensely, but every time I see him in a movie, I worry that he’s going to leave us long before we’re ready for him to. Considering that this is the Director’s Cut, and that I hadn’t seen this movie all the way through in five years, I couldn’t tell you what was added or not. There is a juicy little tidbit with naked Perabo in a love scene that’s worth mentioning. Skin aside, Perabo is able to hold the film together despite its paper-thin premise and she has a strong "early-Buffy Sarah Michelle Gellar" vibe happening here. Nevertheless, if you know anything about this movie then you know there’s only one thing we give a damn about seeing and that’s the hot chicks dancing on the bars. And in that respect, the movie’s decent, but it’s not enough to make up for the cookie cutter rest of the flick.
5.3 out of 10
…the voice of Kangaroo Jack…
Surprisingly, this film was shot in what looks to be to be 2.35:1, which you can usually expect to find on big magnum opus flicks. I suppose Bruckheimer wanted us to get the best possible view of the girls shaking their moneymakers…that was nice of him. The transfer is good also. I’m sure if you have a nice plasma or widescreen TV the view will get even better.
8.1 out of 10
There’s no explosions or anything of that sort to give your woofers a workout. But there is a Diane Warren/Leann Rimes soundtrack sprinkled throughout the movie if you dig that kind of music.
8.2 out of 10
Commentary: The Coyotes (Piper Perabo, Tyra Banks, Bridget Moynihan, Izabella Miko, Maria Bello) and Jerry Bruckheimer and director David McNally. Two commentaries into one, neither particularly earth shattering. Here’s a challenge for you though: see how long you can listen to five women (albeit it hot ones) talking about nothing before you jump off the nearest ledge…
For the rest of the features, the producers went with the hit and run tactic in their behind-the-scenes stuff, going with 2 to 4-minute shorts rather than one long documentary:
Search for the Stars: Casting Piper Perabo, the Coyotes, Mr. O’Donnell
Coyote 101: Calling the Shots, A Place to get Ugly, Shakin’ It – shorts on actor preparation for dancing and learning how to bartend Cocktail-style and filming the bar scenes.
Inside the Music: Details Diane Warren’s soundtrack and Leann Rimes singing the songs and being the singing voice for Violet.
…and starring John Goodman as ole One-Eye…
Deleted Scenes: Seven minutes other stuff that wasn’t in the theatrical release. Uh, considering that this is an unrated extended cut, couldn’t these have just gone back into the movie? Then it could have been the Super Unrated Extend Cut.
LeAnn Rimes Music Video: A performance piece from her footage in the finale singing “Can’t Fight the Moonlight” in the bar.
Action Overload: In typical Bruckheimer fashion, a minute of super quick cuts of Coyotes flying all over the bar pouring drinks fast enough to keep up with Jan-Michael Vincent. Remember those “blip-verts” from Max Headroom that would make you explode if you watched them? Same deal.
7.2 out of 10
Exactly like the theatrical and first-run DVD cover. But this time with a brick wall slipcover. That’s gangsta, homey.
6.1 out of 10
BUY IT AT AMAZON: CLICK HERE!
STUDIO: Buena Vista Home Video
MSRP: $19.99 RATED: PG-13
RUNNING TIME: 127 Minutes
• Director’s Cut with 9 additional minutes
• Conversations with Producer Jerry Bruckheimer
• Action Overload: Highlight Reel
• The Cult Music Video
• Script to Screen featurette
• Car Stunts featurette
Our second scoop brings us to the second coming of a Nic Cage flick which was itself a second coming of a 1974 chase movie – Gone in 60 Seconds. This is also an extended cut, in this case a Director’s Cut, but unlike Coyote, I could tell where the extra/changed scenes were. If you liked Gone initially, then this new cut will add a little (a very little) somethin’ somethin’ for you. If you hated the movie, thought it was just okay, or didn’t think it measured up to the original, then this new cut isn’t going to do much to change your mind.
It was then,
there, in the Mustang doing 120, with millions on the line and his rep
at stake that Cage realized he should have taken that dump beforehand…
In a nutshell, Gone in 60 Seconds concerns former super car thief Memphis Raines (Cage), who has to come out of retirement when his younger brother, Kip (Giovanni Ribisi, looking the grungiest I’ve ever seen him) botches a job to steal 50 cars for a British gangster, Raymond Calitri (Christopher Eccleston, sporting the thickest British accent ever). In order to save his brother’s life, Raines has only 72 hours to assemble a boost crew, find and steal all the cars. So he enlists his former cohorts Otto (Robert Duvall), Sphinx (Vinnie Jones), Sway (Angelina Jolie, even grungier than Ribisi) and Donnie (Chi McBride). Together with Kip’s younger crew (including Scott Caan), they decide to make with the grand theft auto all in one night. If that weren’t difficult enough, they have to evade a couple of bulldog cops on their trail, Detectives Castlebeck (the excellent Delroy Lindo) and his padawan, Drycoff (Timothy Olyphant, criminally underused here).
"Okay Angie, it’s just you and me here…did you do it with Brad or didn’t you?"
With that set up, the entire second half of the film is about the crew boosting cars in every way imaginable, with Castlebeck and Drycoff trying to stop them. The film culminates in a mega chase (it has to be since it’s the only chase) with Raines boosting a ’67 Shelby Mustang – a car that he’s never been able to successfully steal. Meanwhile, the cops, led by our two detectives, chase him all over Southern California, the Antares Maelstrom, the moons of Nebir and round Perdition’s Flames. Previously, Mr. Davis covered the theatrical release for CHUD eloquently here. I’d have to say that for the most part he’s right on the money. This film definitely needed more chases besides the Mustang finale, and that little side excursion with the Lincoln Navigator in the suburbs doesn’t count by a long shot. The B, C and D plots with Master P’s rival gang, the trunk full of drugs and the adventure in dog shit weren’t much more than time filler. On a side note, Master P. needs to stick to rapping and making billions in everything else. Seriously.
