Finally, an American
John Woo film that captures the feeling of his best Hong Kong work. The skill which Woo
brings the table in creating intricate shoot-outs and massive explosions combines with his
ability to lead actors into skillful portrayals. That's what makes Face-Off a cut above
the better action movies; the acting is very good and can almost be overlooked in the
technical displays of Woo movie making.
tech surgery. ãParamount
What a beautiful laser disc. Deep, rich colors
and images as sharp as the medium can deliver. Contrast is perfectly in balance and though
the 2.35 transfer gives up lots of lines of resolution blown up widescreen, it does not
have excessively prominent line structure. The sound is ferocious. Explosions tax the
power handling capacity of your system and you cab bet there are more explosions per buck
here than in a year's worth of other movies. Deep bass, precise location of shots, the
Dolby Digital recording is a splendid sound treatment.
is Rima, a jungle girl, in this tepid adaptation of the the W.H. Hudson novel.
Anthony Perkins plays Abel, the the son of an executed South American
politician. When he flees to the jungle in search of gold to fund his desire for revenge,
he mixes it up with Indians and ultimately falls in love with Hepburn, affectionately
referred to as"the bird girl" in Green Mansions. His chief obstacles are Henry
Silva as the corrupt son of the Indian chief and Lee J. Cobb as the doting grandfather of
Rima. Though filmed "largely on location," some of the sets look like they could
be the local Polynesian restaurant. There's very little action but plenty of overacting to
make up for it. It's not great movie-making but there's a fair amount of fun to be found
amongst the spreading Banyan trees.
Rima, the bird girl. ãMGM-UA
The 2.35:1 transfer is reasonably clean but
suffers from some softness of image. Contrast could have been stronger and colors are
slightly faded. The stereo is not aggressive but the sound is clean.
Presented in a hansom
new widescreen version from Universal, Dune is still as muddled a screenplay as ever. The
complex, epic nature of Frank Herbert's novel, at least in David Lynch's adaptation,
proves impossible to bring to life in 2 1/2 hours of movie time. Lynch's choice to have
characters expressing their thoughts throughout the film is difficult to bring off and the
result is stiff characters bound by their inward observations. All of the actors seem like
they are making pronouncements rather than interacting.
Much of the set and
costume design is imaginative and this injects some excitement, but Dune is not an effects
driven story and bells and whistles do not make up for lack of character development.
sound's the star. ãUniversal
While the image is excellent in the newest Dune laser, it is the sound that is the star.
The Dolby Digital remastering brings an incredible range of detail and explosiveness. The
bass rumblings of desert worms could well shake the floorboards of your home.
Masters of the horror film genre have one thing in common: an extraordinary sense of
style. In the case of Wes Craven, a modern horror legend, the director has added smile to
his style. This is the second time Craven has placed his tongue definitively in his cheek
to produce an entertaining permutation of horror film. His first attempt, Wes Craven's New
Nightmare took direct aim at his own Nightmare on Elm Street series and was highly
imaginative in execution. This time around Craven, with energetic genre-laden banter in a
screenplay from Kevin Williamson, succeeds in poking fun at the entire genre. His cast of
young players is fun to watch and Craven's timing is near perfect. Photography and music
are in tune with Craven's knowing smile.
of many screams. ãMiramax
beautiful laser disc extracts the last ounce of perfection from the format. Bright colors
and sharp images are balanced to provide the best image. The Dolby Digital sound is
outstanding, with aural surprises exacerbating the visual bloodletting.