Arrow Video’s 4K Re-Issue Of ‘The Last Starfighter’ Will Find Appeal Among Targeted Audiences

Courtesy: Arrow Video

The annual summer movie season officially got underway over the weekend, with the premiere of Disney’s latest reboot, that of its 19819 animated movie, The Little Mermaid.  Just the latest in Disney’s now never-ending stream of live action/CG reboots – not the long ago it was also announced that Moana is going to get a reboot along with pretty much every vintage Disney flick – it is just one of the movies that will make up this year’s all-too-familiar slate of summer movie fare, which will feature more superheroes, sequels, another biopic and something truly stupid in the form of Barbie.  There is one potentially promising offering in the form of Focus Features’ independent release, Asteroid City.

This slate of same old-same old is important to note because odds are those movies could be the last new theatrical releases for a while unless the Writers Guild of America’s ongoing strike ends sometime in the near future. As a matter of fact, it was announced over the weekend that production on Marvel’s Thunderbolts movie has come to a screeching halt thanks to the strike, which passed the one-month mark over the weekend.  With the general lack of much real worthwhile theatrical (and even televised) content on the way this summer (save for the noted indie flick and the upcoming superhero flicks – including the new Transformers sequel and maybe the upcoming Indiana Jones sequel), audiences have plenty of reason to be concerned about ways to escape the workaday world.

Arrow Video will at least partially address viewers’ concerns Tuesday when it re-issues Universal/Lorimar’s 1984 science fiction flick, The Last Starfighter, on 4K UHD.  The re-issue (which ironically was itself a summer release, having made its theatrical debut in July 1984) will come more than two years after Arrow Video re-issued the same movie on separate, standalone DVD and Blu-ray platforms.  The only reason one can imagine Arrow Video would re-issue the movie on 4K now is that maybe 4K tech was not as widespread in 2021 as it is now.  It definitely is a head scratcher.  Regardless, the forthcoming re-issue is a mixed bag that will find its largest appeal among a very targeted audience that does not already own the movie in its previous re-issues from Arrow Video.  That is due primarily to the fact that it is presented exactly as it was in the noted DVD and Blu-ray re-issues, right down to the bonus content, which will be discussed shortly.  The video resolution in the new 4K UHD print is its own positive and will be discussed a little later.  The forthcoming re-issue’s average price point rounds out its most important elements, considering the collective content.  It will also be addressed later.  Each item noted is important in its own way to the whole of this latest re-issue of The Last Starfighter.  All things considered they make the re-issue a presentation that will appeal to the noted very targeted audiences.

Arrow Video’s forthcoming 4K UHD re-issue of Universal/Lorimar’s 1984 sci-fi flick, The Last Starfighter, is an intriguing presentation from the independent British distributor.  It is a presentation that will appeal primarily to audiences who do not already own the movie in its previous DVD and BD re-issues, which were released in late 2020 by Arrow Video.  That is due in large part to its bonus content.  Audiences get in this new 4K UHD re-issue, all of the same bonus content that was featured in the previous re-issues.  From the standard “Making Of” featurette, to the separate feature-length audio commentaries, to the interviews and more, all of the bonus content from those previous re-issues has been carried over to this re-issue.  That means that audiences who already own either the DVD or Blu-ray re-issue will not be missing out if they do not buy the new 4K UHD re-issue.  One of the most notable bonuses is the interview with the composer of the movie’s musical score, Craig Safan.  Safan notes early in his interview, scoring the movie was not easy, pointing out that early on as he and the musicians who recorded the movie’s music, they had no footage to reference for cues.  That was because he was enlisted to score the movie while it was in production, so they only had dots on a screen to reference as they wrote and performed the music.  That could not have been easy, but the result was and still is so enjoyable today.  Safan also makes direct reference to movie music legend John Williams, openly noting he took Williams’ work into account as he composed the movie’s main theme.  That is interesting to note because the movie’s main theme really does have that similarity to Williams’ bombastic compositions in its sound and style.  The full discussion will be left for viewers to discover for themselves.  On another equally interesting note, Safan also makes note of legendary composer Jean Sibelius as an influence in his style in composing the movie’s score.  That reference serves well to show the depth of Safan’s musical knowledge.  In turn it makes him and his work all the more respectable.

Screenwriter Jonathan Betuel, who wrote the story for The Last Starfighter gets his own bonus feature, here, and it is another notable extra.  That is because of the insight he offers in his interview.  Right from the outset of his interview, Betuel reveals that he wrote the movie’s script while he was working a blue-collar job, driving cabs.  That is important to note because Alex, the movie’s main character, was himself an average blue-collar-type figure who was going nowhere in life until he is recruited to become a Starfighter pilot.  In the decades since the movie’s debut, it has gone on to become just as great (at least as a cult movie) as Alex even though it has not had the blockbuster legacy of other sci-fi flicks.  As a matter of fact, it sounds like a long-awaited sequel may finally be in the works.  It sounds like when and if a sequel happens, it will be one of the rare sequels out there actually worth watching.  Another intriguing revelation that Betuel makes during his interview is that his intent was to make the movie an Arthurian tale.  In hindsight, that influence is definitely there, however, the fact that Betuel was able to write the story in fashion that kept it from being a total rip-off makes for so much more appreciation.

On a related note, Betuel reveals that he wrote the movie’s script in only four days.  Considering that it doesn’t just come across as another of so many rip-offs of the Arthurian legend in having been written in such a short time adds even more to the appreciation.  Add in that for the most part the story progresses fluidly and that its pacing is relatively stable, the result of four days’ work is even more impressive.  There is maybe only one hole in the story.  It comes as Maggie accuses Alex’s double of being a sexual deviant of sorts without a prior scene for context.  Other than that moment, the story does well to keep viewers engaged and entertained.

Speaking of keeping people engaged and entertained, viewers were not the only ones so influenced.  Catherine Mary Stuart, who played the part of Maggie, admits during her bonus interview, that the story largely kept her engaged and entertained, too.  She openly states that was a credit to Betuel and his work.  She also tackles her working relationship with fellow lead star Lance Guest during the movie’s production.  She has only positive things to say of working with him (and with director Nick Castle).  Her recollections of her time working on the movie add their own touch of enjoyment of and appreciation for the movie.  When her interview and the others noted here are considered along with all of the movie’s other bonus features, the whole of the bonus content makes for plenty of enjoyment.  However, it should be reiterated here that all of the same bonus content featured in this re-issue of The Last Starfighter is also in the movie’s previous re-issues on DVD and Blu-ray from Arrow Video.  That means audiences who have the movie’s previous re-issues from Arrow Video would be largely wasting their money to buy the same content all over again.  That is the case even for those who own the movie but who perhaps own 4K TVs with Blu-ray players.

Audiences who own 4K TVs will get about the same resolution in the upscale of the movie as those who watch the movie on a 4K TV with the new 4K re-issue.  The CG special effects are crystal clear throughout the movie.  It is clear the starfighters are fully CG, as are the vehicles of the evil alien invaders, the Kodan Empire.  The clarity of the footage in the new 4K scan makes the CG look as impressive as that which would be used nearly two decades later in another underrated sci-fi presentation, the modern classic sci-fi series, Babylon 5.  That show’s CG was another early example of the direction special effects were taking at the time and was impressive considering the era and available technology.  Keeping that in mind, the only comparable CG special effects presented around the time The Last Starfighter debuted were in Tron, which was released only two years prior by Disney.  Obviously, the special effects budget was not there for The Last Starfighter, but were obviously still worthy of applause by comparison, and this new 4K scan makes that clearer.  It is one more aspect that shows why audiences who do not already own The Last Starfighter will want to own the movie in its new 4K UHD re-issue.

Without question, the content featured in the new 4K UHD pressing of The Last Starfighter offers audiences who do not already own the movie’s previous re-issues reason to buy this re-issue.  Keeping that in mind the movie’s pricing proves relatively positive in its own right, too.  Using listings through Target, Best Buy, Amazon, and Walmart, the movie’s average price in its new 4K UHD platform is $34.99.  Interestingly enough, each retailer also lists the movie’s 4K re-issue at the same price.  Comparatively speaking, $34.99 is about the average price that so many 4K UHD movies from other studios are being priced at through the same retailers.  That means that the movie’s average and separate price listings are right in line with those of most other 4K UHD releases.  In other words, viewers who buy the movie will not feel like they are paying an arm and a leg for the movie in comparison to what they will and do pay for other 4K UHD movies.  When this element is considered along with the overall primary and secondary content featured in the movie, the whole makes the latest re-issue of The Last Starfighter a welcome addition for any fan of the movie who does not already own the movie in its previous re-issues but have upgraded to 4K TV and player.

