Blu-ray Movies

June 2010

Pathetic Earthlings, What Will You Do with Your DVDs of Flash Now That a Definitive Blu-ray Has Landed?

Universal 61112072
Format: Blu-ray

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When Flash Gordon was first released in 1980, theatergoers were on a Star Wars rush, and the movie earned only a fraction of what producer Dino De Laurentiis had expected. Audiences scoffed at its score (by Queen), retro special effects, and lack of big-name actors, even though the music and elaborate sets and costumes made it clear that this film was a comic-book rock opera and a campy indictment of the ’30s. Meant as mere entertainment, the film was to be enjoyed rather than dissected.

But despite its disappointing theatrical sales, the movie gathered a large cult following, finally acknowledged by Universal several years ago when it released the Saviour of the Universe edition, which featured a new digital transfer to showcase the movie’s visual and aural delights. This Blu-ray seems to have been created from the same elements and has the same cover art, though “Saviour of the Universe” has been dropped from the title. The DVD was excellent, but the Blu-ray is outstanding.

I’d recommend watching the most useful extra, the initial episode of the 1934 Flash Gordon serial starring Buster Crabbe, before the feature. Then you can appreciate how the creators of the 1980 version paid homage to the original. Perhaps most enjoyable, after the incredible colors and Queen’s pulsing rock score, is Max von Sydow’s tour de force performance as Emperor Ming, Ruler of the Universe, a bad guy you’ll love to hate. The veteran actor delights with every word and campy action, and his voice alone is almost enough to carry the movie. We’re introduced to that sonorous instrument at the beginning of the film as we see Earth through the eyes of Ming. He unleashes winds, earthquakes, and hot hail on the planet in a sadistic cat-and-mouse game. “I like to play with things a while . . . before annihilation,” he says in one of many campy lines you’ll find yourself quoting.

As hinted, the video transfer is as close to perfect as we’ll probably ever see for this movie. The colors are unusually rich and deep, with no bleed or shimmer. The picture manages to be super sharp as well, without any application of edge enhancement. The dominant reds are hot throughout the movie, while flesh tones remain entirely natural. The DTS-HD Master Audio sound is robust and clean with more surround than you might expect from a film originally advertised as Dolby Stereo. Taken all together, the picture and sound are exceptionally appealing. Even if you don’t appreciate the camp on screen, you’ll have to admit that it looks drop-dead gorgeous. Flash Gordon could become a favorite demonstration disc for showing off your new monitor and sound system.

There’s not much in the way of extras beyond the already mentioned serial episode, just two ten-minute interviews with comic-book artist Alex Ross and screenplay author Lorenzo Semple Jr., and a trailer presented in very poor SD video. But at least it makes you realize the depths the restorers have gone to in providing the sparkling HD version of the entire film.

Be sure to watch for: Flash Gordon is rife with scenes that astound with eye-popping color and definition. At the beginning of scene 9, Flash is held captive in a wooden cage on Prince Barin’s (Timothy Dalton) planet. The natural wood tones set off Barin’s “ready to play Robin Hood” green tights and Flash’s red tank top and bleached-blond hair. The depth of field is so focused that this scene, in the company of most of the larger-scale portions of the film, has great depth.

. . . Rad Bennett
radb@soundstagenetwork.com

June 2010

Remake of the Iconic Universal Horror Film Has Bigger Fangs, More Blood, but Less Heart

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The best thing about this double-disc Blu-ray set is one of its extras, George Waggner's original 1941 film The Wolf Man, starring Lon Chaney Jr. Though the remake has shortened the original three-word title to The Wolfman, it has expanded the story at every turn, often gratuitously.

Chaney's performance in the original shows great depth and heart, and the black-and-white-era star was supported by a handful of A-list actors, including Claude Rains and Ralph Bellamy. Underpinning the fine acting is Curt Siodmak's screenplay, which worked around censorship issues of the day to create a compelling psychological subtext that raised the movie far above the usual slice-and-dice monster flick.

