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(02/23/06 5:00am)
Aside from a rather laughably cliché name, Trustkill Records' newest metallic sons Bullet for My Valentine have dropped a debut that could begin carving a name for themselves. Hailing from the UK and as their bio states, influenced early on by "worshipping the likes of Metallica, Testament and the almighty Iron Maiden," BFMV wear all these influences on their sleeves. They aren't anywhere near original, but at least they're not trying to deceive anyone. \nThirteen songs long, The Poison is BFMV's entrance into an arena already overcrowded by every band who thinks that all they need is a bunch of catchy melodic riffs and a few breakdowns to get a record deal. With a soothing intro thanks to Apocalyptica, the disc explodes with "Her Voice Resides," a track so steeped in guitar melodies, pounding drumming and overall top quality production value that it makes Atreyu's Suicide Notes & Butterfly Kisses seem like a joke. (Add in "4 Words (to Choke Upon)" with its catchy bridges and energetic soloing section, and they would have an album that opens up strong, going straight for the throat.) \n"Tears Don't Fall" makes BFMV seem a bit out of their element. Easily comparable to UK act Funeral For A Friend, the song sounds more like a cut that they kindly let BFMV borrow to show they had a softer side. At almost six-minutes the song drags on in areas, although I won't knock the wonderful mid-section full of thrash homage and galloping bass drum rolls. Unfortunately, the album drags on more in the case of "Suffering Under the Words of Sorrow (What Can I Do?)" and "Hit the Floor" -- the former for just going nowhere and the latter I swear they steal a riff from American powerhouse Shadows Fall. \n"All These Things I Hate (Revolve Around Me)" is the kind of radio-friendly crap that I'd rather skip over than put up with. Cliché acoustic guitar patterns, predictable pedal effects and having everyone in the band sing therefore layering the vocal track equals weak execution. Testament and Iron Maiden didn't care about being radio-friendly, why should BFMV?\nWhere "Hand of Blood" comes from I have no idea, but it makes the entire lackluster mid-section fade from my memory. Drummer Michael Thomas is a machine on the track, hitting the kit so hard I'd love to see how many dents he leaves after playing on new skins and cymbals. The same goes for "Room 409" which must get the Brit kids moving in the pit. \nThe band owes their killer sound to Colin Richardson, a man who is a mastermind behind the board. Having produced the likes of UK grind merchants Carcass and Napalm Death, mid-90s masterpieces such as Machine Head's The More Things Change and Fear Factory's Demanufacture, Richardson happily adds BFMV to his list of recent clients ranging from Funeral For A Friend to 3 Inches of Blood and God Forbid. \nBFMV has entered the arena, conquered a few lions and got the audience's attention. Plenty more challengers await and BFMV have a ways to go if they want to become champions.
(02/23/06 5:00am)
In a throwback to the anthology films of the 1960s and 1970s, "Eros" gives three filmmakers a chance at showcasing their talents as a collective whole covering one major topic: love. Not just any kind of love; we're talking about eroticism and passion. Hong Kong mastermind Wong Kar-Wai and Hollywood maverick Steven Soderbergh are brought together in tribute and homage to the film's third and final filmmaker, legendary Italian auteur Michelangelo Antonioni. \nKar-Wai gets the ball rolling with "The Hand," an erotically charged tale between a prostitute (Li Gong) and her obsessive tailor (Chen Chang). This segment is "Eros'" strongest piece as Kar-Wai is playing his cards the same way he always does. Movement is smooth and quiet, everything floats gracefully within the frame and the mood, like all his films, is top-notch. You could say this segment is a nice warm-up for what Kar-Wai would end up doing with "2046," but had he cast regular Tony Leung, "The Hand" could reach unknown heights. \nFor being the most inexperienced of the three, Soderbergh fairs rather well placed in the middle with "Equilibrium." Nick Penrose (Robert Downey Jr.) has a dream he simply cannot get off his mind which leads him to the office of Dr. Pearl (Alan Arkin), a man much more concerned with peeping at the woman in the window across the street than giving psychiatric advice. Having only really covered such subject matter with the likes of "Sex, Lies and Videotape" and "Solaris," Soderbergh goes all out experimenting with black and white and color and ultimately creating a humorously surreal ride.\nFor being the great filmmaker that Antonioni is, his segment, "The Dangerous Thread of Things," is lacking greatly. A man (Christopher Buchholz) and woman (Regina Nemni) have a falling out as he begins taking interest in a mysterious nude woman found wandering the beach resort. The story simply goes nowhere nor does the mood change. At age 93 though and having made masterpieces such as "L'Avventura" and "Blow-up," I'm not holding anything against Antonioni for this disappointing effort. \nThe DVD is a major disappointment. It poorly dubs Antonioni's segment in Italian even though it was originally shot in English and also is shorter than the theatrical version. In the extras department, there is barely anything. The fancy theatrical trailer and Antonioni's short film, "Michelangelo Eye to Eye," which is really only worth watching if you're a fan of his work. \nFor what it is, "Eros" is an okay viewing experience -- a chance to see great short works from Kar-Wai and Soderbergh and an Antonioni short worth passing over.
(02/23/06 1:02am)
Aside from a rather laughably cliché name, Trustkill Records' newest metallic sons Bullet for My Valentine have dropped a debut that could begin carving a name for themselves. Hailing from the UK and as their bio states, influenced early on by "worshipping the likes of Metallica, Testament and the almighty Iron Maiden," BFMV wear all these influences on their sleeves. They aren't anywhere near original, but at least they're not trying to deceive anyone. \nThirteen songs long, The Poison is BFMV's entrance into an arena already overcrowded by every band who thinks that all they need is a bunch of catchy melodic riffs and a few breakdowns to get a record deal. With a soothing intro thanks to Apocalyptica, the disc explodes with "Her Voice Resides," a track so steeped in guitar melodies, pounding drumming and overall top quality production value that it makes Atreyu's Suicide Notes & Butterfly Kisses seem like a joke. (Add in "4 Words (to Choke Upon)" with its catchy bridges and energetic soloing section, and they would have an album that opens up strong, going straight for the throat.) \n"Tears Don't Fall" makes BFMV seem a bit out of their element. Easily comparable to UK act Funeral For A Friend, the song sounds more like a cut that they kindly let BFMV borrow to show they had a softer side. At almost six-minutes the song drags on in areas, although I won't knock the wonderful mid-section full of thrash homage and galloping bass drum rolls. Unfortunately, the album drags on more in the case of "Suffering Under the Words of Sorrow (What Can I Do?)" and "Hit the Floor" -- the former for just going nowhere and the latter I swear they steal a riff from American powerhouse Shadows Fall. \n"All These Things I Hate (Revolve Around Me)" is the kind of radio-friendly crap that I'd rather skip over than put up with. Cliché acoustic guitar patterns, predictable pedal effects and having everyone in the band sing therefore layering the vocal track equals weak execution. Testament and Iron Maiden didn't care about being radio-friendly, why should BFMV?\nWhere "Hand of Blood" comes from I have no idea, but it makes the entire lackluster mid-section fade from my memory. Drummer Michael Thomas is a machine on the track, hitting the kit so hard I'd love to see how many dents he leaves after playing on new skins and cymbals. The same goes for "Room 409" which must get the Brit kids moving in the pit. \nThe band owes their killer sound to Colin Richardson, a man who is a mastermind behind the board. Having produced the likes of UK grind merchants Carcass and Napalm Death, mid-90s masterpieces such as Machine Head's The More Things Change and Fear Factory's Demanufacture, Richardson happily adds BFMV to his list of recent clients ranging from Funeral For A Friend to 3 Inches of Blood and God Forbid. \nBFMV has entered the arena, conquered a few lions and got the audience's attention. Plenty more challengers await and BFMV have a ways to go if they want to become champions.
