Category Archives: 3.5 stars

Black Legion (1937)


3.5 stars out of 4. A strikingly bold picture for the time, and an early Bogart classic.

This is not an easy one to swallow. black Legion deals with a realistic KKK-like organization that unjustly takes out the frustrations of citizens against innocent foreigners and those of foreign descent. Based on a real life incident and court case, this is a great example of Warners adept production and refinement of the social issue picture.

Bogie stars as a worker passed over for a promotion he had been waiting for in favor of a better educated candidate who happen to be both younger and of foreign descent. This leads others to suggest he go to a secret meeting which of course turns out to be for the titular Legion, and it is at this point that he falls down the rabbit hole and will never make his way back out again. Seen today, what is most chilling is the degree to which the Legion infiltrates all aspects of society and these men’s lives, much as we have seen throughout modern times with the rise of various terrorist groups and factions hidden in plain sight.

Black Legion predates the Noir movement by a number of years but fits in right alongside other Warners productions from this era that effectively hint at what would later arise as Noir. Warner was always the studio that focused on real life dramas or stories of the streets. Aside from the gangster films, it was their continued adaptation of stories based on true events that set them apart from the other major studios.

Archie Mayo directed this film and it shares a number of similarities with  The Petrified Forest (1936), particularly in its strong use of Bogart as a dramatic performer. Mayo was able to get the most out of Bogie in both films before he was relegated to just playing the heavy or Gangster no.2 second fiddle to the rest. It is really only in these two films that you are able to see his range later glimpsed in his breakout role of Roy “Mad Dog” Earle in High Sierra (1940). Assisting this strength is a great gathering of the great WB stock company of actors, including the later forgotten Dick Foran.

So if you’re in the mood for a hard hitting and truly dark drama from the 30’s that feels miles ahead of its time, or are a Petrified Forest fan, this one’s for you.

The transfer is great, as always from WB’s classic titles, and being from the Gangsters Vol. 3 set has commentary and Night at the Movies option. Another great rendering of a studio classic.

A must own for Bogie fans.

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Filed under 3.5 stars, Film Review, Humphrey Bogart

Lady Killer (1933)


3.5 stars out of 4. My favorite Cagney vehicle.

This is the third 1933 produced Cagney vehicle I have reviewed. Amazing how the breadth of one’s work back in the golden age could be so quickly put together. Lady Killer is pure contrivance and absolute fun.

Cagney plays a movie usher who winds up throwing in with a small time gang, who he then builds into an empire out East until it blows up and they must go run out West to escape the law. Cagney winds up broke and betrayed, only to find work as a movie extra and eventually becomes the top star in Hollywood.

If that paragraph doesn’t grab you, then stop reading here. This is the film that firmly cements the audience’s love of Cagney forever. He is at his charming best, and runs the gamut of opportunist and honest guy. And it also features more turmoil for poor Mae Clarke, who was the same actress on the receiving end of Jimmy’s grapefruit in The Public Enemy.

In addition to all the fun, there’s a nice criticism of Hollywood and the system at the time while providing a real glimpse into the workings of 1933 production that goes beyond just the stuff you can read in books. And any picture that can get Cagney to laugh at himself while riding a fake horse in full Indian chief regalia in front of back projection footage is tops in my book.

Another winner in WB’s Gangsters Vol. 3 with commentary and the always lovely night at the Movies option. Transfer is great as usual with these.

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Filed under 3.5 stars, Cagney, Film Review

The Mayor of Hell (1933)


3.5 stars out of 4. Somehow it works.

Here is a prime example of how effective the Warners machine was back in the day. The Mayor of Hell is basically a gangster film crossed with a youth reformation picture crossed with the studio’s successful hit I Am a Fugitive From a Chain Gang (1932). And yet despite seeming like a silly combination it actually manages to work in some strange fashion.

The film opens with miscreant youths progressing in acting up throughout their section of New York. Eventually they are picked up by the police and finally sent off to reform school upstate. Now this might have one thinking that the ringleader would then grow up into the Cagney character as would later occur in Angels With Dirty Faces and others, but you’d be dead wrong. They arrive at the “school” which is run more like a corrupt prison from Chain Gang. The headmaster is corrupt as hell and secretly delights in punishing the youths in his charge.

