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Kate Beckinsale returns as the star character Selene, a badass vampiress who’s gone soft and fallen for a vampire/werewolf hybrid (Scott Speedman, the sensitive hunk from Felicity) who may be the key to ending the ages-long war between the rival monster clans. The story this time has the two of them on the run from uber-vampire Marcus, whose monster costume looks suspiciously a lot like Gary Oldman’s did in Bram Stoker’s Dracula. Marcus wants to kill them out of revenge or spite or something, but his real master plan is to rescue his long-imprisoned brother William, an uber-werewolf, so that the two of them can gang up and rule the world together. I’m not quite clear on why, if the lead vampire and the lead werewolf are such close brothers, the rest of the vampires and werewolves have been at war for centuries, but maybe that was explained a little better in the first movie. Or maybe not. Maybe you’re just not supposed to think about it too much.

Let’s get right to the heart of the movie, Beckinsale looks incredibly sexy running around in her leather dominatrix outfit and blasting the hell out of stuff with a machine gun. She and Speedman have one pretty hot (unfortunately not overly explicit) sex scene that Wiseman (her husband!) must have felt really uncomfortable directing. Aside from some cheesy CGI werewolf transformations, most of the monster effects are pretty good, if not particularly original. The movie has plenty of gruesome blood and gore sure to please horror fanboys, though most of the action scenes are spent watching the heroes shoot at monsters they know can’t be killed by bullets. Either that would make the heroes complete morons, or that’s just one more of those things you’re not supposed to think about too hard. Another is why, if the evil William’s imprisonment was meant to last literally forever, his cell was designed with a key.

In a perverse casting twist, lovable character actor Bill Nighy (Love Actually, Shaun of the Dead) plays an evil vampire. Sadly, he’s under so much prosthetic makeup that he doesn’t get the chance to do much acting. Another prominent British thespian Derek Jacobi also shows up to bring some semblance of class to the proceedings. The efforts of both are wasted in a muddle of dumb plotting, bad dialogue, and an endless stream of loud, repetitive action scenes. Jacobi of course is renowned for his extensive Shakespeare work, which only brings to mind that famous line from Macbeth about “a tale told by an idiot, full of sound and fury, signifying nothing”. It’s almost as if the Bard had seen movies like this.

The Blu-ray Disc:
Underworld Evolution debuts on the Blu-ray format courtesy of Sony Pictures Home Entertainment. Why they’ve elected to put the sequel on Blu-ray without the original is one of those marketing decisions we mere mortals will never understand.

Blu-ray discs are only playable in a compatible Blu-ray player. They will not function in a standard DVD player or in an HD DVD player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Underworld Evolution Blu-ray is encoded in High Definition 1080p format using MPEG2 compression on a single-layer 25 gb disc. The movie is presented in its theatrical aspect ratio of approximately 2.35:1 with letterbox bars at the top and bottom of the 16:9 frame.

I haven’t been too impressed with many of the initial Blu-ray releases but this one pleasantly surprised me. Despite being burdened with PCM audio and over an hour of video supplements, the disc looks pretty good for the most part. The image isn’t always razor sharp, but is fairly detailed and has a consistent High-Def appearance. Some scenes look better than others, however. Detail and texture in facial skin pores, for example, look great in some shots but soft elsewhere. That may be a stylistic decision, so I won’t hold it against the transfer.

This is a dark movie, yet shadow detail is well defined. The photography’s color palette extends all the way from blue to blue. They don’t even use different shades of blue. It’s the same monotonous blue overcast from start to finish. We get the occasional red blood or fiery orange explosion to mix things up a little, but almost every single object in every single shot from the first frame to the last is the same shade of blue. Again, that’s a stylistic choice (as tedious as it may be), not a transfer flaw. Ironically, the limited color range may be one reason the disc looks as good as it does; it was probably easier to digitally compress than other films with more complex visual designs. That doesn’t mean there aren’t compression problems, though. Parts of the movie are rather noisy with compression grain, especially when a lot of action is occurring on screen, but the effect is not as bad as some Blu-rays. Minor edge enhancement ringing is also visible in some scenes, and there’s a bit of blatant color banding in the sunrise towards the end (one of the few non-blue images).

Overall, the disc looks comparable to an HD broadcast over cable or a mediocre HD DVD. That may be faint praise, but it’s better than most Blu-rays released thus far.

The Underworld Evolution Blu-ray disc is not flagged with an Image Constraint Token and will play in full High Definition quality over a Blu-ray player’s analog Component Video outputs.

Audio:
The movie’s soundtrack is provided in uncompressed PCM 5.1 format or in standard Dolby Digital 5.1. The sound design is as loud and obnoxious as you’d expect from a big budget horror picture, with lots of thunderous bass and aggressive surround activity. It’s not a particularly refined mix, unfortunately. The movie simply progresses from one loud scene to the next in a cacophonous mass of noise. Dialogue is mixed rather low, requiring you to boost the volume to levels that will be uncomfortable during the action scenes. Sound effects in the front soundstage, especially gunshots, are also not as crisp or defined as you’d hope. Fidelity is merely average for a horror movie of this type, even the PCM track. The audio is about as good as it needs to be to get the job done, and may impress bass junkies or those who judge sound quality by how often their surround speakers get used, but simply isn’t one of the best soundtracks found on home video.