(02/22/06 11:25pm)
In a throwback to the anthology films of the 1960s and 1970s, "Eros" gives three filmmakers a chance at showcasing their talents as a collective whole covering one major topic: love. Not just any kind of love; we're talking about eroticism and passion. Hong Kong mastermind Wong Kar-Wai and Hollywood maverick Steven Soderbergh are brought together in tribute and homage to the film's third and final filmmaker, legendary Italian auteur Michelangelo Antonioni. \nKar-Wai gets the ball rolling with "The Hand," an erotically charged tale between a prostitute (Li Gong) and her obsessive tailor (Chen Chang). This segment is "Eros'" strongest piece as Kar-Wai is playing his cards the same way he always does. Movement is smooth and quiet, everything floats gracefully within the frame and the mood, like all his films, is top-notch. You could say this segment is a nice warm-up for what Kar-Wai would end up doing with "2046," but had he cast regular Tony Leung, "The Hand" could reach unknown heights. \nFor being the most inexperienced of the three, Soderbergh fairs rather well placed in the middle with "Equilibrium." Nick Penrose (Robert Downey Jr.) has a dream he simply cannot get off his mind which leads him to the office of Dr. Pearl (Alan Arkin), a man much more concerned with peeping at the woman in the window across the street than giving psychiatric advice. Having only really covered such subject matter with the likes of "Sex, Lies and Videotape" and "Solaris," Soderbergh goes all out experimenting with black and white and color and ultimately creating a humorously surreal ride.\nFor being the great filmmaker that Antonioni is, his segment, "The Dangerous Thread of Things," is lacking greatly. A man (Christopher Buchholz) and woman (Regina Nemni) have a falling out as he begins taking interest in a mysterious nude woman found wandering the beach resort. The story simply goes nowhere nor does the mood change. At age 93 though and having made masterpieces such as "L'Avventura" and "Blow-up," I'm not holding anything against Antonioni for this disappointing effort. \nThe DVD is a major disappointment. It poorly dubs Antonioni's segment in Italian even though it was originally shot in English and also is shorter than the theatrical version. In the extras department, there is barely anything. The fancy theatrical trailer and Antonioni's short film, "Michelangelo Eye to Eye," which is really only worth watching if you're a fan of his work. \nFor what it is, "Eros" is an okay viewing experience -- a chance to see great short works from Kar-Wai and Soderbergh and an Antonioni short worth passing over.
(02/09/06 5:00am)
Steven Soderbergh is no stranger to experimentation when it comes to filmmaking. While he holds interest in the Hollywood arena with the likes of "Ocean's Eleven/Twelve," and "Out of Sight," one cannot say that Soderbergh has ever abandoned his more artistic and independent roots. Sure he's had a few blockbuster successes; his career is also full of unique endeavors from the sci-fi surrealism of "Solaris" to the gangster art piece that is "The Limey." With Soderbergh's latest "experiment" named "Bubble," he once again shows us that the smallest experiment can hold large rewards. \n"Bubble" is all about simplicity; easily accomplished by utilizing non-professional actors placed in small town Ohio. Martha (Debbie Doebereiner) lives at home and cares for her elderly father. Kyle (Dustin James Ashley) lives with his mother. Together they are employed by a doll factory where their mundane lives unfold on a daily basis without change. However, one day they come to work to learn there's a new employee by the name of Rose (Misty Dawn Wilkins) and while it seems like their lives will continue following the same automaton routines, Rose is murdered within a week. Change is supposed to be good right? Or perhaps change is never a good thing? That's for our townsfolk to decide.\nAt a rather slim 73-minute running time, Soderbergh's film of simple characters that carry out simple tasks is one you can't stop watching. The camera rarely moves and takes a documentarian leisure as we are placed in geometrically precise sight lines. Are we seeing events unfold as just another person in the room, or are we being treated as voyeurs in small town USA? \nWith his non-professional cast and a script penned by previous collaborator Coleman Hough ("Full Frontal"), Steven Soderbergh creates a film that contains such simplicity that it seems almost enigmatic. The performances excel because they are real. The job is real, their lifestyles are real and murder in this fashion is very real. For Soderbergh, reality is his canvas to make the ordinary out to be something greater. \nJust like the film itself is an experiment, "Bubble" is also an experiment with multi-platform release windows -- an industry first. Within the span of only a couple days, "Bubble" was released in theatres, HDNet internet download and DVD formats -- the first of six films that Soderbergh intends to make in the same fashion. While some seem to attack the film's release as a sort of "screw you" to theatrical exhibition, people forget to realize there is a fine monetary line between spending $6 to $8 for a ticket and $20 to $30 for a DVD. \nFor those willing to take the more expensive chance, the supplements are worthwhile. Two commentary tracks are provided: one with Soderbergh and music video auteur Mark Romanek, the other with screenwriter Hough and the cast. The former is the most rewarding as we get to hear Soderbergh discuss the film to great detail; the latter is just nice to hear the cast discuss their experiences. You're also treated to a short making-of segment, interviews, the bizarre theatrical trailer and a few other goodies. \nIn short, Soderbergh's simple experiment is simply a success.