Unfortunately, the inclusion of the original film as an extra presented quite a few problems -- at least for me. Instead of including the extra on a third disc, Universal offered it as a BD Live streaming download. I have four Blu-ray players, and each reacted in a different manner despite being connected through the same basic Ethernet system. The Sony PS3 aced it, loading the movie quickly and streaming it smoothly in crisp, well-defined video. The Oppo BDP-83 produced a splendid picture, but it occasionally froze for three or four seconds. The Panasonic DMP-BD55 streamed the feature without issue, but its picture was soft and marred with squiggly video noise. The picture was so distressing, in fact, that I decided to pick up a Sony BDP-S270 to replace it, only to find that my new player didn't show the extra as a clickable option! I'll be making some calls to Oppo and Sony, as I imagine the firmware needs updating.

The new movie isn't as bad as many would have you believe. It boasts stunning photography and meticulous period detail, and it adds some interesting ideas to the plot. For one, Lawrence Talbot's father is also a werewolf, which allows for a grand final battle between father and son. Benicio Del Toro isn't as deep as Chaney in his portrayal of Talbot, but he nails the crucial pivot point and makes us care about the character. Though he's undeniably a monster, he's also the hero of the movie, and we root for him, hoping he'll find a cure for his affliction. Anthony Hopkins is fascinating as Talbot's father, and he gives a performance so sly and layered that you'll wonder about his real motives. Rick Baker's special makeup is beyond reproach, and the special effects blending live action and CGI are smooth and seamless. The Blu-ray presents a director's cut that's 16 minutes longer than the theatrical version, which is also on the disc. You might assume it has more blood and gore, but it actually adds more dialog, which creates better character depth.

The Blu-ray transfer is gorgeous most of the time. The ever-present shadows are always alive with detail, and the inky blacks are perfect for a large display, especially a plasma. Daylight scenes are filtered toward blue, but the colors still seem natural. The picture occasionally goes soft or grainy, and this inconsistency is the only factor keeping the picture quality from a higher rating. The sound is aggressive during action scenes, and it wraps around the viewer. And though the dialog is often soft, I had no trouble understanding it. It's a good test to see if your center speaker is properly balanced. There are some decent production featurettes, and the Universal U-Control disc offers some interesting picture-in-picture commentaries for the theatrical version. One set of commentaries features Rick Baker and others explaining the special effects, while the more interesting "Legacy, Legend, and Lore" compares the new and old versions of the film and discusses werewolf facts and fiction. And for those who would like to take The Wolfman wherever they go, there’s a digital copy included. There are also two alternate endings, each so bad that I almost forgot them. The director made the right final choice, and the Blu-ray offers proof.

Be sure to watch for: One of the best things about the new version is its moody action-adventure sequences. The best of these occurs in chapter 14 as Talbot changes into the monster and escapes from the asylum where he was imprisoned and tortured. He races across the rooftops of London and climbs on top of a griffin statue to howl at the moon, creating a memorable iconic image. This scene is extended in the director's cut.

. . . Rad Bennett
radb@soundstagenetwork.com

May 2010

A Gritty View of Perpetual Winter Frames a Furtive Search for Humanity

Sony Home Entertainment 35287
Format: Blu-ray

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Last winter, as the record-breaking snow piled up, it seemed that we might never see the sun again. Of course, we knew it would return, and the world would once again turn green. But what if the miracle of spring never happened and every gray day was followed by another? Would hope vanish?

The Road, based on Cormac McCarthy's novel of the same name, offers an idea of what life without spring might be like. We never learn the cause, but the earth has plunged into a dim, cloudy winter. The planet is dying, the skies are gray, and the vegetation is brown and rotting. A man (Viggo Mortensen) and his son (Kodi Smit-McPhee) plod down a lifeless road, pushing a shopping cart filled with meager supplies as they head for the coast. The situation is so grim, we’re told, that starving survivors have turned to cannibalism, and the man carries a gun with two bullets -- one for him and the other for his son. They won’t be eaten, nor will they eat people. The man tries to teach the boy that cannibalism is wrong and that they must maintain their humanity.