Arrow Video’s forthcoming 4K UHD re-issue of Universal/Lorimar’s 1984 movie, The Last Starfighter, is a presentation that while fully engaging and entertaining, should only be considered by fans of the movie who do not already own the movie in its previous DVD and Blu-ray re-issues (which were released in 2020 through Arrow Video, too) and who have upgraded to a 4K TV and player.  That is due in large part to its featured bonus content.  All of the bonus content featured in this latest re-issue is also featured in the noted DVD and BD re-issues, so those audiences will not be missing out on anything on that note.  The picture resolution is quite impressive, but the thing is that anyone who watches the movie on Blu-ray through a 4K TV, those viewers will get the same resolution through the upscale that happens in the process.  The pricing of the new 4K UHD re-issue is positive in that it is right in line with the price of most 4K UHD movies being released today.  Each item noted is important in its own way to the whole of the new 4K UHD re-issue of The Last Starfighter.  All things considered they make the re-issue successful, but only for the noted specific audiences.

More information on this and other titles from Arrow Video is available at:

Website: http://www.arrowfilms.com

Facebook: http://www.facebook.com/ArrowVideo

Twitter: http://twitter.com/ArrowFilmsVideo

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘All Quiet On The Western Front’ Standalone Presentations Entertain Despite Lacking One Key Bonus Feature

Courtesy: Netflix/capelight Pictures/mpi Media Group/Amusement Park Films

Netflix’s reboot of the timeless story All Quiet on the Western Front will get another release Tuesday when the company releases the movie on separate DVD and Blu-ray platforms.  The forthcoming standalone releases are rather intriguing presentations because unlike so many movies, they were not released at the same time as the movie’s 4K UHD/Blu-ray combo pack in late March.  Why officials at Netflix, Capelight Pictures and Amusement Park Films opted to go this route is anyone’s guess.  Keeping that in mind, it is in fact one of the negatives of the new DVD and Blu-ray releases, which will be addressed later, along with the lack of one key bonus content that only came with the movie’s 4K UHD/Blu-ray combo pack.  As discussed in this blog’s existing review of the 4K UHD/Blu-ray combo pack, one of the positives of the movie is the bonus content that is featured in these standalone releases.  They will be discussed shortly.  The cinematography round out the movie’s most important elements and will also be addressed later.  Each item noted here is its own crucial part of the presentation’s whole.  All thing considered they make the new standalone DVD and Blu-ray presentations of All Quiet on the Western Front honestly somewhat a pair of mixed bags.

Netflix’s award-nominated and winning reboot of All Quiet on the Western Front is a powerful new take on the timeless anti-war allegory about a young German soldier sent to the front to fight in World War I.  It is not an easy watch, but one that is worth seeing when audiences are in the proper mindset to process the new update.  Part of what makes the movie so worth watching is the bonus content that is presented with the movie’s new standalone DVD and Blu-ray presentations. The new platform releases come with the same “making of” featurette and feature-length audio commentary from Director Edward Berger that are included in the movie’s 4K UHD/Blu-ray combo pack. To that end, audiences are not necessarily losing out any most of the bonus content in these standalone releases.

The bonus “Making Of” featurette that accompanies the movie’s new standalone releases spends ample time talking about the trench scenes. Audiences will be shocked to learn here that the crew actually had to build the trenches. Obviously heavy machinery was brought in to dig the trenches, but still the overall work that had to have gone into establishing the look in the trenches once they were dug had to have been so intense. One can’t help but wonder if it gave the crew a new appreciation for how much work the real soldiers did to create trenches during the war without all that heavy machinery to help.

Viewers learn from one of the cast members that the conditions in the trenches — the water that got the cast’s pants and feet wet for instance — actually played into the performance because it made the situation all the more real for the performances. As if this is not enough, viewers are also treated to an in-depth discussion on how the prosthetics and dummies were made for this movie. Considering the graphic nature of war, lots of time had to be spent on getting everything right on that aspect, and audiences get at least a glimpse into the amount of time and work that went into this key aspect of the movie’s look.

The costume department also gets its own attention in the “making of” featurette, making the viewing experience all the more in-depth. The amount of work that went into making the cast’s costumes look as realistic and believable as possible is just as engaging as the discussion on the prosthetics and the work that went into setting up the trench and battlefield sets.

All things considered, the “Making of” featurette that comes with All Quiet on the Western Front offers quite a bit of interest and added engagement and entertainment for viewers. Considering that this and the feature-length audio commentary are both included in the Blu-ray side of the movie’s 4K UHD/BD combo pack and the standalone DVD and BD platforms, it leaves one wondering why the platforms were not all released the same day back in March. Only the people at Netflix, capelight Pictures and Amusement Park will likely ever know. Either way, audiences who do not want to have to churn out the extra money for that 4K UHD/BD combo pack will still be getting most of the same extra content as those who are open to spend the extra money. At the same time, considering that the bonus content is featured exclusively in the combo pack’s BD side, maybe the extra money would have been worth spending so that when 4K tech becomes less cost restrictive, they can enjoy the movie in full 4K UHD and the bonus content on the BD side.

Now keeping all of this in mind, there is one bonus extra featured in the combo pack not included in the standalone releases. That extra is the companion booklet that features discussions from Berger and from historian/professor Daniel Schonpflug. The duo’s separate discussions spread across the 24-page booklet find each man sharing his respective background on the movie and the book from which it was spawned.

Berger, for instance, talks during his interview, about how he and the movie’s other creative heads developed the fight scenes online as a result of the COVID-19 pandemic preventing them from meeting in person.  He notes in this discussion, those involved in the movie’s creation were spread across three continents, so coming together to develop the battle scenes was not an easy feat.  On the matter of developing the story for the reboot, Berger also addresses the noted heavy emotional sense that permeates the movie.  He said making the story so emotionally heavy was intentional because of how the war impacted Germany and its citizens.  Speaking of that impact, Berger notes the fallout of the war, including how the kaiser ended up abdicating his rule and thus left the country essentially in a state of anarchy.  This is something that is rarely if ever taught in American classrooms at any level. 

Berger also discusses working with actor Felix Kammerer, who played the role of Paul in this outing.  He had only positive comments about Kammerer in that discussion, and justifiably so.  This will be addressed a little bit more later.  He also talks about keeping himself grounded and focused while making the movie.  In simple terms, this is a discussion on not letting his ego get the better of himself, which clearly paid off in watching the movie.  There is even a mention of fellow famed movie maker Stanley Kubrick in these discussions that is certain to engage audiences.

Schonpflug’s discussions build even more on those from Berger.  Schonpflug takes on topics, such as Remarque’s own experience as a conscripted soldier in the German army as it relates to his timeless novel.  That is another item that few if any American teachers bring into discussions on this novel when they introduce the book to students.  The revelation that Schonpflug makes here is enlightening to say the least.  On an equally interesting note, Schonpflug also notes that in Germany, All Quiet on the Western Front was actually censored – and even burned – by the government at different points because of its overarching anti-war message.  Yet again here is something that is rarely if ever taught about the book in American classrooms at any level.  The shock of the realization is engaging in its own right and is just as certain to get audiences to start doing their own deeper research into the book. 

As if all of this is not enough, Schonpflug also addresses how much of the war Remarque left out of the book, and his praise for Berger’s take on the novel in two more separate discussions.  In regards to how Remarque presented the war in his novel, Schonpflug changed a number of scenes from his early drafts at the request of his then publisher.  He gives the example of the moment Paul kills a French soldier, and the impact that it has on him.  Berger adds that moment into this reboot, but changes it in his own way from the novel’s presentation.  Schonpflug notes other changes Berger made to his take on the story in his thoughts on how Berger handled the movie, speaking of the changes.  In the end, he praises Berger, saying Berger has fully succeeded in his imagining of the story.  He is definitely right in that commentary.

Considering all of the information that the men provide through their “interviews” the collective information provides so much extra to the movie’s presentation. It is sad that this extra was not included in either the standalone DVD or Blu-ray presentation. It makes the extra money shelled out for the combo pack more worth it even for those who may not yet have the noted price restrictive 4K technology yet. Simply put: yes, this is the effort of all involved to push more people toward 4K tech and away from Blu-ray and DVD technology and sadly in this case it works at least for viewers who want the full viewing experience. That is not to defend all involved for going this route. It is meant merely in an observation of a negative that robs so many viewers of that full viewing experience.

Thankfully the lack of the bonus booklet is not enough to doom the movie in its DVD and BD presentations. There is still much to appreciate from the movie itself for those who maybe are less inclined toward bonus content. That includes the movie’s cinematography and the work of the cast.

