Clash of the Titans was meant for 3D, despite the shoddy addition late in the film’s life. Why else would the film spend so much time with Zeus, in eagle form, spiraling into the god’s temple from above? Why else would the coin used to bribe the ferryman on the River Styx shameless skip across the water resulting in a painfully obvious computer generated splash?

Everything seems wrong with this remake/update, pandering to the lowest common denominator who must have excessive realism in their films, and any ounce of fantasy seems purely out of the realm of acceptability. The simply awful score by Ramin Djawadi is just one element that ignores the mythological aspects, gunning for a harder edge to match the nauseating and impossible to follow action of the giant scorpion fight. Musically the film lacks any majestic qualities, or sense of scale.

Everything fights in this movie, whether it makes sense or not. Calibos (Jason Flemyng), here with some admittedly impressive make-up, fights Perseus (Sam Worthington) twice, the second the only time the battle means anything. The three blind witches are added into the script for another scene, as if blind witches with a single eye are any threat. A fight with the newcomer race Djinn is utterly pointless, an attempt to show uneasiness amongst Perseus’ crew, but just makes you shake your head and wonder why any of this is necessary.

Clash is overdone and bloated, the hilarious Kraken release amongst the most painful. Zeus (Liam Neeson) sends all of the other gods away except for Hades (Ralph Fiennes), walks up a small set of stairs, and bellows, “Release the Kraken!” Why did he summon the other gods away? Why did he need to walk up the steps? It looks good in the trailer.

Side characters, including all of those traveling with Perseus, are pathetically underdeveloped fodder for the various mythological creations. Intelligence is not their strong suit either, one of the nameless journeyman actually asking a scorpion to wait before it snatches him up with its claws. The scorpion probably doesn’t respond well to negotiation.

The film is too fast, too bold, and too exaggerated to be any fun. It’s hard and edgy, ugly without a purpose. All of the millions tossed on screen are worthless when the creations have no heart. They are mindless and too fleet-footed to be terrifying. Medusa doesn’t stalk anymore; she slithers at a ridiculous speed to engage in a frenzied chase because it keeps the camera moving. And why is Pegasus a deep black shade now? Was everyone involved so devoid of creativity that changing a pure white flying horse to resemble something from Hades’ dark confines of the underworld the only thing they could come up with?

Clash is even disrespectful, tossing aside the metallic owl Bubo from the original with the line, “Just leave it!” It’s as if no one had any respect for what came before, Bubo’s legitimate annoyances or not treated as a one-off joke. It remains a Ray Harryhausen creation, and to toss it aside is committing film blasphemy.

Movie ★★☆☆☆ 

Kraken attacks

Clash is another victim of a low bitrate Warner VC-1 encode, crammed onto the disc with obvious results. Ignoring all of the generally soft opening CG effects and their desperate attempt to offer something special for the audience (that is paying more than they should for the effect), the live action opens nicely. Spyros (Pete Postlethwaite) pulls an infant Perseus from his casket, revealing fine delineation on cloth, plus dimensionality from the bright contrast and adequate black levels. This doesn’t last long.

Around 15:30, things start becoming worrisome, the King’s armor showing some aliasing and shimmering, an increasingly common problem with Warner’s encodes. Facial detail dips here with the exception of extreme close-ups, the mid-range robbed of high fidelity detail, generally the case for much of this transfer. This was shot entirely on film, although at times you could never tell, undoubtedly the digital manipulation to blend effects and live action part of that, but the encode partially at fault as well.

Even the best close-ups appear slightly digital and a hair sharpened. The more complex environments, including the forest scenes at 32:30, struggle to recreate the full breadth of the detail. A mountain pan as the giant scorpions continue the crew on their quest at 54:41 is noisy and slightly littered with visible artifacting. It should be noted all of the scenes in the god’s chamber carry a hefty intentional bloom effect, but also significant smoothing, wiping all detail from the faces in a digital manner. At least in these scenes, the intent is obvious.

The transfer does many things well. As stated before, close-ups do generally reveal a fine level of definition, even if it’s not as precise or as resolved as other discs. Special effects generate some fantastic “wow” moments, including the scaly Medusa with noticeable texture and even facial detail. As the Kraken sprouts out of the water, every droplet seems visible and defined. It is a visually stunning sequence, and it remains so here.

Black levels unfortunately remain wildly inconsistent throughout, at times delivering the vibrant images expected of the format, and others it becomes so washed out as to be flat and murky. Color varies wildly, scene dependent for sure. The hot lava surrounding Medusa’s lair is rich and vibrant, while the stale browns during the desert scorpion attack are replicated well. Flesh tones are fine, at times pale to suit the mood.

Video ★★★☆☆ 

A fairly bombastic DTS-HD mix gets off to a rousing start at 7:40 as a statue of Zeus falls into the ocean below, generating a wonderful, deep jolt in the low-end. Immediately following, Hades makes an appearance, transforming into a series of unidentified creatures who swoop around the sound field to attack some soldiers. The level of immersion generated by the pan effects is superb, and occurs again during the finale as Hades does the same thing, only this time with the Kraken behind it all.

That final sequence is undoubtedly the reference piece, beginning right when the creature is summoned and bursts out of the water with tremendous force. The subwoofer is shredded as the tentacles smash down onto the city, and the water displaced by all of this movement is spectacularly handled. Amongst all of this, the well-rendered dialogue remains audible.

The scorpion assault is actually a bit of a disappointment, but this has more to do with the ridiculous level of editing and floaty camerwork. Audio seems jumbled and tossed all over the place, undoubtedly accurate yet it’s impossible to judge because of the amount of quick cuts. Medusa fares better, her slithering, shaking tail a nice highlight as it passes through multiple channels, side to side and front to back. Placement is aggressive yet not overdone.

Audio ★★★★★ 

Maximum Movie Mode returns with this spectacular picture-in-picture feature, detailing everything about the production while adding about 16-minutes to the film as you watch. While it at times slips into self-congratulatory fluff, this is genuinely honest and insightful material for the majority. Focus Points branch off of that feature, offering 35-minutes of content snipped from MMM.

A featurette on Sam Worthington is easily skippable drivel, followed by an alternate ending that makes far more sense than the neat ‘n tidy wrap-up included originally. Eighteen minutes of deleted scenes and Warner’s usual BD-Live support remain.

