If you are looking for reviews of the individual discs in the Mel Brooks Collection, you can either click on the tag above, or scroll down to a see a complete list. DoBlu reviews each movie in a box set individually, giving the films their proper due in full reviews, not capsules.

This page is a small deconstruction of the box set as whole since it can’t be covered in the individual reviews. Each high-res images should give you an idea of what to expect if you are on the fence about picking this up (clicking on images brings up a larger version). Besides the decision to store the discs on cardboard paper, and there will be more on that in a moment, this is a fine looking presentation. Although thinner, is is the same size length and width wise as the recent Warner Bros. Wizard of Oz and Gone with the Wind collector’s sets. It will not fit on a standard Blu-ray shelf short of laying it flat.

There are no special features discs included. Previous stand-alone releases offer the same extras, video, and audio as their counterparts inside this set. Undoubtedly, Fox will eventually release single editions of all these movies. Until then, the rest remain exclusive.

When you first unwrap the box, you are greeted by the glossy box, thick enough to withstand a few bumps in case of disaster:

From there, you will find two booklets inside, both made out of sturdy hardcover material. One contains the nine Blu-ray discs included, the other is a 117-page retrospective on Brooks’ career, skimming over both versions of  The Producers since they are not included:

Inside the white booklet are those discs. Housed on thick yet still flimsy cardboard stock, they seem secure, at least for now. Over time, as that cardboard is stretched to pull them out (at the risk of scratching), who knows how easily they will stay in place. Considering how often Blazing Saddles is viewed around here, that may be found out sooner rather than later:

Opposite of the discs is a page delivering basic promotional information, generally what you find on the back of a stand-alone Blu-ray case. It is also sort of redundant given the other book inside the set, but looks nice on the glossy stock:

Here is another shot of how those discs sit, to give you a better idea of how cheap this comes across:

The other book offers information that is likely familiar to fans of the actor/director/writer, but fits right in as a bonus in this collection. The pictures are high quality, mostly stills from the films but a few behind-the-scenes shots slip in.

Each movie is given about equal coverage, although stills from High Anxiety seem to win out in the numbers race. It’s a shame Fox doesn’t own all of Brooks’ films so this could truly be definitive, but with shots like this from Blazing Saddles, it is all worth it:

Here are the promised links to reviews of each movie in this set:

High Anxiety

Silent Movie

Blazing Saddles

Young Frankenstein

To Be or Not to Be

Robin Hood: Men in Tights

Spaceballs

Twelve Chairs

History of the World: Part I

Update: For a video review of the boxed contents, check out the video below:

Blu-ray Movie Review from : DoBlu.com

Mel Brooks Collection Review

Despite not being directed or written by Mel Brooks, To Be or Not to Be has all of the flourishes Brooks’ followers expect. Goofy song and dance routines, running slapstick gags, witty one-liners, and Brooks himself in no less than five different roles.

The movie likely would have been green lit with only a single statement: “Mel Brooks plays Hitler.” Even though the famed comedian portrays the Nazi leader for only a few minutes, it is a golden opportunity to leave the film on a high note.

The entire movie concerns a small Polish theater group struggling to infiltrate the recently established Nazi stronghold in Poland to protect the leaders of the Polish underground. Being mere actors, their plan goes completely awry. For every success, for every quick thinking maneuver, another side of their plot completely collapses under its own complexity.

To Be or Not to Be is enormously funny, undoubtedly the work of Brooks’ along with the respect of the 1942 original. There is a softer, serious side, something that would have likely not have worked with Brooks behind the lens. Instead, Alan Johnson handles directorial duties, his first effort after serving as choreographer on The Producers and Blazing Saddles.

This is the first Hollywood effort to show homosexuals being persecuted by the Nazi regime in addition to the Jews, and there is a somber black & white set piece of German soldiers marching down the streets as the theater actors look on. A bombing run early in the film, with air raid sirens blaring, is handled carefully. The humor is saved for the interaction with the Nazis, including Christopher Llyod as a hilariously stiff Nazi officer who doesn’t know much of anything.

Starring alongside his wife Anne Bancroft, Brooks is allowed to focus and flourish in his many roles. He plays an actor who is generally terrible on stage, yet finally finds his rhythm in these high-pressure situations. It is wonderful to watch him work freely without the stress of managing the camera, and it makes To Be or Not to Be one of the better pieces Brooks was ever associated with.