It’s hard to judge the video transfer for this Blu-ray. Director John Hillcoat has aimed for a limited color palette of gray, brown, and yellow, with an occasional orange glow provided by fire. Given that, the transfer is probably a very accurate representation of the theatrical release, though it seems soft in places, more like newsreel footage than feature film. The soundtrack, however, is very robust. The dialogue is often quiet and you'll need to turn up the volume, but the groaning of earthquakes and cracking of falling trees have a great deal of presence, and they accentuate the horrible events on screen.

Extras include an off-the-cuff commentary from Hillcoat, five deleted scenes, a typical back-patting production featurette, trailers that prove no one knew how to market this movie, and five trailers for other films.

This isn't a movie you'll want to rent or purchase for its technical wonders. It is worth seeing, however, for its disturbing, realistic message, as well as for the acting of Mortensen, who skillfully underplays the story. Smit-McPhee is also good, and he and Mortensen are a believable father and son.

Be sure to watch for: In chapter 10, the man and the boy encounter an old man (Robert Duvall). The ensuing ten-minute conversation showcases some of the best ensemble acting I’ve ever seen. Three generations, five-star acting.

. . . Rad Bennett
radb@soundstagenetwork.com

May 2010

Kurt Russell and Val Kilmer Are Better Than Ever on Blu-ray

Hollywood Pictures 053489
Format: Blu-ray

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If you can set historical accuracy aside and just go along for the ride, Tombstone, released in 1993, is a satisfying western that strays only slightly from history through a bit of embellishment and speculation. Kurt Russell and Val Kilmer, starring as legends Wyatt Earp and Doc Holliday, give performances full of depth and nuance, and Kilmer's turn as the consumptive, alcoholic Holliday is possibly the best of his career. The bad guys are bigger than life, with Powers Boothe and Michael Biehn memorable as Curly Bill Brocius and Johnny Ringo. Though the legendary fight at the O.K. Corral stands at the center of the movie, the screenplay takes us to events that followed the famous shootout. Wyatt's younger brother, Morgan (Bill Paxton), is murdered and avenged in a series of grisly killings culminating in the deaths of Brocius and Ringo. Wyatt reconnects with the love of his life, actress Josephine Marcus (in reality they married and lived together in Hollywood until Wyatt's death in 1929), and the movie closes with them dancing in the snow.

The film is full of exhilarating action, and its meticulous period detail paints a picture of the west in the late 19th century. I was particularly fascinated by the manner and method in which a touring theatrical group played to a raucous audience of cowboys. Every detail is easily seen in this glorious transfer, which trumps all prior DVD releases. The picture has rich color, solid blacks, excellent shadow detail, and such a "movie look" that you might think about selling popcorn at the door. There's so much focus that in panoramas of the town streets you can see a character up front and a building half a mile away with equal clarity, resulting in scenes with great depth and a three-dimensional feel. The DTS-HD Master Audio sound goes hand-in-glove with the outstanding picture. Bruce Broughton's stirring score is solidly reproduced, and the gunfights spread the sound of gunfire around the room.

But while picture and sound score big on this release, the extras are lame. There's a 27-minute production featurette in which the director and actors talk about their characters and their effort to adhere to the historical facts. It starts well but quickly degenerates into fluff. The only other extras include a brief look at the storyboards for the famous gunfight and some trailers and TV spots. A first-rate action movie like Tombstone deserves better, especially one with such satisfying video and audio transfers.

Be sure to watch for: In chapter 16 there's a violent electrical storm on the night Morgan is killed, and the brilliant lightning illuminates the darkness, providing brief glimpses of glaring reality that quickly fade to shadow and then to dark. The scene showcases Blu-ray's ability to provide an outstandingly detailed picture, whether dark, light, or in between.

