Mad Max (1979) Blu-ray review

Long before Mel Gibson was one of the biggest actors in the world, and long before post-apocalyptic films featuring marauding gangs of lunatics were churned out by the dozen, there was Mad Max (1979). In writer/director George Miller’s seminal film, the world hadn’t quite gone to hell yet – that would be saved for the (arguably) best film in the series, Mad Max 2 (1981, a.k.a. The Road Warrior) – but the writing was seared onto the walls. Miller’s dystopian wasteland set a tone and visual palette that has seen more copies than a Xerox machine. And, really, where better to film such a sparse dust bowl future than the Australia of 1979? Half the country is one big desert already. What really gives Mad Max the power of longevity is the strong characterization, with each actor bringing a distinct flair to their respective roles. Additionally, there’s a real sense of danger here – anyone could be a victim at any moment, and even Max’s fate isn’t assured as he attempts to do his job amidst a maelstrom of violence.

Opening “a few years from now…” the film joins in on the hot pursuit of a wanted cop killer, known as the Nightrider (Vincent Gil), who so far has managed to successfully evade the Main Force Patrol (MFP) officers in tow. But he isn’t so lucky when Max Rockatansky (Mel Gibson) gets on his tail, ending with the Nightrider’s fiery death. An energy crisis has left much of the Outback low on fuel and sparsely populated, with motorcycle gangs patrolling the streets and terrorizing citizens. The MFP’s main directive is to keep the highways safe and stop the gangs by any means necessary. Their job is made very difficult, however, due to political red tape and crooked lawyers who lobby hard for their scummy clients. Max’s partner, Goose (Steve Bisley), loses his cool when a suspect he knows is guilty winds up being released due to a technicality. Later on, that same suspect, Johnny “the boy” Boyle (Tim Burns), is egged on by the gang’s leader, Toecutter (Hugh Keays-Byrne), to horribly burn Goose while trapped in a wrecked car they helped demolish. Max is stricken with grief after seeing his partner’s wounds and quits the force. He’d rather spend his days traveling with his wife (Joanna Samuel) and new baby, enjoying the countryside. But when an unexpected run-in with Toecutter and his gang rips Max’s idyllic world right in two, the former MFP officer becomes focused on only one thing – brutal and swift revenge.

If there’s one aspect of Miller’s film that helped make it a massive success (other than Gibson’s laconic, magnetic performance), it’s the stunt work. Mad Max has fast cars, lots of ‘em, and more often than not they wind up in a crumpled heap on the hot asphalt. Adding to the impact of those stunts is the very clear indication that many did not go as planned, but since they had one shot in some instances however the stunt went is how it wound up in the film. When the Nightrider’s car collides with a petrol truck, it’s pretty obvious the car veered off course and didn’t hit the mark, which actually makes the stunt even scarier. And then there are also the numerous motorcycle stunts. During one such stunt, as seen in slo-mo, a wheel smacks the back of the stuntman’s helmet so hard you’d think he died on set. He didn’t, but he was definitely worse for the wear. Miller managed to outdo the stunts seen here when he made this film’s sequel, but for a first-time director this was some big stuff.

It would be interesting to see how today’s audiences – especially those who seem to need every detail of backstory explained ad nauseum - would react to Mad Max were it released today. Aside from the opening scrawl explaining the energy crisis, there’s very little history provided for the MFP, Max or the vicious gangs. I feel this only strengthens the film. Miller provides a solid framework within which these characters operate, and any reasonably sharp viewer should be able to fill in any gaps and make sense of how we’ve arrived at this situation. Just like Max, viewers are thrust into this savage land where danger lurks around every bend in the road. In particular, the Toecutter is an enigmatic force who controls his henchman with a firm grasp despite very little violence on his part. It makes you wonder what his story is. I mean, the guy is called “Toecutter” yet we never see him actually cutting off any toes. This sort of ambiguity would carry on through the series, and Miller always handles it perfectly. Here’s to hoping Max’s resurrection (albeit in a new form) is just as thrilling in Mad Max: Fury Road (2015).