Movie ★★★★☆ 

Unfortunately, Fox apparently has little care for the film, releasing it in the Mel Brooks Collection alongside stunning transfers like History of the World Part I. To Be or Not to Be has been given attention, and unfortunately, it is of the processed kind. DNR is a likely culprit here, causing pink flesh tones and an unnatural, digital grain structure, what is left of it. While opening shots simply appear soft, when the camera pans to the crowd and everyone’s face takes on a waxy appearance, something is obviously amiss.

Soft lighting is used, causing blooming that is obviously intentional, not an encode problem. Red push is a small issue, and tends to bring out some minor artifacting. Black levels are fine, typically rich and deep with no noted crush. Definition, even of the environments, is minimal. Bancroft wears various furs throughout the film, and none of them reveals any distinctive strands of hair.

Stock footage used to signal the start of the war is free of any criticisms given where it came from. The source for the movie itself is flawless, sporting no notable damage. Edge enhancement is also not noted. This one will probably never look great, but with the amount of digital tinkering going on here, there is little doubt this should look better.

Video ★★☆☆☆ 

A DTS-HD effort preserves the musical numbers wonderfully, with a clean level of fidelity. A slight bleed into the surrounds is also a nice touch.

Some surround use is a bit of a surprise, right from the start actually as the audience begins cheering and clapping. The effect is satisfactory. Rain later likewise delivers the same effect. When bombs begin dropping, falling dirt and debris can be heard from all angles.

The stereo channels carry a small amount of separation for a bit of dialogue and door knocking. On that same note, the dialogue does carry a bit of a hollow, aged feel, although it is not offensive or distracting.

Audio ★★★☆☆ 

Brooks and Bancroft: A Perfect Pair is a 15-minute making-of as surviving cast and crew reminisce about the project. How Serious Can Mel Brooks Really Get? is a short three-minute promo from the ‘80s for the film. Likewise, three interview sections (Brooks, Bancroft, and Charles Durning) are pulled from that same source.

An isolated score is uncompressed (DTS-HD), and a trivia track can run along with the film. Trailers included on other discs in this set remain.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

To Be or Not to Be Review

High Anxiety is a spoof that is far too respectful of its source material. You certainly can’t blame anyone involved in its production. When copying a master, hesitation is understood.

Instead of completely letting loose, this is one of the most reserved Mel Brooks films in his library. There is minimal fun here, Brooks himself giving a mundane, lackluster performance in what turns out to be a copy of Alfred Hitchcock films as opposed to parody.

Many of these scenes are exact, including the inevitable Psycho shower scene. It matches shot for shot, and the joke is incredibly predictable. It was set up the minute Richard Thorndyke (Brooks) walks into the hotel.

Then there are the scenes that exist because Brooks wanted to pay tribute. The Birds is mimicked, only with pigeons. The scene is wildly disconnected from the rest of the story-driven narrative Brooks along with co-writers Ron Clark, Rudy De Luca, and Barry Levinson put together.

None of the scenes stray far from their source. This is none of the charisma. This feels like the work of a Hitchcock fanboy, someone who wanted to make their own tribute, not their own movie. To its credit, the fine camera work, pacing, and style instantly put you in the frame of a Hitchcock film, a jarring change in the viewers mindset going into a comedy masters film.

High Anxiety does not have its own identity, which is the likely source of its misguided tone. Despite the best efforts of Cloris Leachman, Harvey Korman, and Madeline Kahn (who is also oddly subdued for a Brooks’ film), this one never finds its footing or momentum.

Movie ★★☆☆☆ 

This one of the weakest looking films in the Mel Brooks Collection, although it doesn’t suffer from the level of digital anomalies of Men in Tights. The only notable complaint about the encode is the use of edge enhancement, visible throughout the film on any high contrast edge. At times, it becomes a significant distraction for the videophile, and in other spots, is a minimal intrusion.

Soft and lackluster, the movie never gains a notable level of detail or depth. Black levels are minimal, and facial textures are generally non-existent, save for a few extreme close-ups. Barely noticeable textures on suits are easily missed, as delineation is not strong enough. Flesh tones are fine, while color is usually muted. The reds of the early airport scenes are the highlight.

The source is in excellent shape, with few (if any) distinguishable specs on the print. The fine grain texture is not manipulated, and causes no problems for the encode itself.

Movie ★★★☆☆ 

While a DTS-HD mix is advertised as 5.1, this one never leaves the center. Not a single note, cue, or sound effect occurs outside of the middle. Fidelity is flat, much like the video, lacking crisp highs and the low end is completely absent.

Dialogue is fine, mixed well with the musical accompaniment. A bonus isolated score likewise suffers the same contained feel, a disappointment as John Morris’ score could really come alive.