In examining the movie’s cinematography, the way the cameras move through the trenches and capture the frantic nature of the battles is so powerful in its own right.  Seeing the smoke of the gas and from the shots fired as the soldiers make their way across the battlefield is just as intense and gripping.  On the same note, a calmer moment, such as when Paul, Kat, Tjaden and the other soldiers are relaxing, enjoying the cooked goose is just as rich in its color and angles.  Seeing the men admiring the French woman from a distance as they pass by really goes to show such a nice wide shot of the land.  On a related note, Schonpflug also addresses the reality of sexual violence committed against French women by German soldiers in his interview.  That is another eye-opening revelation that is never taught here in the U.S. about World War I.  Even the opening scene of Paul and his friends planning to join the German Army is strong in its own right.  That is because of the peacefulness and color of the buildings and streets in their hometown.  It is a subtle, perhaps unintended, message, but becomes deep when one considers how such a town likely looked after the war.  When audiences take into account Berger’s statements about his deliberate approach to getting every shot right, it adds even more to the appreciation for the work that went into the cinematography.  Between these examples and so many others available to note, the whole of the movie’s cinematography makes for its own exceptional presentation and experience for viewers.  The result is a foundation that is strengthened all the more for the presentation.

The work of the cast strengthens that foundation even more, beginning with and not limited to the work of Kammerer.  To think that Kammerer’s first day in the movie industry was the first day of principal photography for the movie, he ended up presenting quite the talent throughout the movie.  From a bright-eyed young recruit who lied to get into the German Army to a very quickly more seasoned soldier, hardened by combat, to eventually, a young man who realized the fallacy of what he was doing, Kammerer is to be applauded throughout the story.  Case in point is Paul’s shock of having to collect dog tags from other, dead soldiers in his first experience in the trenches.  One of those soldiers was one of his own friends.  The tears that he shed, and having to keep going were the beginning of that change that Paul underwent.  Thankfully, Kat took him under his wing and helped him to retain a certain amount of his humanity before things got even worse as the story progressed.  The look of shock as he stabs the French soldier and then realizes what he had done, resulting in so much sadness and shame, is another of the most powerful moments in Paul’s change.  That is because it is really at that moment he realized the fallacy of what he and the rest of the army were doing.  That epiphany humanized Paul all the more, and continued to show Kammerer’s talent as an actor.  Kammerer’s portrayal as Paul and another new group of soldiers is sent back to the front near the war’s end continues to show that talent, too.  He portrays Paul as someone who is just fed up with it all and wants to go home like everyone else but knows he has a job to do.  The way in which Kammerer carries himself in the moment makes a person feel so much for him at that very moment.  What happens to Paul in the impending battle (which will not be revealed here for the sake of those who have not yet seen the movie) makes the outcome all the more hard hitting, emotionally. 

Albrecht Schuch (System Crasher, Berlin Alexanderplatz, Mitten in Deutschland: NSU), who plays the part of Kat – Stanislaus Katczinsky – is also to be applauded for his own work opposite Kammerer.  That is because of the way in which he manages to help keep Paul grounded. The focus that he brings out of Kat even in the intensity of battle helps to show the experience that Kat already had by the time Paul came into the war.  His sensitivity as he talks about wanting to be back with his wife and the vulnerability that he brings out of Kat as he addresses his son’s death from smallpox makes him an even more endearing figure.  To a point, audiences can actually argue that Schuch’s portrayal of Kat makes Kat something of, perhaps, a father figure to Paul even more than just a friend.  It is that presence that helps to make Kat and Paul so enjoyable to watch together throughout the movie and just another example of the importance of the cast’s work.

On yet another note, the cast members who took on the role of the German and French officials on board the train deserve their own applause.  Yes, they were largely supporting cast in the case of this movie, but the tension that they manage to create amongst themselves when they are on screen is fully believable, even though it is known that this moment was somewhat fictionalized.  They include Daniel Bruhl as German diplomat Matthias Erzberger and Thibault de Montalembert as French General Ferdinand Foch.  Devid Striesow (The Counterfeiters, Before The Fall, Downfall) is just as deserving of applause in his role as General Friedrichs.  That is because of the contrast that he creates to the more level-headed approach of Erzberger, who was determined to bring the conflict to an end and save Germany any more suffering.  Now, Friedrichs is not a real person.  He was a character created for this take on the timeless anti-war protest story, but that aside, the way in which Striesow brings Friedrichs to life is so worthy of applause.  That is because he shows that insistence that Germany fight on even as peace is being negotiated.  Even before then, there is another scene in which Striesow leaves audiences wondering if Friedrichs is going to take his own life as he recalls the military successes of his father and grandfather.  Interestingly he does not end up taking his own life, but that moment is so powerful in its simplicity and Striesow’s performance.  Between his work and that of Bruhl, de Montalembert, and other supporting cast, their work proves just as important as that of the lead cast.  When all of that work is collectively considered the result is a group of performances that makes for just as much engagement as the work of those behind the cameras, bringing the story to life.  When all of that work is considered alongside the movie’s bonus content, the whole therein together with the overall story makes the new home physical release of All Quiet on the Western Front a must see, at least once, and a rare reboot that is actually worth watching.

Netflix/capelight Pictures/Amusement Park Film’s 2022 reboot of All Quiet on the Western Front is a surprisingly engaging presentation.  That is because it proves itself a reboot that is actually worth watching.  Its appeal comes in part through the bonus content that accompanies the movie’s new physical home release.  The interviews with its director Edward Berger and historian/professor Daniel Schonpflug are among the most interesting of the bonus features.  That is because of the background and history that the pair offer regarding the new movie, the book, and how each stacks up against the real story of Germany’s role in the first World War.  The feature-length audio commentary and the standard “making of” featurette build on the foundation formed by the interviews to make for even more engagement and entertainment.  The overall foundation formed therein is strengthened even more through the movie’s cinematography, which is just as engaging, what with the angles, the use of lighting and even something as simple as filters.  The gritty portrayal of the battles and the contrast of the calm of the countryside make that clear.  The work of the movie’s cast, both lead and supporting, builds even more on that foundation and puts the finishing touch to the presentation.  That is because each actor’s work is so believable.  Each item examined is important in its own way to the whole of the movie.  All things considered they make this new physical home release of All Quiet on the Western Front one of the surprisingly best of this year’s new home releases.

All Quiet on the Western Front is scheduled for release Tuesday on separate, standalone DVD and Blu-ray platforms. The trailer for the new reboot of All Quiet on the Western Front is streaming here. More information on this and other titles from Netflix is available at:

Website: https://www.netflix.com

Facebook: https://www.facebook.com/netflixus

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Marvel Studios’ Latest ‘Ant-Man’ Sequel Is An Underappreciated Addition to the MCU

Courtesy: Marvel Studios/Disney

Audiences got some bad news this week when it was announced that the Hollywood Screenwriters Guild went on strike.  The strike started at midnight Tuesday, and as of Thursday, there seems to be no end to the strike as of yet in the near future.  The strike means what writers for the late-night talk show circuit have quit working, along with writers for television shows in general and for movies.  How long the strike will go on is anyone’s guess, but luckily there is still some new content for audiences to take in while they wait for the strike to end.  Some of that content will come May 16 in the form of the new home release of Marvel Studios’ latest entry in the Ant-Man franchise, Ant-Man & The Wasp: Quantumania.  The movie made its digital debut late last month and will be released separately this month on 4K UHD/BD combo pack, Blu-ray, and DVD.  The movie has received very mixed reviews from audiences and critics alike since making its theatrical debut Feb. 17.  The reasonings for the mixed reviews (especially the criticisms) have been across the board, but the movie really is not that bad.  Is it perfect or memorable?  No.  However, it is still engaging and entertaining.  That is due in no small part to its story, which will be addressed shortly.  The story’s pacing ties directly into the engagement and entertainment generated through the story.  It will be examined a little later.  The cast’s work on screen rounds out the most important of the movie’s elements and will also be examined later.  Each item noted is important in its own way to the whole of the movie.  All things considered these elements make Ant-Man & The Wasp: Qantumania a surprisingly enjoyable addition to the Marcel Cinematic Universe.

Ant-Man & The Wasp: Quantumania, the third installment in the MCU’s Ant Man franchise, is a surprisingly enjoyable presentation.  The movie’s enjoyment comes in part through its featured story.  The story is relatively simple.  It picks up after the events of the Infinity War.  The world loves Scott Lang/Ant-Man, knowing he took part in the war, fighting alongside the Avengers. He is even being honored by hi former boss and co-workers at Baskin-Robbins.  Just as everything seems to be going right, he finds out that his daughter Cassie has crated a link to the Quantum Realm – he, Hank Pym (the original ant-Man) and Hank’s daughter Hope have already been in order to rescue Hank’s wife Janet.  The whole group gets sucked back into the Quantum Realm thanks to what Cassie has been doing while Scott was “away”.  As a result of the group returning to the Quan Realm, a revolution breaks out, with the realm’s peace-loving inhabitants rising up against the evil ruler Kang The Conqueror, who had been exiled there by other Kangs for his evil deeds.  The revolution happens because even before Scott, Hank and Hope originally went into the Quantum Realm, Kang had been establishing his empire, as is revealed by Janet.  The final showdown comes as the group faces off against Kang, returning peace to the Quantum Realm.  So really the story here is, in the simplest terms, sort of a war story.  It is a story of revolution.  At first the fact that Cassie was to blame for the group getting sucked into the Quantum Realm kind of makes the story a bit silly, kind of like how Tony Stark was really to blame for the whole story in Avengers: Age of Ultron (interestingly enough, the original Ultron story in the comics involved Hank Pym, not Tony Stark.  How’s that for a “6-degrees of separation”?). 

