GHOST IN THE SHELL -- Blu-ray/DVD/Digital HD Review by Porfle

Originally posted in 2017

 

Futuristic sci-fi thrillers such as 2001: A SPACE ODYSSEY, BLADE RUNNER, and the more recent THE FIFTH ELEMENT used to amaze and astound us with their eye-popping visuals and stunning practical effects. Nowadays, such fare is so overloaded with CGI-generated artificial wonders jam-packed into every frame that we tend to get numbed by it all. 

GHOST IN THE SHELL (2017)--a live-action adaptation of the original manga by way of the excellent 1995 animated version--starts out that way, cluttered with too many whiz-bang visuals that don't always seem to exist in the real world, with the ever-present advertising motif of BLADE RUNNER taken to new extremes and a sort of architectural imagination gone mad.

As the film progresses, however, we settle in and adapt to this frenetic, plastic vision of the future, mainly because the theme of the story is technology gone too far--people becoming willing cyborgs for vanity and convenience and all connected body and mind to a central core--and the main characters are meant to feel alienated by it as well. 

Our heroine, Major Mira Killian (Scarlett Johansson) of the anti-terrorist group Section 9, is especially attuned to such feelings, being that she is the first successful fusion of a human brain with an entirely robotic body (i.e., a "ghost in the shell") and thus constantly conflicted as to how much of her humanity remains and what percent of her is pure machine connected to the company mainframe. 

Her inner conflict is heightened when her group's newest nemesis is a cyber-criminal named Kuze who can hack into any system including all cyborgs--meaning just about everybody to one degree or another--and service robots. 

His goal is revenge, which he wreaks to the extreme in some explosive action setpieces.  But exactly why remains a mystery until Mira and her team manage to fight their way right into his sinister clutches and discover the truth behind not only Kuze but their own organization.

Scarlett Johansson strikes the right balance between robotic demeanor and inner conflict, which she underplays until it's time to delve headlong into her action scenes.  These lack the angular inventiveness and quirky choreography of, say, THE MATRIX, but are still packed with satisfying excitement in their own way, replete with gunplay and hand-to-hand combat with sci-fi elements such as invisibility and advanced weaponry. 

"Beat" Takeshi Kitano (BATTLE ROYALE, VIOLENT COP) lends his considerable presence as Mira's boss, Aramaki, as does Juliette Binoche--who will always be Catherine Earnshaw of 1992's WUTHERING HEIGHTS to me--as Dr. Ouelet, the head scientist who created Mira and regards her as a daughter.  Pilou Asbæk is also good as Mira's partner Batou, a gruff, bearlike agent who's just a regular guy beneath it all. 

Mira's quest to find herself, to uncover suppressed memories of her former life and get to the truth of why and how she was created, eventually takes GHOST IN THE SHELL to a place that's both powerful and tragic, lending emotional depth to its final chaotic showdown between good and evil (traits which will shift their meaning considerably before it's over). 

The 2-disc Blu-ray/DVD/Digital HD set from Paramount is in 1080p high definition (DVD is widescreen enhanced for 16:9 TVs) with Dolby 5.1 stereo and subtitles in multiple languages.  The DVD contains the feature film only.  The Blu-ray disc contains the feature plus three bonus behind-the-scenes featurettes.

Visually and emotionally compelling, the live-action GHOST IN THE SHELL never quite reaches the sublime beauty of its animated predecessor but tries its damndest to do so.  In this, it succeeds in being a lively, thought-provoking, and often dazzling entry in the dystopian-future sci-fi genre which fans won't want to miss.


