Posted in: Disc Reviews by Gino Sassani on December 10th, 2019
IMAX films are the perfect source material to show off the capabilities of the UHD Blu-ray/4K format. Most of the films we watch in theaters today have been shot around 2.8 K and mastered at just 2K. A 35mm film actually shot on film has a native resolution of 4K. The IMAX film format uses 65mm and 70mm film that increases its native resolution well beyond our 4K televisions and players. They are relatively short and have a ton of bandwidth to deliver the best possible image and audio. Shout Factory discovered this as soon as the format was launched, and Upcomingdiscs was there to check them out. The titles have slowed down in the last year, but they haven't stopped. And just in time for Christmas, you can take a journey down under to visit with beautiful sea turtles in Shout's new IMAX masterpiece, Turtle Odyssey.
Meet Bunji. She's a sea turtle, and when we first encounter Bunji, she hasn't even been born. She's the last turtle to hatch out of a clutch of eggs that have been buried under the sands of Australia by a mother who has months ago already departed this area. Bunji must work her way to the surface where she faces a gauntlet of deadly challenges just to make it to the water. Hungry birds dive all about her, but she eventually makes it to the relative safety of the ocean, and we're about to follow her life.
Posted in: Disc Reviews by Gino Sassani on December 6th, 2019
"This is a story about control. My control. Control over what I say. Control about what I do."
Hustlers tells the "true" story of a team of strippers who found a way to turn the tables on their Wall Street clients and is based on a New York Magazine article by Jessica Pressler. It promises a pretty good time. I mean, think about it. Wall Street is the stuff of mustache-twirling villains these days. Brokers might have dropped beneath ambulance-chasing lawyers and used car salesmen as the people we love to hate. Throw in some strippers and a clever con that happens to target these modern bad guys, and it sounds like the kind of romp that has something in it for everybody. Well ... maybe not the Wall Street guys who go to the movies, you might say. Did I mention it's got strippers? At first blush the film reminds me a little too much of Paul Verhoeven's infamous Showgirls. The problem is that the schlock value of that film has allowed it to find its place in film history, and so it has survived in all its badness. Will the same be true of Hustlers? Or will it quickly vanish into a sea of obscurity before another couple of years are over? I have to say that I suspect it's the latter. By this time next year, you'll be asking a friend what the name of that stripper film with Jennifer Lopez was last year. Let me know if anyone remembers, won't you?
Posted in: Disc Reviews by Jeremy Butler on November 12th, 2019
"Luke Hobbs and Deckard Shaw. We have got unfinished business."
When Dwayne Johnson joined the Fast and Furious franchise, I thought the series couldn’t get any bigger, especially when he and Vin Diesel faced off in one of the best scenes ever in an action movie. Then Jason Statham appeared in the end credits of Fast and the Furious 6 shattering that glass ceiling, and he didn’t disappoint, proving to be one of the group’s biggest adversaries. Then there was the fact that the Statham-Johnson showdown trumped the Diesel-Johnson battle, thereby showing the former’s electric chemistry. It was only a matter of time until a spin-off film came about. Lo and behold, Fast and the Furious presents Hobbs and Shaw. Now, the film has been a source of controversy for the franchise, with both Diesel and Tyrese Gibson voicing their discontent about the delaying of their next installment in favor of this film. Needless to say, Johnson will not be taking part of the ninth installment of the series, but I doubt he is losing much sleep about that, especially when he has the makings of his own franchise with this film.