Audio ★★☆☆☆ 

Hitchcock & Mel is a nice making of, showing Brooks’ admiration for the famed director, and how he went about spoofing him. Two pop-up tracks, one focusing on Hitchcock trivia, the other a marginally amusing therapy quiz are followed by the usual round up of trailers.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

High Anxiety Review

If Silent Movie does not grab you immediately, and that probably is not a stretch since not a sound is made until the minute and a half mark, give it time. By the time Burt Reynolds allows Mel Brooks, Dom DeLuise, and Marty Feldman to grope him in the shower, all for comedy, Silent Movie takes off.

This is a hard movie to hate, mostly because it feels authentic, at least beyond the slapstick and gags. The plot concerns a down and out Hollywood producer named Mel Funn (Brooks) who has the ridiculous idea to make a silent movie in 1976 to save a studio drowning in debt. Of course, that is what happened, and there is little doubt it took quite a struggle to pull names like James Caan, Liza Minnelli, Anne Bancroft, Burt Reynolds, and Paul Newman into the fray.

Everything in Silent Movie is slapstick. Even the gags that serves no purpose to the story, such as the bathroom/dog switch, are hysterical. The physicality of all involved is nothing short of brilliant, perfectly capturing the style and tone of the movies it is paying homage to, not spoofing.

To avoid any sense of false advertising, Silent Movie is not completely silent. One word is spoken, landing it in the Guinness Book of World Records for the least amount of dialogue in a film. Spoiling that moment means ruining one of the more well constructed gags in the movie.

Silent Movie is an obvious challenge, with incredibly constructed scenes of physical humor. When a large corporate head named Engulf (Harold Gould) with his helpful associate named Devour (Ron Carey) needs to put on a suit, they twist and turn, screwing up the simple act five times in a single take. This also leads to a later sight gag in a restaurant that makes it all worthwhile.

Mel Brooks’ usual sense of sexual humor is in full force, including a running gag about two women who think Funn and crew are gay, and the entire staff of Engulf & Devour lifting a table “without hands” when they are shown a picture of Vilma Kaplan (Bernadette Peters). Despite his appreciation for the great silents, Brooks still leaves breathing room for his own brand of laughs. It gives Silent Movie a wonderfully irreverent style, but unfortunately, a tone few will appreciate.

Movie ★★★★☆ 

Silent Movie comes to Blu-ray in a pleasing if unsubstantial AVC encode. The film’s general grain structure is preserved well, enough to give the movie a clean look. This one carries a sharp look, but one that comes at the price of glaring edge enhancement, first noticed around the guard’s hat at 6:33. Nearly every high contrast edge that follows suffers the same fate.

Colors are typically bland, with the exception of some primaries (reds can be especially vibrant). Flesh tones are accurate. Details are generally not well defined, but can be found. DeLuise wears a thick light brown coat that shows clear texture, as do the seats in the small theater when the crew preview a new movie by their studio. The knight suits when inside the commissary include some fine chain mail and stains on the metal. High fidelity textures, including facial details, are non-existent.

Contrast is bright, to the point where true black is rarely seen. This is not a flaw, just the nature of this brightly lit film. A nighttime shoot-out involving Coke cans is their true time to shine, and they perform admirably. Print damage is miniscule, enough that most will miss it.

Video ★★★☆☆ 

Silent Movie is offered in an English DTS-HD mix… and two other languages. Really. While a small gag, the uncompressed effort presents the lively, upbeat John Morris score beautifully. Every note carries a wonderful level of fidelity, and the mild bleed into the surrounds is satisfactory. Highs are crisp, and while no low-end is evident, the effect is still powerful.

Sound effects, almost all of which are generated by the orchestra, are wonderfully clear. The one word spoken in the entire movie comes off as strained and flat, not that it matters that much.

Audio ★★★★☆ 

Extras include a fine making-of titled Silent Laughter, which falls just short of 25-minutes. A trivia track can also run along with the film. Trailers mark the end of this short selection of bonuses.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

Silent Movie Review

Despite not even trying, Spaceballs offers some impressive sights. The opening shot, a massive brute of a ship passing by that lasts well over a minute might be a gag, but in reality is a fine piece of workmanship. Loads of random gadgets, blinking lights, connecting pieces, and a bumper sticker cannot be easily constructed.

Oddly, that same vessel, named the Spaceball 1, seems awfully small in future appearances. Then again, that inconsistency sort of fits with the screwball gags and zany humor.

Spaceballs does not live up Brooks’ other spoofs, including the vastly superior Blazing Saddles, but Spaceballs does have an energy. Bill Pullman’s hilarious deadpan delivery of dialogue his own character Lone Starr realizes is baffling makes comedy gold.