Street Date:      July 7, 2017 (Digital HD) July 25, 2017 (4K Ultra HD, Blu-ray 3D, Blu-ray, DVD, and VOD) 
U.S. Rating:    PG-13 for intense sequences of sci-fi violence, suggestive content and some disturbing images
Canadian Rating: PG, not recommended for young children, violence


Read our original coverage

GHOST IN THE SHELL -- Blu-ray/DVD/Digital HD Review by Porfle

PRIME SUSPECT: THE COMPLETE COLLECTION -- DVD Review by Porfle

 

Originally posted on 9/07/10

 

Sometimes a TV series comes along which transcends the "cop show" genre, and in fact just about anything else you could classify it as, reaching a level of excellence that makes it more of a life experience than a simple entertainment.  "Prime Suspect" with Helen Mirren is just such a show.  Like a glutton wolfing down a seven-course meal, I went through Acorn Media's PRIME SUSPECT: THE COMPLETE COLLECTION with voracious speed while not wanting it to end.

Mirren's "Jane Tennison" is a fascinating, complex character whom we follow from her early days as a Detective Chief Inspector for London's Metropolitan Police, through her promotion to Detective Superintendent in charge of multiple units, and finally to her final turbulent days on the force.  Brilliant and strong-willed, Tennison is also subject to various foibles and human weaknesses that complicate both her personal and professional lives.  Often she wonders if she's chosen the right path, especially when plagued by loneliness, self-doubt, and regret. 

Series 1, which debuted in 1991 and consists of two feature-length parts, finds Tennison knee-deep in sexist resentment and derision while heading her first major murder investigation.  Scripter Lynda La Plante based much of the character's difficulty in winning over her skeptical male team members on the real-life experiences of technical advisor Jackie Malton, one of the first female DCIs, and the dramatic tension never fails to ring true.  Only after proving herself worthy does Tennison begin to gradually gain the respect of her male colleagues.

This story sets the dark, gritty tone for the series and raises the bar for all the other forensics-based cop shows to follow.  Character conflicts crackle with tension, as when Tennison butts heads with patronizing superiors who hamper her efforts or old-school detectives such as DS Bill Otley (Tom Bell).  The pressure of trying to track down a brutal serial killer devastates her home life with both her live-in fiance' (Tom Wilkinson) and her immediate family.  Time after time Tennison is forced to question her decision to sacrifice everything for her career. 

The camera stays close to the actors' faces and keeps up right in the middle of things at all times.  Without the usual quick editing, throbbing music, or adrenaline-charged action, the sober and languidly-paced story is given plenty of room to stretch out and develop its dramatic potential to the fullest.  Just when you think the plot is headed for the most likely conclusion, the script explores unexpected avenues that are consistently surprising and often shocking. 

Series 2 is another two-parter with racial overtones stemming from the discovery of a body buried in the garden of a house in a neighborhood filled with Jamaican immigrants.  Colin Salmon ("Tanner" of the Brosnan 007 films) guest stars as a black detective placed on Tennison's team after an unfortunate sexual encounter between the two.  Tensions rise when a teenage boy held in custody commits suicide in his cell and Tennison is blamed. 

Series 3 delves into the world of child prostitution with the murder of a "rent boy" and charges of long-term sexual abuse by a trusted social services director (Ciaran Hinds).  Tom Bell returns as Otley, and Jonny Lee Miller guests as one of the young victims.  Series 4 consists of three shorter episodes, and while the first two are more conventional stories that lack the depth of the previous shows, the third, "Scent of Darkness", is one of the series' finest.  Here, a new rash of serial murders similar to those in the first episode raise the question of whether or not Tennison may have imprisoned the wrong man in the original investigation. 

Series 5, "Errors of Judgment", finds Tennison locking horns with a cocky young drug dealer who rules the streets through terror and may have a powerful ally on the police force.  Of particular interest here is her prickly relationship with a new team dubious of her abilities, including a nice turn by David O'Hara (BRAVEHEART) as a seemingly slow-witted detective who turns out to be smarter than he looks.
 