Extras ★★★☆☆ 

Blu-ray Movie Review from : DoBlu.com

Clash of the Titans (2010) Review

Operation Endgame has one brief moment of comedy: Rod Corddry kills someone with a paper shredder. It works because the gore is excessive, the shredder initially tears off Tower’s (Brandon T. Jackson) horribly fake nose, and the sound effects of the office tool struggling to tear through flesh and bone are actually well timed.

That’s it out of 82-minutes of film.

With a cast of Zach Galifianakis, Ving Rhames, Adam Scott, Jefferey Tambor, and Tim Bagley, you expect something amusing, but it all fails… terribly. It’s not just unfunny; it’s unbearable, albeit a marketing teams dream cast. First time director Fouad Mikati does nothing with the action scenes, and the final screenplay from Sam Levinson does nothing right.

Unsurprisingly, the bigger A-list stars are killed off quickly in this incoherent mess that pits two rival assassin teams against each other in some underground government facility. If they manage to survive, like Galifianakis, they don’t actually have anything to do until the finale. By then, it’s all too late.

Operation Endgame barely makes it to feature length, yet still manages to feel sluggish. Running gags include Chariot’s (Corddry) drinking problem, which wasn’t funny the first time. Everything is set against the inauguration of Barack Obama, a kind of political statement that will be lost on most. It’s not interesting or engaging, and any of the thriller elements go out the window when half the characters are wiped out within 20-minutes. Jason Vorhees would be envious of that body count (and likely the paper shredder kill).

Movie ★☆☆☆☆ 

Post paper shredder kill @ 40:33

This is an ugly, cheap film, shot on a dull film stock and then desaturated. Everything seems lit by overhead lighting, blowing out the contrast, obscuring faces, and eliminating detail. At times, it is barely noticeable that this is film, but instead appearing digital and soft. The flat black levels and nearly monochrome color don’t help. The AVC encode causing some noise when failing to resolve on certain backdrops (such as 34:31) are one of the few indicators this is actually film.

Textural detail is rare, and generally appears slightly processed when spotted. Rhames’ face at 28:29 resolves pores, one of the few moments where anything appears natural. Beth Grant’s face near the end of the film at 1:16:30 looks to be processed and waxy, as if the make-up department went haywire. Almost undoubtedly, it’s the combo of cheap visual effects and lighting.

Shots at any distance are blown out, such as the desk at 10:44. The papers stacked up appear blank, yet in other shots clearly show text. Environments are bland by design, generally flat concrete walls with no discernible texture to speak of in the first place. A few outdoor scenes fare no better, including the opening where some minimal plants offer lackluster definition and pervasive softness, which will carry most of this film to the end.

Video ★★☆☆☆ 

Bass is the highlight of this PCM mix, loud and forceful if a bit muddy. A few transitions are greeted by a loud drum for dramatic effect (ignoring the fact it adds nothing), while the real highlights remain a few explosions. The first is at 57:26, as the duct system goes up in flames. It’s a strong rattle that extends fairly deep into the LFE, but lacks clarity.

The same goes for the finale around 1:12:40, where a massive string of napalm is set off, engulfing anything in its path. The flames travel through the sound field rather poorly, while generating a powerful rumble on the low-end. Dialogue seems to have been recorded cheaply (almost no doubt), and carries a bit of a hollow echo. The mostly empty sets create that type of environment.

Action scenes, including numerous fights, stay firmly planted in the center. As characters swing objects around, the stereo channels stay quiet, and the music sits in the stereo channels barely even noticeable.

Audio ★★★☆☆ 

Extras include a behind-the-scenes featurette, which is really just random footage from the set, at times inaudible. An alternate opening is uninspired, and a whopping 28-seconds of an alternate ending is just an unfinished effect shot (seriously).

Extras ★☆☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

Operation Endgame Review

Remy (Jude Law) is calm. He has broken into a man’s home, knocked him out, and begins retrieving an organ. It’s a daily occurrence, working as a repo man, but not for cars or high-priced electronics. Remy takes back artificial organs people need to live.

The Union is the medical conglomerate of the future, selling people life with only 21% percent interest after the first month. When they can’t afford it, which of course they can’t, the Union takes it back regardless of its effect on the patient and re-uses it on someone else. It’s a wonderfully dark, twisted look at a possible future, where the repo men believe in what they are doing despite the death. They are literally driven mad by killing people, snagging someone’s heart at Christmas and then laughing about it later.

Repo Men’s conflict is derived from a switch, where Remy is suddenly in need of an artificial heart, but can’t work due to the stress it puts on the device. He falls behind on payments, and sees his own job from the other side.

There is some sporadic laughter in Repo Men. It is darkly twisted and certainly not for the squeamish. Seeing the black market for these organs, surgery performed casually by a nine-year old girl, not only delivers the sense of how corrupt the entire market is (legit or not), but offers some laughs in what turns into a depressing film that never bends to the Hollywood norm of the happy ending.

In fact, the twist at the end either makes or breaks the film for many, but it’s a curveball that is appropriate. Repo Men plays with the audience, and then tosses them for a loop where this ugly vision of the future seems to have no resolve whether it ends with the twist or not. It’s a harsh world, one worth revisiting for the chaotic tone, overloads of gore (even more so in this seven-minute longer unrated cut), and a healthy dose of social commentary.

Movie ★★★★☆ 

Repo Man in Action @ 2:48

(Note: All time stamps are from the Unrated cut)

Universal generates a clean, sharp AVC encode for this Blu-ray, one rich in detail, depth, and color. Repo Men is a dark film, generally set in limited light, yet texture is still admirably on display. As Forest Whitaker and Jude Law are in the car at 12:30, definition, shadow detail, and facial detail are all on display. There is no dip in sharpness, although this is not always true. Around 1:01:00, the image becomes slightly murky and soft, that same level of texture lost, a bit of a drastic dip in comparison.

A fine layer of film grain is barely noticeable, only once or twice made visible due to a hint of noise, such as the 30:00 mark. The encode is generally out of sight and mind. Rich black levels keep the dimensionality in the frame, even from the opening shot of Law at 1:46. This mid-range opener carries wonderful depth, bright contrast, and strong color, a fine start for a transfer that generally remains this consistent.

Colors tend to sit in a cool range, although not noticeably. Flesh tones remain accurate with a dash of color, and the bright lights of the digitally rendered cities are impossible to ignore for their vibrancy. A flashback to Law’s childhood is the most vivid moment of the film, scenes on a school playground saturated with bold primaries and other presented hues.

