November’s in full swing, and the unofficial pre-Holiday rollout begins, stopping only in between bouts of joblessness to purchase more DVDs and writing off massive amounts of debt (thanks, Credit Cards!). The following weeks will see more and more Blockbuster titles be paroled out into the open, with the express purpose of causing you some hurt in the wallet. So be prepared! Restraining order optional.
Tim Burton teams up with Johnny Depp for the fourth time and the result was something that my good friend walked out on! Coincidentally, Devin absolutely loved the film, so check out his review. The fact remains, though, that Charlie and the Chocolate Factory isn’t a particularly bad film, it’s just definitely a ways back from the original version which some still hold as Gospel. Now I consider the Wilder version to be entertaining as Satan himself (the musical numbers are so hilariously over-the-top and Wilder’s end speech has launched a thousand sendoffs around my house), so to go into the more updated CGI’ed Wonka Factory is a bit of a jarring, head-whipping experience. Oompa Loompa’s (played entirely by multiplying actor Deep Roy) sing in these flashy techno beats – although we finally learn of their great Jungle-inspired backstory – and Depp’s Wonka is as introverted and left-of-center as you are. For those who shunned all previous versions (you loose! You get nothing!), a Golden Ticket finds its way into young Charlie Bucket’s life and sends him and his Grandpa into the mysterious factory of notorious chocolate-making recluse Willy Wonka. Burton’s world is still as unique and charming as when he first burst onto the scene, but as a whole I liked this movie as much as I liked his Big Fish, which isn’t a lot. There’s this strange distance between the movie to connect to (especially through the guise of Depp’s cold Wonka), that I truly wondered as Devin mentions, if the movie had any heart at all. One of the things Wilder’s Wonka succeeds at is the heart behind the menace, and in Burtons it’s subsequently missing. I’m still not sure if it works, and like myself, it might have shrunk three sizes too small.
There are two editions (Widescreen is separate), but for the full-on Golden Ticket experience, you’re going to want the Deluxe Edition. It has five making-of featurettes, The Fantastic Mr. Dahl: Learn about Dahl’s life story and extraordinary body of work, Attack of the Squirrels: See how they trained live squirrels to perform in the film, and Becoming Oompa-Loompa: See how one actor, Deep Roy, was turned into a multi-talented army of Oompas, along with some Challenges: Oompa-Loompa Dance Machine, The Inventing Machine, The Bad Nut, Search for the Golden Ticket, and a pack of 5 limited-edition trading cards.
No, The Devil’s Rejects doesn’t refer to your familial holiday get-togethers, but rather as the sequel to Rob Zombie’s passable House of 1,000 Corpses. But whereas that film was a bit of a letdown, Zombie has supposedly returned and upped the ante in one of the most spectacular exploitation films of the year (read Devin’s enthusiastic review). Entirely gruesome, bloody, and down-right vicious in every regard, I’ve got to wonder if I’ve sold a few of you crazies out there already. Just in case not, the events have the Texas State Police making a tough stand against the bloodletting Firefly family (Whedon!) – which includes Otis, Baby Firefly, and clown-faced father Captain Spaulding – who have up and vanished, although not until they can kill and maim and coddle the life out of everyone they get in touch with. Just like your Aunt Martha. Meanwhile, hot on their trail is the brother of one of their former victims, and this time he’s a steaming Bounty Hunter not named Domino Dog. Zombie’s allegedly taking his cues back when the movies where as bloody and realistically real as possible (Cannibal Holocaust, anyone?), making you squirm and your mouth smile in gleeful perverted delight. Sounds like fun.
Like the above, there are two editions, but the 2-disc Director’s Cut comes with audio commentary with Director Rob Zombie, a second commentary with Actors Sid Haig, Bill Moseley and Sheri Moon Zombie, Morris Green Show – "Ruggsville’s #1 talk show", 2 commercials (Mary The Monkey Girl and Spaulding Christmas), Cheerleader Missing – The Otis Home Movie, "Satan’s Got To Get Along Without Me" – Buck Owens video, a blooper reel, some deleted scenes, a Matthew McGrory tribute, some makeup tests, a stills gallery, and some TV spots and theatrical trailers.