Subs & Dubs:
Optional subtitles ? English, English captions for the hearing impaired, French, Spanish, Portuguese, or Chinese.
Alternate language tracks - French DD 5.1.

Extras:
All of the bonus features on this Blu-ray title are recycled from the DVD edition and are presented in Standard Definition video with MPEG2 compression. All of the supplements from the DVD appear to have carried over, which is a rare thing for a Blu-ray disc and especially surprising considering the featurettes add up to over an hour of video content .

• Audio Commentary - Director Len Wiseman, production designer Patrick Tatopoulos, editor Nicholas de Toth, and Second Unit director Brad Martin deliver a very chatty commentary. The participants make an effort not to merely recite the action on screen, which is very much appreciated. The talk goes into a lot of detail about the technical logistics of shooting a big special effects picture. Director Wiseman claims not to be a fan of CGI and brags about the miniature and practical effects in the movie, all of which seems pretty disingenuous considering that almost all of those shots were actually CG-assisted, and that the movie has plenty of mediocre CGI monster effects.
• Bloodlines: From Script to Screen (13 min.) ? An explanation of the franchise’s convoluted storyline “mythology”.
• The Hybrid Theory (12 min.) ? Focus on the visual effects, with much patting on the back for not using as much CGI as they might have.
• Making Monsters Roar (11 min.) ? A look at how the creature effects were achieved using a combination of costumes, prosthetics, and animatronics.
• The War Rages On (9 min.) ? Detail about the elaborate stunt scenes.
• Building a Saga (12 min.) ? Kudos to the production design team.
• Music and Mayhem (11 min.) ? Appreciation of the sound design and score.
• Music Video - “Her Portrait in Black” by Atreyu, a generic heavy metal tune.

We also get a couple of HD previews for unrelated Sony movies, though oddly the trailer for Underworld Evolution that has popped up on most of Sony’s other Blu-ray releases is nowhere to be found.

No interactive features have been included.

Easter Eggs:
Hidden on the disc is a selection of HD test patterns. You can access these by entering 7669 on your remote control from the disc’s main menu. Use the Skip button to page through the patterns. Please note that due to an error in the Sony encoder used to author the disc, blacker-than-black and whiter-than-white portions of the video signal have been clipped, essentially rendering the Brightness and Contrast calibration patterns useless.

Final Thoughts:
One of the bluest movies ever made comes to the Blu-ray format as an early launch title. I sense a theme here. The movie itself is exactly what you’d expect of it from the trailers and no more, but the Blu-ray is one of the better-looking releases on the format and even includes a solid amount of bonus features. It might be worth a rental on one of those boring nights when all the good movies at the video store are already checked out.

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"A Decent, Average Stallone Popcorn Flick" (Average)

Well well, after all the shit that Sylvester or Sly Stallone did during the entire 80?s, it was fair to say that Stallone needed a break. He had to find a hit movie or sink into the annals of Hollywood as a has-been. And he did, teaming up with wannabe A-list director Renny Harlin, and took out his comeback. It?s actually a pretty good movie, sure, nothing great, but still somehow worth your time, if you look at it in the sense of entertainment. Lets take a lookSo, Gabe Walker (Stallone) tries to rescue his friends, Hal Tucker (Michael Rooker) and his girlfriend Sarah (Michelle Joyner) in the Rocky Mountains. But then the rescue goes awfully wrong, Gabe tries to save Hal?s girlfriend, but in vain, and she dies. That plunges Gabe down with Hal, and he walks away. Many years later, Gabe returns but to get his longtime girlfriend Jessie (Janine Turner), and as things pass by, over the skies an airplane mid-air heist goes awry and the cases of cash ?three of them- get lost over the Rockies, and their plane crashes. So they get a fake emergency call to the rescuers, where Gabe and Hall unfortunately have to team up to get them, only to be kidnapped and forced to guide them towards the cases. Then all hell will break loose as our friends try to fight these terrorists and their evil leader, Eric Qualen (John Lithgow).Ok, the good parts. The action scenes were awesome. Of course, Harlin is like the master in doing action films (or at least he pretends to be), and certainly knows his way around, or tries to, with often good results. The film just grabs you and never lets you go. You?ll be entertained for nearly every second that the film plays. The stunts were absolutely great. Sure, the fights get gory from time to time, but it sure delivers that one great. Another excellent thing in the movie was the cinematography, by Alex Thomson. Though it would?ve been better, it was certainly breathtaking in many scenes. The FX were cool, I was really impressed by those.There was only one thing lacking, a good storyline. The storyline, though it had its moments, it was laughable at some points it was bad. It had some pretty bad plotholes about mountain climbing that was pretty much idiotic. I guess many professional mountain climbers would be pretty pissed at this one. And since the film?s main focus is on mountain climbing, it kills the film?s seriousness in every way. Thanks to this, the rest is reduced to a popcorn film, where the only thing to awe is all the minor details in the film, and not the film?s point itself. Stallone should really start practicing more his writing skills at home, trying to perfection his action formulas, but not onscreen since while it delivers action, the main plotline almost always turns out a total embarrassment.The performances weren?t as good as I thought. While Sly gives one of his better performances, the rest of the cast is struggling, especially Lithgow, who has a pretty ridiculous accent for a British guy. So are the rest of the terrorists. All around averageIn the end, it?s an average film, sure, it sure brings some adrenaline and fun, but it?s empty in the heart, and really doesn?t give out what it has to get. Lots of clich?s and plotholes reduced another potentially good movie into another simple popcorn flick. See at your own risk (2.5-5)
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DOWNLOAD MOVIE Hook Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"Possibly the worst Jerry Lewis movie. No small achievement, that." (Total Crap)