Writer Jeff Loveness wastes no time setting the stage for the story to come.  On the same note, he also makes sure to stick right to the focus of each act throughout the course of the story, not allowing the movie to get bogged down in any unnecessary exposition and other drama that could have so easily sidetracked the story.  This plays directly into the movie’s pacing.  Considering that the movie runs just over two hours (which is quite shorter than most of Marvel Studios’ existing blockbusters) the pacing keeps the story moving forward so fluidly from beginning to end and in turn makes the story all the more engaging and entertaining.  The group gets sucked into the Quantum Realm in the first act.  In the second act, Kang and his history are revealed, leading up to the huge, climactic battle in the third act.  There is nothing there that is unnecessary at any point.  Maybe this is what so many people who disliked the movie had qualms with, considering how so many of Marvel’s movies have otherwise allowed themselves to become so gluttonously overdone with their stories and pacing.  People, perhaps, wanted more of that and when they didn’t get that over-the-top presentation here, it caused them some sort of discomfort.  If that is the case, then that is their problem.  The pacing works so well without feeling too short at any point throughout the story, ensuring the movie’s enjoyment all the more.

As much as the movie’s story and its pacing do to make the story engaging and entertaining, they are just part of what makes Ant-Man & The Wasp: Quantumania worth watching.  The cast’s work throughout the movie makes for its own share of enjoyment, too, and there are plenty of moments in which that work shines.  Case in point when Scott is first “captured” by the realm’s natives.  Veb (David Dastmalchian – The Dark Knight, The Suicide Squad, Dune), the little blob-like character who first talks to Scott, is so loveable even in this moment.  That is a credit to Dastmalchian and his work.  The simple approach that he takes as he brings Veb to life, trying to interpret for the people makes for such a fun, lighthearted moment.  In that same scene, Scott also has to interact with the mind-reader, Quaz (William Jackson Harper – The Good Place, Dark Waters, Midsommar) as Quaz scans Scott’s thoughts to find out his true intentions.  The back and forth between the pair makes for so many laughs as Quaz keeps asking Scott to stop thinking whatever he is thinking.  It is another small moment, but makes for so many laughs.  Perhaps this and so many other lighter moments also turned off so many audiences.  Unlike so many of the “heavier” movies that Marvel (and DC) have churned out in recent year, the Ant-man movies have all been much lighter in their mood, and this movie is no exception to that rule as this and so many other scenes show.  The cast’s work in each scene adds so much to that enjoyment. 

Perhaps the most notable work from the cast comes from embattled star Jonathan Majors, who plays the role of Kang The Conqueror.  Majors gives Kang such a cold, calculating demeanor throughout his performance.  He has no concern for anyone.  In the sequence in which he is confronting Scott and Cassie in their cells, for instance, his total disregard for Cassie’s well-being is so completely disturbing.  It is almost sociopathic for lack of better wording.  He presents this almost Darth Vader persona as he simply waves a couple fingers, throwing the pair against their cells’ walls, and even M.O.D.O.K. (yes, M.O.D.O.K. is introduced in this story) against another wall.  His anger as he faces off against the natives is just as powerful, considering how cool, cold, and calculating he had been throughout the story.  Seeing the race in his face and hearing it in his scream as he blasts the crowd is shocking.  That is because it shows so well, Kang’s true power, his anger.  Even early on as Janet recalls Kang’s nature as he offers to return her to her home, his persona is almost scary in how calm he is.  That is because audiences know deep down how devious he clearly is, thanks to Janet’s recollection.  Majors is to be applauded for his work throughout the movie.  Needless to say, if Marvel drops him on the assault charge for the incident which he is accused of committing, it will be interesting to see how he is replaced, especially considering all of the credits and post credits content he already filmed for the movie and for Disney+’s Loki series.  Needless to say it would be a huge loss if they drop him, considering how impressive he was in his role throughout the movie.  He really stole the show, even as enjoyable as it is to watch Paul Rudd and company once again.  He was the movie’s real star.

When the work of Ant-Man & The Wasp: Quantumania’s cast is considered alongside the work put in to bring the movie’s story to life, and with the story’s pacing, the whole make this movie a surprisingly enjoyable presentation that is honestly underappreciated just as its predecessors, Ant-Man and Ant-Man & The Wasp.  It likely won’t be one of the MCU’s most memorable entries years down the road, but is still worth watching. 

Ant-Man & The Wasp: Quantumania is available digitally now.  It is scheduled for physical release May 16 on 4k UHD/Blu-ray combo pack, Blu-ray, and DVD.  More information on this and other movies from Marvel Studios is available at:

Website: https://www.marvel.com

Facebook: https://www.facebook.com/marvelstudios

Twitter: https://twitter.com/marvel

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com. 

MVD Entertainment Announces ‘Rain Man’ 35th Anniversary Re-Issue Details

Courtesy: United Artists/MVD Entertainment Group

United Artists’ 1988 Oscar-winning movie Rain Man is getting a new re-issue.

MVD Entertainment Group announced Tuesday, it is scheduled to re-issue the movie on a new 4K UHD/Blu-ray combo pack and separate standalone Blu-ray May 30. Starring Tom Cruise (Top Gun, Top Gun: Maverick, Minority Report, Days of Thunder) and Dustin Hoffman (The Graduate, Hook, Tootsie) as estranged brothers Charlie and Raymond Babbit respectively. Charlie does not know he had a brother until he learns of the passing of his father, who had left his whole fortune to Raymond.

Charlie starts out the brothers’ cross-country road trip as a means to get his hands on some of the money, but as the journey takes place, Charlie’s view on his brother change, leading to an unexpected connection between the men and a moving finale for the story.

The movie’s 4K UHD/Blu-ray combo pack features three separate commentaries from director Barry Levinson, writer Barry Morrow, and co-writer Ronald Bass. There is also a standard “Making Of” featurette and separate featurette, “Lifting The Fog: A Look at the Mysteries of Autism” that examines what autism is and how it affects people who live with the mental disorder. Additionally, it also features a deleted scene and the movie’s original theatrical trailer.

MVD Entertainment Group’s forthcoming re-issue of Rain Man is part of the company’s “Marquee Collection.”

More information on this and other titles from MVD Entertainment Group is available at:

Website: http://mvdentertainment.com

Facebook: http://www.facebook.com/MVDEntertainmentGroup

Twitter: http://twitter.com/mvdentgroup

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘All Quiet On The Western Front’ Reboot Getting BD, DVD Release

Courtesy: Netflix/capelight Pictures/mpi Media Group

Netflix’s reboot of All Quiet on the Western Front is coming to standalone Blu-ray and DVD platforms.

The movie is scheduled for release May 9 on DVD and Blu-ray, more than a month after the movie was released on 4K UHD/BD combo pack. Pre-orders are open here.

Unlike with the 4K UHD Blu-ray combo pack, the movie will be limited in terms of its bonus content on its DVD platform. According to information provided in a news release announcing the details for the forthcoming release, the DVD will only feature a trailer for the movie, and a teaser clip.

The Blu-ray release will feature a feature-length audio commentary from director Edward Berger, a making-of featurette, trailer and teaser.

By comparison the movie’s bonus content in its 4K UHD/BD combo pack consists of everything in the Blu-ray platform, as well as a booklet with extensive insights from Berger and from historian Daniel Schonpflug in which he talks about the historical significance of the story that is All Quiet on the Western Front.

More information on this and other titles from Netflix is available at:

Website: https://www.netflix.com

Facebook: https://www.facebook.com/netflixus

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘The Last Starfighter’ Getting 4K UHD Re-Issue

Courtesy: Lorimar Films/Universal/Arrow Video

The Last Starfighter is getting the re-issue treatment from Arrow Video again.

The 1984 science fiction story from Universal and Lorimar Films is scheduled for release on 4K UHD May 30. Its latest re-issue will come more than two years after the company released it on DVD and Blu-ray.

The story of The Last Starfighter follows a young man named Alex Rogan who is recruited to battle a group of evil aliens through a video game. He is at first reluctant to join the galactic force that is working to stop them, but then agrees. It is, at its heart, a sort of underdog story that follows a young man who was going nowhere and sees him become an unsuspecting hero of the galaxy.