The two icons that defined a skillful generation are now in the boxed set of Beavis and Butt-Head Volume One: The Mike Judge Collection. MTV’s two loveable losers, who exalted the merits of the Great Cornholio, have been conspicuously absent from DVD, that is, until now. There’s a great controversy raging around these series of discs, and it’s not the fact that MTV isn’t what it used to be. No, first off, this isn’t the complete first season, but rather a series of selected episodes, courtesy of Mike Judge. The odd part is this Volume One has been personally EDITED by him as well. That’s pause for some head scratching. Most of the fans – the ones who stuck by when they weren’t inebriated or wallowing in their own piss and feces at PPC – jumped at the antics of Mr. Anderson’s Balls, dialed 1-900-BEAVIS, and enjoyed some Tainted Meat. But whereas those will now have to remain in memory only, since Judge and Company have deleted a few lines here and there. This begs a myriad of questions; quite possibly the episodes didn’t play well, or maybe they were borderline in receiving a favorable rating on DVD. These still abound, and so make sure to check out the exploits of the denizens of DVDtalk’s Forums (right here), where you’ll see the nature of the exact cuts and whether or not you agree with them. Maybe this should have been called Beavis and Butt-Head: The Circumcised Edition? The fans seem to want theirs long and sweatery, though.
The wealth of extras includes: 40 episodes, 14 that were never available on DVD, and 23 that contained censored materials, 11 music videos (for Matthew Sweet: Superdeformed, Pantera: This Love, Moist: Push, Deus: Suds & Soda, Grim Reaper: Fear No Evil, Monster Magnet: Negasonic Teenage Warhead, Korn: Blind, Catherine Wheel: Waydown, Beastie Boys: Pass the Mic, Wilco: Box Full of Letters, and Hum’s Stars) with running commentary from Beavis and Butt-Head, the Thanksgiving Special with Kurt Loder (where art thou?), the exclusive featurette, Taint of Greatness: The Journey of Beavis and Butt-Head, Part 1, Beavis and Butt-Head‘s Appearances at the VMA’s (1994 in two parts and with David Letterman, as well as in 1996), and a hell of a lot of promos for this and other recent and future MTV DVDs.
Fox loves their Anniversary Editions as much as the next studio, so it was only a matter of time (or coincidence with another Depp movie arriving today) that you were going to get Edward Scissorhands: 10th Anniversary Edition. Tim Burton’s ode to the outsider, the tale of a man named Edward, a Frankenstein-ish being without hands who was created by the recently deceased Inventor (played with relish (and some icon pickles) by Vincent Prince) made many a geek’s heart flutter with the stylistic flourishes present throughout the film. Perhaps it was how curiously similar both Burton and Edward look alike, or quite possibly how the relationships between Edward and the community play out that made many connect to this film in ways unlike anything before. Depp’s Edward was filled with the items that made you who you were; facial ticks, a deep disposition towards groups, and an anxiety to the girl-next-door who happened to be as wholesomely sweet as Winona Rider, before she engorged her five-fingered discount on the game of life. But like those compassionate ‘monster’ stories before it (including King Kong, several of Price’s own films, and that shitty DV short you made last week), Burton understood that you have to have a sense of sympathy and pathos towards your own monsters in order to – as Zelda Rubenstein says – have this house be clean.
There are two editions, and you’re most likely more interested in the Tin Edition, which has audio commentary with Burton and Danny Elfman (supposedly this track is punctuated with long pauses), some featurettes, concept artwork, some trailers and television spots, and exclusive to the Tin: six collectable photos from the movie’s set.
I remember seeing the trailers for Christmas with the Kranks and wishing that I was someplace else: like having my innards sucked out. Through a straw. Everything I needed to know about the movie was contained within those two and a half minutes of sheer hellacious brimstone and Allen wrath. Perhaps I’m being a bit too harsh on a movie I’d rather exercise my right not to see, simply because it wasn’t for my tastes. Others, like your Grandmother, best friends, and Principals went to see this and I’m sure came out as better people all around (bless their dirty, dirty souls). The wholesome tale has Allen and Jamie Lee Curtis’ daughter deciding to skip Christmas and instead travel to Peru to work for the Peace Corps, so naturally, they decide to do the same. This recent decision has locals like Dan Aykroyd up in arms, as they attempt to cajole, coerce, and extort their neighbors into a festive season of holiday horror – one where they threaten to kill them, apparently. The point in all of this is that Kranks made a lot of people’s holidays much worse when it arrived last year, so I hope everyone’s happy when the DVD comes out to make families shed tears. Not of laughter, joy, and happiness, but just big fat tears of sadness. Reminds me of my own satisfactory life.