As for Dominic Sena’s direction and Scott Rosenberg’s script, I’d say I’ve definitely seen better but have also seen worse. Rosenberg has done some good work with Beautiful Girls, High Fidelity and Things to Do in Denver When You’re Dead. I find that when he gets to hard core action, he can get a little ridiculous in places. This is never more apparent than in Con Air. First time I saw that flick, I wanted to hurl, especially at the bullshit ending with Cage and the fire engine. But that’s a rant best saved for the Director’s Cut of that movie, which is almost a future certainty. However, that movie, along with this one have a way of sticking with me, once I give myself up to the realization that if I’m looking for Mamet here, I’m going to be waiting a while…a long while. Rosenberg does succeed at keeping all of his plates spinning for Gone, though, and Bruckheimer has indeed assembled a fun cast at the very least. I find Cage had pretty much the same demeanor that I liked in National Treasure, and lost whatever he had in Con Air, which was a good thing.
Nunziata never dreamed of the goldmine waiting for him by switching the website name to chud.vehix.com…
As far as the Director’s Cut, it serves the film better than that of Coyote. Considering that the drawing power of this movie is the climactic Mustang chase, this is especially so. Case in point: the Navy shipyard portion, where Raines’ wheel work is better showcased and this part of the chase is cut much better. Why they didn’t have it this way in the theatrical is beyond me. But one thing I want to point out is that, aside from the silly careening air cylinder in the shipyard and the ludicrous bridge jump, they actually drive in this movie. That’s actually Nic Cage in a vintage Mustang running from cop cars with minimal CGI. Take a look at the finales of XXX: State of the Union and Torque and you’ll know exactly what I mean.
The other major change is when the Raines boys reunite and talk about the old days and the situation they’re in. If you remember the scene where Kip is burning Memphis’ breakfast, that was shot a completely different way and it’s replaced in this cut. The Raines brothers’ relationship in the director’s cut doesn’t come together as easily or as quickly as the theatrical cut either, as there’s little bits of strife between the two here and there. Look for extra footage covering this when they’re talking as they’re stealing Ferraris in a warehouse And sorry, but Angelina’s not seen much if any more in this cut than the theatrical.
To his dismay, Bruckheimer learned that it didn’t take the Teamsters 60 seconds to make his cars disappear when he was late with their checks…
There was one thing I was specifically looking for in the director’s cut and that was any more footage of the late Trevor Goddard. He’s nowhere in the whole movie except when Memphis delivers the Mustang as one of Calitri’s goons and then he’s gone again. I was hoping he had done some more work that was cut out but I guess it was just a one day “Hey Trev, good to see you, why don’t you come stand in and look tough for me” gig for Bruckheimer or something.
Overall, I find that I’m a little more forgiving of Gone in 60 Seconds than most other reviewers. If you don’t know what you’re in for going into a Bruckheimer action flick, then you only have yourself to blame. This new cut doesn’t add a whole hell of a lot to the picture as much as say Chronicles of Riddick or especially, Daredevil, but I could see the changes where it counted. And while this isn’t up to the same level as even Bruckheimer’s most recent fare, I liked it enough to recommend.
7.1 out of 10
So you think I got a chance at one o’ them Oscars muthafucka?
The look is good, also in what looks to be 2.35:1, which helps with the car chase at the end to be sure. The film is lighted well and you can be sure that, if nothing else, a Bruckheimer-produced film is always going to look good. I myself found that the camera work and editing in the ending chase was good also. The re-editing in the shipyard definitely helps.
8.4 out of 10
There’s no standout soundtrack like in Coyote. But the sound work in the chase is good. The crashes, crunching metal, etc. sound just fine.
7.6 out of 10
Most of the goodies here match the format that they had in Coyote. The behind-the-scenes stuff is in Bruckheimer-time, meaning that they’re short and to the point:
It’s sad, but K.I.T.T.’s E! True Hollywood Story didn’t end very well…
0 to 60 – Script to screen featurette
Wild Rides – Stunts and Nicolas Cage
Stars on the Move – quickie featurettes on the major characters, broken down by age, race and socio-economic status
The Big Chase – three quickies on the climactic Mustang scramble: LA Streets, The Shipyard and the Big Jump.
Conversations with Producer Jerry Bruckheimer – a slightly longer feature on Jerry Bruckheimer and his films, leading up to him dishing about Pearl Harbor.
Action Overload: Another blip-vert.
The Cult Music Video
I’m on the fence about how the goodies on these two discs were presented. On the one hand it’s nice to be able to jump to a particular feature you want to see right away and see them in the order you want rather than in a long, by-the-numbers documentary. On the other it seems like they’re made for people with severe ADHD, and none more than Action Overload.
6.7 out of 10
If the tagging
of the set by Porsche, 959 Turbo and Tretch wasn’t bad enough, the fact
that they did it in semen was just downright problematic…
This is the general vibe I got from the artwork:
Cage: “Try to remember. What was it like to star in an Oscar-caliber movie?”
Jolie: “Who cares? Where’s the meth?”
The fact that they essentially cut the original art in half to replace with a tire tread doesn’t help. But at least it’s in a shiny slipcover.
6.4 out of 10
Coyote Ugly: 5.9 out of 10
Gone in 60 Seconds: 7.0 out of 10