Repo Men consistently provides nearly flawless delineation in close, easily its strongest aspect. Close-ups are always rife with detail, the number of near reference shots too many to count. Even the occasional camera trick, soft focus, or slight distortion is not enough to dilute the imagery of this 2.35:1 framed effort.

Video ★★★★☆ 

Loaded with intense action, Repo Men’s DTS-HD mix is given plenty to do, whether that’s gunfire or splattering blood due to a well-placed knife. The opening logos are situated behind stock newscasts and radio reports, all of which swirl around the soundfield with specific placement, motion, and clarity. City ambiance is high, along with birds chirping at a barbecue, or the stray police siren inside a building.

The highlights of course are the action scenes, the first major one being a raid about 22:18 with extensive stun gun fire, yelling, and the highly aggressive Marco Beltrami score in the background. The mixture of the music, dialogue, and effects is phenomenal, still giving the score plenty of force and surround bleed without overwhelming anything else.

Dialogue outside of the action does come through somewhat low, characters speaking in a whisper or low enough as to not be caught. Bass is powerful and forceful, whether it’s a tank shell exploding at 31:50, or the final explosion at 1:48:55 which carries excellent oomph and extends deep. Music always carries a bit of low-end punch as well, again mixing well with the other elements.

Audio ★★★★☆ 

Director Miguel Sapochnik and his writers Eric Garcia & Garrett Lerner provide a commentary for the film, and the same goes for the five deleted scenes (8:38) where it’s optional. Seven commercials for The Union are available to play in full. Inside the Visual Effects is self-explanatory, with narration from Sapochnik and Garcia.

U-Control features include tech specs of the devices and pop-up featurettes. The disc supports D-Box and Universal’s typical BD-Live access. The Theatrical cut is also here if you choose.

Extras ★★★☆☆ 

Blu-ray Movie Review from : DoBlu.com

Repo Men Review

The amount of visual stimulation in Minority Report is truly remarkable. Everything is placed for a purpose, the new age, sci-fi designs of the Precrime building are stunning and practical. The computers, accessed with a fancy motion control scheme, are used naturally, not inserted as some new toy.

It brings this tale to life, both a gripping thriller and future parable dealing with invasion of privacy, advertisers given rights to our own irises, and the moral dilemma of arresting someone for a murder they did not commit… but will.

Phillip K. Dick’s short story is turned into an extravagant film, one a bit longer than it probably needs to be, yet it never loses focus. Spielberg’s eye for the art is beautiful, crafting both intense and gorgeous images, the master shot as the spyder bot drones invade the apartment one of the director’s best. It is a fusion of technology and master camerawork, panning over a variety of rooms inside the rooms as people argue, make love, and try to calm their children all to search for what seems to be an innocent man, John Anderton (Tom Cruise).

Anderton is not a simple hero, grieving over the loss of his murdered son before Precrime was created. He uses drugs to calm his nerves between arrests, himself the Chief of the entire operation. He wholeheartedly believes it is flawless, carrying a vendetta against anyone even considering murder as if they were killing his own son.

Minority Report is peppered with complex and entertaining action sequences, perfect summer fodder although at least with a purpose. A jetpack fight shows Anderton’s friends still have respect for him, even after he is pegged as a murderer, and the in-movie technology on display is a joy to watch. The Hollywood dose of humor is intact, a woman furious this possible killer is destroying her kitchen, not because he may kill her family.

The film would not work unless it felt plausible, and money on-screen that produces the end result allows for a convincing future. It is critical for suspension of disbelief, which goes a long ways here. It is instantly absorbing, and even challenging material, expertly produced. Hollywood can craft some fascinating stuff when it wants to.

Movie ★★★★☆ 

Spielberg at his best @ 1:39:53

The future is a cold, drab place, robbed of its color. Spielberg and his longtime cinematographer Janusz Kaminski created a film loaded with noise and heightened grain that is thankfully fully resolved by this high bitrate AVC encode (that will surely keep the bitrate watchers satisfied). Lenses create hazy blooming effects, and the harsh contrast creates a deep sense of image depth.

All of this is retained in this Blu-ray effort, along with the exceptional, rich detail that comes with the simply flawless sharpness. Close-ups are consistently spectacular, whether in the Precog pool (despite heavy white lighting) or outdoors in the future city. Mid and long range shots are superb, immediately impressive including the park at 9:21. Inside the Precrime offices, dimensionality is never lost in the sea of special effects. Jad’s (Steve Harris) face carries awesome textural qualities at 40:21, just one of numerous examples of how flawless this effort can be.

Sequences inside the garden of Iris (Lois Smith) around 55:47 are amazingly rendered and crisp. The interiors of the greenhouse, with the hefty lighting scheme creates brilliant whites, while maintaining both the black levels and shadow detail. Rarely is anything lost to the rich, inky blacks as they always serve to enhance the eye candy.

Certain sequences carry a heightened noise, and these are the times where this healthy encode can really showcase itself. Inside the illegal eye surgeons apartment at 1:06:46, the structure holds without breaking down into a fit of artifacting, and the same goes for the club at 1:30:00. It’s like the encode just swallows this challenge and stays hungry for more. It’s a perfect example of how Blu-ray can maintain the integrity of the source material, even under harsh conditions. There are certain scenes where print damage becomes an issue, but rarely enough to become a distraction, and most of the time it seems to blend with the photography anyway. Another clean-up pass wouldn’t hurt, yet it’s so minor in the scheme of things, it’s hard to fault it.

Video ★★★★★ 

Minority Report is an example of pure Hollywood audio design, loud, boisterous, and all around you. The highlight is surely the chase on the jetpacks, where engines flare in the subwoofer with incredible aggressiveness, and surround the viewer with precision placement in the rears. Before this at 44:18 as Cruise hops along the cars on the vertical freeway, whipping winds are generated with wonderful immersive qualities.

Into the warehouse assault where cars are being assembled, non-lethal guns are fired generating a tremendous amount of force in the low-end. It is nearly on-par with alien laser blasts in War of the Worlds. As expected, the amount of stereo and rear speaker utilization is spectacular, a fully realized soundfield if there ever was one.

It’s not just the action either. Sound design is regularly used for immersion in this future world, whether it is the clanging of the tracks on the subway at 47:27, or the intensity of the rain at 1:38:08. It all works, and the cities are alive with activity as they should be. Advertisements literally come from all directions, enhancing the effect. This is reference material.