(02/08/06 5:21pm)
Steven Soderbergh is no stranger to experimentation when it comes to filmmaking. While he holds interest in the Hollywood arena with the likes of "Ocean's Eleven/Twelve," and "Out of Sight," one cannot say that Soderbergh has ever abandoned his more artistic and independent roots. Sure he's had a few blockbuster successes; his career is also full of unique endeavors from the sci-fi surrealism of "Solaris" to the gangster art piece that is "The Limey." With Soderbergh's latest "experiment" named "Bubble," he once again shows us that the smallest experiment can hold large rewards. \n"Bubble" is all about simplicity; easily accomplished by utilizing non-professional actors placed in small town Ohio. Martha (Debbie Doebereiner) lives at home and cares for her elderly father. Kyle (Dustin James Ashley) lives with his mother. Together they are employed by a doll factory where their mundane lives unfold on a daily basis without change. However, one day they come to work to learn there's a new employee by the name of Rose (Misty Dawn Wilkins) and while it seems like their lives will continue following the same automaton routines, Rose is murdered within a week. Change is supposed to be good right? Or perhaps change is never a good thing? That's for our townsfolk to decide.\nAt a rather slim 73-minute running time, Soderbergh's film of simple characters that carry out simple tasks is one you can't stop watching. The camera rarely moves and takes a documentarian leisure as we are placed in geometrically precise sight lines. Are we seeing events unfold as just another person in the room, or are we being treated as voyeurs in small town USA? \nWith his non-professional cast and a script penned by previous collaborator Coleman Hough ("Full Frontal"), Steven Soderbergh creates a film that contains such simplicity that it seems almost enigmatic. The performances excel because they are real. The job is real, their lifestyles are real and murder in this fashion is very real. For Soderbergh, reality is his canvas to make the ordinary out to be something greater. \nJust like the film itself is an experiment, "Bubble" is also an experiment with multi-platform release windows -- an industry first. Within the span of only a couple days, "Bubble" was released in theatres, HDNet internet download and DVD formats -- the first of six films that Soderbergh intends to make in the same fashion. While some seem to attack the film's release as a sort of "screw you" to theatrical exhibition, people forget to realize there is a fine monetary line between spending $6 to $8 for a ticket and $20 to $30 for a DVD. \nFor those willing to take the more expensive chance, the supplements are worthwhile. Two commentary tracks are provided: one with Soderbergh and music video auteur Mark Romanek, the other with screenwriter Hough and the cast. The former is the most rewarding as we get to hear Soderbergh discuss the film to great detail; the latter is just nice to hear the cast discuss their experiences. You're also treated to a short making-of segment, interviews, the bizarre theatrical trailer and a few other goodies. \nIn short, Soderbergh's simple experiment is simply a success.
(02/02/06 5:00am)
If you keep up with box office statistics, then chances are you're under the impression that the past year was a giant flop for the film world. No money means none of the movies must've been good. Well, that's a bunch of nonsense. \nThe fact is, unlike last year's overflowing abundance of biopics, 2005 was one damn worthwhile year for diverse filmmaking. We've seen franchises in every form: the end of "Star Wars," the fourth "Harry Potter" installment and the beginning of "The Chronicles of Narnia." We've seen Owen Wilson and Vince Vaughn crash weddings to get laid while Steve Carell finally lost his virginity at 40. Johnny Depp re-envisioned Willy Wonka; Joaquin Phoenix became Johnny Cash.\nThe point is 2005 has come and gone; we've had our fill of fine popcorn entertainment and another year of great performances. Now 2006 is here and we must prepare for the year's forthcoming silver screen spectacles. And there is no better way of reflecting on the past year than with the quintessential "Top 10 List" evaluation. Say hello to 2005's best: \n10. "Kiss Kiss, Bang Bang" -- The sleeper gem of 2005, Robert Downey Jr. and Val Kilmer make for what is one of the best buddy pairings in a long, long time. With a pulpy script worth killing for, a successful blending of action/comedy/film noir genres and stylistic sheen, "Bang Bang" fires on all cylinders. \n9. "2046" -- I can't think of a better director who completely knows every aspect of romance in his filmmaking style. Wong Kar-Wai has made an incredibly fulfilling pseudo-sequel to his already triumphant work, "In the Mood for Love." Some consider sequels to be a cop-out, but Kar-Wai has now crafted a pair of films that makes love seem to be the greatest enigma in the world. \n8. "Jarhead" -- Vastly underrated by those who were expecting some action-filled, blow-em-up type of flick, Sam Mendes goes three for three in his career this time by taking on the Marine lifestyle in Desert Storm Iraq. Just like "Syriana," Jarhead's political agenda is crystal clear, asking us to question what is really being done with our troops overseas.\n7. "Munich" -- Steven Spielberg completely reinvents himself with this latest triumph on his long list of successes. The film is a new vision, a new voice, a new drive to completely break away from the Frank Capra-esque mold that so much of his work is encased in, Spielberg is here to stay and that's definitely a good thing.\n6. "Syriana" -- A film as timely as the political agenda it deals with, director Stephen Gaghan's vision and script calls to our attention every possible situation in the Middle East and brings them all together in one big bang. George Clooney turns in a career-best performance which earned him a Golden Globe he rightfully deserved. Now go snag an Oscar. \n5. "Batman Begins" -- The Dark Knight was officially reborn this year with a new look, an all-star cast and a powerhouse overhaul from the likes of director Christopher Nolan and screenwriter David S. Goyer. Even all four original Batman films combined can't match up to this comic book film epic. \n4. "The New World" -- With only four films under his belt in the past 32 years, Terrence Malick's long periods of inactivity only go to show how much care he puts into his films. His latest masterpiece is a wonderful slice of period piece poetry, crafting a detail-driven early colonization of America, while capturing the purity of a land known only to its natives for so many years. \n3. "Cinderella Man" -- A longtime candidate for best film of '05, there are days when I might say this is still my favorite film of the year. Wonderfully acted by Russell Crowe and Paul Giamatti, this is easily the best boxing picture since "Raging Bull," and that is saying a lot. Ron Howard has finally landed the haymaker of his career, an emotional TKO worth repeated viewings for years to come. \n2. "King Kong" -- The world's most epic film director has not only remade his favorite film of all time into a personal achievement, but Peter Jackson has also officially solidified himself as the George Lucas of our generation. Anything handed to Jackson is sure to be given the touch of Midas himself. Wherever Jackson heads next, plenty are sure to loyally follow. \n1. "Brokeback Mountain" -- Unequaled in the visual splendor of nature and complications of the human heart, Ang Lee's film is, simply put, a masterpiece that carries no political agenda whatsoever. The only agenda it carries is to show us that great love stories can still be told and unlike so many romantically charged films, this is one to be remembered for decades to come.