You’ll get no special features, other than the dirty feeling you’ll receive after viewing.
A movie Republicans (and people from Pennsylvania) are sure to hate – Après Vous – has France’s biggest star, Daniel Auteuil, getting caught up in a hilarious situation involving suicide! The yuks continue as Auteuil’s busy maitre d’ of a local Brassiere stumbles upon Louis attempting to hang himself in the park, in between scenes of massive riots and cars ablaze with fury. As Auteuil’s Antoine takes the distraught and depressed loveable loser Louis under his wing, he finds that many of those items in his own life Louis has striven to achieve better, especially once Antoine gets him a job at his own place of employment. Most obviously, there’s a third wheel to complicate matters even thoroughly, and that falls towards Louis ex-girlfriend Blanche, as Antoine finds himself falling in love with her and Louis finds himself vowing tremendously to win her back at all costs (in Euros, of course). And while the basic premise might sound familiar to those film elitists out there (make sure to check out Renoir’s Bondu Saved From Drowning here!), the rest of us will have to continue to be snooty in our tastes that dissipate once ‘splosions, roid rage, and futuristic robot cops aren’t in the picture. Although they should be.
Jacques Chirac promises a full clamp down on those responsible for no extras on this disc.
I think Disney, like Nickelodeon, is slowly coming around on the nostalgia train for the Generation Suck set and sallyforthing their most well known titles for your brain to relive the excitement some of us had when we were 8 years old. Absent from this list is Darkwing Duck, and by all accounts, it should be released sometime in the future. And like Nickelodeon, Disney is sitting on a veritable goldmine of shows that consumers will snatch up like crazy (Salute Your Shorts needs to be out soon, okay?), so one of the first offerings is for Ducktales: Volume One and Chip ‘n Dale: Rescue Rangers Volume One (CHUD’s DVD reviews of both are forthcoming!). Don’t get all hissy because it reads Volume in the official title, partly because each set contains the first 27 episodes in the first season. For the record, Ducktales allegedly has only 24 episodes in its first season, so you’re actually getting more than you bargained for.
Although, technically there wasn’t any set season for the show, since Disney had them air 65 episodes throughout its initial run (same goes for Chip ‘n Dale), unlike the much lower offering the various show runners offer up to the television renewing Overlords (i.e. development executives and their ilk, by which I mean the Wendigo). It’s fate that now you’ll be able to rewatch all of the further adventures of Scrooge McDuck and Huey, Dewey, Louie, and Launchpad McQuack as they go up against the Beagle Boys (although when I was little and impressionable, I though they were the Beastie Boys – imagine that scenario!). As an aside, I always imagined George Lucas swimming around in his McDuck vaults filled with Star Wars money, and loving every minute of it. Then there was Chip ‘n Dale, who besides garnering a place for your Mom to get wasted and drop your college tuition fund down some slimy man’s g-string, was actually a decently entertaining cartoon about two chipmunks who raced around in that awesome Rangermobile, considering it molded several psychopaths into who they are today. First person in jail to e-mail me with recollections on the show gets a gold star.
Sadly, it appears that there are no extras on either boxed set.
Most of the people I know were too young to fully understand the socio-political ramifications of the first Live Aid back in ’85 (some of us were only 3 – feel old!), so jack-of-all-fundraising trades Bob Geldof took to new heights with his new series of global concerts – Live 8 -to address the continuing need to end poverty in Africa. Now I’m sure most of you watched a smidgen of these concerts on live television (or better yet, unadulterated online), considering MTV and the like seemed to be more interested in their talking heads yammering on about nothing (although they did bring some sort of message across) than rather about the music, which is realistically one of the side effects to why everyone came. Not many people are inclined to pony up some cash for a good cause (unless it involves some risqué San Fernando Valley DVD company), but when several bands are involved – like U2, Paul McCartney, Pink Floyd, The Who, Sting (doing Police!), Elton John, and a whole bunch of others – chances are, you’ll take notice. Now you can give a little more towards abolishing African poverty and the relief efforts there when you purchase this insanely excellent boxed set. Considering that we live in a global age, this concert should have been unnecessary, but unfortunately, the way humans are (hint: we suck!), it should be of little surprise that more action was and still is definitely needed. Do not go quietly into the night!