Enter Cagney as a gangster given the top job as payback in order to simply collect a cushy government salary. Yet despite his seemingly carefree attitude he takes an active interest in the treatment of the boys held there as they remind him of himself coming from the same neighborhood. This leads to an eventual clash of wills and temperaments that despite some slightly unbelievable elements eventually boil over to a flame filled full scale riot that truly gives Cagney the titular role.

It is this surprising honesty and darkness that led to the ending being partially re-shot by studio expert Michael Curtiz who was the master of action sequences. This steps up the game to a point where the Code started cutting chunks out of the picture like crazy when it had to be re-certified a year after release. By no means is this a happy picture or one with a positive outcome no matter what the tacked on ending tries to sell.

If you can forgive its narrative contrivances, this one is an interesting and invigorating watch that actually has some balls to it. Cagney can sell just about anything, and the nods to Chain Gang serve to only heighten the film’s dark tone.

A great uncut transfer on DVD, from WB’s Gangsters Vol. 3. Picture and sound are great, aside from a hair or two in the gate. Commentary and Night at the Movies options make this another essential slice of classic WB.

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Filed under 3.5 stars, Film Review, Gangsters/Crime

Picture Snatcher (1933)


3.5 stars out of 4. Classic Jimmy. The above poster says it all.

Here we have a pure Cagney vehicle, and one where he is allowed to keep the trademark snarkiness that still endears him to film fans while actually being a good guy for a change. Picture Snatcher deals with tabloid journalism and trying to get that perfect stolen shot of the juiciest story to sell editions before the next guy. Has very much changed all these years later?

Here we see the Warners machine really getting revved up, particularly its usage of the same tried and true on staff directors who could make even the lowest of pictures sing. Here the film is directed by Lloyd Bacon who does a remarkable job at keeping this one tight and compact as it crams quite a bit of story into its blistering 77 minute runtime.

Cagney plays an ex-con just out of the joint who takes up an offer to join a tabloid and lands the job of photographer after a particularly dangerous shot gets him the job. His supervisor is a surprising Ralph Bellamy, who portrays a cynical and beaten drunkard who once had grand ideals of journalism. Bellamy who seemed forever stuck in the role of the country bumpkin does really fine work here, showing even earlier on that he had the necessary dramatic chops to to portray greater roles.

But it is Jimmy Cagney who we’re staring at, it’s his picture and for good reason. Nobody else could have sold us a guy who so blatantly teeters on the line of good taste and breaking the law again. When they finally gave him his own starring vehicles, Cagney was basically unleashed upon the whole WB classic era backlot. From charming the ladies to worming his way into an execution to secretly snap the shot of the chair flashing…this is pure PreCode fun in every way possible.

The second entry in WBs Gangsters Vol. 3 set, complete with commentary and Night at the Movies option.

The transfer is solid with good sound, and miles ahead of previous tape copies.

If you don’t have the WB Gangster sets, what’s stopping you? The probability of these ever hitting Blu-ray is practically nil.

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Filed under 3.5 stars, Cagney, Film Review

I’ll Sleep When I’m Dead (2004)

3.5 stars out of 4.  A gem.

A man waits in the shadows of a doorway at night. He watches a woman close her restaurant and makes a Harry Lime styled appearance to her. She freezes for a moment and then simply walks back inside to wait. Nothing is said to set these two up as characters. They already exist and we are trusted enough to fill in the gaps accordingly.

This is the major strength of the film, and the biggest problem for most. The majority of reviews claim that is is very slow and further so because little to nothing is explained. It is labeled as an existentialist throwaway piece and sent straight to the reject bin. In doing this they have missed the whole point of the exercise.

Much like a cross between Get Carter and Croupier (A film I cannot wait to revisit), I’ll Sleep When I’m Dead is Mike Hodges’ answer to his detractors: Screw off. It both embraces and rejects the notions of a revenge thriller and what is now known as the modern British crime drama. (Something which Get Carter essentially created when some folks misread Hodges social criticism.) The plot is so highly similar to the director’s earlier film that it recalls Scorsese’s masterpiece Bringing Out the Dead and its constant alludes to Taxi Driver. This is not a sign of laziness but a conscious return to previous work to examine new paths, details and ideas. This leads into the assured existential quality of Croupier and when the two moods are combined the result is this multifaceted gem.