(02/02/06 12:39am)
If you keep up with box office statistics, then chances are you're under the impression that the past year was a giant flop for the film world. No money means none of the movies must've been good. Well, that's a bunch of nonsense. \nThe fact is, unlike last year's overflowing abundance of biopics, 2005 was one damn worthwhile year for diverse filmmaking. We've seen franchises in every form: the end of "Star Wars," the fourth "Harry Potter" installment and the beginning of "The Chronicles of Narnia." We've seen Owen Wilson and Vince Vaughn crash weddings to get laid while Steve Carell finally lost his virginity at 40. Johnny Depp re-envisioned Willy Wonka; Joaquin Phoenix became Johnny Cash.\nThe point is 2005 has come and gone; we've had our fill of fine popcorn entertainment and another year of great performances. Now 2006 is here and we must prepare for the year's forthcoming silver screen spectacles. And there is no better way of reflecting on the past year than with the quintessential "Top 10 List" evaluation. Say hello to 2005's best: \n10. "Kiss Kiss, Bang Bang" -- The sleeper gem of 2005, Robert Downey Jr. and Val Kilmer make for what is one of the best buddy pairings in a long, long time. With a pulpy script worth killing for, a successful blending of action/comedy/film noir genres and stylistic sheen, "Bang Bang" fires on all cylinders. \n9. "2046" -- I can't think of a better director who completely knows every aspect of romance in his filmmaking style. Wong Kar-Wai has made an incredibly fulfilling pseudo-sequel to his already triumphant work, "In the Mood for Love." Some consider sequels to be a cop-out, but Kar-Wai has now crafted a pair of films that makes love seem to be the greatest enigma in the world. \n8. "Jarhead" -- Vastly underrated by those who were expecting some action-filled, blow-em-up type of flick, Sam Mendes goes three for three in his career this time by taking on the Marine lifestyle in Desert Storm Iraq. Just like "Syriana," Jarhead's political agenda is crystal clear, asking us to question what is really being done with our troops overseas.\n7. "Munich" -- Steven Spielberg completely reinvents himself with this latest triumph on his long list of successes. The film is a new vision, a new voice, a new drive to completely break away from the Frank Capra-esque mold that so much of his work is encased in, Spielberg is here to stay and that's definitely a good thing.\n6. "Syriana" -- A film as timely as the political agenda it deals with, director Stephen Gaghan's vision and script calls to our attention every possible situation in the Middle East and brings them all together in one big bang. George Clooney turns in a career-best performance which earned him a Golden Globe he rightfully deserved. Now go snag an Oscar. \n5. "Batman Begins" -- The Dark Knight was officially reborn this year with a new look, an all-star cast and a powerhouse overhaul from the likes of director Christopher Nolan and screenwriter David S. Goyer. Even all four original Batman films combined can't match up to this comic book film epic. \n4. "The New World" -- With only four films under his belt in the past 32 years, Terrence Malick's long periods of inactivity only go to show how much care he puts into his films. His latest masterpiece is a wonderful slice of period piece poetry, crafting a detail-driven early colonization of America, while capturing the purity of a land known only to its natives for so many years. \n3. "Cinderella Man" -- A longtime candidate for best film of '05, there are days when I might say this is still my favorite film of the year. Wonderfully acted by Russell Crowe and Paul Giamatti, this is easily the best boxing picture since "Raging Bull," and that is saying a lot. Ron Howard has finally landed the haymaker of his career, an emotional TKO worth repeated viewings for years to come. \n2. "King Kong" -- The world's most epic film director has not only remade his favorite film of all time into a personal achievement, but Peter Jackson has also officially solidified himself as the George Lucas of our generation. Anything handed to Jackson is sure to be given the touch of Midas himself. Wherever Jackson heads next, plenty are sure to loyally follow. \n1. "Brokeback Mountain" -- Unequaled in the visual splendor of nature and complications of the human heart, Ang Lee's film is, simply put, a masterpiece that carries no political agenda whatsoever. The only agenda it carries is to show us that great love stories can still be told and unlike so many romantically charged films, this is one to be remembered for decades to come.
(01/26/06 5:00am)
It's hard to say what exactly made "Underworld" a worthwhile film. Bits of action mixed into a Gothic-horror-thriller, a chilling cinematographic palette of blues and grays, an interesting storyline depicting the war between vampires and werewolves (called "lycans" in the film), or maybe all of this was an impressive mark for first-time writer/director Len Wiseman. Sure "Underworld: Evolution" had plot-holes here and there, the whole point of making a sequel would clearly be to fill them and expand on the storyline a bit. Unfortunately, "Evolution" chose to evolve in terms of money-wasting instead of story/character expansion. \nI'll save any type of first film summary since chances are the only reason you're seeing "Evolution" is because you enjoyed the first one; if you didn't the film makes it a point to spend the first 15 minutes bringing you up to speed. With "Evolution" we find vampire Death Dealer Selene (Kate Beckinsale) and vampire/lycan hybrid Michael Corvin (Scott Speedman) in love and on the run as Marcus (Tony Curran), one of the original vampire lords, has been awakened with a lust for blood. Selene's blood. \nIt fills the plot-holes, adds a bit of back story, but ultimately is more concerned with being an action piece drenched in gore. The first 10 minutes alone contain more blood than every drop combined in the original film. Add in helicopters carrying vampire SWAT units, exploding oil tankers and plenty more budget burners and you'd swear Michael Bay was directing the film. But, Bay would've done better. \nIn "Underworld" there was never a single ray of sunshine and the world was cloaked in darkness and rain. And yet now the world is apparently full of daylight opportunities to reduce Beckinsale to a burnt out husk. She was a badass in the first film, but now all she does is repetitious swan dives off everything, popping bullets into vampires and lycans alike, yet oddly seems weaker in heroine status. And for being a creature of infinite possibilities, Speedman rarely has a chance to showcase his fighting capabilities at great lengths. \nThe wonderful cinematography of the original is now sparse, a Beckinsale/Speedman sex scene is awkwardly unromantic and the special effects are no better quality than before. Perhaps all that money "Underworld" made at the box office and from rentals would've been better spent on digital effects upgrades instead of exploding ships. \nI'm glad they filled the plot-holes from the original and obviously got the sequel made after a lengthy three year wait. Maybe after subsequent viewings I might even appreciate "Evolution" more like I did with its prequel. For now I am left only mildly impressed and chances are you will be too.