This boxed set contains all of the highlights (and some complete band sets) of the worldwide concerts in London, Philadelphia, Berlin, Toronto, Moscow, and Paris (when not in flames). The various Artists performing are too many to mention (they’d take half of this whole column), so just make sure to check out what’s spilled across the 4 DVDs here.
Marlon Brando was arguably the cinemas finest Actor. Unless you count Rowdy Roddy Piper’s contribution. And while Brando’s career acquiesced into the former shell of what he exploded onto the scene as (tell me Streetcar and Waterfront weren’t watershed moments in expressing resonance), several of his forgotten films are seeing resurgence once again – most notably with his Nicholson team-up in Arthur Penn’s The Missouri Breaks. There, Brando makes a noteworthy turn as a cross-dressing psychopath named Lee Clayton, who’s hired by some neighborly country folk to root Nicholson out. Next, Brando and the director of Battle for Algiers take on colonialism in a Caribbean Island in the mid-1800’s in Burn!. Brando’s British secret Agent has a three-fold mission: to gather and allow a local group of slaves to rise up against their captors, take hold of the vast sugar plantation for Queen and Country, and finally, return those who have been revolting into their former lives of indentured servitude. It is within this story that Brando again pulled out his freedom of expression, bringing in someone who is part scoundrel and all colonialist in his gentlemanly intent. Finally, The Fugitive Kind has Brando tackling Tennessee Williams yet again, this time as a lonely stock clerk whose charms have smitten both a young girl and the bosses’ wife (Joanne Woodward). The love triangle will surely end in destruction, but under the watchful beefy arms of Brando, anything aiming towards excellence and astounding revelations are possible.
There are no special features on any of these discs.
Robert Bresson was sort of a filmmakers’ wet dream, in essence because of the simplistic ways he tore down the moviegoing experience layer by layer until he got what he desired. The end result was usually always stunning as it’s in the basics of life he discovered who and what people are (most notably in the ever depressing Mouchette, surely to cause Depression on a grand scale to all who watch it). Granted, Bresson also told thrilling tales of excitement, most notably in A Man Escaped (which you should purchase immediately though CHUD here!), but also in his own examination of a young idealistic man who sees himself above and beyond any of the law’s boundaries in his quest to pilfer from all of those he encounters. And while a thrilling film in its most basic sense, his masterpiece, Pickpocket, contains no sequences that would have Bruckheimer jumping for joy. Rather, he stages meticulous scenes of how these crimes actually work, coupled with a relentless search for meaning through spiritual enlightenment by a man who truthfully believed in the Church of Me. Coincidentally, there are some out there right now (look, behind you!), who practice this brand of pseudo-religion at every chance, especially those girls at the Bar last night.
Criterion’s gone all out (as usual, those bastards!) with their loving care of this film. Look for a newly restored high-definition digital transfer, new and improved English subtitle translation, audio commentary by film scholar James Quandt, a new introduction with Bresson lover (and oft-quoter) Paul Schrader, The Models of "Pickpocket," a 2003 documentary by filmmaker Babette Mangolte featuring actors from the film, a 1960 interview with Bresson from the French television program Cinepanorama, Q&A on Pickpocket with actress Marika Green and filmmakers Paul Vecchiali and Jean-Pierre Ameris fielding questions at a 2000 screening of the film, Footage of sleight-of-hand artist and Pickpocket consultant Kassagi, from a 1962 episode of the French television show La piste aux etoiles, a new essay by novelist and culture critic Gary Indiana, and the film’s original theatrical trailer.