Posted in: Disc Reviews by Gino Sassani on November 1st, 2019
Every generation has had its Christmas classics, films that have become as much a part of the holiday family traditions as Christmas trees and candy canes. For me it has been the more modern A Christmas Story with ol’ Carl Kolchak himself, Darren McGavin. Kids today have taken more of a shine to even more recent films, but for more than one generation, Christmas wouldn’t be the same without Frank Capra’s It’s A Wonderful Life. Since 1947 the film became a seasonal fixture in neighborhood movie houses across the fruited plain. In the 1970’s the film temporarily fell into the public domain and was played relentlessly on local television stations as each holiday came and went. Unfortunately, these were usually prints in horrible condition, so that scratches and splice marks became a part of the experience, not to mention ads for department stores touting their early bird specials. It is with that experience that I, as did most from my generation, become acquainted with Jimmy Stewart’s George Bailey. When the home video market began to bloom with VHS in the mid 1980’s, a better print resurfaced, so that the experience improved dramatically, along with the loss of those commercials. Of course, this new resource of home entertainment created a fight for the rights to the film to once again be restored to a single owner. It ended up being the film’s score that would allow the rights to be enforced once again. The crappy television prints disappeared, and by the early 1990’s, efforts to restore the film began.
These restoration efforts invariably turned to the controversial subject of colorization. If anyone remembers Ted Turner’s push to colorize RKO films, including King Kong, you will also remember how bad those films looked. The color was an added texture of hue covering the picture so that the subject’s textures and subtleties were obliterated. It was almost as if some child decided to finger paint all over the negative. There was nothing magical or at all realistic about the process. It’s A Wonderful Life has been colorized no less than three times. In both 1986 and 1989 the film got the colorized treatment, both failures. In 2007, It’s A Wonderful Life had been colorized by a new process developed by Legend Films. This new process allows films to be colorized naturally, retaining all of the detail and texture of the original print. These are the guys who are working with legendary Ray Harryhausen to colorize and restore many of his classics. The new process uses a 16-bit grayscale, which offers over 64,000 shades of just gray. The process, called “Photo-Real”, can reproduce HD quality pictures with stunning, lifelike color. I was a very cynical skeptic of the process and was prepared to rip this color print to shreds in my review. I was blown away by how natural the color looks. You will be hard pressed to believe this wasn’t an original color print. Not only are the colors realistic, but the print retains the particular color palette of the 1940’s, so that the film still looks like one from the correct era. I know you’ve seen incredibly bad colorization before, and it likely has made you unwilling to even give this one a chance, but you owe it to yourself to check it out. And this is the version you get on the Blu-ray copy of the film.
Posted in: Disc Reviews by Gino Sassani on October 29th, 2019
"From the day we arrive on the planet, and blinking, step into the sun, there's more to see than can ever be seen. More to do than can ever be done. There's far too much to take in here. More to find than can ever be found..."
There's a period in the 1990's that has often been referred to as the second golden age of Disney animation. The studio had fallen from its once mighty perch, and most film historians tend to agree there was a creative dark ages through the 1980's. But the renaissance of the studio began with Aladdin in 1992 would go on to include such tremendous classics as Beauty And The Beast and The Little Mermaid. None of these films speak to the resurgence of the animated feature like The Lion King. The film set every animated record there was and holds some of those box office records today. It can be safely stated that the great flood of animated projects that followed can be traced to the impact of The Lion King. In 1996 Simba was the most popular name chosen for new housecats. Elton John saw his appeal extend to children, and there could be no mistake that the animated feature was back. That's the legacy of The Lion King.
Posted in: Disc Reviews by Jeremy Butler on October 25th, 2019
"I was really hoping the whole "maze" thing was just a metaphor."
Following Superman’s most recent run of animated movies, the DC Animated Universe (DCAU) is turning to Wonder Woman for its next installment, which acts as an origin story for the Amazon princess. In Bloodlines, Princess Diana (Rosario Dawson) leaves Themyscira to become a guardian of peace in what is coequally called man’s world. Joined by Air Force Captain Steve Trevor (Jeffrey Donovan of Burn Notice fame), Diana faces enemies both superhuman as well as mythical in this welcomed addition to the DCAU. In my humble opinion, the animated realm is the main place that DC is having success over Marvel, as they maintain a steady stream of content. This is not a jab against the original series dominating the CW network, which are also good (some better than others. Arrow < The Flash). Though it does take a second to pick up in the beginning, once it does, Wonder Woman: Bloodlines delivers an engaging and action-packed story, which will undoubtedly help further DC animated universe.