The film chooses not to skewer the Star Wars films alone, but their industry impact. Brooks, playing the Yoda-inspired Yogurt, begins showcasing the various pointless items for sale, including a Transformers coloring book with the Spaceballs logo clearly slapped over the title.

For all of its goofy humor, some of it hit or miss, nothing beats Rick Moranis as intergalactic villain Dark Helmet discussing Spaceballs: The Videocassette with Colonel Sandurz (George Wyner). They use the video to scan ahead to find where Lone Starr has taken Princess Vespa (Daphne Zuniga), while Helmet and Sandurz discuss how they already have a tape of the full movie, despite being finished yet.

That is truly amusing, but more impressive, their conversation actually makes sense. While they debate about the movie in the background, the back-and-forth conversation about their current time comes out logically, not as random babbling. Only Mel Brooks could pull that off.

Movie ★★★★☆ 

Fox delivers a soft, flat, generally unimpressive AVC encode for Spaceballs’ Blu-ray debut. Black levels, while immediately striking, lead to significant crush, particularly with Dark Helmet. The film’s grain structure lacks crispness, as does everything else.

Details are limited, although no offensive digital manipulation seems to have been performed. Definition, while generally poor, does deliver some cleanly delineated hair. The sparkles of Dot Matrix’s shiny gold hair have hardly been this clean. Likewise, Barf’s eyepiece can clearly be made out. In the past, it appeared like a simple make-up application, but is in fact an actual appliance.

Pizza the Hut is truly disgusting, slime and pepperoni clearly oozing out from his head. This transfer makes it easy to appreciate the work that went into the suit. Facial textures for human characters remain non-existent. Colors are natural, and flesh tones are accurate. Print damage is sporadic, but notable.

Video ★★★☆☆ 

Right from the opening credits, Spaceballs musical score sounds drowned out, stuck in the mid-range. It lacks fullness, coming through subdued and constrained. Dialogue is fine, consistently audible and clean. Likewise, audio effects are fine.

This DTS-HD effort makes the most of the stereo channels, splitting them cleanly for music and tracking shots of ships passing through. Laser blasts move side-to-side without any noticeable distortion. The surrounds, while not terribly active, do provide a few moments of note. The ‘80s theme as Barf is first introduced is precisely worked into the mix as he moves about the Winnebago.

Some limited bass, particularly during that extended opening shot, is quite smooth and deep. The engines nail the low end with a satisfying, powerful rumble. Explosions that come later, well, not so much.

Audio ★★★☆☆ 

Features are pulled from the Special Edition DVD, beginning with a solo commentary from Mel Brooks. This is followed by a fine making-of appropriately titled Spaceballs: The Documentary that runs for a half-hour. In Conversation with Mel Brooks and Thomas Meehan is an enjoyable meeting between these two men as they discuss the influences and origins of the film (Meehan given a writing credit).

John Candy: Comic Spirit is a wonderful look at Candy’s career and life. It’s a shame it doesn’t last longer than 10-minutes. An option to watch the movie in “Ludicrous Speed” means you’ll get through the whole thing in 29 seconds, while a series of six outtakes are annoyingly separated with no play all option. Trailers, stills, and storyboard comparisons remain.

Extras ★★★☆☆ 

Blu-ray Movie Review from : DoBlu.com

Spaceballs Review

Mel Brooks’ spin on the Robin Hood legend has a sluggishness problem. It doesn’t know when to quit. For instance, one of Robin Hood’s (Cary Elwes) merry men is Blinkin (Mark Blankfield), a blind man. At one point in the film, Blinkin is seen on top of a look out tower, a funny little sight gag well within the Brooks’ tradition.

Unfortunately, everything stops, and the joke is explained to those who may not have grasped this basic piece of humor. It happens multiple times throughout Men in Tights, and with some truly painful jokes. Camel jockeys, literally horse jockeys on top of camels, walk past the camera in an embarrassingly long shot, just in case someone is not observant enough to pick up on it as a background element. Robin Hood asks an audience to lend him his ears, and the groan-inducing visual has everyone pulling their ears off.

Elwes has a charisma as Robin Hood, certainly not far removed from this performance in Princess Bride a few years earlier. While the latter may not have been a spoof on Robin Hood movies, popular in the early ‘90s since Kevin Costner took on the role in 1991, Princess Bride handled everything with a proper sense of humor. It didn’t feel forced, but was instead charming and instantly likeable.