Audio ★★★★★ 

Extras here are lengthy, informative, and all kept on a second disc to keep the first disc looking as pure as possible. The first set of five featurettes are pulled from the DVD edition, about 70-minutes or so worth of content not including trailers and the like. Discussions on the story (and how it was adapted) make up section one, the world of the film is in Deconstructing Minority Report, stunts continue on into a third portion, the visual effects of ILM make up number four, and small variety of features (mostly promos) make up section five.

The Blu-ray edition gets even more though, including a 34-minute interview with Spielberg as he discusses his project with enthusiasm back in 2002. Inside the World of Precrime is a 10-minute look at the commercials used in the film, along with pre-production stuff tossed in with it. Phillip K. Dick, Steven Spielberg, and Minority Report brings in Dick’s daughter for her thoughts, along with the crew.

The disc rounds off with a series of shorter featurettes, including one on the props, another on the advertisements utilized, the science of it all, some raw footage from the set, and pre-vis. The only thing missing is a commentary, but it’s a Spielberg film.

Extras ★★★★★ 

Blu-ray Movie Review from : DoBlu.com

Minority Report Review

Harold Faltermeyer came out of retirement to score Cop Out for Kevin Smith, Faltermeyer being the creator of the awesome Beverly Hills Cop “Axel F” theme. Every piece of music composed for Cop Out is reaching for that same magic, and it fails.

Actually, most of the movie seems to be reaching, trying to recreate those ’80s buddy cop movies with modern sensibilities. The soundtrack, awkward as it is, makes it feel like a knock-off, sort of like an episode of The Simpsons where the tune is just changed enough so that no copyright claims can be made.

The other issue is that while Kevin Smith directs, he does not write. That task was given to Mark and Robb Cullen, and the efforts to make it seem like a Kevin Smith effort fall flat. Dialogue lacks the wit and coarse, offensive charm of Smith’s previous efforts, replaced by dry exchanges with no life or connection to the plot.

Most of the film seems like an attempt to turn Tracy Morgan into Chris Tucker from Rush Hour with the same agonizing result. He’s loud and obnoxious, the non-stop rants tiresome and detrimental to the pacing. His tirade against Sean William Scott, handcuffed in the back of the car, does not have legs. Knock knock jokes, even when in capable comedic hands with plenty of raunch attached, add nothing to this story.

This is all familiar territory, two somehow compatible cops (who in reality seem to hate each other) are up against a ruthless Mexican drug lord. Two subplots fill this in, one to give Jimmy Monroe (Bruce Willis) a purpose to stay on their trail after his suspension, and the other too… well, it gives Tracy Morgan something to do. Neither story threads carry any surprise.

It would be bearable if this came off as true parody, but it never quite reaches that expectation. Action is bland, a car chase/shoot-out lacking both in laughs and intensity. Jokes routinely fall flat, and no one here even comes close to the charm of an Axel Foley. At that point, there are two Beverly Hills Cop movies worth watching, and the music is classic. Why waste the time here?

Movie ★★☆☆☆ 

Excellent definition

Cop Out opens on a shot of Brooklyn, not something that sets a high standard. Soft, flat, and loaded with artifacting in the river, this seems like another victim of Warner’s generally low bitrate VC-1 encodes for a new release. Things do clear up though, although with limited consistency. Facial detail is lost to softness in the early going, and some ringing is sporadically visible as well, although this seems less frequent as the movie enters into the later acts.

Later shots of the city perform better as well, including 25:48 where definition and detail is high in these aerial views. Noise and compression are in a constant struggle, jumping into the frame at random intervals to mar otherwise strong detail. Morgan’s face at 34:24 displays some noise, and inside the church at 14:51, compression wreaks havoc on the haze. The mid-range is typically handled poorly, or it appears slightly digital and processed. Welcome to a Warner encode.

Black levels are typically rich. These are at least consistent. Color remains natural with only a slightly added vibrancy to give them some life. Contrast remains firm and bright without running too hot.

The final shots of the film are the best, taking place at an outdoor wedding. Here it all comes together, with rich, delineated detail, exquisite sharpness, and tremendous depth. The forested area near the event is alive with defined trees and other plant life. Color gets a boost here as well, further adding to the eye candy on display. The rest of the film does not even come near this level of consistency, making transitions to and from those detailed close-ups a distraction.

Video ★★★☆☆ 

Action kicks off early for Cop Out, with some punchy, satisfying gunfire at 8:05. Glass becomes a victim, shattering aggressively into the stereo channels and into the surrounds, about the best this DTS-HD track will perform. The car chase around 54:00 does not track well into the rears, sticking to the stereos with decent positioning.

The finale again produces those same deep, rich pops as Bruce Willis steps in to save the day around 1:28:00, while just a hint of rear speaker usage is noted. The shoot-outs lack that specific directionality critical to creating an immersive mix.

This is certainly not a terrible effort. Balancing is fine, the knock-off score firmly identifiable amidst heavy action, and dialogue is never lost or overpowered. Clarity is up to par for any modern feature.

Movie ★★★★☆ 

The only extra is the Maximum Movie Mode, which is now titled Maximum Comedy Mode, and it lives up to the name alteration. Kevin Smith guides viewers through the movie, extending the running time to near three hours as he explores all aspects of the production. More importantly, he’s hilarious, moreso than most of the movie. His immediate rant about letterboxing is priceless, and it only gets better from there. Deleted scenes and dailies are inserted into this mode as well. If you have the time, it’s a must watch.

Extras ★★★☆☆ 

Note: Due to a glitch with the software used to take these screens, time stamps are not available.

Blu-ray Movie Review from : DoBlu.com

Cop Out Review

Director Sylvian White states in interviews on the Blu-ray of The Losers he wanted the action scenes to appear like a video game, himself being a fan of third and first-person shooters. That’s fine, the material here about an aggressive, wise-cracking military team seeking revenge perfect material for such a design.

However, the term realism is then tossed around, and that’s where things don’t mix. There is this wonderfully conceived sequence in which Jensen (Chris Evans) is trapped by some security guards. He holds ups his hands like guns and convinces the guards he can kill them just by flicking his fingers. The bullets of course come from a sniper named Cougar (Oscar Jaenada), showing a great sense of timing and camaraderie between the team members, but it’s also ridiculous and overdone, everything The Losers should have been.