The plot is relatively simple. Davey Graham (Johnathan Rhys-Meyers) is a occasional low level drug dealer to a wealthier clientele. After doing a deal at a party and a tryst later he is nabbed on the street and raped by an unknown assailant. He staggers back to his dreary flat and later commits suicide. This brings out his brother Will (Clive Owen) from some sort of hiding as a lumberjack to discover the why behind his brother’s death. Now that sounds fine and all, but Will just so happens to be a former notorious London crime boss. His return sends the criminal underworld into a tizzy over his possible intentions and these come to a head when the long haired bearded man in a tiny camper van arrives back in town.

This is a film that one can simply sit back and drink in the details without worrying over simple nothings that come up in ordinary plotboilers. Combine this with a dreary nothingness and you have the hallmarks of great noir. In the end, the whys behind everything are swallowed into nothingness like golf balls into the sea.

EDITIONS: A lone DVD release from Paramount gives us a serviceable 16:9 enhanced 1.78:1 transfer. The image comes from a print with a few print marks and specks here and there. It looks great for the format and time of release. The soundmix is a clever 5.1 Dolby track that at first seems to be confined to the center and front channels and gradually works its way into LFE and surround channels to eventually envelop you in the ambiance of the gritty film. Very good. No extras, no trailer, but a reel of other trailers is included. The DVD is long out of print, but usually found in used shops and stores if you look. Currently available on Amazon instant video, but you know how bad video streams look. Hopefully a Blu-ray might come out of some smaller studio eventually, as I don’t think Paramount much cares for its art films under the Classics banner.

And how many great nasty roles can Malcolm McDowell do? You automatically  get a knowing smile in reflex on your face whenever he appears in a film.

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Filed under 3.5 stars, Film Review

Batman (1989)

Bold, uncompromising poster image that stopped 1989 traffic dead in its tracks.

3.5 stars out of 4. Uncannily mesmerizing while dancing with the devil in the pale moonlight.

What Batman did for the comic book industry and comic book film in 1989 is incalculable. It was simply everywhere that summer and its aftereffects are felt to this day, as every single new comic book film that comes out bears the hallmarks of the founding comic book films: Richard Donner’s Superman (1978) and Tim Burton’s Batman (1989). These two films have even more in common. Both are compromised but ultimately great films that feature a developed narrative around their respective character’s origin into their heroic counterparts. Batman forms a kind of dark reflection of the lighter and more robust Superman, much as the character did upon debuting in 1939.

The plot of Batman is simple enough: Batman (Michael Keaton) prowls the night in Gotham City, wreaking havoc on the criminal underworld. This underworld falls under the mob boss Carl Grissom (Jack Palance in a great bit part), whose right hand man is Jack Napier (Jack, is any other name necessary? Nicholson), a man with a certain fondness for the color purple and cards…

Reporter Alexander Knox (Robert Wuhl) investigates “The Batman” to no avail until the arrival of photographer Vicki Vale (Kim Basinger, who sticks out like a really sore thumb). At a party held in Bruce Wayne’s manor, Vale and Knox try and get Commissioner Gordon to admit facts about this mysterious Bat-creature. Bruce is taken by Vale, but is forced to go off after Gordon, who was called away on a big tip off.

This tip is that Napier is cleaning out a chemical plant acting as a front for Grissom’s shady dealings. In fact, he has been set up for having an affair with Grissom’s woman and the police close in. Batman attempts to apprehend Napier, but a stray bullet forces Napier over a railing of chemicals. Batman tries to save him, but Napier falls to his death and lands in the boiling green murk.

Over the course of the film, Napier arises to become the Joker, takes over Grissom’s command and wreaks havoc throughout Gotham. He develops a fondness for Vale, and the film culminates in a final showdown with the two grand foes of comic book lore high atop a Gothic church tower. (You can’t help but notice the giant visual and staging reference to Vertigo.)

Throw in a flashback to Bruce’s parent’s murder and you have basically the general version of every single major comic book origin film that has been released since. (Sequels non withstanding.) But the genius of Batman isn’t in the story. It isn’t even in the monumental production design that was responsible for the construction of a full scale Gotham City that is a third star of the film. The genius and reason why so many have re-watched this film is subtext. Like Superman before it, and Batman Returns to a much greater degree after it, Batman creates a fully realized world and characters entirely through subtext. The seemingly simple story takes on new meaning because the audience is allowed to savor and digest the events onscreen. Burton allows the story to progress naturally and is never afraid to let the camera linger on a scene lest we forget the whimsical dark fantasy that is Batman.

