APT PUPIL (1998) (Umbrella Entertainment Blu-ray Review)

APT PUPIL (1998) 

Label: Umbrella Entertainment
Region Code: Region-FREE
Rating: MA 15+
Duration: 111 Minutes
Audio: English DTS-HD MA 2.0 with Optional English Subtitles
Video:1080p HD Widescreen (2.35:1) 
Director: Bryan Singer
Cast: Brad Renfro, Ian McKellen, Joshua Jackson, David Schwimmer, Bruce Davison,   Ann Dowd,  James Karen, Elias Koteas 

Following The Usual Suspects (1995) I was very excited to see what newcomer director Bryan Singer would do next, when it was announced it would be an adaptation of Stephen King's Nazi next door novel Apt Pupil I was very excited. Set 1984 the film stars Brad Renfro (Ghost World) as high schooler  Todd Bowden who is a bit too curious about Nazi culture. So much so that he is able to identify his elderly neighbor Arthur Denker (Ian McKellan, Lord of the Rings) as fugitive Nazi war criminal Kurt Dussander, an officer in the ranks of the SS, who oversaw an extermination camp where atrocities were committed against the Jews.

The first sign that the kid is not your average teen is when he doesn't report the criminal to the authorities, instead he approaches the elderly man and informs him after some polite conversation that he knows who he is and what he has done, calling him by his true name and indicating the camp he oversaw. He uses this leverage to ply the man for detailed information about how it felt to do the things he did, going into great detail about the atrocities he committed. These morbid tales ignite a growing darkness within the teen, at one point purchasing a Nazi officer uniform which he demands the elderly Nazi wear while he puts him through his paces, it's a disturbing scene. 

The increased time spent together reliving Nazi atrocities has an effect on both individuals, the old Nazi's sadistic tendencies are seemingly re-awakened, while Todd's growing darkness continues to consume him, with his academic studies suffering, while growing apart from his best friend Joey (Joshua Jackson, TV's Fringe). Both men begin to dabble in animal cruelty, the old man attempts to roast a stray cat in his oven while Todd needlessly kills a pigeon at school. The old man's blood lust eventually leads to him luring a homeless gigolo (Elias Koteas) into his home with the intent to kill him with a knife, but a heart attack requires him to bring in Todd to finish the job, with a bit of black mail of his own leveraged over the teen.   

Eventually a chance encounter at the hospital has the Nazi being recognized by an elderly death camp survivor which puts Nazi-hunters n the trail of Denker, threatening to expose not just him but the teen's complicit nature in the whole ordeal. 

I've always found this film compelling, how it begins to explore the dark nature of the boy's disturbing fascination with Nazi culture, but it never really nails it down to a satisfying degree. Singer's adaptation also explores homosexuality and homophobia as well as the holocaust, but that too doesn't really have a satisfying message to convey, it's a film that has a lot of ingredients but they don't all come together in a way that I feel it should, it lacks depth. 

The late Brad Renfro turns in a nicely dark performance here, he was a talented guy and he portrays the kid's sickening curiosity with good intensity. He plays well off of the chilling turn from McKellan, with the pair entangled in a wicked cat and mouse game of blackmail and leverage, with increasingly dire results for both individuals. Watch for appearances from Bruce Davison (Willard) as Todd's dad, plus James Karen (Return of the Living Dead), Elias Koteas (Let Me In) and TV's Friends star David Schwimmer as Todd's guidance counselor with a hideously bad moustache. 

Audio/Video: Apt Pupil (1998) arrives on region-free Blu-ray from Umbrella Entertainment presented in 1080p HD and framed in 2.35:1 widescreen. The image looks solid throughout. There's no mention of a new scan for this release, so this is probably the same HD master used by Image for their out-of-print Blu-ray, it looks solid, the colors are strong and the black levels are decent throughout. The film has a bit of haziness to it because of some soft focus cinematography, so it's not a super sharp and crisp looking presentation, butt overall this is a solid looking presentation, a nice upgrade over the DVD.

Audio comes by way of English DTS-HD MA 2.0 stereo with optional English subtitles, it's a healthy sounding stereo presentation with no issues with distortion that I could discern. The score from John Ottman (Lake Placid) holds up nicely, it gets some nice life in the mix, too bad we don't get a 5.1 audio track for this one, I am fairly certain all previous home video releases had one. 

Extras are slim, we get a 7-min vintage making of featurette with interviews from Bryan Singer, Brad Renfro, Ian McKellan, with loads of behind-the-scenes footage. We also get a theatrical trailer for the film and some TV spots.