Brooks includes parodies of The Godfather, placing Dom DeLuise in the role of the Don, eerily spot-on too. He even pokes fun at his other work, Dave Chappelle being christened sheriff to which the crowd replies, “A black sheriff?” Looking straight at the camera, Chappelle replies, “It worked in Blazing Saddles.” Brooks even casts the original Blazing Saddles hangman, Robert Ridgely, to take part in the finale.

Men in Tights is hardly terrible, but feels forced, and even repetitive. Sight gags with the cast interacting with the camera crew was done so well in Spaceballs, why repeat it? The few laughs provided here are countered almost two to one with the groaners, a far cry from Brooks nearly unblemished filmography prior.

Movie ★★★☆☆ 

Fox delivers an AVC encode for Men in Tights, and the results are a complete disappointment. Everything carries a decidedly digital, compressed, and dated quality. This is undoubtedly an older master, causing some notable edge enhancement (look at Asneeze around 10:52 mark), blatant artifacting on solid colors, and thicker than usual grain. Not surprisingly, in comparison to the older DVD, many of the same issues exist in the same places despite the resolution increase and newer compression codecs of Blu-ray.

Long shots, including the numerous forest shots, are muddy and lacking definition. Facial detail is a non-issue without a single exception, and textures are hidden beneath a layer of avoidable problems. The king’s earliest costume, with gold trim, is just a soft, blurry mess. Colors are fine, at times a bit too rich considering the bright reds (during the royal dinner) tend to bleed. Black levels are deep, delivering solid if unsubstantial depth, while the contrast remains bright and consistent.

Some print damage is evident throughout, but generally inoffensive. Flesh tones appear slightly warm. This deserves better, although Fox is unlikely to fix it anytime soon since it remains exclusive to the Mel Brooks Collection box set as of now.

Video ★★★☆☆ 

A DTS-HD effort fares slightly better, especially if you love ambient forest noise. Birds are constantly chirping in the surrounds, annoyingly so. However, if it is part of the original audio mix (and there is no reason to believe it is not), so be it.

Separation is surprisingly aggressive throughout, including widely split fronts containing dialogue, swords being clanged together, and also some of that ambient audio from time to time. The rear channels get a workout, from the basic score bleed to heads of lettuce tossed at the heroes during the archery contest. The opening, with flaming arrows being shot around the soundfield offers some wonderful tracking, both side to side and front to back.

Fidelity is fine, a bit flat on the high end, yet inoffensive to most. The subwoofer has little to work with, providing a decent rumble when the castle is being taken as collateral, and when characters fall (such as Little John when he falls off the bridge).

Audio ★★★★☆ 

Extras are sparse, including a commentary from Mel Brooks that dates back to the original Laserdisc. Funny Men in Tights is a fine retrospective, if a bit short at under 14-minutes. An HBO Special from the ’93 is dated and for promotion only, while an isolated score track is presented uncompressed.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

Robin Hood: Men in Tights Review

Mel Brooks has taught the world a lot. He has introduced us to the invention of music when a caveman dropped a rock on another’s foot. He has told us the true story of the 15… err, 10 commandments. He has informed the world of Hugh Hefner’s real backstory, and when the centerfold was invented. And wouldn’t you know it, but the Spanish Inquisition was played out with music and synchronized swimming.

Wikipedia doesn’t tell you any of that though, does it?

History of the World is a spoof, but not of Hollywood epics or a genre unless you stretch it and consider this a parody of the classic costume drama. This is a brilliant, satirical take on human history, or at least the sheer idiocy of it.

History moves quickly, passing through a brief 2001 parody, into the dawn of man. Flirting with other primitives, Brooks brings the audience into the Roman Empire, where a wonderfully flamboyant, over acting Dom DeLuise plays Nero. There is more than enough material in ancient Rome to carry the entire film, but Brooks comes back strong with the infamous Spanish Inquisition musical number. Offensive and catchy, it remains a highlight of this funny man’s career.

Brooks pushes a bit, leading into the French Revolution where the jokes fizzle out, even if it is good to be king. In a weird way, no one uses a certain four-letter word better than Brooks, utilizing shit (whoops) better than any other film comedian. When the use dies out in the final act, so does a bit of the marginally offensive charm. The horny King Louis is amusing, yet not laugh out loud funny.

After literally making it to the end of the film, one gag remains, the inevitable in-joke about a sequel that will never be made. Jews in Space would undoubtedly be an epic, as the brief trailer shows us, yet here we wait nearly 30-years later and it has yet to happen. Human history wouldn’t be complete without it.