He and in turn we are fascinated with the idea that a man can be so divided into two different personalities. The day and the night, dark and the light sides of Bruce Wayne/Batman are probed in this popcorn blockbuster in ways that are totally unexpected. Keaton gives us a portrait of a haunted man, a man unable to forget the traumatizing night when his parents were gunned down in front of him. His role as Batman is not a child’s desire for revenge but a duty he has assigned to himself that only he can ever perform. It is at once both his existence and the means to save that tortured life. His Bruce Wayne is an educated but preoccupied man who in turn comes off as ineffective and somewhat clumsy. This provides an excellent cover to the Batman persona without resorting to the smarmy playboy. It also forms a protective barrier around the brooding and intensely focused core inside the Batman. Burton cast Keaton because he could picture him needing to put on a big costume to go out and fight crime.

And god, those eyebrows…they seem almost unreal, always questioning and I’ve always thought they resemble bat wings.

The film’s Batman is at once familiar and unsettling. There is something demonic about the Batsuit, primarily in the way the cape can flap like wings and how it makes the man appear more like a creature than just a man in a suit. Even the chest symbol is more like a demonic bat instead of the instantly recognizable standard logo. Batman moves in a semi-robotic way that further reinforces the idea that this an unstoppable force and not a man. (In actuality this is of course because the actor inside could hardly move at all) But it is still definitely Batman, right down to the utility belt full of Batarangs. And Keaton’s eyes just make the burning desire for vengeance come alive in the cold dark shadows of nighttime Gotham.

On the other hand, Jack plays…well Jack. His Joker is really a more whimsical version of his own screen persona. And it doesn’t really work for the character, but is able to work in the context of the film. It’s a good performance with some really wonderfully quotable lines, but all in all I just wish they had gone with a stronger performer in this vein, one who could more accurately portray all the aspects of the Clown Prince of Crime instead of a nuanced caricature deriving heavily from Caesar Romero’s portrayal in the TV series.  Oh heck, I think that not casting Tim Curry here was one of the biggest casting blunders in film history. Whew, glad I finally got that out!

The obligatory love interest of Vicki Vale feels unnecessary because she is unnecessary. The script gives her few options: Look for Batman, be saved by Batman, be confused about Bruce Wayne. That’s it. Really. As portrayed by Kim Basinger, Vale is almost a non-entity. Her performance is completely dull and we really can never see just what both Bruce/Batman and the Joker see in her. (We can’t fault her that much, as she was a last-minute replacement) This would harm the impact of the climax if it weren’t for one other little addition to the story.

In this film, it is the Joker who killed Bruce’s parents. I know what you’re saying: “Wait, what happened to Joe Chill?” the intent is to bring the themes of dual identity and induced transformation closer together so that the balanced yin and yang of the Batman-Joker conflict also becomes intertwined. It is an admirable thought, but ultimately a bit too convenient to have each create the other. Bruce/Batman lost his family and his life in a random act of violence culminating in two gunshots. It is too easy to say that the Joker pulled the trigger because it then gives Batman’s crusade a direct tangible opponent that he can overcome and possibly even surmount his oppression. Batman is doomed to be a creature of the night, united to his code forever so to have the reason for his torment be his primary aggressor is at once to clean and too melodramatic to actually work.

Burton’s Gotham is a cross between a flatter version of Blade Runner and Dark City. It is a grimy metropolis full of both people and steam, darkness and drab colors so that realism and comic book fantasy come together in one giant visual clash. The city becomes a breathing organism that looks as if will swallow its inhabitants whole. Shadows lurk at every corner even in broad daylight so it becomes a perfect habitat for our pointy eared friend. Oddly though the setting itself looks slightly fake which gives this eerie feeling of surrealism so that we are never sure whether this is the 1940’s, the 1980’s or a studio backlot. It is yet another aspect of design that entices the mind.