(01/26/06 12:22am)
It's hard to say what exactly made "Underworld" a worthwhile film. Bits of action mixed into a Gothic-horror-thriller, a chilling cinematographic palette of blues and grays, an interesting storyline depicting the war between vampires and werewolves (called "lycans" in the film), or maybe all of this was an impressive mark for first-time writer/director Len Wiseman. Sure "Underworld: Evolution" had plot-holes here and there, the whole point of making a sequel would clearly be to fill them and expand on the storyline a bit. Unfortunately, "Evolution" chose to evolve in terms of money-wasting instead of story/character expansion. \nI'll save any type of first film summary since chances are the only reason you're seeing "Evolution" is because you enjoyed the first one; if you didn't the film makes it a point to spend the first 15 minutes bringing you up to speed. With "Evolution" we find vampire Death Dealer Selene (Kate Beckinsale) and vampire/lycan hybrid Michael Corvin (Scott Speedman) in love and on the run as Marcus (Tony Curran), one of the original vampire lords, has been awakened with a lust for blood. Selene's blood. \nIt fills the plot-holes, adds a bit of back story, but ultimately is more concerned with being an action piece drenched in gore. The first 10 minutes alone contain more blood than every drop combined in the original film. Add in helicopters carrying vampire SWAT units, exploding oil tankers and plenty more budget burners and you'd swear Michael Bay was directing the film. But, Bay would've done better. \nIn "Underworld" there was never a single ray of sunshine and the world was cloaked in darkness and rain. And yet now the world is apparently full of daylight opportunities to reduce Beckinsale to a burnt out husk. She was a badass in the first film, but now all she does is repetitious swan dives off everything, popping bullets into vampires and lycans alike, yet oddly seems weaker in heroine status. And for being a creature of infinite possibilities, Speedman rarely has a chance to showcase his fighting capabilities at great lengths. \nThe wonderful cinematography of the original is now sparse, a Beckinsale/Speedman sex scene is awkwardly unromantic and the special effects are no better quality than before. Perhaps all that money "Underworld" made at the box office and from rentals would've been better spent on digital effects upgrades instead of exploding ships. \nI'm glad they filled the plot-holes from the original and obviously got the sequel made after a lengthy three year wait. Maybe after subsequent viewings I might even appreciate "Evolution" more like I did with its prequel. For now I am left only mildly impressed and chances are you will be too.
(01/19/06 5:00am)
Director Akira Kurosawa's love for the works of Shakespeare was no hidden affair. Within the jidai-geki (period piece) setting he was capable of turning "Macbeth" into his own "Throne of Blood," while taking "King Lear" to epic proportions with "Ran." Yet in between those two works there was "The Bad Sleep Well" -- a loosely adapted version of "Hamlet" set in the corporate confines of post-WWII Japan. And just like Kurosawa's love was no secret, neither is Criterion's appreciation for the director's work as "The Bad Sleep Well" is the 14th addition to the collection in support of Japan's finest filmmaker. \nKurosawa regular Toshirô Mifune ("Yojimbo," "Seven Samurai") stars as Koichi Nishi, a man whose father was murdered by means of defenestration (read: thrown out a seventh story window by corrupt business associates). Nobody is aware of Nishi being the son of the dead official, as he was born illegitimately, allowing him to craft the greatest scheme: marry the daughter of the man who murdered his father, topple the Public Corporation's head quarters from the inside out and, ultimately, expose the company's fraudulency.\nI was once told that "The Bad Sleep Well" wasn't one of Kurosawa's finest; that it ran too long (two-and-a-half-hours) and was rooted too deep in Japanese cultural issues to be related to in any way. While some folks might prefer short, 90-minute features, in the case of Kurosawa, the longer he goes, the greater the work. Too culturally rooted? Far from it. \nFrom the eager journalists outside the Nishi wedding anticipating an arrest to be made, to the deceptive board room execs, Kurosawa mirrors the same problems faced all around the world, especially in American cases such as Enron and the like. \nSurprisingly, with "Bad Sleep," Mifune actually takes the backseat in terms of performance. He restricts his usual theatrical bombastic flair, instead achieving power through subtlety. Mifune is thrown against the backdrop of a noirish Japan, left lurking the dark streets late at night and plotting the downfall of Iwabuchi (an intimidating Masayuki Mori), the murderer of his father. \nLike all Kurosawa Criterion releases, one can expect to find another "It is Wonderful to Create" segment -- a half-hour long documentary on the making-of "The Bad Sleep Well." In addition, there are two essays, "The Higher Depths" by critic Chuck Stephens and "Shakespeare's Ghost" by director Michael Almereyda, both of which give much insight into the film itself and Shakespeare's original work. \nFor being a director whose 30-film career was commonly praised for his work with samurai and epic battles, we must not forget Kurosawa's work outside of such material. "The Bad Sleep Well," much like "Ikiru" and "High and Low," is one of his strongest works, rewarding in both emotion and experience.
(01/19/06 2:13am)
Director Akira Kurosawa's love for the works of Shakespeare was no hidden affair. Within the jidai-geki (period piece) setting he was capable of turning "Macbeth" into his own "Throne of Blood," while taking "King Lear" to epic proportions with "Ran." Yet in between those two works there was "The Bad Sleep Well" -- a loosely adapted version of "Hamlet" set in the corporate confines of post-WWII Japan. And just like Kurosawa's love was no secret, neither is Criterion's appreciation for the director's work as "The Bad Sleep Well" is the 14th addition to the collection in support of Japan's finest filmmaker. \nKurosawa regular Toshirô Mifune ("Yojimbo," "Seven Samurai") stars as Koichi Nishi, a man whose father was murdered by means of defenestration (read: thrown out a seventh story window by corrupt business associates). Nobody is aware of Nishi being the son of the dead official, as he was born illegitimately, allowing him to craft the greatest scheme: marry the daughter of the man who murdered his father, topple the Public Corporation's head quarters from the inside out and, ultimately, expose the company's fraudulency.\nI was once told that "The Bad Sleep Well" wasn't one of Kurosawa's finest; that it ran too long (two-and-a-half-hours) and was rooted too deep in Japanese cultural issues to be related to in any way. While some folks might prefer short, 90-minute features, in the case of Kurosawa, the longer he goes, the greater the work. Too culturally rooted? Far from it. \nFrom the eager journalists outside the Nishi wedding anticipating an arrest to be made, to the deceptive board room execs, Kurosawa mirrors the same problems faced all around the world, especially in American cases such as Enron and the like. \nSurprisingly, with "Bad Sleep," Mifune actually takes the backseat in terms of performance. He restricts his usual theatrical bombastic flair, instead achieving power through subtlety. Mifune is thrown against the backdrop of a noirish Japan, left lurking the dark streets late at night and plotting the downfall of Iwabuchi (an intimidating Masayuki Mori), the murderer of his father. \nLike all Kurosawa Criterion releases, one can expect to find another "It is Wonderful to Create" segment -- a half-hour long documentary on the making-of "The Bad Sleep Well." In addition, there are two essays, "The Higher Depths" by critic Chuck Stephens and "Shakespeare's Ghost" by director Michael Almereyda, both of which give much insight into the film itself and Shakespeare's original work. \nFor being a director whose 30-film career was commonly praised for his work with samurai and epic battles, we must not forget Kurosawa's work outside of such material. "The Bad Sleep Well," much like "Ikiru" and "High and Low," is one of his strongest works, rewarding in both emotion and experience.