The rest of the film feels stranded and confined, unwilling to break many barriers or give audiences the sense that this is all a comic book (which it is based on) or video game. Shoot-outs are familiar, the gunplay unvaried, and the direction rather unexciting. It is a hair flashy at times, a brawl between Clay (Jeffery Dean Morgan) and Aisha (Zoe Saldana) inside a burning motel rather exciting to watch, and Aisha blowing stuff up with a rocket launcher wonderful, but it’s too grounded in reality to work like it should.

To be clear, no one is going to steal a military helicopter, re-paint it, fly it to the middle of a busy intersection, and use a giant magnet to swipe the targeted van. “Realism” is movie relative. The Losers should break out like Shoot-Em-Up, nearly whimsical in its absurdity, or as White puts it, like a video game.

Instead, it meanders, although entertainingly so in most regards. Everyone plays off each other well, Chris Evans putting on the best impromptu performance of ’80s classic “Don’t Stop Believing” in movie history. The story rarely slows, keeping everyone moving after their target, and ensuring things blow up at regular intervals. It’s hardly dull, just lacking in its potential.

Movie ★★★☆☆ 

Nice shot of the team @ 26:59

It might be impossible to inject any more color into a film than The Losers. Every shade is intense and vibrant, delivering eye candy at the most basic level, while Warner’s typically poor VC-1 compression struggles to keep up. Early scenes shot in Puerto Rico are alive with vivid hues of green, but it tends to collapse. At 6:22, the shot as the team considers taking a bus is awash with visible compression and lackluster definition, a far cry from the close-ups that kick off the film, generally of reference quality.

Black levels are rendered beautifully, typically maintaining the texture that gives the film a distinct look. It remains the distance shots that cause problems, especially the simply terrible establishing shots of the cities. Whether these were stock footage or captured on consumer grade digital cameras (they look nothing like film), they are awash with aliasing, compression, and even moire as Miami is introduced at 35:33. Not a single one of these brief snippets impress.

Sporadic aliasing hinders numerous other shots as well. The Pinto, already a sad sight at 36:12, suffers from jagged lines on the roof. As the team pulls up in the stretch Hummer at the end of the film, metal beams and the vehicle itself show the same issue. Noise is sporadic, nasty on the background at 1:17:32. Countless shots continue to underperform in terms of any film-like quality, including 27:06 and 54:57 (the latter both effects shots; make of it what you will).

At the very least, close-ups are generally consistent, if a bit over processed, but who knows what the digital intermediate did to all of this. As stated above, the first scenes of the team playing cards are spectacular, and the detail continues to come through in close, such as 10:46. Limited light is no issue at 14:23, and 1:12:36 provides some stunning hi-def imagery. There is a lot to like here, certainly enough to satisfy most, but the encode just doesn’t hold up.

Video ★★★★☆ 

This DTS-HD mix is nothing if not aggressive, providing immense levels of surround work right from the opening shoot-out at 5:09. Gunfire pings off the metal hull of the car, and crispness of each shot fired is pleasing. Explosions are powerful, although a bit restrained comparatively to other discs on the market. An air strike at 7:55 doesn’t rock the subwoofer as you would expect, although the flames roaring through the jungle afterward are captured well in the surrounds.

An indoor shoot-out may be the highlight, even though it’s one of the smallest action scenes in the movie in terms of scale. Gunfire hammers the low-end at 1:03:29, shattering glass from bullet impacts dropping through each channel. Everything is distinctly placed, and fidelity is flawless.

The final confrontation, in an open shipping port, is equally as lively. Guns continue to fire from all directions without fault, and a major explosion at 1:24:05 is beefy enough to satisfy. Through all of this, dialogue remains free of any faults, and the barely noticeable score a bit overwhelmed but clear.

Audio ★★★★☆ 

Three featurettes make up the behind-the-scenes portion of the disc, beginning with a look at Zoe Saldana’s casting. The second looks at the Puerto Rico shoot, and the last one focuses on the action scenes. A single deleted scene (running all of 45-seconds) is followed by a promo for the new Batman animated feature and BD-Live access.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

The Losers Review

Darkman is gloriously overdone. Darkman (Liam Neeson) is 650-feet in the air on a steel girder, facing off with his nemesis Louis Strack (Colin Friels). The camera pans down to accentuate the height, but that’s not enough. No, the camera must linger on a series of sharp, pointy barbs sticking up from the concrete, as if the fall wasn’t deadly enough.

Oh, and poor Ted Raimi. He plays Rick, one of the henchman, and in true Sam Raimi style, he doesn’t stand a chance. He is pushed up through a sewer cover in heavy New York traffic. Needless to say, trucks cannot stop that fast.

Darkman is filled with Raimi’s twisted humor, not to mention his odd sense of camera movement. The camera rarely seems still, twisting and tilting to indicate disorientation, or spinning around characters to create tension. Poor Liam Neeson has his head smashed through multiple glass medicine cabinets, the camera placed inside of them for a first-person view of the beatdown.

Set design is also dramatically overdone. After his transformation, Darkman finds his home in a condemned warehouse (where else?), stepping onto a ledge to admire his surroundings. Crows fly about because of the intrusion, light rains down from the roof, and the hectic rubble scattered about works beautifully in terms of its visuals.

The film is unique in that Darkman does not just run around seeking revenge. He is more intelligent than that, crafting an artificial skin that makes him look exactly like his enemies, fitting himself into their schemes. The confusion causes the criminals to kill each other, a twisted little way of working in the revenge plot with humor and violence.

Raimi caps all of these absurdities off with a wonderfully designed chase (of sorts). Darkman hangs from a helicopter’s retrieval rope, dangling over the city as grenades are lobbed at him. Cars explode, flip, and and yet Darkman misses it all. He even runs over the roof of a truck, as if he can now keep up with the chopper’s blinding speed. It is grand entertainment in an early ’90s sort of way, cartoonish and stupid, but enormously fun.

Movie ★★★★☆ 

Universal issues Darkman on Blu-ray for the first time with a VC-1 encode… that is basically butchered. As is the case with nearly all of their recent catalog titles, a hefty, nasty level of DNR has been applied, wiping the detail with it. The first scene to truly reveal the heavily manipulated source is at 9:53, as Neeson and his wife sit on the couch watching pictures on a slideshow. Not only is there a complete loss of texture, the processed, digital look is a turn-off.