. . . Rad Bennett
radb@soundstagenetwork.com

May 2010

Steven Spielberg's Graphic War Movie Retains Its Great Impact on Blu-ray 

Paramount 07484
Format: Blu-ray

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Almost everyone has seen this Academy Award–winning film by now. But for those who haven't, it tells the story of a division under the leadership of Captain Miller (Tom Hanks), small-town English teacher turned soldier. Miller is ordered to pick his best men for a mission to go behind enemy lines and rescue a young private (Matt Damon) so that he may be returned to his grieving mother, who has already lost her other three sons to the war. This epic movie sums up almost every other war film, and it emerges as one of the two or three best in its genre.

Saving Private Ryan has come to Blu-ray looking almost as good as you could hope. The colors seem true to life, unlike in the earlier DVD version. Spielberg's idea was to make the film -- particularly its opening sequence -- resemble newsreel footage. And every detail in the Blu-ray image is so clean and clear that the director's plan results in gripping, gritty footage that showcases the reality of war. I was particularly struck by the opening scene's rough water, which is so detailed that I felt immersed in the heady aroma of beach and ocean.

The film, which won the Academy Award for Best Sound, has been transferred to Blu-ray in perfect DTS-HD Master Audio 5.1. All of the channels are in use throughout almost the entire movie, yet there's never any clutter or coarseness. The dialogue is clear, and the surround effects contribute to the action up front without any missteps. John Williams's score is expertly mixed, never overshadowing dialogue but also not fading into the mix. The extras, which are on a separate disc, include a handful of intelligent production featurettes as well as a theatrical trailer and re-release trailer, both in HD. The most important extra, however, is a lengthy documentary on war photography, hosted by Tom Hanks.

Be sure to watch for: In chapter 9 the men take refuge at night in a bombed-out church, which is lit only by candles. There are many wonderful shadows in this scene, along with plenty of shadow detail. Faces are often lit only on one side, but the original photography is so excellent and the transfer so close to perfect that there's never any doubt as to who or what we're seeing.

. . . Rad Bennett
radb@soundstagenetwork.com

May 2010

Criterion Releases the Ultimate HD Edition of Fritz Lang’s 1931 Classic 

The Criterion Collection 30
Format: Blu-ray

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Child-molestation cases and sex offenders are blasted at us so often by the press, that we’re liable to assume that they are exclusive 21st-century issues. All we have to do is look back to 1931 and Austrian-born director Fritz Lang to realize our mistake. Unfortunately, child molesters and serial killers have been around a long time. M was the first film to show the killer as a sick person who couldn’t control his compulsive actions. In his dramatic monologue at the conclusion of the film, killer Hans Beckert (Peter Lorre) cries out that he blacks out and then later will see a poster telling of the horrible things he’s done, things he is unable to stop. Lang’s film is about the investigation and chase to find a murderer but is also a multilayered study of class distinction in Germany at that time. Beckert is not discovered and captured by the police, but by a vigilante army of “good” criminals who find it difficult to pursue their thievery when the streets are being flooded by police officers searching for the child killer. They agree that the crimes are monstrous, but they also know they are bad for business. Some consider Lang to be to be the father of film noir, and M can easily be seen as representative of that genre. It has the right look, complete with shadows on the walls hovering over glistening wet streets and the high contrast of dark and light for the interiors, all visuals that feature a main character driven to destruction by forces beyond his control.

Criterion has done a superb new restoration. I’ve said it before and will say it again: others might come close these days, but no one does black-and-white like the Criterion team. Other than the odd aspect ratio (1.19:1, a skinnier image necessitated in early German sound films by the addition of an optical soundtrack to a standard film strip) you might swear this movie was made much later, say the '50s. The flicker that so often plagues transfers of 1930s films is almost completely absent; for 97 percent of the film’s110 minutes, the image is rock solid. If you avoid black-and-white movies as rule, try this one; it might well convert you to being a fan.

This was Lang’s first movie with sound (no matter what soundtrack you’ve seen Lang’s 1928 Metropolis with, it was originally a silent film!), and it’s truly remarkable that Lang immediately mastered the new cinematic tool. Most often, of course, the sound serves the image onscreen but at other times the partnership reverses. After the murder of Elsie Beckmann at the beginning of the movie, the screen goes to black, and in the blackness, after several seconds of silence, we hear the cry of “Extra! Extra!” The scene opens and we see that it is has been a newsboy shouting those ominous words. The scene accelerates in tension as other newsboys and townspeople fill the street. We might remember the visual impact of neighbor against neighbor in this violent scene, but it is the sound that first gets our attention. This is only one example of many, and Criterion has taken great pains to make the 79-year-old optical track sound better than anyone could hope.