And then we come to the score. One has to remember that Danny Elfman was not a renowned film composer at this time. His Batman score can easily be defined by the march heard over the opening titles. Dark, operatic, ominous, heroic, orchestral, and ultimately perfectly suited to the film’s take on the Caped Crusader. It’s really a multifaceted score that is also able to provide humor and whimsy to suit even the smaller moments. Modern comic book  film scores should take note of this. It’s not all heroic and dramatic themes. Unfortunately, some folks in the production thought it would be a good idea to bring in some outside talent to make a hit record. They called in Prince to write a song or two and he returned with enough material to release an entire separate soundtrack album inspired by the film. Several of these are rammed into the film, and aren’t bad as backing music in some scenes. But the Museum sequence where Joker destroys all the priceless art does not, repeat: NOT need Prince’s “Partyman” to accompany it. But it’s quickly brushed over and forgotten so the movie can continue. They continued this practice with the other three films in the first franchise but thank goodness with the external songs featured hardly at all.

Most importantly, the film creates a universe for Batman to inhabit. I’m not referring to the production design, which is stellar, but just look at how Returns achieves similar results with a vastly smaller scale. The film shows us an alternate world that truly needs a Batman to watch over it. It may be somewhat like our own, but it is still somewhat comic. This is what Tim Burton really nails in his direction because everything always comes back to this notion of being in a real world. And it is a world that slowly reveals itself, a world for all but primarily aimed at adults. Over time things seep into focus and further enhance the idea of reality. This is the reason why the film is so re-watchable. It doesn’t care to give us everything on first glance. It doesn’t want to give us the easy way out. We have to work a bit too. And for a movie that is a founding pillar of huge commercialization in film, that is a huge achievement.

EDITIONS: Batman was quickly released on VHS and Laserdisc. This master was then released on an early 90’s era DVD, which was riddled with artifacting, cropped to 1.78:1 from 1.85:1. Finally in 2005, the film received a 2 Disc Special Edition fully loaded with in depth documentaries, Director commentary, and a brand new master struck for all four films in the franchise. All of these look strangely soft, as if there had been some grain removal and noise reduction. Audio gets a bump from the original Dolby Stereo surround to 5.1 via Dolby and DTS mixes. These are nice additions but both feature a tinny quality with little low end information. The original track would have been nice.

The Blu-ray edition is the same HD master from 2005 used for the SE DVD, just like the other three films respective Blu-rays. Video is improved with the jump to 1080p, but there’s still that inherent softness and lack in fine detail which once again suggests that these old HD masters were tinkered on in the ways of DVD false enhancement. Audio is 5.1 in a lossless Dolby True HD track. This appears to be the master source for the SE DVD’s 5.1 mixes, and all three are identical in content.

All things considered, I watch Batman on Laserdisc. The pressing is from 1990, done by Pioneer USA. It is an exceptional transfer, full of detail and clean as any LD image around. Framing is at the original 1.85:1 so all of the little details aren’t lost on the sides. But the big draw here is the audio. I’ll admit that when I watched the DVD’s I never liked the 5.1 mixes. They seemed tinny and too accentuated in the highs. Plus the separation seemed to modern for 1989. On LD, the digital tracks present the original Dolby Stereo surround mix in lossless PCM. Here there’s plenty of low end that provides a punch sorely lacking from the remixes. The rear mono surround channel is exceptional for this format and features fantastic stereo separation, so much so that you feel like there’s 5.1 going on sometimes. And your subwoofer will rumble with joy at all kinds of things that wouldn’t be covered by a discrete LFE channel.

There is a downside however. The VHS and LD were color timed upon their release so that they would appear brighter and more visible on CRT televisions of the day. The original film is a bit darker and more clouded in shadow. But the modern transfers are only minutely darker in comparison so this is kinda negligible. In any case, the 21 year old Laser kicks tail. And yes, I think it’s even better than the Blu-ray. Sue me. When Warner finally does justice to all the Bat-films transfer wise (yes, even the Nolan films aren’t done very well) then we’ll see. Until then, “I’ve got work to do.”

NOTE: I just picked up a copy of the film’s novelization, and will read through to see if there are any differences. So far every Batman novelization I’ve read has a multitude of material that was either glossed over or dropped altogether.

PS: What was Alfred thinking when he let you know who inside?!?!?!?!?

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Filed under 3.5 stars, Batman, Film Directors, Film Review, Tim Burton

Cross of Iron (1977)

3.5 stars out of 4

Cross of Iron is the WWII war film that gladly takes the WWII out of the mind and reintroduces the true horrors of man. We spend our entire time with the German army, and not once do we ever think of them as anything other than men caught in a terrible fate. Not once do we think of the Fuhrer and the dark oppression of Germany. Like All Quiet on the Western Front before it, this is a tale of flawed human beings caught in a thing bigger than them that was created by sheer stupidity by people they have nothing to do with. Unlike anything else, Cross of Iron is also dissonant.