The single-disc release comes housed in an oversized Blu-ray keepcase with a sleeve of reversible artwork, both sides featuring the same image, what looks to be a collage of a pair of original movie posters for the film, with one side not having the unsightly ratings logo on the cover. Like the other Stephen King adaptations released by Umbrella the sleeve has the worn, dog-eared look of a paperback which gives the collection of Blu-rays a nice symmetry on the shelf when placed next to each other. The disc has an excerpt from the same key art. 

Obviously I would have loved some new extras for this title, it's controversial for several reasons, especially some behind-the-scenes stuff involving director Bryan Singer and some lawsuits filed against him by some young men who felt that some shower scenes, but that's not usually the sort of thing you find on an extra for a film, particularly about a still working director. That said, some new interviews would have been appreciated. 

Special Features: 
- Behind-The-Scenes (7 min) 
- Theatrical Trailer (3 min) 
- TV Spots (2 min) 

Apt Pupil (1998) is an underrated gem of Stephen King adaptation, it lacks depth and doesn't fully explore the themes it sets up, but I still find it a compelling Nazi-next-door film. Kudos to Umbrella Entertainment for making this release available again on Blu-ray, the out-of-print Image release has been fetching some steep prices on the secondary market, so this is a welcome release, and it's region-free!  

Blu-ray Review: THE PROPHECY (1995)

THE PROPHECY (1995)

Label: Echo Bridge Home Entertainment
Region Code: A
Rating: R
Duration: 97 mins
Audio: English 5.1 DTS-HD MA. Dolby Digital 5.1, LPCM 2.0
Video: 16:9 Widescreen (2.35:1)
Director: Gregory Widen
Cast: Christopher Walken, Elias Koteas, Virginia Madsen, Eric Stolz, Amanda Plummer, Viggo Mortensen
Tagline: Marked By Fate. Doomed By Prophecy... Time Is Running Out For Mankind.

I don't think the 1990's are exactly remembered for standout genre film fare but in actuality there were quite a few truly great films, they've just been forgotten under a heap of crap nineties SCREAM clones and shitty sequels.  I mean we had JACOB'S LADDER (1990), THE SILENCE OF THE LAMBS (1991), DEAD ALIVE (1992), ARMY OF DARKNESS (1992), CANDYMAN (1992), CEMETERY MAN (1994) and THE BLAIR WITCH PROJECT (1990). Sure, some of these verge on thrillers and not so much pure horror I think we can agree they're pretty great, no? Let's add to this venerable list a film that seems to have slipped by the wayside - THE PROPHECY (1995), fine horror-thriller that is just not mentioned nearly enough for my tastes, this is a gem of a genre film that's been given short shrift and undeservedly so.

The film's prologue begins with Tomas Dagget (Elias Koteas, LET ME IN) on the cusp of becoming an ordained priest when he is overcome with disturbing images of angels slaughtering each other, the horrific vision costs him his faith and he leaves the order to become L.A. detective. While investigating a strange homicide Dagget encounters Simon (Eric Stoltz, PULP FICTION), who claims to be a fallen angel, warning Dagget that a stalemated civil war amongst the Angels rages on in Heaven and that the fate of the life eternal hangs in the balance. Dagget further investigates the strange homicide which takes him to Arizona and on a journey that will test his languished faith. The Archangel Gabriel (Christopher Walken, MCBAIN) is a key figure fueling the war in Heaven, it would seem the Angel has grown jealous of God's love for the "talking monkeys" on Earth and he come to Earth in search of an evil soul which is to lead his army against the Lord in Heaven.

When a young girl named Mary becomes a pawn in the battle between the Angels her school teacher Katherine (Virginia Madsen, CANDYMAN) is also drawn into the Angelic war alongside Simon and Dagget. Adam Goldberg (DAZED AND CONFUSED) appears as a would-be suicide victim named Jerry whom was stopped from dying by Gabriel and has in effect become his undead chauffeur on Earth, it's a fun role and later in the film Amanda Plummer (NEEDFUL THINGS) assumes the mantle when Jerry is dispatched, much to his own happiness, the relationship between Gabriel and his familiars is laced with dark humor, it's fun stuff.

While Mary suffers what appears to be a possession of sorts she is given an exorcism by Native Americans as our heroes battle the Archangel, during the conflict who should appear but Lucifer himself, played with Devilish delight by Vigo Mortensen (A HISTORY OF VIOLENCE), a mischievous tempter whispering sweet blasphemy into the ears of our protagonists. Of course Old Scratch has a stake in the Heavenly civil war however his motivations turns out to not be quite as apparent as one might think, that Satan sure is a sneaky sort of fellow.