Before you ask, let me say that this new edition of M is quite a bit better than the company’s first release of the movie. The extras come partly from that older edition and some are new. The most significant in the latter category is a recently discovered English version of the movie, for which some scenes were shot over and edited in with the original material, which was dubbed. Peter Lorre’s final speech is actually Lorre speaking and acting in English, but though it is quite effective, one misses Lang’s trusty hand behind the camera, for he apparently had nothing to do with the English or French versions. In addition to this feature, there’s William Friedkin’s 50-minute film of conversations with Fritz Lang in the 1970s, French director Claude Chabrol’s ten-minute remake, several video interviews, and a documentary on the film detailing its first release to its new digital restoration. A detailed and informative historical commentary by German film scholars Anton Kaes and Eric Rentschler is one of the best of its kind. Once again Criterion has given new life to a deserving landmark of cinema. The message comes across in every exquisite detail that this company really loves film.

Be sure to watch for: In the middle of chapter 7, Beckert, while roaming the streets of Berlin, stops in front of a store that has geometrically arranged displays of knives in its show window. The camera catches him framed by a reflected knife display, and then switches to his point of view as he sees the reflection of his next victim framed by the same display. Beckert pauses before pursuing his prey, and the camera catches his reflection and bug-eyed expression in a most menacing way. It’s an unforgettable scene. 

. . . Rad Bennett
radb@soundstagenetwork.com

April 2010

James Cameron's Green-Message Masterpiece Comes to Blu-ray, Bringing New Standards for Reference Video and Audio

20th Century Fox 2265613
Formats: Blu-ray, DVD

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I’m not going to discuss the plot or analyze the environmental themes embedded in James Cameron's latest science fiction picture, except to say that I think the movie succeeds both in its message and as an epic adventure. What's important here is how Avatar holds up on Blu-ray. And just as the movie set new standards for visuals, you can now include Avatar among Baraka, Up, and WALL-E as one of the few contenders for the "best reference disc" title. If you want to wow your friends and family with your large-screen monitor and multichannel sound system, you won't find a better choice.

The movie has been transferred to Blu-ray in 1.78:1 aspect ratio, so it will fill your entire HD widescreen display. I found this very satisfactory, and I didn't feel like I was missing anything from the different aspect ratio used in regular theaters, where the 3D version was 2.35:1. The incredible range of colors is just as eye-popping as it was in the theater, and every scene is packed with impressive HD detail. Moreover, shadow detail is perfect, black level is ideal, and there are no artifacts. The DTS-HD Master Audio sound is also just as good as the picture. The entire 360-degree listening circle is used most of the time, and the sound, whether it’s from quiet wildlife or noisy battles, has wonderful presence. The dialogue is always clear, and scenes with firepower offer some lease-breaking bass without sounding too "bass heavy," as is often the case with SFX films.

There are no extras, but the disc's producers have been quick to point out that there will be a four-disc set down the road, one that will probably contain a slightly longer version of the movie and lots of production featurettes. And though it hasn't been announced, it seems inevitable that there will be a 3D disc set as well -- after all, Avatar was at the center of the theatrical 3D revolution. That's all well and good, but if you need a new state-of-the-art demo disc for your system now, you can't go wrong with this release. A DVD disc is also included, and it's equally impressive -- for DVD. But it's the Blu-ray that raises the bar for audio and video quality. The lack of extras has allowed the entire disc to be dedicated to obtaining ultimate clarity for the film, and that decision has made Avatar the new reference disc on the block.