Jerry Lewis. He’s been the avatar of Bad Comedy for so long that it’s easy to forget how big a star he was, once upon a time. First appearing in films in 1949–co-starring with Dean Martin until 1956, and solo after that–he had an string of box-office hits that wasn’t broken until the cultural upheavals of the mid ’60s rendered him unfashionable almost overnight. And though his movies rarely see him departing from his slapsticky idiot-boy shtick, they generally aren’t that bad. Kinda silly and Hollywood-slick, yes; but also sometimes very funny, and in the case of something like THE BELLBOY (1960), surprisingly postmodern in its absurdist humor.So HOOK, LINE & SINKER, made as Lewis’ career was sinking faster than the TItanic, and less gracefully, is not really representative of his output, tempting as it may be to assume otherwise. But when Jerry Lewis sucked, he really sucked. There are black holes in the Andromeda galaxy that suck less hard than Lewis did when his judgment abandoned him. Let’s not hedge our criticism any longer: This movie is a disaster. It is so consistently unfunny that it seems to have been made that way on purpose, suggesting some kind of PRODUCERS scenario where the principals involved would somehow benefit by manufacturing a turkey. There’s a much more likely explanation, however. Allow me to direct your attention to the credits, and behold the words that strike teror into moviegoers everywhere: "SCREENPLAY BY RODNEY AMATEAU." Yes, it’s him, the director of THE STATUE (1971; "One of the worst movies ever perpetrated"–R. Ebert), SON OF HITLER (1978), and THE GARBAGE PAIL KIDS MOVIE (1987). Need I say more? Damn, I could end this review right here if I wanted.But it’s not altogether his fault. H, L & S finds Lewis in his comparatively "serious" (read: boring) mode, walking for the most part straight-facedly through a plot that admittedly isn’t all that lame. Lewis plays a suburban dad who finds he has a heart condition that gives him only months to live. He decides to go out with a bang, setting off on a wild trip through Portugal (the authentic locations are one of the few plusses here) in which he racks up massive debts–before he finds he’s not going to die after all. The only thing wrong with the storyline is that they forgot to include the laughs.This movie is just not funny. Ever. The entire approach to comedy is off. The jokes are structured like so: first, we’re presented with a scene in which we the audience think we know what’s happening; then, a twist where we learn what’s really going on. Lewis and company seem to have thought just doing that alone was enough to generate uncontrollable laughter.Like the part where we see Lewis struggling with his fishing rod, like he’s just caught a big one. Then we see that he’s just playing with his dog, who has the hook in his mouth. Wow, that’s hilarious. And take the scene where he’s arm wrestling with some presumably big, muscular dude in a bar. The camera pulls back and we see he’s actually competing with a woman. Who beats him. Let us pause this review for a moment while we all roll on the floor laughing. Imagine about fifty similar scenes strung together, and there you have HOOK, LINE & SINKER in a nutshell.And stop me if you’ve heard this one before: Lewis pretends to be drowning in a pool, so he can be (get this!) rescued by the cute blonde lifeguard–oh, you have heard that before? A couple hundred times, you say?We also have a fair number of jokes that get screwed up so badly that they don’t immediately register as jokes. By which I mean you find yourself wondering if that bit you just witnessed was actually intended as humor. At one point we’re treated to Lewis combing his hair in the mirror over and over and over, in different styles, until…uh, well, the scene just kind of ends, with no detectable punchline.I’m not sure what else to say about a movie that manages to be even worse than Lewis’ WHICH WAY TO THE FRONT?, and a good deal worse than the semi-classic Lewis films that you should be watching instead.
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Seagal’s first starring vehicle in three years leaves me with mixed feelings.  Not surprisingly, Exit Wounds continues Stevie’s string of bad and predictable films.  What is surprising is how this particular film at least maintains watchability despite it.

Seagal (Into the Sun, Submerged) stars as Orin Boyd, a Detroit cop with a rep for being a bit of a loose cannon.  During an attempted assassination of the vice president, Boyd saves the veep’s life while neglecting to follow proper police procedure in the process.  Boyd is subsequently transferred to the worst precinct in Detroit, and discovers himself stuck in the middle of drug dealing thugs and corrupt fellow cops.