Posted in: Disc Reviews by Gino Sassani on October 25th, 2019
It was 1962, and Ursula Andress emerged from the tropical island surf sporting a provocative swimsuit, and a tradition was born. The seductive scene would become the first iconic image in a line that has lasted a half a century and counting. Fifty years; 23 movies makes it the longest running film franchise in motion picture history. He had many faces over those 50 years: Sean Connery, Roger Moore, Timothy Dalton, Pierce Brosnan, George Lazenby, and even David Niven, Peter Sellers, and Woody Allen in a 1967 spoof. For the last three films, he's been played by Daniel Craig. They all had somewhat different styles. They all had a line of beautiful women. They all faced different challenges and foes. But they all shared the same name: Bond...James Bond.
James Bond first appeared in the pages of Ian Fleming’s novel, Casino Royale. Fleming was himself a former British Intelligence Officer and had been engaged in what he liked to call “shenanigans” in that role. He admits that many of Bond’s tastes are lifted from his own preferences. It can be safe to say that Ian Fleming was as much James Bond as any of the men who have played him. The books were written one a year during his two-month vacation as a news writer. He would escape to his vacation home in Jamaica during those 6-8 weeks and in short order produce a Bond adventure. It’s likely not a small coincidence that the first Bond film would feature the island location predominately as its setting. For most of the 1960's and into the 1970's, the films were taken directly from his Bond novels. Eventually the film series surpassed the novels and has been operating as original scripts for most of the last 30+ years. In those days the end credits always revealed the name of the next Bond film. Now we merely get a blanket statement that James Bond will return.
Posted in: Disc Reviews by Gino Sassani on October 25th, 2019
"In May 1980, Fidel Castro opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy-two hours, 3,000 U.S. boats were headed for Cuba. It soon became evident that Castro was forcing the boat owners to carry back with them not only their relatives, but the dregs of his jails. Of the 125,000 refugees that landed in Florida, an estimated 25,000 had criminal records."
One of those refugees was Tony Montana.
Posted in: Disc Reviews by Gino Sassani on October 22nd, 2019
"Is that where a blind cop kidnaps an Uber driver?"
That pretty much tells the story of Stuber. The title is a combination of the lead character's name, Stuart and Uber. With the advent of Uber, the entire concept of hiring a ride has changed significantly. Taxi drivers are swiftly becoming a thing of the past, and ride-sharing aps like Uber and Lyft are taking over the market to the point that taxi companies do not even exist in some cities any longer. I have to admit, I'm not so sure I'm completely on board with the idea of regular unregulated folks out there picking up complete strangers who happen to have hailed them via their cell phones on an anonymous app. It's a bit dangerous for both parties, and it's not surprising that the horror stories have been appearing in the news about these ride experiences going horribly astray. That's the fear or reality that serves as the central theme for Stuber. While I'm sure the first Uber horror film is either in production or at least being written as I type these words, Stuber opts for the more comedic and action-oriented version of the idea. But make no mistake. More is coming.
Posted in: Disc Reviews by Gino Sassani on October 17th, 2019
"You know me, always saving the day."
After the disappointment that was the recent Suicide Squad animated feature, Warner and DC needed to save the day with the release of The Death of Superman, and that's exactly what they did. The Death Of Superman was a major milestone in the history of the Man of Steel in the comics. It all started in December of 1992. DC announced they were killing off their most iconic hero and ending the Superman run of comics. Of course, that was only partially true. Once Supes was "killed off" the comic split into four new branches, as the vacuum created by his death needed to be filled both in the fictional universe as well as the commercial side of ours. Eventually the lines were reunited, and Superman has been alive and well ever since. But this was a huge event in the world of comics. The Justice League and Batman vs. Superman films used aspects of the story in the recent film, but this animated feature goes back to its comic roots and more faithfully brings that comic series to life. The Reign of the Supermen would follow and would tie up the story started in the first film. Now things would drift away from the comics somewhat, but it's an epic story when viewed together, and that's what Warner Brothers does with this release. It's called The Death and Return of Superman and it combines both animated features into one near-three-hour event, and it's out in 4K.