Kenji Mizoguchi’s Ugetsu could be classified as a ghost story, but it’s not a typical one. The haunting lyricism of his camera could qualify as something more than your average world cinema film, in fact, the mastery present here shamefully puts others out to pasture. 16th Century Japan is being ravaged by feudal wars, and in the center are two peasants who wish to seek their fame and fortune. One is a local potter, named Genjuro, the other, his brother, Tobei, who like all of us, wishes to become a Samurai. But as their small township is ransacked by a villainous army of death and destruction, the brothers and their wives escape, only to make it into the city. There, they destroy all semblance of humanity, as Tobei abandons his wife, Genjuro pushes his aside for a free floating apparition, and one of the wives survives just in time to become a prostitute after being raped. Arguably one of the finest after school specials ever made, Ugetsu contains those elements that make you feel all warm and fuzzy inside. All you need is some juice, cookies and a nap. And, of course, a husband that leaves you to become a fucking Samurai.
This two-disc SE includes: a newly restored high-definition digital transfer, new and improved English subtitle translation, audio commentary by renowned critic, filmmaker, and festival programmer Tony Rayns, Two Worlds Intertwined, a new, 14-minute appreciation of Ugetsu by director Masahiro Shinoda, Process and Production, a new, 20-minute video interview with Tozuko Tanaka, first assistant director on Ugetsu, a Ten-minute video interview with cinematographer Kazuo Miyagawa from 1992, and some of the film’s theatrical trailers. Disc Two sees the inclusion of Kenji Mizoguchi: The Life of a Film Director (1972), a comprehensive, 150-minute documentary by filmmaker Kaneto Shindo, with new and improved subtitles and a 72-page book featuring film critic Phillip Lopate and three short stories that influenced Mizoguchi in making the film.
Let’s not forget about everything else that arrives on Tuesday. Consider these, for in Death, they shall judge you to the depths of eternity. Jumanji, while amazingly awesome when I was twelve (shot in NH!), sees a Deluxe Edition (the 3rd such re-release) just in time for Zathura (a great film!), La Dolce Vita wasn’t finished with you the first time (damn!), Joan Allen says Yes, and Blue Collar Television doesn’t strike my fancy, but it might yours while you’re off to gitrdone. Whatever the hell that means to my pompous hoighty-toighty ass.
Golden Years, whop whop whop
Easily Jim Jarmusch’s most ‘mainstream’ film, Broken Flowers (out on 1.03.06) also marks the continued resurgence of a simpler Bill Murray, one who’s not afraid to keep in inward without all of the gesturing that defined a decade of comedy. Just make sure to read Devin’s review, where he expounds more fluidly on a variety of issues. Murray’s Don Johnston is the type of man who things have come naturally, especially through seducing the opposite sex. But that life is past him now as it all seemingly comes to a screeching halt. I’d say it does, simply because the radiant Julie Delpy leaves him. That’s not the start of his soul-searching journey, but the resurgence of his past, via a letter informing him that he’s had a child that he’s never know about. It’s his next-door neighbor, played effortlessly by Jeffrey Wright (whose roles have been expertly tailored, especially in the great Angels in America), who cultivates the seeds of change, first by prodding him, then by pretty much making his whole itinerary for him. Jarmusch’s films have always been deliberate in their character development – obviously, this is a man who cares more about that than blowing shit up – so it’s in Broken Flowers where he truly shines bright, allowing each and every encounter to have this full weight behind it, these unspoken truths. Most will call this a slow film, one that prods along until it ends, but I wouldn’t say that as much as it is like real-life, not much happens in a relatively short span of time. Unless you’re Hugh Hefner, that is.
Extras are still to be announced at a later date, although I’m hoping that Jarmusch and Wright recollect on a commentary. Don’t hold your breath that Murray will participate.
Statham is back in business of using his car like a wuxia machine all over again in Transporter 2 (out on 1.10.06). In fact, Nick mentioned in his review, that the further adventures of the bald headed Englishman might be "the most gleefully unrealistic action film in the past decade." As such, Statham’s car careens out of control at almost every available point, especially when need-be. And that would have to occur at every possibly moment. There’s even the obligatory testosterone upping Aphrodite that must fight in a skimpy outfit during every conceivable moment, and that’s including the amount of awesome firepower in her hands that isn’t in someone’s pants. This time, the plot centers around Statham’s driver protecting a little young’un who’s seen more than meets the eye regarding life. His dad is a local politician (and thespian Matthew Modine) and he’s promised to stamp out the illegal drug trade. Not exactly words of encouragement in Miami, where the party with the heat is on and Michael Bay pretty much blew everything up previously, but enough to send a cadre of evil villains out to play against the crisp suit stylings of the man with the car that can fly (and yes, I hear it does). But I still think Nick says it best when spouting: "If you like cool, stoic indestructible heroes and crave ludicrously over the top action, this is the film for you." I can’t top that!