There’s been a great deal of scuttlebutt on the web regarding Scream Factory’s 2.35:1 1080p image. Specifically, whether or not it’s any better than MGM’s previous Blu-ray edition, which was perfectly serviceable but far from perfect. As far as anyone knows the negative has been lost, meaning it would be difficult to improve upon what’s already been released. Unless you’re an obsessive about picture quality and go through a film frame-by-frame analyzing individual hairs and shrubs in the background, chances are you’ll find this edition to be on par with MGM’s release, if not a tad lesser. It does appear that some mild DNR has been applied, leaving skin tones looking occasionally waxy, and the grain structure is… odd; it’s not a visual eyesore but it doesn’t exactly look natural. Still, contrast is generally strong, with good color saturation and appreciable detail in many shots.

There are three tracks from which to choose here – Australian DTS-HD MA 5.1 surround sound or 2.0, as well as the infamous(ly bad) English DTS-HD MA 2.0 dub. The multi-channel Aussie option is your best bet, offering up a dynamic experience featuring great panning of effects and engine roars along with a decent low end during some of the more bombastic sequences. Dialogue has a bit of a reverb thing going on at times, though it never happens often enough to be a problem. Subtitles are included in English.

The audio commentary doesn’t feature the names you’d probably prefer to see – specifically, Miller and Gibson – but it does offer up a perspective from art director John Dowding, director of photography David Eggby, special effects artist Chris Murray and film historian Tim Ridge. Given the jobs of the men involved here, this track offers up a great perspective on the film’s production on a much more technical level. With so many people on the track, the energy remains high and talk stays lively and informative.

“New Interviews with Mel Gibson, Joanne Samuel and Director of Photography David Eggby” (HD) runs for almost thirty minutes. Although nothing too revelatory comes out of these talks, it’s wonderful to hear Gibson speak about the role that launched his career. Mel is candid as ever, brimming with enthusiasm and seemingly stoked to be talking about this seminal film so many years later. Samuel has some great anecdotes about her casting, while Eggby discusses the film’s wild stunt work and dangerous environments.

“Mel Gibson: The Birth of a Superstar” (SD) is a featurette that was included on the previous MGM special editions and covers Mel’s career, from his humble beginnings in Australia right up to his massive career in Hollywood. There’s a lot of gushing and glad-handing, with talk of what makes Mel different from other stars.

“Mad Max: The Film Phenomenon” (SD) is another carryover, obviously focusing on Miller’s film and how it set off a chain reaction of productions centering on post-apocalyptic/dystopian future films.

Two theatrical trailers are included, along with TV spots and a large still gallery, all in HD.

The Babadook (2014) Blu-ray review

One of the great joys of cinema is that unless a film is truly, irredeemably bad there’s always the chance that if you didn’t like it the first time around, maybe a second go will shift opinion. This was my experience with The Babadook (2014). It’s still the most overhyped film of last year by a considerable margin, and much of what’s been said about it comes across as hyperbole, but it is definitely not one of the worst films of last year… which is what I claimed when adding it to my Worst of 2014 list here on Dread Central. After taking into account all of the critical lauding and incredible praise (William Friedkin said he’s “never seen a more terrifying film”, not that he’s the foremost authority on horror), my initial viewing went poorly as the main child annoyed me to the point of near-insanity and the scares just never seemed to materialize. It seemed as though critics and audiences were so hungry for fresh, well-made horror that the first halfway decent picture to come along got hoisted up on everyone’s shoulders and paraded around town like the second coming.

So, it was with some trepidation that a second viewing came about when, like the titular character’s pop-up book, a review copy was left by my front door.

The story of The Babadook is that of grief, loss and trying to piece together a shattered life. Amelia (Essie Davis) is left to raise her behaviorally-challenged son, Samuel (Noah Wiseman), after her husband dies while they are en route to the hospital when she goes into labor. Her feelings of loss have not subsided in the seven years since the accident. Samuel, meanwhile, has grown into a child of considerable annoyance. He’s boisterous, loud, petulant and very protective of his mother, although he has no concept of being on his best behavior so she can maintain an air of sanity. Amelia is worn down to a nub, ceasing to live a meaningful life and merely eking out a pitiful existence. Samuel’s behavior constantly pushes the boundaries of acceptability, and eventually his antics get him kicked out of school.

Amelia decides what she and Samuel needs is a brief respite; a few days to recharge, aided by an understanding doctor’s prescription for a sleep aid. One night, Samuel selects a bedtime book that Amelia doesn’t recognize – “Mister Babadook”. The pop-up book proves nightmarish, leaving Samuel in a crumpled heap of tears and Amelia totally disturbed. She tears the book up and tosses it away, but the next day it reappears on her doorstep taped back together and sporting a few new pages. The story warns of the Babadook’s call, that you can’t get rid of it, and some of the pop-ups are an effigy of Amelia performing horrible acts. Considering the fractured state of her mental faculties, Amelia finds herself allowing the Babadook into her head, threatening both her and Samuel’s lives.