The problems with Seagal’s latest is pretty much the same as all of his films: the script is predictable and plot makes little sense.  Exit Wounds does inject a huge helping of welcome comic relief, most of which isn’t particularly funny, but at least is easier to bear than the usual Seagal style of showing constant ugliness perpetrated by the film’s baddies for 90 minutes just so we can root for Stevie to kick some ass in the end. 

Ridiculously conceived, one can only laugh at how the film is set-up, with gratuitous car chases chock full of spontaneous explosions, muscle-bound pretty boys, and rooms in deserted buildings which seem to be used for little more than storage for dangerous objects for Seagal to use in hand-to-hand combat.  There are some attempts to spice up the fight scenes, but much of this is so over-the-top that they would have even been out of place in The Matrix.  

It should be obvious that I’m not a Steven Seagal fan in the slightest, but for those who are, Exit Wounds will rank as one of his better outings.  Bartkowiak’s (Romeo Must Die, Cradle 2 the Grave) direction does give the film a nice look and atmosphere. Some decent supporting players, well-presented action, and a solid hip hop soundtrack also make the film easier to sit through than it could have been with a director who just doesn’t give a damn. 

Seagal fans by definition are probably not hard to please, and Exit Wounds delivers all the goods they have come to expect, and a little more.  If you like his other films, this one will not disappoint.  For those of you like me, who watch Seagal films to make fun of them, this also will not disappoint.  Exit Wounds is bad, but it’s tolerably bad, and in the Seagal ouvre, that’s as close to a rave from me as you’re likely to find.

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The Movie:
After almost 70 years and countless subsequent adaptations of the same historical legend, Warner Bros.’ 1938 production of The Adventures of Robin Hood still remains the definitive filmic telling of the Robin Hood story and the benchmark against which all tales of swashbuckling adventure are measured. The movie has action and intrigue, intrepid heroes and beautiful maidens in distress, volleys of flying arrows, thrilling swordplay, and derring-do aplenty. It’s the template by which all epic adventure films are set, and even if it’s been surpassed over the years by bigger and (sometimes) better spectacles, the movie holds up as an entertaining thrill ride as well as a charming piece of nostalgia.

Errol Flynn stars as the dashing, do-gooder bandit, and makes it his signature role with an intriguing blend of feminine softness and haughty masculinity all wrapped up in one package. The radiant Olivia deHavilland is at his side as Maid Marian. The villains are played by Claude Rains as the cruel Prince John and Basil Rathbone as his right hand henchmen Sir Guy of Gisbourne (a position often filled in many versions of the story by the Sheriff of Nottingham, a character reduced to Gisbourne’s subordinate here). Even amidst all these larger than life personalities, every bit as big a star of the show is its gorgeous Technicolor photography, a riot of impossibly vibrant hues that leap from the screen as spryly as Robin leaps across castle walls and trees.

All the familiar elements of the tale are here. In the absence of their beloved King Richard the Lionhearted, who ventured off to fight in the Crusades, the English people have been subjugated under the will of his power-hungry brother Prince John. The only man who will fight for their rights is the valiant Sir Robin of Locksley, a master swordsman and unrivaled archer whose tongue is as sharp as his blade. With the help of his band of merry men including Will Scarlett, Friar Tuck, and John Little, Robin will (you know the drill by now) steal from the rich and give to the poor. He’ll also woo the at-first sheltered and skeptical Marian, and lead the people in a stand against their oppressors. Many arrows are launched, swords are clanged, and castle battlements are climbed in the process.

The Adventures of Robin Hood features an aggrandized, theatrical style of acting no longer in favor and many flamboyant costumes that I suspect must have always seemed a little silly (how practical could it be to prance around through the forest in bright green tights?). Its pacing and action choreography are also a little slack by modern standards. I don’t think I’ve ever understood the plot turn in which Robin allows himself to be captured during the archery tournament and has to be rescued later by his men; he knows it’s a trap and willfully walks right into it, for what purpose I have yet to deduce. Nevertheless, the film is a grand entertainment, just as enjoyable now as the day it premiered. The production by William Keighley and Michael Curtiz is impressively lavish and fantastical. This is a classic film, but not the stuffy type you slept through in school. Its makers may have all passed on, but the movie is as vibrant and alive as ever. In the ensuing years there have been many other versions of this story put to film, some redundant, some revisionist, even some animated, but none have yet topped this Adventures of Robin Hood.

The HD DVD:
The Adventures of Robin Hood debuts on the HD DVD format courtesy of Warner Home Video.

HD DVD discs are only playable in a compatible HD DVD player. They will not function in a standard DVD player or in a Blu-Ray player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Adventures of Robin Hood HD DVD is encoded on disc in High Definition 1080p format using VC-1 compression. The movie is presented in its theatrical Academy Standard aspect ratio of approximately 1.37:1 with pillarbox bars on the left and right sides of the 16:9 frame. The opening credits and prologue text have been additionally windowboxed with bars on all four sides, a process I’m not particularly fond of, but the windowboxing goes away once the movie proper starts.