Be sure to watch for: Avatar is loaded with colors both familiar and not so familiar. And nowhere is this better demonstrated than in chapter 11, when the native woman Neytiri saves avatar Jake from a pack of fierce viperwolves. As the scene begins, it's lit with the angry orange glow of Jake's torch. But after a moment of darkness when Neytiri throws the torch in the water, the scene ends with the more peaceful yet vivid phosphorescent aqua, blue, pink, and purple of Pandora's nighttime forest. Regardless of the color scheme, the shadow detail is reference-level.

. . . Rad Bennett
radb@soundstagenetwork.com

April 2010

Criterion Gives a Second Chance to Ang Lee’s Revisionist Civil War Film

The Criterion Collection 514
Format: Blu-ray

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Ride with the Devil was the third English-language film for Taiwanese director Ang Lee, and it was released in 1999, one year before Crouching Tiger, Hidden Dragon made him a household name. Ride with the Devil had a limited theatrical release, making little money despite being favorably reviewed. The studio asked Lee to cut the movie's length before its release, and he agreed, as he was busy working on Crouching Tiger. Now the Criterion Collection has given everyone a chance to see Lee's original version, with the missing footage reinstated.

Based on Daniel Woodrell's novel Woe to Live On, the film is set in Missouri, a northern state that allowed slavery, where gangs of southern bushwhackers and Union soldiers engaged in guerilla warfare. It was one of the bloodiest episodes of the war, culminating in a shameful raid on Lawrence, Kansas, in which most of the town's men were slaughtered with little warning. Tobey Maguire stars as Jake Roedel, a 19-year-old of German descent, who becomes friends with Jack Bull Chiles (Skeet Ulrich), another young raider, and Daniel Holt (Jeffrey Wright), a freed black man. The story revolves around their friendship as they come of age during a tumultuous time in American history, and it's worth more than a passing glance.

Ride with the Devil was beautifully photographed by Frederick Elmes, and its look has been faithfully transferred to Blu-ray. The outdoor scenes have deeply saturated colors that look natural and realistic. Greens especially stand out, and the picture always has good definition. The sound is exceptionally robust, with battles audible from all directions. But even when the action gets frantic, dialogue is cleanly reproduced. Considering that this is a Criterion release, the extras feel a bit skimpy, but they include a retrospective interview with Jeffrey Wright, two commentaries, and essays in the 32-page booklet that shed light on the period.

Restored to its full length or not, I don't think the film is a masterpiece. Still, it's an engaging and faithful look at a time in American history that Hollywood has fictionalized beyond recognition. Criterion has brought it to Blu-ray with respect and care, providing picture and sound that will please anyone, especially those with a large video display.

Be sure to watch for: The opening of chapter 6 is a breathtaking shot of a bushwhacker encampment. The greens are intense and varied, with grass that's darker than the trees. The detail of distant horses, tents, and soldiers is impressive, as is the shadow detail of the creek bank.

. . . Rad Bennett
radb@soundstagenetwork.com

April 2010

Werner Herzog and Nicolas Cage Explore "The Bliss of Evil" 

First Look Studios FLP-12966
Format: Blu-ray

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The opening shot of the neo-noir Bad Lieutenant: Port of Call -- New Orleans, shows a snake slithering through the foul flood waters left behind after Hurricane Katrina, and it lets us know that we’re in for something much darker than the New Orleans of Mardi Gras and jazz greats. When the flood has stranded a prisoner in his cell, detectives Terence McDonagh (Nicolas Cage) and Stevie Pruit (Val Kilmer) watch from above and bet on how long he’ll last before drowning. But McDonagh then jumps into the water to save the drowning man, and for his heroism he gets formal recognition and a bad back that soon has him popping pain pills like popcorn. The prescribed drugs lead to crack, which eventually leads to heroin, and before long McDonagh is filching drugs from the evidence room and apprehending anyone who appears to be holding.

Cage’s performance is a tour de force that's both amazing and perplexing. His mind and body may be twisted, but we’re shown that McDonagh can be a good guy, and Cage channels enough Jimmy Stewart that we’re on his side despite his actions. The movie is a film noir doubling as one of the darkest comedies you’ll ever see, and in the production featurette, director Werner Herzog says it’s all about “the bliss of evil.” Herzog has also insisted that this film isn’t based on 1992’s Bad Lieutenant, directed by Abel Ferrara. Whether you believe him or not, this movie is engaging from beginning to end, and you won’t be able to take your eyes off of Cage.