More information on this and other titles from Arrow Video is available at:

Website: http://www.arrowfilms.com

Facebook: http://www.facebook.com/ArrowVideo

Twitter: http://twitter.com/ArrowFilmsVideo

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘Swamp Thing’ Re-Issue Details Announced

Courtesy: MVD Entertainment Group

A new Swamp Thing movie is allegedly in the works as part of the changes happening in the DCU, but before it arrives, the original 1982 movie from SwampFilms is going to get the re-issue treatment.

Officials with MVD Entertainment Group announced Thursday, the original movie is scheduled for re-issue July 25 separately on 4K UHD/Blu-ray combo pack and standalone Blu-ray. The re-issue is part of MVD’s “Rewind Collection.”

Thursday’s announcement came roughly two months after the company re-issued the movie’s 1989 sequel, The Return of Swamp Thing on 4K UHD/BD combo pack.

Directed by Wes Craven (A Nightmare on Elm Street franchise), the movie is based on the DC character by the same name. It stars Ray Wise (Robocop, Dead End, Batman: The Killing Joke) and Adrienne Barbeau (Escape From New York, The Fog, Back To School) as Dr. Alec Holland and government agent Alice Cable. The pair have developed a formula that has the potential to end world hunger, but unknown to them the evil Dr. Arcane (Louis Jordan– Octopussy, Gigi, Letter From An Unknown Woman) wants the formula for his own selfish reasons.

When Arcane tries to steal the formula, he ends up covering Dr. Holland in the formula and then leaves him for dead in the swamp. Holland ends up becoming the movie’s titular character and sets out to stop Dr. Arcane while also saving Alice. While Wise takes on the role of Dr. Holland, Dick Durock (Stand By Me, The Enforcer, Runaway Train) takes on the role of the movie’s titular character.

Also starring in the movie are the likes of David Hess (The Last House on the Left, Cabin Fever, Body Count), and Nicholas Worth (Darkman, No Way Out, Heartbreak Ridge).

While both the 4K UHD and Blu-ray platform offer audiences the same commentaries as bonus content, the Blu-ray platform offers much more in regard to its bonus content. The Blu-ray platform also includes extras, such as a featurette examining how the Swamp Thing comic made the leap from the printed page to the big screen, a bonus titled “Tales From The Swamp” with Adrienne Barbeau, and another titled “Swamp Screen: Designing DC’s Main Monster.”

The full list of each platform’s bonus content is noted below:

DISC 1: SWAMP THING 4K LASERVISION COLLECTION –
SPECIAL FEATURES: 

• 2023 4K Restoration (16-Bit Scan of the Original
Camera Negative) of both the US Theatrical PG Version and Unrated International Version of the film presented in its original 1.85:1 Aspect Ratio in Dolby Vision / HDR 

• Audio: DTS-HD Master Audio 2.0 Mono, Spanish Mono 

• Optional English Subtitles 

• Audio Commentary with Writer/Director Wes Craven
moderated by Sean Clark (Theatrical / PG Version) 

• Audio Commentary with Makeup Effects Artist
William Munns moderated by Michael Felsher (Theatrical / PG Version) 

• Collectible “4K LaserVision” Mini-Poster of cover art 

• Limited Edition “4K Laservision” Slipcover (First Pressing Only) 

DISC 2: SWAMP THING REWIND COLLECTION BLU-RAY –
SPECIAL FEATURES: 

• 2023 HD Restoration of both the US Theatrical PG
Version and Unrated International Version of the film presented in its original
1.85:1 Aspect Ratio 

• Audio Commentary with Writer/Director Wes Craven
moderated by Sean Clark (Theatrical / PG Version) 

• Audio Commentary with Makeup Effects Artist
William Munns moderated by Michael Felsher (Theatrical / PG Version) 

• DTS-HD Audio 2.0 Mono, Spanish Mono Audio 

• Optional English Subtitles 

• “Tales From the Swamp” (Remastered) with
Actress Adrienne Barbeau (HD, 16:56) 

• “Hey Jude” with Actor Reggie Batts (HD, 14:30) 

• “That Swamp Thing” with Len Wein, Creator of Swamp Thing (HD, 13:19) 

• “Swamp Screen: Designing DC’s Main Monster” featurette (HD, 20:32) 

• “From Krug to Comics: How the Mainstream
Shaped a Radical Genre Voice” featurette (HD, 17:34) 

• Posters & Lobby Cards – Photo Gallery 

• Photos from the Film – Photo Gallery 

• William Munns’ Behind the Scenes Pictures – Photo Gallery  

• Behind the Scenes Photos by Geoffrey Rayle – Photo Gallery 

• Theatrical Trailer (HD, 1:31) 

• “REGION A” LOCKED 

Swamp Thing will retail for MSRP of $49.95 on its 4K UHD/BD combo pack platform. The standalone BD platform will retail for MSRP of $39.95.

More information on this and other titles from MVD Entertainment Group is available online at:

Website: http://mvdentertainment.com

Facebook: http://www.facebook.com/MVDEntertainmentGroup

Twitter: http://twitter.com/mvdentgroup

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Visual Effects, Special Features Save ‘Avatar: The Way Of Water’

Courtesy: 20th Century Studios

When 20^th Century Studios’ Avatar: The Way of Water made its theatrical debut late last year, it was one of the most anticipated movies in many years, and audiences showed their reaction in a big way.  The movie set a new record for ticket sales and went on to earn multiple awards, earning more than $2 billion in ticket sales globally.  While the movie did earn multiple awards, the awards that it earned were by and large in categories related to visual effects and cinematography.  There were wins for voice acting, soundtrack and directing from various organizations, but its only “Best Picture” win came from the Australian Academy of Cinema and Television Arts, which is Australia’s version of “The Academy” here in the United States.  It did not even get nominated in that category at the BAFTAs, the British Academy of Film and Television Arts Awards, which is the United Kingdom’s version of the Oscars.  The wins and lack thereof should come as no surprise even as the movie made its way to home streaming late last month and as a release date for a physical release is considered. That is because while the movie is a spectacular visual and musical presentation, its story, which will be discussed a little later, actually falls quite short of expectations.  The visual and musical aspects of the movie will be discussed shortly.  The bonus content that accompanies the movie in its new home release rounds out its most important elements and will also be discussed later.  Each item noted here is important in its own way to the whole of Avatar: The Way of Water.  All things considered they make the movie worth watching at least once, but sadly not much more than that.

Avatar: The Way of Water was one of the most anticipated movies in years when it made its theatrical debut last year, more than a dozen years after the debut of its predecessor.  The movie made its home streaming premiere late last month, only months after making its theatrical debut.  A release date for its home physical release is under consideration.  The movie is far from perfect, though the awards that it has won for its visual effects are justified.  The movie’s visual effects are stunning.  That is due to director James Cameron’s dedication to bringing audiences the best possible presentation, visually.  From the expansive underwater world that he and his crew crafted to the lush forest setting that opens the story, the worlds that Cameron and company built for this movie were absolutely stunning in their look right down to the finest detail.  The whale- and shark-like creatures that swim through Pandora’s waters and the smaller fish and other sea-dwelling creatures that call those waters home, and even the plants are incredible to behold.  For those who might have not yet seen Cameron’s 2014 documentary Deepsea Challenge, the attention to detail of the undersea world makes sense.  That is because Cameron reveals his love of all things nautical in this documentary.  It really generates a new respect for Cameron considering the emphasis he places on taking care of the planet’s waters.

On a related note, the music that helps set the mood throughout the movie, and the general sound effects that accompany the visuals, are just as impressive.  The scores that were composed for each scene add so much emotion, what with the string arrangements and the rich keyboards and other elements.  The pairing of these aesthetic elements with the overall visual effects presentation creates a solid foundation for the movie and gives audiences at least some reason to watch the movie.

As much as the visual (and audio) effects do to make Avatar: The Way of Water worth watching the movie’s story detracts from its presentation.  That is because it is so simplistic and lacking in originality.  Where Avatar was essentially a rip-off of Dances With Wolves, this movie’s story is essentially a sequel to that rip-off.  That is because instead of doing anything original, the story simply brings back the “sky people” (the Marines) to try to wipe out Pandora’s indigenous people again.  In other words, it’s a rehashing of the first movie.  This time out, the Marines — especially Quaritch (Stephen Lang – Avatar, Manhunter, Don’t Breathe) have an added focus.  That focus is a vendetta against Jake Sully, the former Marine who turned Naavi in Avatar much how Kevin Costner joined the Native Americans in Dances With Wolves.  This whole secondary plot is, in reality quite trite.  The bad guy has it in for the good guy and will stop at nothing to kill him.  It has been done so many times in so many movies.  What’s more, audiences don’t know what happens after the Marines are defeated.  Do the “sky people” leave Pandora again or stay there?  That is never revealed, though considering at least two more sequels are in the works, odds are they stayed around.  It is just another of the problematic secondary story lines written into the story. 