Sourced from the same Ultra Resolution transfer as Warner’s Two-Disc Special Edition DVD released in 2003, this is a truly remarkable restoration for a film from 1938. Completely rejuvenated to its original Technicolor glory, the film elements have been scrubbed clean of all the dirt, grime, and physical defects usually seen on movies from the era. Colors sparkle like they haven’t in decades, and flesh tones are never less than robust. The clarity of this image is just terrific, rivaling productions from recent years, much less something nearly 70 years old.

Film grain is frequently visible, which should be no surprise, but it’s been well digitized to retain the original celluloid texture and isn’t noisy at all. Nor does it ever overwhelm or obscure the image. This is the original photographic grain, not age-related degradation. The picture exhibits quite good sharpness and detail, though the movie was shot in a sometimes gauzy, romantic style, and some of the wide shots may look a bit soft in comparison to the better close-ups. The new transfer also exposes the day-for-night scenes as patently artificial, a detail often obscured by the poor quality of most prints over the years.

The DVD edition looked excellent for that format’s potential, but the HD DVD steps things up to that next level of detail, clarity, and precision where you can see even minor source-related defects. There’s a brief color shift at approximately the 1 hr. 23 min. mark, which is there if you strain to look for it on the DVD but barely visible, yet quite apparent here. That should be taken as a compliment to the power of the High Definition resolution, not a knock against the transfer. This disc looks wonderful.

The Adventures of Robin Hood HD DVD is not flagged with an Image Constraint Token and will play in full High Definition quality over an HD DVD player’s analog Component Video outputs.

The photo images used in this article were taken from the DVD edition for illustrative purposes only, and are not intended to demonstrate HD DVD picture quality.

Audio:
The movie’s soundtrack is provided in Dolby Digital Plus 1.0 format. Audio technology in 1938 was of course quite primitive by current standards. The disc’s soundtrack cleans it up as much as possible but can’t overcome some of the limitations inherent to the source. Dialogue sounds thin and the music is a bit brittle, but the track is clear and has only a minimal amount of hiss. There isn’t much dynamic range, and obviously the mix is limited to mono, but this is about as good as The Adventures of Robin Hood has ever sounded.

Subs & Dubs:
Optional subtitles ? English, English captions for the hearing impaired, French, or Spanish.
Alternate language tracks - French or Spanish DD+ 1.0.

Extras:
The disc automatically opens with a lengthy HD DVD promo that can fortunately be skipped but is a nuisance. The interactive menus are accompanied by annoying clicking sound effects for every selection that can be turned off if you desire (and I recommend it).

All of the bonus features on this HD DVD title are recycled from the DVD edition and are presented in Standard Definition video with MPEG2 compression, except for the Merrie Melodies/Looney Tunes cartoons which have been remastered into full 1080p HD with VC-1. Almost all of the supplements from Warner’s Two-Disc Special Edition DVD have carried over, and they amount to quite an extensive handful that will take the better part of a day to dig through. The organization of the features in the menu system is different on the HD DVD than the DVD and I don’t necessarily agree with all of the changes (why aren’t the Looney Tunes grouped together anymore?), so the way I’m going to list them off here may vary a bit from where they’re actually found on the disc.