The production featurette is the disc’s most substantial extra. It’s an entertaining and eye-opening look at an energetic Herzog at work. The other main extra contains a group of photos taken by Herzog’s wife, Lena, including stills from the movie as well as posed-for pictures that are some of the sharpest, cleanest still photos I’ve ever seen on disc.

The overall picture quality is excellent, but it fluctuates (as it did theatrically) with each scene. Garish colors, grain, and doubtful focus add edginess to the movie’s hallucinogenic moments, while natural tones and razor-sharp focus delineate outdoor shots. The soundtrack offers incredibly clear dialogue, and it successfully uses the surrounds for music and the occasional effect. And in case you’re wondering about the iguanas and alligators that this movie is famous for, you’ll notice them all right. There’s no point in stating the obvious, but let’s just say there are worse things than hitting a deer with your car.

Be sure to watch for: Chapter 11, when McDonagh drives across a bridge. The car’s hood and windshield vividly reflect the bridge’s girders. It’s an old cinematographer’s trick, but it’s a good one. And it’s especially well presented on this Blu-ray.

. . . Rad Bennett
radb@soundstagenetwork.com

April 2010

Ritchie the Ringmaster Dazzles with a Unique Look at the World's Most Famous Detective

Warner Home Video 3000029704
Format: Blu-ray

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For 2009’s Sherlock Holmes, director Guy Ritchie serves as ringmaster, corralling as much action as possible into the center ring. But despite Ritchie’s efforts to lift Watson (Jude Law) to the level of Holmes (Robert Downey, Jr.), Downey turns in such a captivating performance that the action inevitably revolves around him. That said, Ritchie has given their relationship greater balance, making Sherlock Holmes a buddy movie in which Holmes and Watson show glimpses of Butch and Sundance. Purists may balk, but for my buck Ritchie offers an interesting interpretation that serves up a full 128 minutes of quality action-adventure entertainment.

Ritchie’s Sherlock Holmes looks even better on Blu-ray than it did in the theater, and it’s a perfect transfer for boasting about what your system can do. The sets drip with detail, and the Blu-ray faithfully reproduces every speck of dirt from the streets of late 19th-century London. The palette is bluish-brown, similar to that of Ritchie’s Lock, Stock and Two Smoking Barrels, but the colors were clearly the director’s intent. The soundtrack is lively, and it completely encircles the viewer. The frequency range is also excellent, from the highest piccolo to the lowest thud. This mix will keep your whole speaker system, not to mention your ears, busy.

The extras are a bit unusual. At first there seems to be only one, called “Maximum Movie Mode,” which actually comprises many elements. Ritchie, again as ringmaster, presides over the effects, offering comments and ushering in various frames within the screen that range from talking-head comments to backstage filming sequences. He invites you back to the movie once in a while, but you’ll still see terraced PIPs of storyboard sketches. At several points you’re asked to press Enter to see still-frame galleries or featurettes about Sir Arthur Conan Doyle’s stories or the filming process. At other times a timeline appears at the bottom of the screen, listing dates of events in Doyle’s life. There’s a ton of well organized information here, but don’t dig in until you’ve seen the film. You can also access the featurettes later on without having to experience the entire three-ring show.

The ending of Sherlock Holmes shamelessly sets up a sequel, and I can’t wait. If you haven’t seen this film yet, make sure you do. The Blu-ray version makes a good movie that much better.

Be sure to watch for: Chapter 13, the shipyard chase scene. It’s an intricate mix of live action, CGI, and mattes, and it’s one of the best action-adventure set pieces around. All of the ship’s spars, rigging ropes, and chains stand out with amazing clarity, and the superb soundtrack enhances the action on the screen. Holmes’s take: “Watson, what have you done?”

. . . Rad Bennett
radb@soundstagenetwork.com