After a six-year production gap (1997-2003), Series 6 finds Mirren playing an older and increasingly disillusioned character under pressure to retire.  The murder of a Bosnian woman thrusts Tennison into one of her most emotionally trying cases yet, as victims of war hiding out in London are stalked by a devilish figure from the past. This later episode is just as effective as earlier ones, but looks slicker and more streamlined.  With a faster pace and more emphasis on thriller elements, some sequences bristle with nerve-wracking suspense.

"The Final Act", which aired in 2006, brings "Prime Suspect" and the career of Jane Tennison to a close with the murder of a 14-year-old girl, the impending death of Jane's father (Frank Finlay), and the aging detective's battle with alcoholism.  Mirren is at peak form here as her character struggles to solve one last murder while her life is falling apart.  Tom Bell makes his final appearance as DS Otley, re-entering Jane's life in a surprising way.  Young actress Laura Greenwood gives an amazingly good performance as the murdered girl's troubled friend. 

The boxed set from Acorn Media contains nine discs in seven keepcases.  Series 1-5 are in 4:3 full screen while 6-7 are in 16:9 widescreen, all with Dolby Digital sound.  Each episode is subtitled except for Series 7, which is closed-captioned.  Series 6 contains a 23-minute featurette, while Series 7 extras include a 50-minute behind-the-scenes documentary, photo gallery, and cast filmographies.  Beside the actors already mentioned, familiar faces such as Ralph Fiennes and Kelly Reilly (EDEN LAKE) can be seen making early guest appearances in various episodes.

The great Helen Mirren is a neverending fount of awesome as Jane Tennison, always riveting to watch whenever she's onscreen.  Her character's arc binds this collection of engrossing police procedurals together.  Tennison is a great cop but hardly perfect, and we're not even sure she'll get through her last case without self-destructing.  A small grace note from an unexpected source comes at the very end, and we're left to wonder whether or not it makes her feel as though her life on the force has been worth the sacrifice.  One thing's for sure--PRIME SUSPECT: THE COMPLETE COLLECTION is some of the most worthwhile viewing that cop show fans could possibly hope for. 


 

PRIME SUSPECT: THE COMPLETE COLLECTION -- DVD Review by Porfle

DEAD PIGEON ON BEETHOVEN STREET -- DVD Review by Porfle

Originally posted on 4/11/16

 

When legendary director Samuel Fuller (THE BIG RED ONE, SHOCK CORRIDOR, THE NAKED KISS) was offered the chance to direct a feature-length episode of the popular German police procedural "Tatort" (or, "scene of the crime"), he took full advantage of it by making one of his most interesting and experimental films.

DEAD PIGEON ON BEETHOVEN STREET (1972)--a nice, pulpy title befitting the work of a noir director--may have the look and budget of a television episode (albeit a deluxe one), but Fuller's use of camera and editing amidst some of Germany's most exciting landmarks is both striking and delightfully eccentric.

The same can also be said of Fuller's script, which dispenses with the show's lead character Kressin (Sieghardt Rupp) early on in order to feature Glenn Corbett as an American private detective who has come to Germany to avenge the death of his partner who was killed while trying to infiltrate an international blackmail and extortion ring. 

While avenging one's partner is a tradition of private eyes going back at least as far as Sam Spade, Corbett's character both embraces cliche' and amusingly weaves in and out of it.  His attitude, similarly, is hard as nails one moment and playful the next.  He doesn't even have a cool name like Spade or Marlowe--his name is "Sandy", and we never find out what comes after that. 

Needless to say, Sandy isn't the usual super-suave detective--in fact, if he weren't sorta cool, he'd come close to being a schlub.  He even has to cajole a coolly skeptical Kressin just to keep being allowed to continue on his mission instead of getting kicked out of the country. 

The plot is complicated and involved, and the film's pace is pretty much as lazy as a Sunday afternoon.  But as soon as Corbett is joined by Fuller's real-life wife Christa Lang (WHAT'S UP, DOC?, AT LONG LAST LOVE) as "Christa" and the great Anton Diffring (WHERE EAGLES DARE, FAHRENHEIT 451) as Mensur, the big cheese of the blackmailers, the plot begins to matter less than the simple joy of watching these actors interact, so to speak, with each other.  