The Babadook is horror at its most basic – a parent must protect their child from a monster trying to invade their home. It’s been told a thousand and one times, and this film doesn’t differ from the countless others by a whole lot. What sets The Babadook apart is a mostly-good script and an absolutely searing performance from Essie Davis. I suppose credit is also due to Noah Wiseman as her incorrigible, intolerable son Samuel. Maybe his performance is easier to digest if you’ve already got kids, but, man, he is so incredibly snotty. Even his accent and facial mannerisms made me want to hurl him through a wall. This kid excels at pushing people to the point of seriously considering how much jail time you’d get for “accidentally” kicking him off a cliff. But that’s exactly how Samuel has to act in order to get Amelia where the film needs her, and so for those reasons he deserves applause for nailing it.

Davis is revelatory as Amelia. After experiencing a major trauma (the loss of her husband), she has no time to grieve, thrust immediately into childcare. In the seven years since the accident, she has developed a dichotomous personality, one which seems to both love and loathe Samuel. He isn’t the root of her current psychosis, but he’s a driving force in exacerbating it. The emotional rollercoaster Davis takes viewers on is palpable. Her character has a defined arc and we bear witness to her most primal moments of catharsis. Her performance ranks among the best of 2014 in any category, not just horror.

Where The Babadook managed to lose me was in symbolism and scares, the latter of which might as well be non-existent unless you’re the sort who rarely watches horror and is scared by any loud noise. The scares here are of the same sort you’d find in every other haunting movie, no exceptions. As for the symbolism, well, let’s just say anyone well-versed in cinema should have no problem understanding where the Babadook comes from and what it all means. The script is practically ham-fisted in its delivery, offering up allegories which are simply too on-the-nose to be appreciated. There isn’t any subtlety.

Overhyped to its own detriment, The Babadook is definitely a commendable achievement nonetheless, especially as a debut feature. The only reason I’m hesitant to sings its praises after a reevaluation is because, as I’ve said before, the DTV market is hot right now. Really hot. And there are so many awesome horror films coming out of it that it isn’t possible to say The Babadook stands above the rest; it is, however, one of the better horror films of last year and while it wouldn’t have made my top five it shouldn’t have been in the bottom, either.

Framed at 2.35:1, the film’s 1080p picture is visually fantastic. The picture was shot using the Arri Alexa digital camera, allowing for a crystal clear image with razor sharpness and a complete lack of grain. Colors are accurate, with the palette veering toward shades of blue, black and grey. Black levels look inky and rich. Detail stays strong, even when the scene is in complete darkness. There’s really nothing worth complaining about here.

Everyone knows a good score and sound mix are essential to any horror film, and the English DTS-HD MA 5.1 surround sound track used here is exemplary. The score, from composer Jed Kurzel, is ethereal and minimalist, punctuating only at precise moments. These scenes of serenity are interrupted by the booming presence of the Babadook, whose appearance is often preceded by big, loud knocks. They’re jolting, but it never feels like a cheap stinger. This is a strong, powerful present track that goes far in elevating the film’s effectiveness. A 2.0 stereo track is also included. Subtitles are available in English SDH and Spanish.

Jennifer Kent’s short film Monster, which she has called “baby Babadook”, is included here. It’s very similar in story and tone to the feature film and is worth watching either before or after The Babadook.

A trio of deleted scenes are presented in HD, which are mostly extra bits with Samuel.

“Creating the Book with Illustrator Alex Juhasz” features the talented guy behind the creepy pop-up book talking about how he got hired for this project and then showing off the “master hero” prop used in the film.

“A Tour of the House Set” discusses how the production team wanted a “storybook quality” to the home, to match some of the film’s themes, and this piece shows off what it took to put Amelia and Samuel’s residence together.

“The Stunts: Jumping the Stairs” is a quick piece that shows the team setting up the shot where Samuel is pulled upstairs.

“Special Effects: The Stabbing Scene” shows off one of the film’s minor FX moments. They used a leg of lamb in place of Davis’ thigh. It looked delicious.

“Behind the Scenes” is simply some B-roll from the film’s set.