(01/12/06 5:00am)
Almost 30 years ago when director Federico Fellini attempted to adapt the memoirs of Giacomo Casanova, the notorious lover of thousands of women, he tried too hard. The film was surrealistically awkward and casting Donald Sutherland as the infamous libertine was an error. Lasse Hallström, the same director responsible for the romantic \n"Chocolat," makes an attempt not to tell the life story of Casanova, but only a small segment of it. Unfortunately, he didn't try hard enough. \n"Casanova" winds a lighthearted yarn about how Giacomo Casanova (an enjoyable Heath Ledger) fell madly in love with Francesca Bruni (Brit bombshell Sienna Miller), a woman equally mixed with Jane Austen and countless period philosophers. What transpires for the near 2-hour running time is one of the longest running lies and cases of stolen/mistaken identity all for the sake of trying to woo Bruni. And while Casanova pursues his interests, he is constantly on the run from the Inquisition and previous loves still vying for his attention. \nComedic yes, but "Casanova" clearly tries to reconstruct the lover by making him a romantic instead of a sexual carnivore. Practically the entire cast, save Miller who is both desirable and delightful, lacks any true depth in character. Ledger simply woos, Lena Olin plays Francesca's mother Andrea with quirky charm, Oliver Platt is a jolly lard trader and Jeremy Irons is, well, Jeremy Irons. \nYes the film seems underdeveloped, but perhaps that was the whole point. "Casanova," like many period pieces, is quite the visual spectacle yet is also wrapped in sheer frivolity. It doesn't require you to think or make demands, simply sit back, take in the sights and scenery of Venice and have a hearty chuckle which I helped myself to on more than one occasion. \nWhile "Casanova" is enjoyably lighthearted and frivolous, one cannot avoid the fact that it's aimed as an alternative for those unwilling to take on the politics of Jane Austen's "Pride & Prejudice" or, unfortunately, those far too conservative to experience Ledger's tour de force performance in "Brokeback Mountain." Both films easily outperform "Casanova."\n2005 has been a wonderful year for Heath Ledger. He was one of the few redeeming features of "Lords of Dogtown" and had the opportunity to work with the great Terry Gilliam on "The Brothers Grimm." While he is quite the charmer in "Casanova," ultimately he is more convincing as a cowboy in "Brokeback."\n"Casanova" is worth your attention if looking for carefree charm and period piece eye candy.
(01/12/06 5:00am)
Despite its lengthy pacing and somewhat underdeveloped characters, Steven Spielberg's "Munich" allows the director to finally reinvent himself and break free of the Frank Capra-esque mold which encased so much of his work. Spielberg's take on the Israeli backlash towards the 1972 Olympic murders is one visceral gut-punch of equally mixed tightrope thriller and paranoia-laden plight, where the hunters quite possibly have become the hunted. \nEric Bana offers a career best as Avner, the Mossad agent in charge of five men on a mission which includes the likes of newly-named 007 Daniel Craig ("Layer Cake") to the soul-searching explosives expert Mathieu Kassovitz ("Amélie"). \nHad Spielberg allowed himself more time in-between "War of the Worlds" and the Oscar season rush, the end results could've been more satisfying, but the film is still one of the year's best.
(01/12/06 1:25am)
Despite its lengthy pacing and somewhat underdeveloped characters, Steven Spielberg's "Munich" allows the director to finally reinvent himself and break free of the Frank Capra-esque mold which encased so much of his work. Spielberg's take on the Israeli backlash towards the 1972 Olympic murders is one visceral gut-punch of equally mixed tightrope thriller and paranoia-laden plight, where the hunters quite possibly have become the hunted. \nEric Bana offers a career best as Avner, the Mossad agent in charge of five men on a mission which includes the likes of newly-named 007 Daniel Craig ("Layer Cake") to the soul-searching explosives expert Mathieu Kassovitz ("Amélie"). \nHad Spielberg allowed himself more time in-between "War of the Worlds" and the Oscar season rush, the end results could've been more satisfying, but the film is still one of the year's best.
(01/12/06 12:38am)
Almost 30 years ago when director Federico Fellini attempted to adapt the memoirs of Giacomo Casanova, the notorious lover of thousands of women, he tried too hard. The film was surrealistically awkward and casting Donald Sutherland as the infamous libertine was an error. Lasse Hallström, the same director responsible for the romantic \n"Chocolat," makes an attempt not to tell the life story of Casanova, but only a small segment of it. Unfortunately, he didn't try hard enough. \n"Casanova" winds a lighthearted yarn about how Giacomo Casanova (an enjoyable Heath Ledger) fell madly in love with Francesca Bruni (Brit bombshell Sienna Miller), a woman equally mixed with Jane Austen and countless period philosophers. What transpires for the near 2-hour running time is one of the longest running lies and cases of stolen/mistaken identity all for the sake of trying to woo Bruni. And while Casanova pursues his interests, he is constantly on the run from the Inquisition and previous loves still vying for his attention. \nComedic yes, but "Casanova" clearly tries to reconstruct the lover by making him a romantic instead of a sexual carnivore. Practically the entire cast, save Miller who is both desirable and delightful, lacks any true depth in character. Ledger simply woos, Lena Olin plays Francesca's mother Andrea with quirky charm, Oliver Platt is a jolly lard trader and Jeremy Irons is, well, Jeremy Irons. \nYes the film seems underdeveloped, but perhaps that was the whole point. "Casanova," like many period pieces, is quite the visual spectacle yet is also wrapped in sheer frivolity. It doesn't require you to think or make demands, simply sit back, take in the sights and scenery of Venice and have a hearty chuckle which I helped myself to on more than one occasion. \nWhile "Casanova" is enjoyably lighthearted and frivolous, one cannot avoid the fact that it's aimed as an alternative for those unwilling to take on the politics of Jane Austen's "Pride & Prejudice" or, unfortunately, those far too conservative to experience Ledger's tour de force performance in "Brokeback Mountain." Both films easily outperform "Casanova."\n2005 has been a wonderful year for Heath Ledger. He was one of the few redeeming features of "Lords of Dogtown" and had the opportunity to work with the great Terry Gilliam on "The Brothers Grimm." While he is quite the charmer in "Casanova," ultimately he is more convincing as a cowboy in "Brokeback."\n"Casanova" is worth your attention if looking for carefree charm and period piece eye candy.