• Audio Commentary - Film historian Rudy Behlmer discusses in detail both the movie and the historical Robin Hood legends. He’s a good speaker and the track is a fascinating listen.
• Music-Only Track - An option to watch the movie listening to just the Oscar-winning score by Erich Wolfgang Korngold without dialogue or sound effects.
• Warner Night at the Movies (25 min.) ? An intriguing attempt to recreate the 1938 theatrical experience by compiling the type of material usually screened before the start of a movie. A brief introduction by Leonard Maltin explains the concept. Following that are a vintage theatrical trailer for the James Cagney gangster flick Angels with Dirty Faces, a newsreel, a musical short subject featuring Freddie Rich and His Orchestra, and the Merrie Melodies cartoon Katnip College. The cartoon has been fully restored and remastered into High Definition and is an order of magnitude brighter, sharper, and more colorful than the same piece found on the DVD edition.
• Classic Cartoons - The famous Looney Tunes shorts Rabbit Hood (8 min.) and Robin Hood Daffy (6 min.) have likewise been remastered into HD and look terrific. Their quality puts the same cartoons on the DVD edition to shame.
• Vintage Technicolor Short Films - In Cavalcade of Archery (9 min.), Robin Hood’s archery master Howard Hill demonstrates his trick shooting abilities, including a gasp-inducing bit where he shoots a prune off a live person’s head William Tell-style. This short also includes excerpted footage from Robin Hood that didn’t make the final cut. Next, Errol Flynn takes us on a yachting travelogue in The Cruise of the Zaca (20 min.). Ostensibly on a scientific expedition, there’s quite a bit of unintentionally amusing footage of the crew manhandling delicate sea life and arrogantly observing the quaint rituals of Caribbean natives. Neither film’s elements were preserved well over the years and both are in pretty rough shape.
• Errol Flynn Trailer Gallery - 12 vintage trailers are provided, including titles such as Robin Hood, Captain Blood, The Prince and the Pauper, and The Sea Hawk.
• Glorious Technicolor (60 min.) ? An excellent, in-depth documentary narrated by Angela Lansbury about the history of the Technicolor process. The only disappointment is that the movie clips seen in the documentary are often in poor shape and don’t truly represent the best of Technicolor quality. The footage from Robin Hood doesn’t look anywhere near as good as the restored feature film on this disc.
• Welcome to Sherwood: The Story of The Adventures of Robin Hood (55 min.) ? Another very good documentary, this one originally produced for the Turner Classic Movies network. Rudy Behlmer and Leonard Maltin walk us through the production of the movie. Covered topics include the original concept (James Cagney was supposed to star as Robin!), scripting, shooting, stunts, music, and the replacement of first director William Keighley with Michael Curtiz.
• Robin Hood Through the Ages (7 min.) ? A brief history of the Robin Hood legend on film, this piece is primarily a comparison of the silent 1922 movie starring Douglas Fairbanks with the Flynn version.
• A Journey to Sherwood Forest (13 min.) ? Behind-the-scenes home movie footage shot on the set. Since the footage is silent, Rudy Behlmer narrates.
• Outtakes (8 min.) ? Flubs and deleted scenes, again silent and narrated by Behlmer. It’s interesting to see just how many 2nd Unit directors actually shot scenes for the movie.
• Breakdowns of 1938 (14 min.) ? A studio blooper reel featuring outtakes from all of Warner’s major productions in 1938. A number of prominent classic movie stars swear when they flub their lines, which is something you don’t get to see very often.
• Audio Vault - Two vintage audio recordings: The 5/11/38 National Radio Broadcast of The Robin Hood Show (28 min.) and an Erich Wolfgang Korngold Piano Session (16 min.).
• Splitting the Arrow Galleries - Several still image galleries of historical art, costumes, concept drawings, publicity material, posters, and cast & crew photos.

As far as I can tell, the only things lacking from the DVD edition are some awards and cast & crew info in text format. They’re certainly not much of a loss. The DVD’s fancy packaging is missed, however.

Final Thoughts:
You’ve got to love Warner Bros. for digging into the breadth of their catalog when releasing titles on HD DVD. The studio has made it their mission to prove that High Definition benefits more than just action flicks and sci-fi pictures. Classic movie lovers should be thrilled with this release of The Adventures of Robin Hood, which features an amazing restoration for the movie that looks terrific in HD, as well as an astounding wealth of bonus features. Warner even went to the extra effort of restoring the Merrie Melodies/Looney Tunes cartoons into HD quality significantly better than the same pieces on the DVD edition. This is truly a package for collectors and easily merits our highest DVDTalk Collector Series rating.

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"A lament for lost souls" (Worth A Look)