The majority of the story focuses on Jake’s teen children. This is another secondary storyline.  Their coming-of-age story is also anything but original and really comes across as little more than an attempt to bring in younger viewers.  The whole of all of this content is tied together seamlessly.  That should be appreciated perhaps to a point.  The problem is that even with that in mind, not one bit of the story is original.  It has all been done before.  To that end, it detracts greatly from the movie’s presentation, but thankfully is not enough to completely doom the movie’s presentation.  The expansive bonus content that accompanies the movie in its new home release pairs with the visual effects to give it at least a little more reason to be watched.

The bonus content that accompanies the movie’s home release totals more than two hours and is so immersive.  Viewers learn through the bonus content, some interesting information, such as how the cast, even using motion capture again for the movie, had to learn to free dive.  This is due to the fact that Cameron wanted to make the movie as visually realistic as possible.  Staying on that note, viewers also lean that Cameron’s dedication to keeping the movie’s look as real as possible went so far as to have the crew travel to the Hawaiian rain forest to learn how to forage and how to shoot arrows.  He even had the crew travel to the Bahamas to best learn how the undersea creatures would move in the movie.  It is even revealed through the bonus content, that Cameron and company took the creation of the Na’vi language so seriously that they hired an expert linguist to develop a sign language system among the Na’vi.  This discussion, while brief, further shows the lengths to which Cameron and company went to ensure the movie’s believability.

As if all of this is not enough, there is even a discussion on how Cameron reached all the way back to his hit 1989 movie The Abyss to help make the visuals more believable in this movie as part of the bonus content.  That discussion in itself will put a smile on plenty of viewers’ faces.  Between everything noted here and so much more, the bonus content featured with the home streaming release of Avatar: Way of Water makes for its own reason to give the movie a chance.  This even despite, again, the less than original story line at the movie’s center.  When the bonus content and the visual effects incorporated into this movie are considered together, they make Avatar: The Way of Water hardly one of the year’s best home movie releases, but a movie worth watching at least once, just sadly not much more.

Avatar: The Way of Water, the sequel to Avatar, is a wonderful visual cinematic presentation.  It is a display of a master at work in terms of visual effects.  The bonus content that accompanies the movie in its new home streaming release makes that just as clear as the visual effects presented throughout the movie.  The movie’s story is anything but original and definitely detracts from its engagement and entertainment.  The lack of any engagement and entertainment from the movie’s story is not enough to doom the presentation, but still does take away from that overall positive from the visual effects and bonus content.  All things considered Avatar: The Way of Water deserved all of the awards it has earned and being watched at least once, but sadly no more than that.

Avatar: The Way of Water is available to stream at home now. More information on this and other titles from 20^th Century Studios is available at:

Website: https://20thcenturystudios.com

Facebook: https://www.facebook.com/Avatar

Twitter: https://twitter.com/20thcentury

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com. 

‘Black Panther: Wakanda Forever’ Is More Proof Sequels Are Rarely As Good As Their Predecessors

Courtesy: Marvel Studios

The sequel is rarely, if ever, as good as or even better than the original.  This adage has proven true more often than not throughout the modern history of movies.  As eras have passed, it has become increasingly true, too, as more and more sequels have been churned out by Hollywood’s major studios (along with just as many prequels, reboots, and stories based on books and actual events).  One of the most recent examples of a sequel being less than its predecessor is Marvel’s Black Panther: Wakanda Forever.  The movie made its widespread domestic theatrical debut Nov. 11, 2022, and less than three months later, made its way to 4K UHD/BD combo pack and DVD.  The movie takes a step back from its predecessor, but is not a complete failure.  Its primary saving grace is its story.  While the story is actually believable at least to a point, it is not without some plot holes that will be addressed as part of the examination of the story overall shortly.  The plot holes are not the only problem with the story.  Its pacing is its most notable concern and will be discussed a little later.  Knowing the pacing is not enough to completely doom the movie there is at least one more positive to note, and it comes in the form of the bonus content that accompanies the movie in its home release.  It will be addressed a little later, too.  Each item noted here is important in its own way to the whole of the movie’s presentation.  All things considered they make Black Panther: Wakanda Forever an interesting but sadly disappointing addition to the Marvel Cinematic Universe.

Black Panther: Wakanda Forever, the sequel to Marvel studios’ hit 2018 movie Black Panther, made its domestic theatrical debut nearly five years after its predecessor hit theaters. Early this past February, the movie made its way home on various physical platforms.  The latest entry in the Black Panther realm (and apparently not the last, according to a statement made in the movie’s finale – not to give away too much), it falls short of Black Panther’s success but is not a total failure.  The movie does have going for it, at least a somewhat believable story.  The story is believable in that the overall conflict essentially happened because as Queen Ramonda (Angela Bassett – Black Panther, Contact, Strange Days) points out to a meeting of the United Nations in Geneva, Switzerland, the world’s powers are greedy and just want to get their hands on Wakanda’s vibranium resources for themselves, and for military purposes, not for good. This is proven after her guards bring in a group of captured French mercenaries who tried to steal the nation’s vibranium from one of its outposts, much to the chagrin of the French official at the meeting.  From there, an American military force is presented digging for vibranium in the Atlantic Ocean, leading to an attack by a group of undersea beings known as Talokans.  On a side note, one can’t help but laugh in noticing how much the Talokans look like the natives in the Avatar franchise.  Of course, Disney owns the studio responsible for that franchise as well as Marvel Studios, so there is that.  Getting back on topic, the Talokans only attack because they do not want their world to be discovered and potentially destroyed by the greed of the surface dwellers, setting up the rest of the story.  Their leader, Namor (Tenoch Huerta – The Forever Purge, Sin Nombre, Dias de gracia), explains this to Shuri (Letitia Wright – Black Mirror, Small Axe, The Silent Twins) later in the movie.  This leads to one of the noted plot holes in the story and will be addressed shortly.

As it turns out, the device that the military force is using (a vibranium detector) was built by an American college student, Riri (Dominique Thorn – Avengers: Secret War, If Beale Street Could Talk, Judas and the Black Messiah).  Riri reveals early on that she built the device after T’Challa introduced vibranium to the world in the first Black Panther movie.  According to Riri, she did not build it for the government, but as will be noted later, the story never explains how the government got its hands on the device or even its plans.

Sadly, from here, things start to go even farther south with the story.  After the overall setup — which is believable and deep what with its discussion on politics and military buildup — is complete, director/writer Ryan Coogler and co-writer Joe Robert Cole spend the next two hours setting up the final conflict between the forces of Wakanda and Talokan.  The amount of exposition that is used really draws down the story’s pacing, which becomes problematic in its own right and will be discussed later.  It is not even until about the last 30-45 minutes of the story that things finally pick up thanks to the big, climactic battle sequence.

The plot holes that rise along the way are problematic in their way and detract notably from the story’s believability.  The most notable of the plot holes is, simply, that of Namor’s motivation for wanting to attack the surface world.  The people of the surface world never did anything to him directly, as he points out to Shuri.  According to Namor, his hatred of the surface world ultimately stemmed from the role that Europeans played in the history of Central Americans.  As he points out, the Talokan people moved from the surface world to the seas as a means to escape the smallpox brought over by Europeans.  When his mother died, he wanted to bury his mother on land.  When her body was brought to the surface, he saw even more mistreatment of the indigenous people by Europeans, deepening his hatred even more for the surface world.  Having surface dwellers searching for vibranium so close to Talokan only deepened his hatred.  Even with all of this in mind, he, like DC’s Aquaman, is able to live on land and sea, so really he has no business being so angry.  No one did anything directly to him, so he really has no real motivation for wanting to destroy the surface world.  To that end, it is just difficult to believe his character and motivation for wanting to go to war with the surface world.  He is more or less just a Captain Nemo type figure in this case.  He just doesn’t like the surface world.

Another major plot hole in this story comes as Riri meets Shuri.  Riri reveals that she did not make the vibranium detector for the military.  From there, there is no more discussion on how the government even got its hands on the device.  All that audiences get is that Riri made the detector because one of her college professors said she would not be able to do it; that she did not have the capability and was not smart enough.  From there, there is no more discussion on how the government (and military) got its hands on the device.  There is no attempt to explain this one away.  All that audiences know is that she built it and the government got it. This even as the government has no clue she is building an Iron Man suit in a nondescript garage.  Yeah….more problems.

Yet another plot hole that rises in the very fact that Namor and his forces just happen to know the exact location of Wakanda.  The understanding is supposed to be that Wakanda’s exact location and even the power of its military is unknown, according to CIA agent Everett Ross (Martin Freeman – Black Panther, The World’s End, The Hobbit: An Unexpected Journey, The Hobbit: The Desolation  of Smaug).  So if that is the case then how in the world did Namor and company manage to locate Wakanda so easily?  This is also never explained.