Extras include 2 featurettes (making-of Transporter 2 and an Off-the-record shooting feature), some extended fight sequences, some deleted scenes, and the film’s theatrical trailer.
I suppose this week is unintentionally peppered with several Burton/Depp collaborations, but I just report ‘em as I see ‘em. Recently announced, mark your calendars for 1.31.06 in time for Tim Burton’s Corpse Bride, a movie Devin mentioned in his review, was too short. I completely agree, considering its short 71-minute running time, which had the conspicuous honor of making the film feel a little rushed. Character development being as it is, Depp’s waif-ish Victor I don’t think I fully understood (although he allegedly pulled double duty on this and Charlie, he’s still quite excellent), as did I the events that cause The Corpse Bride to seek refuge in the land of Depp’s loins in order to find true love, or whatever you can find when your heart is rotting away. Still, the stop motion animation, an art form that needs to be practiced more and more, is a visual treat to behold, all the way down to the small levels of insanely crafted detail. The sets! They’re still what stand out to me, so intricately detailed and a complete reminder of the world these unfortunate characters inhabit. Burton’s world is still so singularly unique and the sinister ways he continues to play with audiences, even if a man accidentally finds himself locked into a wedding with the most gorgeous towering piece of dried up flesh in quite some time (sorry, Large Marge), is still a wondrous time in a darkly skewed imagination land.
The official announcement for extras is in the future, but for now, expect some documentaries on the making of the film with stop-motion, a featurette on Burton’s Dark Vs. Light obsession (Explore what inspired Burton to bring the Corpse Bride to life), Voices from the Underworld: Meet the actors behind the voices, and see how they craft their unique character, Danny Elfman Interprets The Two Worlds, Inside the Two Worlds: Includes interviews, behind-the-scenes footage, and production drawings, Making Puppets Tick: Step inside and tour the puppet workshop, The Corpse Bride Pre-Production Galleries, some production notes, and a music only track.
Breaking some sort of non-Law
This is our Region Free section, where I clue you into stuff most of you have probably already discovered.
I’ve heard nothing but horrific words regarding Guy Ritchie’s Revolver (which is now available via those terrific bastards over at exploitedcinema.com). His last at bat didn’t inspire enough people to hop on his bandwagon (although it can be said that Swept Away is probably Esther’s vanity project), especially UK’s Guardian, which mentioned that Revolver is long and boring and prodding (see this MB thread here!) – enough to lull you to sleep when not destroying your eyes. This amazes me, since while I’ve never held Ritchie up to any sort of high esteem (his other college Matthew Vaughn made a better film in Layer Cake), his movies weren’t the trash many make them out to be. They’re entertaining, sure, and at the end of the day, I might say once is enough. Revolver sounds that way too, as Jason Statham plays Jake Green, a convict who hones his skill in the klink with a master Chess player. Outside, though, Ray Liotta is after everything that he holds dear, and upon his release, Green is out and about to seek revenge on those who would do one steaming pile of wrong on him. At the top of the list? You probably guessed it. Personally, this doesn’t sound like anything you’ve seen before, but if you’re a Ritchie enthusiast with a hard-on for Gangster flicks, this might be right up your sure-to-be adequate alley.
Features include anamorphic widescreen and unremovable Russian subtitles when accessing the English language track. This is a Region 5 PAL release, requiring a Region Free DVD player and the scorn of a studio or two (or three).
Jackie Chain’s action-adventure film The Myth will probably make its way over to our shores, or possibly it won’t. I’m no soothsayer, so cut my sorry ass some much-needed slack, or else I might shake my fist furiously at you. Speaking of being badass, Chan is ‘intrepid’ adventurer Jack, who along with faithful companion (and scientist) William, starts off on one of the greatest discoveries in China’s history. But that’s as Chan starts having some serious dream issues, most finding himself reborn as Meng Yi, a general who reigned two thousand years ago. The other dreams are another movie, deviant! In these vivid dreams, Chan finds himself falling for the beautiful consort Ok Soo, but not before he wakes up, and he and William find themselves face-to-face with an ancient Sword and the entrance to the tomb of the first Emperor. Generally speaking, this sounds fairly interesting, and with Chan at the wheel, you can most likely expect the type of suspenseful sequences that you’ve been accustomed to viewing him with, unless he happens to be paired with Chris Tucker. Thankfully, such isn’t the case, and The Myth sounds like it’s some good old adventure fun courtesy of Director Stanley Tong, who brought you Rumble in the Bronx, a couple of films from Chan’s own series, and the Coolio-Dacascos classic team-up of Police StoryChina Strike Force. Sold!