Other remnants of the DNR process are noted. Establishing shots of the tower, the first at 12:43, show a static grain structure that appears more like noise than grain. Smoke is a constant battle, right off the bat in fact at 2:50. Artifacting is a constant presence within smokey areas, and this film is loaded with them. Look at 28:49 too for additional visible compression. It’s not just the smoke either, but the street at 52:42 during the arrival to Chinatown is absurdly blocky.

The DNR does not clean up any of the damage to the source, regularly showing dirt, specks, and scratches. It makes the film look older than it is. It also hampers certain special effects shots. Larry Drake’s face at 1:08:20 is a mess, likely already soft due to the matte work, now more of a blob with hardly any discernible features.

The entire thing looks like an outdated master with grain removal applied, hardly the way to treat any film. There is some detail in close. At times, the rubber masks used by Darkman have noticeable pores in close-ups, and the bandages around 31:00 show some distinct definition. These scenes are few, and per usual, not even DNR can wipe everything away. Solid color and black levels are simply not enough.

Video ★★☆☆☆ 

As for the DTS-HD effort, do not expect much from the surrounds. Generally, they do not exist, save for a bit of work during the shoot-out at 57:50. Bullets can clearly be heard pinging off objects as they miss their target.

That’s fine. The film does not need much in the way of the rear channel usage. The stereos get some work, mostly for ambiance, but they are active. The issue here is one of fidelity. The entire thing sounds mixed in the mid-range, with lackluster highs and no real activity in the low-end. Explosions are painfully muddy, and with no punch from the subwoofer, there’s nothing to make the listener think otherwise.

Danny Elfman’s score sounds decent, although like everything else restrained. The whole thing is flat, and dialogue is bland. Clarity is minimal, yet thankkfully there is no distortion to speak of. Treble is high, sound effects coming through hot.

Audio ★★★☆☆ 

There is nothing here in terms of extras, not even a trailer or BD-Live support.

Extras ☆☆☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

Darkman Review

You can’t argue with Tom Hanks. Standing at the podium, ready to award Ray Harryhausen his much deserved honorary Oscar in 1992 (how did it take that long?), Hanks stated, “”Some people say Casablanca or Citizen Kane. I say Jason and the Argonauts is the greatest film ever made.”

That is a level of respect rarely seen in Hollywood, and it is given with plenty of reasons. Argonauts may be Harryhausen’s most well-known special effects piece, a grandly scaled adventure containing the iconic skeleton assault, quite simply the most breathtaking achievement in stop motion animation you’ll likely ever see.

It takes until the end of the film to get there, Harryhausen saving his fourth-month animation odyssey for the finale. The scene works beautifully, even the build-up. The skeleton’s, brought forth by the teeth of the dead Hydra, pop out of the ground and begin marching slowly but menacingly. Their lurching is accompanied by Bernard Herrmann’s powerful score. What seems like it will be a slow death for Jason and crew takes a turn for the worse, the skeleton’s suddenly screaming and moving into a full sprint past the camera, a great scare that still works today for all three people who are unfamiliar with the sequence.

Jason (Todd Armstrong) is enough to carry the human side of this story, energetic and likeable. You can see the sense of adventure on his face, and sheer terror of seeing the massive metal statue of Talos coming towards him. Not that anyone has much care for Jason in the first place. Everyone watching is there for the imagination and otherworldly beasts Harryhausen crafted, from the Harpies to the Hydra.

Taking the film as a whole, Argonauts is a bit sluggish, the adventure taking a few turns that never seem all that necessary to the story, but this is that rare film that can transcend its storytelling for its visual power. Technically, Phineas serves little purpose. He guides the Argonauts to their goal, but the entire sequence could be condensed or cut entirely. Then again, why would you want to, losing the greatness of the Harpy assault? That’s an ugly thought, showing how strong Harryhausen’s work was, bringing life to otherwise lifeless scenes via animation.

Movie ★★★★☆ 

Sony does a remarkable job of bringing this 1963 classic to Blu-ray, with a generous AVC encode right from the opening frames. The first shot, with the Roman soldier on the right and the ocean on the left reveals every possible ripple in the water despite the distance. Things are not always that crisp and perfect for this 1:66.1 pillarbox presentation, some stock footage from Helen of Troy about four-minutes in certainly worrisome.

Things quickly clear up, with exquisite facial detail and armor texture on Phileas around 5:57. This continues to be a positive throughout, some close-ups of Jason also being spectacularly rendered at 1:10:00. Environments fare well early too, a shot of some heavy brush at 9:27 startlingly natural. The transfer is bright and loaded with depth, black levels superlative and consistent throughout. At times, this looks almost modern. The grain structure is generally sharp and inoffensive, a few optical zooms appearing heavier, while the Talos assault containing an odd, clumpy grain structure around 39:21 (and the puppet’s other close-ups).

The rest of the sequence shines, with individually defined pebbles and rocks around 33-minutes, and all of the rock walls on the Isle of Bronze delivering stunning sights. The source is absolutely pristine, not a single speck or scratch to be found. Various effects shots are notably softer as expected, including any shot inside the god’s chamber. The super-imposed fog effect does not do much for the quality. Transitions and fades also take a hit, but again, it’s normal for the era.

There has been some debate about the Harpy sequence in particular, which was shot day-for-night. The Blu-ray appears as close to night as possible, a little brightened, but much darker and some of the image would be lost. It is a compromise, yet the intent of the scene, as far as this review is concerned, remains intact.

Video ★★★★☆ 

Bernard Herrmann’s score is the initial impact of this DTS-HD effort, and it carries a general clarity, but still suffers from age. Mostly it comes through slightly distorted, things such as cymbals clashing lacking impact, or are even lost to the various horns. Bells around 7:30 are terribly flat and harsh, lacking any reasonable level of fidelity. This lack of definition almost works to the film’s benefit oddly enough, the creaking Talos sounding weirdly natural without modern audio techniques.

The score overwhelms the other action at times, the escape from Talos (and the attack) dominated by the music, any dialogue a little bit lost, although still audible. Any surround use is purely forced, including the waves coming ashore around 40:25, which comes through hollow and more of a generic echo. The effect is almost negative, and would have been better served in the stereo channels. The original mono mix is also on the disc, but compressed.

Audio ★★★☆☆ 

Two commentaries are included, the first from Ray Harryhausen and film historian Tony Dalton. Peter Jackson joins effects artist Randall William Cook on the second. Storyboards of the skeleton fight are individually viewable, followed by a fine featurette titled The Harryhausen Legacy.