(12/08/05 5:00am)
In his 50-year filmmaking career, French director Robert Bresson only made 14 films and one could say that all of his work is equal in importance. "Pickpocket," featuring a cast of non-professional actors, is easily Bresson's most accessible film and one of his finest works.\nThere is no great depth to the actual plotline of "Pickpocket." In simplest terms, it is a fictional document of one man, Michel (Martin La Salle), who lives a life of thievery. His beginnings lack confidence, getting caught shortly after lifting a wallet from a woman's purse at the racetrack. In a matter of time, driven by his impoverished lifestyle and ailing mother, Michel encounters a professional pickpocket. Taught the tools of the trade, Michel is able to ascend the criminal ranks -- from pilfering a wallet here and there to stealing wallets, watches, jewelry and so much more in the course of a day. Yet, in the case of so many crooks, the downfall that comes with such a lifestyle isn't far off in the distance.\n"Pickpocket," while simplistic in story structure and rather short in running length (75 minutes), has so many layers that one cannot grasp them all in just one viewing. Like the work of director Ingmar Bergman, Robert Bresson's films carry depth from the technicality in the work to the spirituality of the final product. The sequences where we find Michel committing acts of theft carry paranoia, difficulty and even celebration as they attack our senses. Bresson's use of sound is equally powerful in score and natural elements. It is filmmaking entirely rooted in realism. \nSome of the supplements are rewarding while others somewhat disappointing. To praise its successes, the video introduction by director Paul Schrader is enlightening as is the six-minute interview with Bresson from 1960. A short Q&A session from 2000 with actress Marika Green and the essay from critic Gary Indiana are also interesting. The best supplement though is a 12-minute piece with Kassagi, the sleight-of-hand artist and actor in the film, showcasing his talents on a French TV program. \nUnfortunately, the commentary track (provided by film scholar James Quandt) is at times too wooden and tries to cover too many things at once. The same goes for the 52-minute documentary "The Models of 'Pickpocket'" which interviews the main actors in 2003 and comes off as more reflective than insightful. \nDespite a couple lackluster extras, the overall release of "Pickpocket" is a case in which the film itself can in no way be equaled by the supplements. Having the film available on DVD is rewarding enough.
(12/08/05 2:33am)
In his 50-year filmmaking career, French director Robert Bresson only made 14 films and one could say that all of his work is equal in importance. "Pickpocket," featuring a cast of non-professional actors, is easily Bresson's most accessible film and one of his finest works.\nThere is no great depth to the actual plotline of "Pickpocket." In simplest terms, it is a fictional document of one man, Michel (Martin La Salle), who lives a life of thievery. His beginnings lack confidence, getting caught shortly after lifting a wallet from a woman's purse at the racetrack. In a matter of time, driven by his impoverished lifestyle and ailing mother, Michel encounters a professional pickpocket. Taught the tools of the trade, Michel is able to ascend the criminal ranks -- from pilfering a wallet here and there to stealing wallets, watches, jewelry and so much more in the course of a day. Yet, in the case of so many crooks, the downfall that comes with such a lifestyle isn't far off in the distance.\n"Pickpocket," while simplistic in story structure and rather short in running length (75 minutes), has so many layers that one cannot grasp them all in just one viewing. Like the work of director Ingmar Bergman, Robert Bresson's films carry depth from the technicality in the work to the spirituality of the final product. The sequences where we find Michel committing acts of theft carry paranoia, difficulty and even celebration as they attack our senses. Bresson's use of sound is equally powerful in score and natural elements. It is filmmaking entirely rooted in realism. \nSome of the supplements are rewarding while others somewhat disappointing. To praise its successes, the video introduction by director Paul Schrader is enlightening as is the six-minute interview with Bresson from 1960. A short Q&A session from 2000 with actress Marika Green and the essay from critic Gary Indiana are also interesting. The best supplement though is a 12-minute piece with Kassagi, the sleight-of-hand artist and actor in the film, showcasing his talents on a French TV program. \nUnfortunately, the commentary track (provided by film scholar James Quandt) is at times too wooden and tries to cover too many things at once. The same goes for the 52-minute documentary "The Models of 'Pickpocket'" which interviews the main actors in 2003 and comes off as more reflective than insightful. \nDespite a couple lackluster extras, the overall release of "Pickpocket" is a case in which the film itself can in no way be equaled by the supplements. Having the film available on DVD is rewarding enough.