Movie ★★★★☆ 

History of the World is a surprising stunner on Blu-ray. Fox has produced a wonderful, crisp, clean AVC encode for this underrated comedy classic. In the dark caveman scenes, detail is immediately apparent, from faces to the rock texture on the wall. Shadow delineation is superb.

Once into the bright outdoor environments of Rome, the somewhat pale color is the only notable complaint. The transfer brings out the texture of the concrete in the background cleanly, without distortion or softness. The canopy’s in the market show a wonderfully defined pattern, and even some light stitching.

The Roman troops leather armor and helmets are amazing, gold trim flawlessly delineated, and small marks on the chest plates easily visible. The slave auction has onlookers in the distance cannot just be seen, but are identifiable. The Last Supper walk-in remains a finely detailed sequence as well, especially the robes. The Inquisition, with the same level of texture in the environments, is equally impressive.

Into the French Revolution, thick foliage dominates, and remains truly wonderful to look at. Individual leaves are evident, and the encode has no problem handling the thousands of them in outdoor environments. The King’s quarters, with exquisite gold-trimmed furniture, is a marvel to see in hi-def. The grain structure is fine and inoffensive, and while black levels are not inky deep, they provide an adequate level of depth and dimension. The print itself suffers from few nagging flaws, limited to minor specks.

Video ★★★★☆ 

While the opening theme music is a troublesome cue for this DTS-HD mix (a compressed mono mix is also available) with a terribly strained, fluttering high end, other musical numbers are fine. The Spanish Inquisition is surprisingly full, with crystal clear lyrics and distinct instruments.

While the surrounds may be dead for entire film, the stereo channels play a significant part. As characters pass on screen, there is a clear side-to-side movement evident. The chase sequence in Rome makes full use of this. Dialogue is fine, maintaining a clear level of fidelity with no distortion.

Audio ★★★☆☆ 

Musical Mel is the first of the bonus features, a 10-minute look at Mel’s musical background and how it influenced him. Making History is a short making-of, again around 10-minutes, that delivers the basics and little else. A pop-up trivia track offers the actual history of the events unfolding on-screen, while an isolated, uncompressed score and trailers remain.

Extras ★★☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

History of the World: Part I Review

Imagine for a moment if Mel Brooks never went down the path of zany, wonderfully offensive, vulgarity filled parodies. Imagine if Mel Brooks ever understood control, restraint, and a sense of calmness. Imagine he shot a film in Russia. That’s Twelve Chairs.

Those changes from Brooks’ usual style are in no way a fault, just a way to ease expectations. Set in Russia, the film concerns us with Ippolit Vorobyaninov (Ron Moody) who learns his mother-in-law stashed a fortune of jewels and gold inside one of 12 chairs, now spread across the country.

This begins a frenzied chase between Ippolit, his deceitful partner Ostap (Frank Langella), and the only other man who knows of the chairs, a corrupt priest named Fydor (Dom DeLuise).

Fydor is the true Mel Brooks character in this film, more or less because he is played by DeLuise. He injects the character with his uncanny ability to overact everything, yet completely sell it for a laugh. Stuck on the top of a cliff with seemingly no way down, DeLuise begs and pleads for help in a performance that would get him kicked off most films, yet fits in here.

It is easy to give DeLuise credit, but Moody captures a sense of growing rage as the chairs are whittled down to only a few left. His increasing frustration is consistently evident, and Brooks’ sticks with the close-ups as the discovery of the chairs continues to leave his quest empty.

Brooks’ uses a variety of tricks to illicit laughs, from the signs inside the Bureau of Housing, to fast motion as DeLuise and Moody scamper around over the first chair (complete with the high-pitched dialogue that sells the admittedly cheap effect). He even turns Moody into a blathering, twitching idiot, faking an overdone epileptic seizure for money that remains one of the best gags in the movie.

Twelve Chairs is likely more memorable for simply being an early work of a famed director, as you can see his style forming in each frame, leading up to the unforgettable Blazing Saddles four years later. It feels more like a testing ground for what it is come, and containing Brooks’ first cameo in one of this own films, a tradition from here on out. One for the fans.

Movie ★★★☆☆ 

Fox delivers a spectacular hi-def effort for this mild gem. The AVC encode handles a complex grain structure with ease, keeping the film’s lush color and detail fully intact. Sharpness is wonderful, preserving environments cleanly and without fault. The first long shot of the house is just a primer for the ability of this disc to preserve the photography.

While facial detail is at a premium (although some close-ups perform admirably), backgrounds are wonderful. Look at the concrete slabs behind Brooks’ at 12:22, retaining a flawless texture that is distinct and complex. Ostap’s undershirt holds a visible stitching pattern, even in mid-range shots.