As if all of this is not enough, the seeming case is that the American military had the technology and directions to build a vibranium detector.  So even with the first one having been captured by Namor early on in the story, couldn’t the military have built another one?  It seems like this whole matter is ignored throughout the movie in favor of the conflict that arises between the people of Wakanda and Talokan.  This is important to note because according to reports about the Secret Wars series coming to Disney+, CIA director de Fontaine (Julia Louis-Dreyfus – Seinfeld, VEEP, The New Adventures of Old Christine) just randomly turns her attention from vibranium to adamantium after the events of this movie, even after the Queen chides the world’s leaders for their greed for vibranium.  It is all just too convenient and random. 

For those who might be less familiar with the Marvel universe, Adamantium is the stuff in Wolverine’s skeleton and his claws.  So again, even after this story ends, that seems to be the apparent end of the whole thing about vibranium and the world’s greed for the element.  It all just seems so random, making it another plot hole that really has no resolution.  Between this matter, the other plot holes noted here and plenty of others throughout the movie (including Ross’ fate after he is rescued in the movie’s finale), the plot holes that open up throughout the story detract from its enjoyment quite notably.

The plot holes that are noted throughout the new Black Panther movie’s story are just part of its problem.  The story’s pacing also plays into its shortfall.  The pacing is such an issue considering that the movie runs roughly two and a half hours.  As noted earlier, Coogler and Cole spend the majority of the movie filling it with exposition, following Shuri as she figures out her place in Wakanda and the world following her brother’s death.  That includes her existential ruminations that run throughout the story.  Between her own constant drama and that from Namor, the story largely moves at such a pace that it makes it easy for viewers to want to just fast forward through the movie to get to its final battle.  Keeping that in mind, most of the deleted scenes that are included as bonus features in the movie’s home release make sense in having been deleted.  They really play no consequential role in the movie, so it is good that they were removed from the story.  The only exception to that rule is “The Upstairs Bathroom” in which agent Ross is in an off-limits area, gathering information from a computer. 

Ross is in communication with what sounds like someone from Wakanda.  Being a random scene, one cannot help but wonder if this was meant to take place after he was rescued in the movie’s finale or if this was meant to go somewhere else.  If in fact it was meant for that finale then it definitely would have worked.  Otherwise, it was a good removal.  Sadly, the deleted scenes come without any explanation, so audiences will likely never know the truth.

Getting back on the topic at hand, the rest of the content featured in the main story works well together.  It is just that so much of it is existential rumination and overall exposition.  Because of this it all makes the story drag so much, and in turn hurts the story so badly.  Thankfully, there is that noted bonus content to help offset the issue of the pacing.

As noted the bonus deleted scenes are the most important of the bonuses included in the movie’s home physical release.  They largely are material that clearly had no place in the bigger story and would have only dragged out the story’s run time unnecessarily even more.  That is because for the most part they are more of that exposition.  That exposition continues even more in the bonus feature, “Passing The Mantle.”  Bassett and Wright talk about moving on after the death of Bozeman in this featurette and how his death played into the bigger story of Wakanda Forever.  It is an insightful feature even if it does not add but so much to the overall engagement and entertainment.  The standard “Making Of’ bonus, titled here, “Envisioning The Worlds” will largely appeal to those with any interest in set design, so it only adds but so much to the presentation.  Though, audiences will appreciate the discussion on how certain aspects of the set design was influenced by the look of certain parts of Zimbabwe.  This discussion will be left for audiences to discover for themselves.

All three bonus features – and the feature-length audio commentary – are all featured on the Blu-ray disc of the 4K UHD Blu-ray combo pack.  This is an aesthetic element, but still important in its own right.  That is because it allows a much wider range of viewers to take in the content than otherwise might have, considering the limited number of people who have 4K UHD TVs and/or players.  That tech is extremely cost prohibitive even today, so in placing the bonus content on the more widely accessible technology means more viewers will get to take it in.  Disney and those with Marvel Studios are to be commended for going this route.  Keeping this in mind along with the one believable aspect of the movie’s story (and the special effects) it is one more aspect that makes watching Black Panther: Wakanda Forever worth watching at least once. 

Black Panther: Wakanda Forever, the sequel to Marvel Studios’ 2018 hit movie Black Panther, is an intriguing offering from the Disney-owned studio.  It is a presentation that is worth watching at least once even despite the prominent concerns with its pacing.  The story’s early setup, which focuses on global politics and military buildup, is fully believable, making for at least some reason for watching.  The plot holes within the story though, detract considerably from the story’s engagement and entertainment.  That is because there are so many plot holes and they are so big.  The bonus content – specifically the deleted scenes – help make up for the concerns raised by the pacing and plot holes.  That is because of the background offered by that content and that some scenes really were not needed.  Having the bonus content featured in Blu-ray instead of 4K helps somewhat, too since Blu-ray is less cost prohibitive to own than 4K UHD technology.  Each item examined here is important to the overall presentation that is Black Panther: Wakanda Forever.  All things considered, the movie is worth watching at least once but sadly leaves one wanting for so much more.

More information on this and other titles from Marvel Studios is available at:

Website: https://www.marvel.com

Facebook: https://www.facebook.com/marvelstudios

Twitter: https://twitter.com/marvel

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com. 

‘All Quiet On The Western Front’ Reboot Is Surprisingly Engaging, Entertaining

Courtesy: Netflix/capelight Pictures/American Park Film/mpi Media Group

Rebooting movies and crafting movies about war seem to be favorite hobbies of movie makers.  From the advent of the motion picture to the modern era, Hollywood’s major movie studios have churned out countless reboots, many of which have been movies about war.  In 1930, studios’ habit of rebooting movies took an important new turn when Universal Pictures released the first cinematic adaptation of author Eric Maria Remarque’s now timeless novel, All Quiet on the Western Front.  At the time, the movie broke new ground with its explicit depictions of the horrors of war.  That was because it was not until 1934, when the Hays Code — also known as the Motion Picture Production Code – was established that any real regulation was in place to monitor movies’ content.  Almost half a century would pass before the movie would see the light of day again – in 1979 on CBS — with a made for TV rendition of the story that starred Richard Thomas (It, Battle Beyond The Stars, The Waltons) and Ernest Borgnine (Spongebob Squarepants, The Poseidon Adventure, Airwolf) in the lead roles.  Late last year, the movie received what is only its second reboot, courtesy of Netflix, capelight Pictures and Amusement Park Film.  The new take on the story – which came more than four decades after the 1979 made for TV movie take on the story — earned nine Oscar® nominations and won in six of the categories for which it was nominated.  Now Tuesday, the award-nominated and winning movie will be released on 4K UHD/Blu-ray combo pack through the noted companies and mpi Media Group.  The movie is just as engaging and entertaining in its physical home release as in its streaming debut last year, if not more so.  That is due in part to its extensive bonus content, which will be discussed shortly.  In examining the movie itself, there is plenty to appreciate, not the least of which being its cinematography, which will be discussed a little later.  The work of the movie’s cast rounds out its most important elements and will also be discussed later.  Each item noted here is important in its own way to the whole of the movie’s presentation.  All things considered they make the new home release of All Quiet on the Western Front one of the best of this year’s new home movie releases.

Netflix/capelight Pictures/Amusement Park Film’s brand new 4K UHD/Blu-ray combo pack release of the new All Quiet on the Western Front reboot is a powerful, engaging new take on the timeless story from author Eric Maria Remarque.  It is not an easy presentation to take in because it is so intense, and requires audiences truly to be in a specific mindset in order to fully be appreciated.  That needs to be noted right off the top.  Having noted that, there is a lot to appreciate for those who take the time to take in the movie in its new physical release, not the least of which is its bonus content.  The most important of that bonus content comes in the form of the printed interviews in the movie’s companion 24-page booklet.  The interviews are with director Edward Berger and historian/professor Daniel Schonpflug.  The information that each man shares in his respective interview is important to the movie because of the background that it adds to the movie’s presentation.

Berger, for instance, talks during his interview, about how he and the movie’s other creative heads developed the fight scenes online as a result of the COVID-19 pandemic preventing them from meeting in person.  He notes in this discussion, those involved in the movie’s creation were spread across three continents, so coming together to develop the battle scenes was not an easy feat.  On the matter of developing the story for the reboot, Berger also addresses the noted heavy emotional sense that permeates the movie.  He said making the story so emotionally heavy was intentional because of how the war impacted Germany and its citizens.  Speaking of that impact, Berger notes the fallout of the war, including how the kaiser ended up abdicating his rule and thus left the country essentially in a state of anarchy.  This is something that is rarely if ever taught in American classrooms at any level. 

As if all of this is not enough for audiences, Berger also discusses working with actor Felix Kammerer, who played the role of Paul in this outing.  He had only positive comments about Kammerer in that discussion, and justifiably so.  This will be addressed a little bit more later.  He also talks about keeping himself grounded and focused while making the movie.  In simple terms, this is a discussion on not letting his ego get the better of himself, which clearly paid off in watching the movie.  There is even a mention of fellow famed movie maker Stanley Kubrick in these discussions that is certain to engage audiences.