(12/01/05 7:11pm)
For nearly 50 years, French director Jean-Luc Godard has changed the way we look at cinema. From his early beginnings as a film critic for Cahiers du Cinéma, it was only a matter of time before Godard and fellow critics such as François Truffaut ("The 400 Blows"), Eric Rohmer ("My Night at Maud's"), Jacques Rivette ("Paris is Ours") and Claude Chabrol ("Le Beau Serge") all entered the world of filmmaking, ultimately trumpeting the arrival of the French New Wave. And after so many years, with some directors losing their touch and others passing away, Godard is still alive and kicking behind the camera, challenging the film medium.\nThis weekend, Dec. 3, Godard turns 75 and IU is celebrating his birthday in style. Beginning Thursday, the film festival titled "Back to Zero" sponsored by IU's departments of Communication and Culture, Comparative Literature, Cultural Studies, French and Italian, is a four-day celebration of Godard's contributions to cinema. \nAmong so many filmmakers Godard's creativity left an immeasurable mark on the face of cinema. He has been an inspiration for John Cassavetes to Martin Scorsese to Wong Kar-Wai and countless other filmmakers. \n"He changes the language of the medium and breaches the boundary from fiction to non-fiction," says James Naremore, professor emeritus of CMCL and a featured speaker at the festival. "His style changes over time and that's not something every director is capable of after so many years."\nStyle, along with creativity and originality, is something Godard has had in spades since the beginning with much of his 1960's output being considered some of his best. With "A Woman is a Woman" Godard explored the musical with an incredibly playful glee. "Contempt" allowed him to attack both cinema and marriage while utilizing legendary German director Fritz Lang and foxy French bombshell Brigitte Bardot for actors. "Band of Outsiders" gave us one of the most memorable scenes from any film of the French New Wave as three young misfits race through the Louvre. He even began making his "film essays" in the 1960's with flicks such as "Masculin, féminin" and "2 or 3 Things I Know about Her," the latter which Naremore considers to be his favorite Godard film: "It was the midway point of the New Wave cinephile phase with Godard politically charged on his meditation of Paris in the 20th century," he said. \nBut none of these films are being shown at this weekend's film festival. \nWhile one could imagine that such a festival would be a "best of" collection from Godard's filmography, the event is more of a cinematic cornucopia showcasing his work from the past 45 years -- work which in some cases isn't even available in the US. "We want to give people an opportunity to see some of Jean-Luc Godard's more unique pieces," says Joan Hawkins, festival organizer and associate professor of CMCL. "A lot of what we're showing is some of his harder-to-find work." \nToday's festivities begin with a chapter from 1998's "Histoires du cinéma," a film essay featuring Godard's reflections on cinema. "À bout de soufflé" ("Breathless"), Godard's debut feature film from 1960 which pays homage to Hollywood, especially the classic Humphrey Bogart film noirs such as "The Maltese Falcon" and "The Big Sleep," shortly follows before the night ends with "JLG/JLG," an autobiographical documentary from 1995. \nFriday you can spend five hours taking in Godard's 1977 television series "Tour/Detour/France/Enfants" before catching the City Lights Film Series closing night double feature of Godard's 60s output "My Life to Live" and "Pierrot le fou" -- two films noted for Godard's early beginnings in political and cultural criticisms via cinema. \nSaturday begins with Godard's seminal sci-fi romp "Alphaville" followed by a symposium featuring Hawkins, Naremore and film critic for The Chicago Reader Jonathan Rosenbaum, who has been praised by Godard himself: "We don't have writers like him in France. He's like André Bazin." Following the symposium you can also catch the Underground Film Series closing night double-feature which includes the apocalyptic "Week End" and politically charged "Vladimir et Rosa." \nAnyone looking for their final dose of Godard should make sure to attend Sunday's screenings as they are two of his more recent films. 1987's "King Lear" is pseudo-inspired by the classic William Shakespeare play with a cast that ranges from quirky auteur Woody Allen to Brat-Packer Molly Ringwald. "Notre Musique," released last year, is Godard's most recent output which, described in the simplest fashion, is a film essay paralleling Dante's "Divine Comedy" with our world's political points of interest. Godard who once said of his film essays, "I write essays in the form of novels, or novels in the form of essays. I'm still as much of a critic as I ever was during the time of Cahiers du Cinema. The only difference is that instead of writing criticism, I now film it." \nNot only does the event allow attendees a chance at seeing a large amount of Godard's work, the festival itself offers students the opportunity to have an internship on an actual film festival. "As a fan of Godard's work, it felt like an ideal project to be a part of," says junior Eric Condon. \nSenior Andrew Walker, who also had the opportunity to intern with the festival, said, "(Godard's) films contain a boundless energy that really pushes the envelope and made me interested in the festival."\nFrançois Truffaut once said: "There is a moment when every true creator makes such a leap forward that his audience is left behind." While Godard himself will not be in attendance this weekend, his work and spirit will be. The only way the audience is left behind is if they pass up the chance to attend the festival.
(12/01/05 7:09pm)
Directing duo Michael Powell and Emeric Pressburger's love affair with cinema and the stage knows no bounds, especially when it came to conducting Jacques Offenbach's opera "The Tales of Hoffmann" for the screen in 1951. Captured in vivid Technicolor with a cast of epic proportions, "Hoffmann" is yet another high point in the careers of two of England's finest filmmakers. \nDreamer Hoffmann (Robert Rounseville) is surrounded by drunken bar mates as he waxes poetic about a fantasy trip across Europe in search of love as told in three acts. First there is Olympia (Moira Shearer, star of the duo's successful "The Red Shoes"), an angelic automaton who is out of Hoffmann's grasp. Then there is the seductive siren Giulietta (Ludmilla Tcherina) who wants nothing more than to steal Hoffmann's soul. Finally there is Antonia (Ann Ayars), an ill-stricken young woman controlled by her obsessive father (Mogens Wieth) and demonic doctor (Robert Helpmann). All of them end in failure, but even the worst relationship disasters can end up being the most poetically inspiring. \nTwo elements make "Hoffmann" a solid film: Offenbach's score and production designer Hein Heckroth's craftsmanship. Jacques Offenbach's music is in every way the proper combination of majestic melody and soft somberness which results in a wildly romantic opera piece. Heckroth, who earned two Oscar nominations for Best Art Direction-Set Decoration and Best Costume Design, clearly deserved them as the sets are imaginative and the costumes surely lavish and grandiose right down to the stitches. \nThe DVD transfer is crystal clear with plenty of extras to boot. Audio commentary is provided by film-music historian Bruce Eder and director/long-time Powell preserver Martin Scorsese, both having plenty to say about the film. An unexpected yet interesting interview with zombie fanatic George A. Romero finds the horror auteur singing his praises as well. There's even a short film from 1956 called "The Sorcerer's Apprentice" which Michael Powell directed while utilizing the talents of Heckroth once again. \nSpeaking of Heckroth, there is a gallery featuring plenty of his sketches and paintings used for the production of "Hoffmann." There's even another gallery of publicity photographs and production images. The original theatrical trailer and a 5-page essay from film historian Ian Christie round out the disc. Those who might not enjoy trying to decipher the dialogue contained within the operatic vocals (there is no spoken dialogue whatsoever) will be happy to know that subtitles are available. \nWhile "Hoffmann" is a somewhat heavy viewing experience (two hours of opera is a lot to handle), the end result is both musically and romantically rewarding.