In 1993 director Robert Altman released Short Cuts, a film based on the short stories of Raymond Carver. Featuring an ensemble cast of respected second-tier actors, it wove a number of disparate plot threads into a satisfying whole, chronicling the day-to-day lives of a variety of relatively ?normal? suburbanites. Its primary theme was the breakdown in communication between the denizens of modern-day society, and the viewer was left to draw the inescapable conclusion that, regardless of our efforts to foster meaningful relationships, we are destined to travel through this world in a state of emotional isolation.Six years have passed since then, but if Paul Thomas Anderson?s Magnolia is to be believed the passage of time has done little to improve the situation. Short Cuts danced on the edge of abyss, but Magnolia plunges us deep into the fires of Hell, and any hope of salvation is left stranded on the far side of the Styx. It is a dark, uncompromising film which is anything but cathartic, and it speaks of things which some may feel are best left unsaid, but few will be able to deny that it is a powerful, unsettling vision, and that alone makes it worthy of our attention.Magnolia features nine major characters, nine lives in varying states of disrepair. There?s T.J. Mackey (Tom Cruise), a motivational guru who makes a living transforming downtrodden losers into barroom Casanovas; an old man (Jason Robards) searching for death-bed repentance after a lifetime of self-absorption, aided and abetted by his over-emotional male nurse (the ubiquitous Philip Seymour Hoffman) and Prozac-chugging wife (Julianne Moore); a child prodigy (Jeremy Blackman) who provides a cheesy quiz show with its resident performing seal, and his seriously screwed-up middle-aged predecessor (William H. Macy, who makes Hoffman look like a recluse); the host of the aforementioned quiz show (Philip Baker Hall) and his drug-addled daughter (Melora Walters); and a cop named Jim who takes his job way too seriously (John C. Reilly).Given the number of characters competing for screen time, it would have been impossible for Anderson to shoehorn a conventional three-act storyline into the three hours available. The film is therefore devoted to laying the souls of its protagonists bare over a single 24 hour period, and while each has their own story to tell the plot threads are interrelated to varying degrees. It?s a relatively low-key affair compared to Anderson?s previous effort, Boogie Nights, focussing on interpersonal conflict and meaningful conversations at the expense of sex, violence and suspense. Anyone looking for a fast-paced narrative may find it decidedly soporific, and the absence of a neat conclusion will alienate those who abhor loose ends. On the other hand, if you can tune into its wavelength it is an involving and deeply affecting journey, for as a character study it succeeds admirably. Each of the characters is heir to several major-league unresolved problems, but the film takes care not to alienate the viewer from their plight. The issues are universal ? fear of dying, fear of living, the lure of chemical relief and the sorrowful memory of opportunities squandered ? and as a result there are few who will not identify with the suffering of these lost and weary souls.If you believe the opening narrative, the theme of this film is that sometimes impossible things do happen, a concept which actually doesn?t seem to be explored in any particular depth (apart, that is, from a visually arresting climax which seeks to ram the point home with a jackhammer but which, strangely enough, has little effect on the majority of the characters). Certainly there?s minor coincidences here and there, the kind of unlikely occurrences which can make you wonder whether there?s a higher force at work, but I would suggest that the film has no central theme, but rather encompasses a witches brew of modern-day traumas: our struggle to communicate with our fellow man, the brittle core of family ties, the pain engendered by unrequited love (or lust), the weight of regret and the way in which the promise of a better tomorrow can seem like hollow words indeed. Given that the script dwells on the negative aspects of the human psyche it?s no surprise that most of the characters come across as mean-spirited and self-absorbed, but in reality that?s merely because we are not privy to their redeeming qualities. Moore?s character, for example, walks the knife-edge of anti-depressants and suicidal tendencies, screaming abuse at people who deserve better as she sinks into an increasingly irrational state of mind. As a result she is not a particularly likeable person, but there are characters in other films who have suffered from similar problems without losing the viewer?s sympathy. The difference is that Magnolia refuses to reveal anything that might cause us to appreciate her finer qualities ? it?s almost as if the characters are presented in the way they see themselves. Even the characters who are evidently supposed to be likeable, such as Jim the cop, possess a number of less-than-admirable attributes (he?s a prude, for one, and you get the impression that he may be on a minor-league power trip). However, we should not confuse this with a failure to supply the characters with believable motivations, for this is something Magnolia has in spades. By the last third of the film you know exactly why each of them behaves the way they do, and it is this understanding which allows the viewer to empathise with their individual predicaments. It would be going too far to say you ever really get behind most of them, and as a result the film feels a little cold and dispassionate, but it does mean that we are left to make our own decisions about the relative merits of the characters, and that can be more than a little refreshing.Given the track record of the majority of the major players, it shouldn?t come as any surprise that the acting is of a uniformly high standard. Cruise is the obvious stand-out, revelling in a role which takes the ?unscrupulous money-grubber with a heart of gold? he honed in Rain Man and boots the heart of gold over the sideline. He?s certainly given the best lines in the film (all of which are designed to give Grandma a coronary), but he backs them up with one of his most charismatic performances in recent memory. However, what really sets this film apart is the way in which the lesser-known actors hold their own with the big guns (Reilly and Flynn warrant special mention), leaving us with an ensemble which rarely puts a foot wrong. Cruise aside, the fact that the film features no major stars actually works in its favour, since A-list actors are rarely adept at portraying normal people (the recognition factor is too high, and the fact that many of them look like models doesn?t help). Actors like Macy and Hoffman, on the other hand, eat roles like these for breakfast, and this allows the characters to live and breath, unfettered by the knowledge that we are watching nothing more than a good-looking, filthy-rich megastar pretending to be an average Joe. Considering the salaries of the entire cast probably amounted to less than an A-list actor pockets for a cameo, this film proves once again that the chequebooks are opened for the wrong people far too often. As befits the subject matter, much of this film is literally dark, since the majority of the scenes are shot either indoors, at night or during a rainstorm. This contributes to the film?s depressing aura, making you wonder whether Anderson has been taking notes from David Fincher in his spare time. On the other hand, the film?s claustrophobic atmosphere (aided by Anderson?s penchant for close-up?s) infuses it with the feel of an intimate barroom conversation in the early hours of the morning ? close, personal and fuelled by a combination of fatigue and drug-induced euphoria. Not everything works, however - Anderson has an annoying tendency to drown out the dialogue with music, inviting viewers to risk damage to their ear-drums as they attempt to work out what?s being said, and he plays out half of Robards? final monologue over a number of interesting visual events, making it impossible to concentrate on both at the same time. In an unusual move, the film also features a number of moments which can make you wonder whether you are supposed to be taking it seriously, such as a camera which wanders off on its own during an interlude backstage at the quiz show, or a bizarre radio sing-along featuring every major character in the piece (though that latter device was probably yet another of those unsubtle nods to the ?impossible things do happen? theme). Personally I found these episodes distracting, since they highlight the fact that what we are watching is, after all, only a work of fiction, and thereby breaks the spell which only true immersion in a film can bring. There is, however, a hugely enjoyable opening sequence featuring a grab-bag of popular urban myths and sundry coincidences, though the similarly audacious climax appears to have alienated as many viewers as it impressed (I found it to be a refreshingly energising conclusion to an otherwise slow-paced narrative, though it was a trifle out of place with the generally serious tone of the film).The film is long (the short and sweet ninety minute feature seems to have fallen out of favour in recent times), and parts of it drag a little (usually those involving Jason Robards? character, who seems intent on boring the audience to death via a number of interminable scenes), but in general it services its extended running time with distinction. It?s also worth mentioning that the film features a great soundtrack courtesy of Aimee Mann (lead singer of ?Til Tuesday in another life) which provides an appropriate companion to the proceedings. Given its fine cast, involving storyline and three-dimensional characters, Magnolia is a film which deserves our respect. There are certainly flaws ? subtlety is not one of the film?s many virtues, and the dearth of likeable characters can occasionally distance the viewer from the proceedings.However, when the closing credits roll there are few of us who will walk away unaffected, since it speaks to us from places we know all too well ? the dark side of the morning, and the solitary depths of the human heart.
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"Every layer in this cake is sinfully delicious!" (Awesome)