Some light ringing is a distraction, although a mild one. Black levels are bold, and the bright contrast brings the naturally saturated colors out. Source damage is minimal, reserved for the usual specks and dirt that disappear as quickly as they appear. This is a stunner.

Video ★★★★☆ 

Both an uncompressed DTS-HD mix and compressed mono audio choice exist, and in many ways, the mono is preferred. Neither sounds great, especially in regards to the music, which is so strained and rough, it can be hard to distinguish anything. In mono, it is hardly as forceful as the DTS-HD effort, which blares it through the fronts with a bit of surround bleed.

Imagine someone scratching their nails on a chalkboard. That’s the mono mix. Now imagine someone doing the same thing, only in a tunnel and a megaphone amplifying that sound. That’s the DTS-HD track.

It is hardly worth the mild use of the surrounds, such as the train clicking on the rails ambiance as DeLuise is seen preparing for his departure. Dialogue is hollow with limited distortion either way. It’s a shame the audio has seemingly been ignored in terms of preservation (or restoration) compared to the video.

Audio ★★☆☆☆ 

The only bonus features are trailers.

Extras ★☆☆☆☆ 

Blu-ray Movie Review from : DoBlu.com

The Twelve Chairs Review

Everything about Young Frankenstein comes from the ‘30s and ‘40s during the heyday of Universal monster horror. The direction could have very well come from James Whale himself, director of both Frankenstein and Bride of Frankenstein. Young Frankenstein isn’t a film that pays homage to those classics; it is one of those classics.

In fact, if it weren’t for certain scenes of direct parody, it could fit in the timeline. Gene Wilder plays yet another in a long line of insane scientists in the Frankenstein line, determined to reanimate another corpse. Unlike other routine parodies, or even comedies in general, Wilder’s take on Frankenstein is a fully fleshed out character. He treats the monster (played by Peter Boyle) as a son, albeit with comedic wit.

The problem with the film is that the atmosphere, lighting, direction, pacing, and even the credits overshadow the laughs. In terms of comedy, especially when compared to something like Blazing Saddles or The Producers, it doesn’t have the sheer number of laughs. You will come away from it loaded with quotes (“I was going to make expresso!”), but the quotes-per-minute ratio isn’t that high in comparison.

Also, knowing your Frankenstein movies is an absolute must for full enjoyment. Kenneth Mars turn as Inspector Kemp is a direct riff on Lionel Atwill’s Krogh in Son of Frankenstein. The interaction between Mars and Wilder is priceless, but the true greatness of the scene comes through when you know the origin. A few nods to other Universal horror movies can be discovered too if you’re paying attention.

Young Frankentein is a classic, but how great it is depends on your own film history. It’s a wonderful return to a style lost, and Mel Brooks absolutely nails it. Again, the comedy seems to take a backseat to accuracy, yet there’s little question you’ll laugh out loud multiple times, although not as much when compared to Brook’s track record.

Movie ★★★★☆ 

Intentionally grainy for atmosphere, some will be turned off by this Blu-ray effort. There is some debate if the film was this grainy during its initial run, as it appears thicker than any prior release. It is hard to image a studio adding additional grain as opposed to wiping it clean.

However, removing the grain would nearly be sacrilegious. It’s a character by itself, and the codec handles it nicely. Underneath the thick layer of film grain are fine details, enough to bring out flaws in the costumes (Boyle’s make-up, Madeline Kahn’s wig). The contrast is wonderful, and never wavers. There’s a solid sense of depth to the image thanks to the black levels.

Video ★★★★☆ 

Presented in DTS-HD, there’s little point in doing so. Aside from minor separation in the front channels, this might as well come from the center exclusively. There is no bass to speak of, and fidelity is low, which does keep it in line with something from the ‘40s and that is the intended effect.

Audio ★★☆☆☆ 

This is a packed disc, although finding all of the extras through a somewhat confusing menu may take some time. A commentary from Mel Brooks is first up as he goes solo, discussing the origins and making of the film. Inside the Lab is a collection of 12 featurettes that total around a half hour. These can be viewed during picture-in-picture playback, or separately from the menu. Likewise, a trivia track can also be played during the movie.

Deleted scenes are available in SD, and some are in HD. It’s Alive and Making Frankensense of Young Frankenstein are both in-depth making-of pieces, coming in at 30 and 40 minutes respectively. There’s repeat information here (toss in the commentary and there’s even more), but they each have material worth seeing.