John Landis has a sit-down interview with Harryhausen, and one of the skeletons from the film is shown in detail. The oft-included Harryhausen Chronicles, an hour long look at his career, is seemingly on every disc related to the man, but that doesn’t take away from its quality. Trailers and BD-Live support are left.

Extras ★★★☆☆ 

Blu-ray Movie Review from : DoBlu.com

Jason and the Argonauts (1963) Review

Flash Gordon can get away with anything it wants. Dale Arden (Melody Anderson) is trying to escape from Ming the Merciless (Max Von Sydow), and is tricking his guards. One of them shoots at her and misses. Dale flips forward while the guard not only turns the wrong direction, but actually fires a shot, leaving himself open to be killed.

That doesn’t happen on accident, and it’s not a bad take. Someone had to optically add in the green bullet in the proper direction, so this was given the thumbs up by all involved. Why wouldn’t it? This is film overloaded with lavishly stupid costumes, full of reflective gold and silver that it may have created a disco ball effect on the set. Flash utilizes rich, gaudy colors, the backdrop of planet Mongo constantly swirling and pulsating various primaries.

It is a wonderful intentionally campy early ’80s effort, the priceless segment being that of Flash Gordon (Sam J. Jones), quarterback of the New York Jets, using objects in the throne room to play a football game against this captors. All the while, Dale cheers him on, screaming, “Go, Flash, go!”

Acting is hilariously hammy, Brian Blessed as the leader of the Hawkmen seemingly being the one who truly “gets it.” He is loud, boisterous, and overacts every line with gusto. He adds a sense of charm, while further cementing the film’s goofiness.

At times, it seems as if the film has a single song in its entire arsenal, but that one theme (by Queen nonetheless) is so awesome and epic, it makes everything right. Every time the screen lights up with the image of Flash on his hoverbike… uh, thing… and you hear Queen in perfect in harmony sing “Flash!” it makes everything far more epic than it is.

Flash (Sam J. Jones) himself is so undeniably awesome, he crash lands a spaceship through Ming’s palace with some perfect velocity and aim, stabbing the planet’s supreme ruler right in his stomach. He’s too cool for guns and swords. Who needs them when you have an entire spaceship with a single possible stabbing point?

Movie ★★★★☆ 

It doesn’t take long for Universal’s rather awful VC-1 presentation to take off into the realm of mediocrity. As Ming’s scope appears on screen, edge enhancement is immediately apparent, and the lines are riddled with aliasing. That’s a whopping 36-seconds in. It doesn’t get much better from there. Aliasing continues to be a random issue, including the computers at 8:22, and 1:30:12 as the ship appears in the clouds.

Halos are visible throughout, from these early Earth scenes to the brawl at 1:13:00, where all distance shots showcase significant outlines (and that has nothing to do with the effects). The sharpening is constantly a bother, and by itself, this would not be an issue.

Something else is missing, and that’s film grain in any capacity. Like so many of their other catalog titles, Flash has been wiped clean, taking any semblance of fine detail along with it. Faces are waxy and digital, the number of possible examples… well, it’s the entire movie. Ming seems to get the worst of it, his face at 40:33 so glaringly soft, his beard looks like it is composed of mud. Moving into the forests at 54:17, the trees and wood like they are made out of wax, and that has nothing to do with the effects or set designers. Wood planks should still look like wood.

Colors have been brightened, appropriate for sure, although this leaves the flesh tones warm. Reds are exceedingly bright. The sky of Mongo is consistently rich, although does occasionally show some artifacting. Black levels are deep and distinct, rarely crushing, and keeping firm shadow detail, one of the minimal positives.

It’s easy to say the costumes show off their individual parts without fault, the glistening robes and such seemingly delivering detail. They do on some level. However, it would be almost impossible for any disc with this resolution not to capture the large pieces of shiny material regardless of the manipulation. They still lack crispness, just like the sets and everything else. Faces hold almost no textures, the only scene coming even remotely close is 1:21:37 as Flash and Ming face-off. The camera is zoomed enough on Flash that something had to come through, and it does in limited fashion. Ming on the other hand retains his drastically processed, unnatural, featureless look, the DNR hardly helping. What a shame.

Video ★★☆☆☆ 

Universal’s DTS-HD effort seems to be tinkered with too. The 5.1 effort is woefully inadequate, and even unnecessary (no stereo option is available). Queen’s theme over the opening credits runs hot, and sounds a bit faded, still within the realm of acceptable. The problem comes from the overzealous surround use, which at 7:28 pushes some wind into the rears so loudly, it overwhelms everything else.

One of the final action scenes, around 1:32:00, is just a mixture of noise, not sound design. Fidelity is poor, so the laser effects, explosions, music, and anything else going on turns into an incomprehensible mess. It’s overly loud and lacking clarity.

That’s bad, but the surrounds seem to be nothing more than a clone of the stereo channels. Everything sounds hollow, devoid of directionality. Effects are simply copied when they occur in the fronts, and with the pumped up rear channels, it comes through as completely overdone. It’s a non-stop assault on the ears, while offering nothing of real value or improvement.

Flash was mixed with six-channel audio for its 70 mm presentations, but this seems to be mixed from the 35 mm stereo (best guess). When it comes down to it, with the exception of the dialogue, everything is happening in the stereo channels, with the surrounds cloned. At the very least, dialogue is firm, placed well, and always distinct.

Audio ★★★☆☆ 

Alex Ross on Flash Gordon features the comic book artist who simply gushes about this movie for 13:27, leaving little doubt about his appreciation for it. Writing a Classic is an interview with writer Lorenzo Semple Jr. as he divulges the process and the intended feel. The first episode of the Buster Crabbe Flash Gordon serial is included, but it’s a shame that it is only the first episode. Trailer and generic Universal BD-Live support are left.

Extras ★★★☆☆ 

Blu-ray Movie Review from : DoBlu.com

Flash Gordon (1980) Review

You can’t run from the Predator. That may sound like a bad poster tagline, but it works. In a genre where running away from whatever alien/government experiment/radioactive menace is the norm, the Predator tosses that all away. Sure, it bleeds so you can kill it, but it takes more than running away, more than macho brawling, and quite a bit more than gunfire to take it down.

Predator bends the rules, changing it up so the title refers to the creature as much as Dutch (Arnold Schwarzenegger). In the finale, Dutch goes one-on-one with the alien beastie, using brains as much as brawn. Never fear as the explosions are frequent, at times even beautifully filmed as the sparks rain down while the Predator stands on a branch. It is survival and adrenaline, a means of pushing out genre familiarity to create something new.