Sam Peckinpah makes a war film. Sounds like a match made in heaven. And it was, especially since this was Sam’s last good film. Interestingly, there are little of Sam’s trademark cinematic techniques, and instead there is a deep attention to historical detail and crafting a universe of warfare. This further allows us to believe the events we are seeing and fall in with the troops, much as in Major Dundee (1965).

The film is very low-key, but never really betrays its low budget. The reason that this works is due to the intensity of the performances and the sharp focus on only a few men of the German army. This is never about war or politics, but about men trying to stay sane in the midst of absolute chaos.

We focus on a German platoon on the Eastern front of Russia in 1943. Commanding these men is Corporal Steiner (James Coburn), the kind of individual soldier who captures a small Russian boy as a prisoner does not follow his orders to kill any Russian, but keeps the boy hidden as a fellow being amongst his squad. Steiner’s immediate superiors (James Mason, David Warner)  understand the way the war is being fought and the way the German army must endure the bombardment.

Unfortunately the same does not go for the newest addition to the German officers, Captain Stransky (Maximilian Schell). Stransky has moved from occupied France to the Eastern front entirely for one purpose: to win the Iron Cross. This immediately puts him at odds with the rest of the men, who know the true worthlessness of the stupid piece of metal. Stransky immediately butts heads with Steiner who is immoveable to his Prussian high-mindedness.

In an attack, Steiner and his men bravely defend their position whilst Stransky struggles to even remain standing. Steiner is wounded by a mortar shell and wakes in hospital with a head wound. He sees visions of the dead and gone and convalesces with a nurse…until leaving ahead of schedule and going back to the front. The nurse asks him why he goes, but Steiner cannot answer. The war has consumed him.

Steiner returns to find that Stransky is claiming the defense was all his responsibility in a cheap attempt to gain the Iron Cross. Stransky has named Steiner and another as witness. (He blackmails the other man’s homosexuality, and promises Steiner will be looked after after the war.) Steiner retreats to think about his answer. Meanwhile the army decides to move out and Stransky does not relay the order to Steiner’s men. Thus, the army pulls out and Steiner’s platoon is abandoned to the masses of oncoming enemy Russians.

You think they’re dead. They think they’re dead. Yet Steiner pushes his men across impossible odds and they actually escape the enemy and reach the woodland. Then begins a long journey back to their comrades through enemy lines. Along the way they encounter a group of Russian women and are repulsed when the women refuse to fully submit to their guns and thus kill two of their team.

Steiner’s platoon makes it back to the German lines and are gunned down by the duplicitous Lieutenant who was blackmailed by Stransky. Steiner and one other survive the machine gun onslaught, and Steiner dispatches the Lt. He finds Stransky and then refuses to just shoot him. He gives Stransky a gun and challenges him to go onto the battlefield. Then while being shot at, Stransky cannot reload his gun.

The ending is where I find the most fault with the film. It makes sense but is completely unnecessary and does not fit with the film’s natural progression in any way. It feels forced and jarring and does not sit well with the end credits. Ultimately, the major theme of there being no reason to any of the madness is underlined because the film itself has no real defined meaning! This completely scraps any and all possibility of an overarching point and the film could have simply ended fifteen minutes before with a single mortar shell.

Cross of Iron is a well-made little war film that feels and is of it’s time. Aside form a few moments there is little of the Peckinpah touch we have come to know and the end result is rather impersonal. The ending leaves a bad taste in the mouth.

EDITIONS: For years, we have put up with terrible, lousy pan and scanned transfers of this movie. We have become used to it being cropped horribly, interlaced and very contrasty. Chock every other release out the window because the new Region B Optimum Blu-ray is simply put, the best this film could look in the home. Clean, sharp, colorful: the 1080p image is nothing short of stunning. Audio is at a simple 2.0 PCM (as it should be!). Extras are plentiful, but the main draw is the feature being presented in a very good straight transfer with no tinkering and little frills. A great transfer in every way.

DVDBeaver comparison:

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Filed under 3.5 stars, Film Directors, Film Review, Sam Peckinpah