Transylvanian Lullaby is a piece on composer John Morris, who worked with Brooks on multiple films. Some outtakes, an interview with what is apparently a Mexican television network, trailers, and photos finish things off.

Extras ★★★★★ 

Blu-ray Movie Review from : DoBlu.com

Young Frankenstein Review

Maybe it’s the comedy. Maybe it’s the lack of seriousness. Whatever the case may be, to most people Mel Brooks’ classic western spoof is completely devoid of a message. Yes, there’s a lot to Blazing Saddles besides its racial slurs, fart jokes, Warner Bros parking lot brawl, and stampeding cattle. There’s a deeply rooted message about the ignorance and stupidity of racism that’s the centerpiece of the film, yet no one seems to notice.

Blazing Saddles could never be made today. In an overly politically correct society where everyone is offended by the slightest slip-up, no one would even take the time to notice. The first time Burton Gilliam utters the dreaded N-word in the opening scene, the audience would leave in droves.

There’s a purpose to that dialogue, and it’s worth far more than simple shock value. The quick-witted Bart, played by Cleavon Little, is quick to retort and make Gilliam’s Lyle look like an idiot before he even stops to think about how ridiculous he looks prancing about to “Camptown Lady.” If the movie is racist, it’s only against those who look at color in the first place.

Yes, there’s no question it’s played purely for laughs. This is, after all (arguably), Mel Brooks’ finest hour, and one of the great American comedies. What the script does is work its message in via subtle sight gags and its characters’ interactions. The bad guys never quite get it, and the townsfolk of Rock Ridge who realize the error of their ways finish them off in grand scale… even if they have to do it down a modern day Main Street somewhere in Hollywood.

It’s hard to believe any film can still push boundaries 34 years after its release. While some of its jokes may be lost on younger viewers, Blazing Saddles can still offend with the best of them to this day. It’s also still relevant and important to some of society’s larger ills, which is also in a way a depressing statement on how little progress has been made.

As absurd as it may sound, Blazing Saddles is an important movie. Its embedded message may be surrounded by hanging horses, schnitzengruben, $400 hand carts, toll booths, Dom DeLuise, Hitler, a jazz band in the middle of a desert, authentic frontier gibberish, and more Johnsons than you could possibly imagine, but none of that takes away from its underlying theme. This is one of the funniest, best, and all around classic comedies ever filmed, and it’s nice to know that it’s in for more than just laughs.

Movie ★★★★★ 

Blazing Saddles underwent a masterful restoration for its 30th anniversary, and this Blu-ray shows the film off better than it’s ever been seen previously at home. Colors are remarkably bold and never falter. Contrast creates incredible depth in the image, and the sharpness is as solid as a modern film in some scenes. Close-ups reveal astonishing levels of detail, and long shots hold up with just as much precision. Some transitions look flat, along with a few odd random shots along the way, but this is a nearly flawless presentation.

Video ★★★★☆ 

While some attempt has been made to update the audio, this 5.1 mix is flat but clear. The soundtrack occasionally bleeds into the rears, and minor surround use is evident although inconsistent. The dynamite in the church has a nice echo, but the infamous campfire sequence remains completely in the front channels.

Audio ★★★☆☆ 

Features carry over from the DVD and HD DVD versions of the film. Mel Brooks gives us a commentary track which turns into more of an interview. He’ll spout off some facts that even die-hard followers may not know, but it only lasts for about an hour. Next are some deleted and alternate scenes. These showcase some of the edited-in-for-TV sequences, which are used to pad the running time due to the amount of censored cuts when networks air the film. In total, the scenes run for about ten minutes.

Next up is a decent documentary entitled Back in the Saddle, which interviews some of the surviving cast members. It runs close to 30 minutes. The focus is mostly on Brooks and the writers, but Gene Wilder and Harvey Korman get some time as well. The documentary is padded with nearly all of the deleted scenes mentioned above and some of the comments are redundant after you listen to the commentary, but it’s great to see some of the stars of this classic today. Madeline Kahn gets a short segment from the show Intimate Portrait that runs four minutes as it talks a bit about her classic performance.

Warner wasn’t done yet and dug deep for the TV pilot of Black Bart, a proposed spin-off from the film after its success. Starring a young Louis Gossett Jr. as Bart, it featured various little known actors trying to replicate the characters from the film. Without the ability to let it all out due to the standards of TV, this is 25 minutes best spent elsewhere. Still, credit must be given for not only including this oddity but finding it in remarkable condition.

Extras ★★★★☆ 

Blu-ray Movie Review from : DoBlu.com

Blazing Saddles Review