This is not the ultimate creature feature. It fails to explain much of anything about the Predator, choosing to make it a monster of mystery. The audience never knows where it comes from (“space” is an awfully large place), it’s technology is unheard of, and its purpose is never clear. That is all left up to the sequels, which of course no one working on this movie ever thought would happen.

If Predator is the “ultimate” anything, squeezing in the title of ultimate ’80s action movie may suffice. The movie has no cares, ups the ante on gore, and obliterates the rain forest with machine gun fire as if to say, “Screw political correctness.” This is a movie about chewin’ tobacco, showing off muscles, working hard, and blowing everything up by pushing a truck into a building. It’s also about being a man’s man, because as males, we don’t have time to bleed.

Hell yeah.

It doesn’t get more testosterone filled than this, at least without moving into the realm of pure camp. Predator can get away with it because it is different, even if on paper it doesn’t seem like it. This is a film about raw survival and keeping your wits about you, not only a film about an alien race visiting Earth. Even if it is never made completely clear what that purpose is, the Predator is here for a reason, and not to blindly kill because that’s what aliens do.

Movie ★★★★☆ 

Special note to Fox: You missed something. At 40:22, Anna’s face still has some grain left. Since you obviously have no concern for the integrity of film, that’s the least we could do to help you out on your attempt to completely remove every last ounce of grain. Did someone just happen to miss a portion of the frame? The rest of this disc is such a DNR’ed disaster, it’s amazing that there isn’t some giant red light in the Fox transfer room that blinks wildly and plays a siren when a speck appears on the frame. At least, that’s what this disc seems to indicate.

There was a lot of hope for Predator. The original disc was inadequate, not because of the grain but because of the ancient (in technology terms) MPEG-2 encode causing it to appear pronounced and noisy. The answer was apparently to remove the grain all together even though this high bitrate AVC encode would have handled it just fine. Idiots.

You know you’re in trouble when the Fox logo is messed up. Not only is it unnaturally smooth, dark outlines surround the letters, the first indication something is wrong. It takes a few minutes for it to click that the DNR has been graciously applied, mostly because the film opens on a shot of space, and there’s not a lot to see. As soon as that helicopter door opens at 2:55, it’s game over. Faces are blotchy and digital, causing significant smearing when they move around. Into the briefing room at 4:07, the General’s face may be the most god awful disgrace for a high-def image ever (sorry Apollo 13). When the edit moves to Arnold, his shirt looks like it is made of rubber, and his face carries an unnatural glow. It is hard to put into words.

Surely once they get into the jungles it won’t be as bad, right? Ha! You’re funny. Once they drop from “da choppa,” the plants and ground look to be made out of plastic. Watch as the camera pans at 11:09, dead leaves on the ground appearing like some type of smothered digital disaster. A first year photography student couldn’t screw up this bad. The apparent brightening of the image does not help either. Oh, and remember the infamous disappearing arrows from Gladiator? Watch Shane Black’s face at 32:34. The left side of his glasses are wiped from the frame as he tells the joke. A shot of Bill Duke firing at the forest of 47:51 never looked that great on previous editions, but the DNR application has now made the internet forum troll bait, “It looks like VHS!” true.

The sheer awfulness continues. Black levels take a turn for the worse at 1:12:12, and skin appears so smooth, they look like they are in some kind of rubber costume. Oh, and that Bill Duke shot mentioned above? It is bested by the grotesque nature of Arnold jumping into the water at 1:17:12, which sort of looks like the Vaseline effect from the original versions of Star Wars to make the land speeders appear like they were flying… only over the entire screen. Oops… that says Arnold jump into water? That should be jello, because the DNR makes the water appear thick at 1:18:00, like it was coated with something before the shoot. Arnold covering himself with mud at 1:20:37 is real special too.

The disc will have its defenders, and you know what, you can sort of see why. There are moments, however sporadic and few they may be, where facial detail is really intense. It even happens early, Arnold’s face at 6:22 looking well textured and dare it be said natural (Car Weathers does not fare the same in this scene). Some close-ups around 1:00:50 provide some clear, distinct definition, and many shots of Bill Duke after a certain character is gunned down look superlative. His face is full of sweat, and every pore on his face fully defined. However, given the level of these close-ups, there might not be an application of DNR powerful enough to wipe that detail from the frame. It was there before too with the grain, and in that case, there were far more examples to go on. It is impossible to take everything away, and it says something when those scenes of lush detail are a distraction instead of the norm.

Video ★☆☆☆☆ 

For all of the drastic mistakes made visually, some credit is due for this audio mix. While the original disc is no longer here for comparison unfortunately, this one offers some distinction over the predecessor (if memory serves correctly). You can make the case for improvement during the raid on the village at 24:40. Instead of being an indistinct mess, the surrounds now capture legitimate gunfire. It is specific and placed well, not something that sounds like a clone of the stereo channels. It generates a spacious feel. Bass, while not always consistent, is more notable and pronounced. It packs a punch, if not much in terms of fidelity.

The benefit here is undoubtedly Alan Silvestri’s score. The highs are wonderfully clear, various horns carrying a distinction they were never afforded before, certainly moreso than the compressed 4.0 mix also on the disc. Bass is tighter and more refined. A bit of surround bleed is exceptional and natural.

Dialogue remains the trouble spot, lacking the fidelity and clarity offered by the score. It remains understandable, just a bit scratchy as the source dictates.

Audio ★★★★☆ 

If Fox did anything right, it is to bring some extras to the disc, whereas the original offered nothing. A solo commentary from director John McTiernan is up first, with a text commentary from film historian Eric Lichtenfeld. A great making-of that’s been around for a while called If It Bleeds, We Can Kill It is worth watching compared to the usual promotional drivel.

Inside the Predator is section of seven featurettes, the best a retrospective on Kevin Peter Hall and his awesome suit work. A section on special effects splits into two parts, while a series of interviews called Short Takes contains four sections. Six deleted scenes are followed by a new featurette titled Killers of Extreme Perfection, which is nothing more than a way for Robert Rodriguez to gush over the original as promotion for the upcoming sequel. A sneak peek for that film, Predators, is little more than a trailer.

Extras ★★★★☆ 

Blu-ray Movie Review from : DoBlu.com

Predator: Ultimate Hunter Edition Review