Schonpflug’s discussions build even more on those from Berger.  Schonpflug takes on topics, such as Remarque’s own experience as a conscripted soldier in the German army as it relates to his timeless novel.  That is another item that few if any American teachers bring into discussions on this novel when they introduce the book to students.  The revelation that Schonpflug makes here is enlightening to say the least.  On an equally interesting note, Schonpflug also notes that in Germany, All Quiet on the Western Front was actually censored – and even burned – by the government at different points because of its overarching anti-war message.  Yet again here is something that is rarely if ever taught about the book in American classrooms at any level.  The shock of the realization is engaging in its own right and is just as certain to get audiences to start doing their own deeper research into the book. 

As if all of this is not enough, Schonpflug also addresses how much of the war Remarque left out of the book, and his praise for Berger’s take on the novel in two more separate discussions.  In regards to how Remarque presented the war in his novel, Schonpflug changed a number of scenes from his early drafts at the request of his then publisher.  He gives the example of the moment Paul kills a French soldier, and the impact that it has on him.  Berger adds that moment into this reboot, but changes it in his own way from the novel’s presentation.  Schonpflug notes other changes Berger made to his take on the story in his thoughts on how Berger handled the movie, speaking of the changes.  In the end, he praises Berger, saying Berger has fully succeeded in his imagining of the story.  He is definitely right in that commentary.

Between the commentary addressed here and so much more, the overall commentaries provided by Berger and Schonpflug in their respective interviews makes for so much engagement, entertainment and appreciation for this latest take on All Quiet on the Western Front.  The interviews are just some of the bonus content that audiences will appreciate, too.  The in-depth “making of” featurette and the feature-length audio commentary builds even more on the foundation even more that was established through the interviews.  All things considered, the bonus content that accompanies All Quiet on the Western Front in its new 4K UHD/Blu-ray presentation more than makes for reason for audiences to take in this movie in its new physical presentation.

The bonus content that accompanies the movie’s new physical release is just part of what makes the movie worth watching.  Its cinematography makes for its own share of engagement and entertainment.  This is clearly exhibited in the noted battle scenes on the front.  The way the cameras move through the trenches and capture the frantic nature of the battles is so powerful in its own right.  Seeing the smoke of the gas and from the shots fired as the soldiers make their way across the battlefield is just as intense and gripping.  On the same note, a calmer moment, such as when Paul, Kat, Tjaden and the other soldiers are relaxing, enjoying the cooked goose is just as rich in its color and angles.  Seeing the men admiring the French woman from a distance as they pass by really goes to show such a nice wide shot of the land.  On a related note, Schonpflug also addresses the reality of sexual violence committed against French women by German soldiers in his interview.  That is another eye-opening revelation that is never taught here in the U.S. about World War I.  Even the opening scene of Paul and his friends planning to join the German Army is strong in its own right.  That is because of the peacefulness and color of the buildings and streets in their hometown.  It is a subtle, perhaps unintended, message, but becomes deep when one considers how such a town likely looked after the war.  When audiences take into account Berger’s statements about his deliberate approach to getting every shot right, it adds even more to the appreciation for the work that went into the cinematography.  Between these examples and so many others available to note, the whole of the movie’s cinematography makes for its own exceptional presentation and experience for viewers.  The result is a foundation that is strengthened all the more for the presentation.

The work of the cast strengthens that foundation even more, beginning with and not limited to the work of Kammerer.  To think that Kammerer’s first day in the movie industry was the first day of principal photography for the movie, he ended up presenting quite the talent throughout the movie.  From a bright-eyed young recruit who lied to get into the German Army to a very quickly more seasoned soldier, hardened by combat, to eventually, a young man who realized the fallacy of what he was doing, Kammerer is to be applauded throughout the story.  Case in point is Paul’s shock of having to collect dog tags from other, dead soldiers in his first experience in the trenches.  One of those soldiers was one of his own friends.  The tears that he shed, and having to keep going were the beginning of that change that Paul underwent.  Thankfully, Kat took him under his wing and helped him to retain a certain amount of his humanity before things got even worse as the story progressed.  The look of shock as he stabs the French soldier and then realizes what he had done, resulting in so much sadness and shame, is another of the most powerful moments in Paul’s change.  That is because it is really at that moment he realized the fallacy of what he and the rest of the army were doing.  That epiphany humanized Paul all the more, and continued to show Kammerer’s talent as an actor.  Kammerer’s portrayal as Paul and another new group of soldiers is sent back to the front near the war’s end continues to show that talent, too.  He portrays Paul as someone who is just fed up with it all and wants to go home like everyone else but knows he has a job to do.  The way in which Kammerer carries himself in the moment makes a person feel so much for him at that very moment.  What happens to Paul in the impending battle (which will not be revealed here for the sake of those who have not yet seen the movie) makes the outcome all the more hard hitting, emotionally. 

Albrecht Schuch (System Crasher, Berlin Alexanderplatz, Mitten in Deutschland: NSU), who plays the part of Kat – Stanislaus Katczinsky – is also to be applauded for his own work opposite Kammerer.  That is because of the way in which he manages to help keep Paul grounded. The focus that he brings out of Kat even in the intensity of battle helps to show the experience that Kat already had by the time Paul came into the war.  His sensitivity as he talks about wanting to be back with his wife and the vulnerability that he brings out of Kat as he addresses his son’s death from smallpox makes him an even more endearing figure.  To a point, audiences can actually argue that Schuch’s portrayal of Kat makes Kat something of, perhaps, a father figure to Paul even more than just a friend.  It is that presence that helps to make Kat and Paul so enjoyable to watch together throughout the movie and just another example of the importance of the cast’s work.

On yet another note, the cast members who took on the role of the German and French officials on board the train deserve their own applause.  Yes, they were largely supporting cast in the case of this movie, but the tension that they manage to create amongst themselves when they are on screen is fully believable, even though it is known that this moment was somewhat fictionalized.  They include Daniel Bruhl as German diplomat Matthias Erzberger and Thibault de Montalembert as French General Ferdinand Foch.  Devid Striesow (The Counterfeiters, Before The Fall, Downfall) is just as deserving of applause in his role as General Friedrichs.  That is because of the contrast that he creates to the more level-headed approach of Erzberger, who was determined to bring the conflict to an end and save Germany any more suffering.  Now, Friedrichs is not a real person.  He was a character created for this take on the timeless anti-war protest story, but that aside, the way in which Striesow brings Friedrichs to life is so worthy of applause.  That is because he shows that insistence that Germany fight on even as peace is being negotiated.  Even before then, there is another scene in which Striesow leaves audiences wondering if Friedrichs is going to take his own life as he recalls the military successes of his father and grandfather.  Interestingly he does not end up taking his own life, but that moment is so powerful in its simplicity and Striesow’s performance.  Between his work and that of Bruhl, de Montalembert, and other supporting cast, their work proves just as important as that of the lead cast.  When all of that work is collectively considered the result is a group of performances that makes for just as much engagement as the work of those behind the cameras, bringing the story to life.  When all of that work is considered alongside the movie’s bonus content, the whole therein together with the overall story makes the new home physical release of All Quiet on the Western Front a must see, at least once, and a rare reboot that is actually worth watching.

Netflix/capelight Pictures/Amusement Park Film’s 2022 reboot of All Quiet on the Western Front is a surprisingly engaging presentation.  That is because it proves itself a reboot that is actually worth watching.  Its appeal comes in part through the bonus content that accompanies the movie’s new physical home release.  The interviews with its director Edward Berger and historian/professor Daniel Schonpflug are among the most interesting of the bonus features.  That is because of the background and history that the pair offer regarding the new movie, the book, and how each stacks up against the real story of Germany’s role in the first World War.  The feature-length audio commentary and the standard “making of” featurette build on the foundation formed by the interviews to make for even more engagement and entertainment.  The overall foundation formed therein is strengthened even more through the movie’s cinematography, which is just as engaging, what with the angles, the use of lighting and even something as simple as filters.  The gritty portrayal of the battles and the contrast of the calm of the countryside make that clear.  The work of the movie’s cast, both lead and supporting, builds even more on that foundation and puts the finishing touch to the presentation.  That is because each actor’s work is so believable.  Each item examined is important in its own way to the whole of the movie.  All things considered they make this new physical home release of All Quiet on the Western Front one of the surprisingly best of this year’s new home releases.

All Quiet on the Western Front is scheduled for release Tuesday on 4K UHD/Blu-ray. The trailer for the new reboot of All Quiet on the Western Front is streaming here. More information on this and other titles from Netflix is available at:

Website: https://www.netflix.com

Facebook: https://www.facebook.com/netflixus

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.