THE PROPHECY is a pretty great film, it's well-paced, the some nice action set-pieces, the cast is top-notch and there's some decent practical effects work and haunting imagery. It's great to see Walken, Plummer and Stoltz reunited after their turn in Quentin Tarantino's PULP FICTION just a year prior with my favorite performance coming from Walken as the seething Archangel, so disgusted by the talking monkies that have won the love of the Lord, it's rife with dark comedy and vitriol, it's fucking awesome. If I have to leverage a complaint I would say the film needed to run at least 120 minutes, the scope of the story outreached the film's breadth in my opinion. I easily could have  gone another half-hour with this story without a fuss, I was left wanting more and that's a good thing. I have yet to check out the sequels and would love to hear what you think about the film, it's sequels and your favorite 90's horror films.

Blu-ray: Previous DVD editions of the film were non-anamorphic presentations so I give a big thumbs up to Echo Bridge for the 16:9 widescreen (2.35:1) transfer though the box art erroneously advertises 1.78:1. Appropriate aspect aspect ratio aside the transfer is not very dynamic and lacks fine detail, clarity, vibrancy and depth.

The disc offers English language 5.1 DTS-HD MA, Dolby Digital 5.1 and LPCM 2.0 audio options with no subtitles. The 5.1 DTS offers some decent channel separation with dialogue, effects and the impressively textured score from David C. William (CRITTER 3) coming through rather nicely if not exactly giving the home theatre system a substantial workout. There is no subtitles option on the disc. Pretty typical of the Echo Bridge blu-rays there are no special features, not even a theatrical trailer. 

Verdict: If you haven't caught up with THE PROPHECY yet I say treat yourself, it's a wonderful thing and a true gem of the mid-90's genre filmmaking, it's smart, action-packed and entertaining. The recent film LEGION attempted something similar and failed quite miserably in my opinion. Quite the opposite THE PROPHECY is a faith testing supernatural-thriller that's definitely worth a watch. 3.5 outta 5

Film Review: Let Me In (2010)

LET ME IN (2010)
“Innocence dies. Abby doesn't"
Hammer Films


OPENS: Friday September 30th 2010
RATED: R
RUNNING TIME: 115 Min.
DIRECTOR: Matt Reeves
CAST: Kodi Smit-McPhee (Owen), Chloe Moretz (Abby), Richard Jenkins (The Father), Cara Buono (Owen’s Mom), Elias Koteas (The Policeman), Dylan Minette (Kenny)

VENUE: I attended an advance screening of LET ME IN at the HARKINS SPECTRUM 18 theatre in Tucson, AZ on Wednesday September 29th 2010 at 7PM. I live not a stones throw from this theatre (a 2 min. drive) and I love it. State-of-the-art digital projection and surround sound, comfortable seats, spacious auditoriums and a great concessions stand that includes a loyalty cup that entitles you to $1 Sodas. I arrived 90 min. prior to the screening and was about the 20th person in line. Harkins provided free water to the attendees as we waited in line and the air-misters were particularly appreciated while we baked in the waning Tucson sun. Something I’ve not seen other chains do for a screening was to only admit 20-30 patrons inside the lobby at a time in measured lengths which gives patrons enough time to hit the concessions stand before entering the theatre. This is mutually beneficial to theatre and patron as maximizes the theatres profits during a free screening and the patron is able to purchase concessions without the worry of a stampede for seating. My only bit of disappointment would be that the entire film was slightly out of focus. Even after pointing this out to a Harkins employee the issue was not corrected and I had a bit of headache afterwards. All-in-all a good experience, very organized.