Sandy pretends to be a blackmailer himself in order to get accepted into the organization by Mensur, and does so by collaborating with the lovely Christa as she ingratiates herself with prominent politicians, drugs them, and photographs them in compromising positions with her. 

Along the way, however, things begin to heat up romantically between Sandy and Christa, with her allegiance in question when she discovers that her new partner isn't what he seems.  During this time the scenes of intrigue and the occasional burst of pulse-quickening action take place against some of Germany's most scenic backdrops, including a colorful street carnival in Cologne which Fuller uses to its fullest effect.

Eric P. Caspar plays the eccentrically-named Charlie Umlaut, the smack-addicted killer who put the actual lethal bullet into Sandy's partner on Mensur's behalf and whom Sandy wants to capture in the worst way.  He's the classic second-banana bad guy who's even more entertaining and sinister than his boss (think Taylor Negron's "Mr. Milo" in THE LAST BOY SCOUT). 

Christa Lang's unusual beauty and quirky acting style make her interesting to watch (her performance grows more captivating as the film progresses) both with Glenn Corbett and in her crackling scenes with Diffring, who, of course, is impeccable as the suave criminal mastermind.

As for Corbett--with those electric blue eyes and world-class 'stache--it's nice seeing him playing a less stiff character than usual ("Route 66", "Star Trek", CHISUM, BIG JAKE).  I always liked him despite never finding him especially exciting until just now, in a role that allows him more depth, variety, and sheer likability than pretty much the rest of his whole career put together (or at least the parts that I've seen).

The final confrontation between Mensur and Sandy turns into a wild free-for-all of swishing blades, smashing furniture, and the distinct sensation of Sam Fuller's elbow being poked into our ribs.  It's this impression that he was having fun with this and not taking it particularly seriously that gives the whole film a sort of casual appeal.

The 2-disc DVD set from Olive Films is in 1.33.1 widescreen with optional English subtitles.  Disc one is the restored version of Fuller's original long cut of the film (127 minutes) along with a trailer.

Disc two contains a fascinating documentary on the making of the film, "Return to Beethoven Street: Sam Fuller in Germany", which features Christa Lang-Fuller, Sam's daughter Samantha, Eric P. Caspar, Wim Wenders, and other persons of interest, in addition to two text essays on the film by authors Lisa Dombrowski ("The Films of Samuel Fuller") and Samuel B. Prime.  These essays are also found in the attractive 8-page illustrated booklet that comes with the set.

Even if DEAD PIGEON ON BEETHOVEN STREET weren't an interesting and fun movie it would be buoyed by the sheer novelty that runs through the entire project.  While on the sunny side of "noir", the final punchline is pure film-noir irony and is very well-played by all involved, putting a satisfying capper on the whole thing. 

DEAD PIGEON ON BEETHOVEN STREET -- DVD Review by Porfle

"BULLITT" (1968): A Surfeit of Green Volkswagens

"Bullitt" features Steve McQueen in one of cinema's greatest car chases.

It also features more shots of a green Volkswagen than any other car chase before or since. (Watch the video to see them all.)

"Help us! We can't get away from that green Volkswagen!" 

"Well, that's Beetlemania for you."


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

"BULLITT" (1968): A Surfeit of Green Volkswagens

How Many Hubcaps Does The Charger Lose In "Bullitt"? (1968) (video)

The car chase in the classic Steve McQueen film "Bullitt" is legendary.

Steve did much of his own driving in the Mustang.
Stuntman/actor Bill Hickman drove the Charger.

Many viewers claim the Charger loses more than four hubcaps during the chase. 
Let's see if we can count them. 


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

How Many Hubcaps Does The Charger Lose In "Bullitt"? (1968) (video)