SCREENED AT THE 48th SAN FRANCISCO INTERNATIONAL FILM FESTIVAL- As a huge fan of the Guy Ritchie films SNATCH and LOCK STOCK AND TWO SMOKING BARRELS, there was no way in hell I was going to miss LAYER CAKE, another gritty, funny, and exceptional British gangland tale. This time the director at the helm is Matthew Vaughn, who produced both of Ritchie?s pre-Madonna (i.e. ?good?) films. But while LAYER CAKE bears plenty of stylistic resemblances to its predecessors, it goes about things with a bit more of a reserved and tightly focused approach.Daniel Craig is the unnamed narrator and anti-hero of the piece (his character is designated as ?XXXX?, but I?ll be damned if I can bring myself to refer to him as that for the remainder of this review, as if he were the successor to Vin Diesel and Ice Cube, so let?s just refer to him ?Craig? ? shall we?). Craig is a rather successful drug dealer who hates guns and prefers to keep himself and his business safe by playing it smart. His plan is to sock away enough British sterling to see him off to a happy early retirement, but getting out of the game isn?t going to be as easy as he thought (but then, is it ever?). As his boss, big-shot gangster Jimmy Price (Kenneth Cranham) says, ?The reason people like you can never quit is that you make far too much money for people like me?. As bad luck would have it, Price has a couple of troublesome tasks for Craig on the eve of his planned ?retirement?. The first is to meet with a group of amateurish thieves led by the unstable Duke (Jamie Foreman), who have a staggering load of ecstasy that they want to sell to Price (one million tabs ? that would make for a rave of apocalyptic proportions). Craig is merely supposed to meet with the Duke and his boys, examine some samples of the goods, and make an offer on Price?s behalf. But things start to go very wrong when he learns that the Duke et al robbed their cargo from a group of particularly nasty Austrian drug dealers, and now they want their product back. Unfortunately, once they learn of Craig?s involvement in matters, they send a notorious and mysterious thug named Dragan (Dragan Micanovic) around to harass him. Either unaware or uncaring of Dragan?s almost Kayser Soze-sized reputation, Craig tries to get the upper hand on him with less than desired results.The other task Craig is saddled with is to find the missing drug-addict daughter of Price?s fellow mob kingpin, Eddie Temple (Michael Gambon, who manages to nearly steal the movie in his handful of scenes). Price claims this is a favor for Temple, but Craig soon finds out that his boss has some pretty sneaky ulterior motives (big surprise there, eh mate?). Like Ritchie?s films, LAYER CAKE gives us a rich palette of shady characters, all brought to life by a group of talented actors with the likes of such always-dependable standouts as Colm Meany and Dexter Fletcher. It?s often just as funny as SNATCH or LOCK STOCK, without the near excesses of humor and self-indulgence that occasionally threatened to derail those films. The plot, while certainly nothing earth-shaking in terms of originality, is nevertheless flawlessly executed with plenty of twists and turns. It?s got every last double, triple, and quadruple-cross you?d expect ? and even some that you wouldn?t. Craig?s performance is a suitable glue to bring all the elements together, and he plays it straight while still managing to throw in a knowing wink and nudge every now and again. Visually, the film is equally impressive, and scenes like Craig walking through an imaginary store full of currently illegal designer drugs, or Duke and his crew driving through an immense greenhouse full of flowers that is practically exploding with color, give the proceedings a slightly off-kilter and surreal sensation. This isn?t the real British underworld, and it?s not supposed to be. This is a highly stylized and ultra-hip British underworld, where everyone always says something that?s funny or smart, and everyone?s got their fingers in someone else?s pie ? and it?s entertaining as hell.Detractors will probably paint LAYER CAKE as a mere knockoff of Ritchie?s films, and they may even be right. But in many aspects, LAYER CAKE is equal, if not superior to, its stylistic predecessors, and that?s a rare thing for a mere copycat to achieve. Only the greatest of malcontents would complain about wanting a Rolex but getting stuck with a Tag Heuer.
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