FILM: When the Swedish vampire film LET THE RIGHT ONE IN burst onto the international scene in 2008 I don’t think anyone anticipated that the dark, unconventional coming of age story would grab the attention that it did. When it was announced that CLOVERFIELD director Matt Reeves had been tapped to helm an English language remake it was met with skepticism. The film was cinema of the highest order, why the need of an English language remake? What’s next, PAN’S LABYRINTH? I’m not against the concept of taking an established property and doing something different with it, a few of my most-treasured films are remakes; John Carpenter’s THE THING (1982), David Cronenberg’s THE FLY (1986) and Philip Kaufman’s INVASION OF THE BODY SNATCHERS (1978) – each one a stunning piece of genre cinema. My curiosity for this project was piqued when I heard that the legendary HAMMER FILMS had been resurrected and acquired the rights to the remake. Hammer Films brought forth a great string of Dracula and Frankenstein films in the 1950’s and 60’s including THE BRIDES OF DRACULA (1960) and THE REVENGE OF FRANKENSTEIN (1959). In my mind Hammer Films was a continuation of the legacy that Universal Pictures created in 1930’s and 40’s. The decision to go with director Matt Reeves was a bit startling as the style and cinematography of that film didn’t lend itself to the atmospheric style of Let the Right One In. As the casting was announced I was more or less sold on the film. Chloe Moretz from KICK-ASS, Kodi Smit-McPhee from THE ROAD, and the amazing Richard Jenkins whom you may recall as the patriarch from HBO’s SIX FEET UNDER, THE WITCHES OF EASTWICK (1987) and most recently in the Coen Brothers’ BURN AFTER READING (2008). That’s it, that’s all I needed, a great cast, a talented director and the involvement of Hammer Films.

The setting of the film is moved from Stockholm (Sweden) to Los Alamos, New Mexico circa-1983. It translates well on film, the setting is winter, everything is covered in snow, the landscape is desolate and the town of Los Alamos is pure small-town misery. Other changes to the film are minor; Oskar is now called Owen, Eli is changed to Abby. The look of the film is amazingly similar to Let the Right One In. Tonally the films are kindred spirits, and the story is mirrored in almost all aspects. There are few major departures from the original storyline aside from the addition of a new character The Policeman (Elias Koteas) who is featured prominently throughout the film, including an interesting prologue that sets up the film. Something excised from the films is the exploration of the other dwellers to the extent we did in Let the Right One In, the focus is Owen and Abby’s intimate and emotional friendship.

We’re introduced to Owen, a frustrated 12 year-old child of divorce. He lives with his mother at an apartment where he bides his time spying on neighbors with his telescope and fantasizing about exacting revenge on the trio of assholes who viciously taunt him at school, especially Kenny, a black-hearted bully who’s got a serious bug up his ass. While spying through the telescope he notices the arrival of Abby and her minion played by Richard Jenkins. Owen and Abby strike a bond after meeting at the playground in the apartment’s courtyard. He soon discovers that Abby is more than what she seems, that she is an eternally 12 year old vampire, but he cannot fight his feelings for her despite his fears.

Not long after her arrival the bodies begin piling up in Los Alamos and The Policeman sets out to solve the slayings which he believes are Satanic in nature. Koteas bares more than a passing resemblance to the late John Cazale (Fredo from THE GODFATHER) and never more-so than here. Definitely a film that engages the viewer, I was completely rapt for the duration of the film, it’s compelling stuff. Both Moretz and Smit-McPhee are phenomenal in their roles, particularly McPhee's portrayal of Owen. You feel his alienation and frustration in life and the attraction he has for his mysterious new nocturnal friend. Jenkins portrayal of The Father is chilling stuff; he has a cold detachment when he’s on the prowl to procure fresh victims to satisfy Abby’s blood-lust. He also dons a simple yet frightful garbagebag with eyelets mask that recalls THE TOWN THAT DREADED SUNDOWN or FRIDAY THE 13th Pt. 2. Years of service to Abby are starting to catch up with him and he makes mistakes that culminate in his capture which forces Abby to search for victims herself.

What didn’t I like about the film? Truly, very little. When Abby attacks her victims it’s enhanced using CGI and it had the effect of making her look like Gollum from the LORD OF THE RINGS. Could her unnatural movements and ferocious attacks been captured adequately through the use of speed-ramping and wire work to have avoided the Uncanny Alley of CGI? Probably, but this is only a minor quibble.

VERDICT: I won’t say that LET ME IN is a superior film to LET THE RIGHT ONE IN, it’s simply not. However, for being a remake of a near perfect film that needed no remake it does no disservice to the original. To make a musical comparison – I love the David Bowie’s “The Man Who Sold the World” it is true masterpiece. That said, when I flip on the radio and hear Nirvana performing their version of that song from MTV’s Unplugged I crank it up. It’s not better than Bowie but it’s still a stunning rendition just the same. This is firmly in my Top 10 of 2010 come year's end. Up next for Hammer Films is a remake of THE WOMAN IN BLACK from James Watkins - the writer/director of the English exploitation flick EDEN LAKE (2008) starring HARRY POTTER star Daniel Radcliffe. Consider my curiosity piqued.
****1/2 (4.5 out of 5 stars)


-McBASTARD