The 2-disc SE comes with two audio commentaries (no word on if they have English subs, though), a making-of feature, a behind-the-scenes feature, a music video, footage from the HK premiere, some deleted scenes, and the film’s theatrical trailer. A Limited-Edition boxed set comes with everything above and some interviews, along with some other spiffy extras. This is a Region 0 NTSC release.
Play catch up! Make sure to leave some feedback for the reviewing crew, as it’s always needed and a necessary component to their daily lives.
11/01: Star Wars: Episode III, Millions,
of the Worlds (1953), Office Space – Special Edition with Flair!, The Perfect Man, Aliens of the Deep
(CHUD’s DVD review is forthcoming!), Adventures of Pete and Pete – Season
Two, 21 Jump Street – Season Four, Two for the Road,
Robert Rodriquez Mexico Trilogy, Heights, Star
Trek: Enterprise Season Four, Golgo 13, Sex and the
City: Complete Series, Brat Pack Collection, Outer Limits
(1995), Hammet, Warning Shot, Steve McQueen
Box Set, and War of the Worlds: Complete First Season.
Make sure to skim through last weeks’ Special Edition, just in case you missed
anything or wanted to laugh at me.
10/25: House of Wax (Nick’s DVD Rack review), Last Days, Titanic:
CE, Melinda and Melinda, Rize (Ian’s DVD Rack review), Herbie: Fully Loaded (CHUD’s
DVD review is forthcoming!), Dominion: Prequel to the Exorcist
(Nick’s DVD Rack review), Bewitched,
Rebellion: Criterion, Samurai Spy: Criterion, Sword
of the Beast: Criterion, Kill!: Criterion, Wizard
of Oz: Collector’s Edition (Ian’s Massive DVD review), Zombi, Looney
Tunes: Golden Collection Four, Alias: Season Four, Strange
Love of Martha Ivers, American Gothic: Complete Series
(CHUD’s DVD review is coming soon!), Nothing, A Bridge Too Far: CE, Battle
For Britain: CE, and Tales From the Crypt: Season Two.
Read the old Special Edition right here, or the heavens and
Earth will collide.
I just stocked up on the Wizard of Oz: Three Disc Collector’s Edition the other week, and while shattering, it certainly put a massive dent in my already bare wallet. This week continues in your house of pain, but without those wacky Irish guys with the gold chains. Additionally, I should also note that prices will vary at each of your individual retailers, so call ahead if you feel unsure.
Charlie and the Chocolate Factory is $17.18 (Deluxe Edition is $18.76)
Devil’s Rejects is $17.34
Beavis and Butt-Head: Volume One is $26.29
Edward Scissorhands: 10th Anniversary is $10.33 (Tin is $14.64)
Après Vous is $20.70
Christmas with the Kranks is $18.38
Jumanji: DE is $13.91
Jay and Silent Bob Do Degrassi High is $14.99
Cronicas is $14.03
Blue Collar TV is $18.29
Yes is $19.50
Margaret Cho: Assassin is $14.83
Burn! is $9.42
Fugitive Kind is $9.42
Missouri Breaks is $9.42
Pickpocket: Criterion is $28.76
Ugetsu: Criterion is $28.76
Joint Security Area is $14.03
Charlie and the Chocolate Factory is $14.99
Devil’s Rejects is $14.99 (R-rated)
Charlie and the Chocolate Factory is $15.87 (Deluxe Edition is $16.87)
Devil’s Rejects is $23.78 (Director’s Cut is $23.78)
Edward Scissorhands: 10th Anniversary is $13.37 (Tin is $14.87)
Christmas with the Kranks is $17.87
Ducktales: Volume One is $29.74