“Cast & Crew Interviews” is a series of talks with actors Essie Davis, Daniel Henshall, Barbara West, Hayley McElhinney, director Jennifer Kent, costume designer Heather Wallace, and producers Kristina Ceyton and Kristian Moliere, running for just over an hour.

Two theatrical trailers are also included.

Scream Factory really steps up their game here by offering a very cool package for buyers of the special edition. A slick red slipcover is featured on initial pressings, with a flap on the front held by Velcro opening up to reveal a pop-up Babadook from right out of his signature book. It’s a great touch to nerd out on. The single disc itself is housed in a standard Blu-ray keepcase. The cover art is reversible.

Exterminators Of The Year 3000 (1983) Blu-ray review

Italian cinema has triumphed in many ways throughout the history of motion pictures, bestowing upon audiences celebrated directors, an entire subgenre of horror (giallo), timeless composers (e.g. Ennio Morricone) and unquestionably classic films. Yet, dubious as it may be, the country’s most notorious cinema comes in the form of cash-grab in-name-only sequels and blatant rip-offs of any acclaimed hit to make waves. If a Western/Horror/Shark film enjoyed any level of success in the ‘70s and ‘80s, you can be sure the Italians found a way to produce half a dozen illegitimate sequels, virtually all of which are a faint shadow of the original work. They’re also guilty of cannibalizing their own successes, as evidenced by the fact Django (1966) has more “sequels” than the James Bond series (1962-present) has films.

After George Miller’s Mad Max (1979) and The Road Warrior (1981) proved to be sizeable hits, it wasn’t long before a slew of Italian imitations hit the scene. Don’t get me wrong here – just because these films are taken whole cloth from other, often better productions doesn’t mean many aren’t awesome(ly bad) in their own special way. 1990: Bronx Warriors (1982) kicks all sorts of scorched-earth ass, so who cares if you can see pedestrians and traffic off in the distance of “post-apocalyptic New York”? The plots of these films were generally identical most of the time anyway: a fairly benevolent group of people needs some resource, while another group of less friendly people wants to prevent them from obtaining it. Fights ensue. But where Exterminators of the Year 3000 (1983) slightly differs is that it might as well be a remake of The Road Warrior, with only a few minor substitutions made to distinguish it in any way. It’s like watching a student film version of Miller’s masterpiece – all the elements are present, just on a much lesser scale.

Nuclear war has ravaged Earth, leaving it a scorched, barren wasteland by the year 3000. A small encampment of remaining humans lives underground in a cave, where they use retro-future methods to grow lettuce and seemingly little else. Unfortunately, water is a scarcity now (gas probably is, too, but one problem at a time) and these people desperately need it if they are to survive any longer. One brave man volunteered to retrieve some, but he never returned and everyone figures he’s dead. In his stead another man, known as “Alien” (Robert Iannucci), offers to take up the task. He won’t be going alone. Tommy (Luca Venantini), the 10-year-old son of the guy who disappeared on his water run, wants to tag along. Tommy soon learns the dusty plains they must travel are no place for a young boy. Savages are everywhere, led by the murderous Crazy Bull (Fernando Bilbao), who has a grudge against Alien. A tough woman (and Alien’s ex), Trash (Alicia Moro), and a wily old man, Papillon (Luciano Pigozzi), join Alien and Tommy on their quest for water and aid in the fight against Crazy Bull and his stable of brutal warriors.

This movie is strictly for those who like their cheese thick. As easy as it would be to pick this film apart like a sundried carcass, the fact of the matter is it’s actually got a lot of flat-out ridiculous elements that work because they show sparks of creativity and passion. Alien uses a pair of bolas that can cut a man in two. Tommy, who we learn halfway through the film has a bionic arm, has that arm repaired and improved giving him the ability to throw a rock through someone’s head like it was made of butter. The water cache our heroes are searching for is guarded by a squad of deranged welders. An obvious miniature set explodes with all the ferocity of a Roman candle. If you’re going to make a picture and the budget is limited, this is how you do it – maximize the shit out of every dollar. Most of Exterminators of the Year 3000 is utterly forgettable, but the producers wisely included a handful of scenes that are memorable enough to give it some lasting credit. Not much, but enough to keep viewers from falling asleep or checking their social media feeds. The opening car chase, which is a fantastic example of stunt driving, looks like something right out of a Stephen J. Cannell television production.

It’s likely anyone buying this latest Blu-ray release from Scream Factory - which was almost a double feature with Cruel Jaws (1995) until that was proven to be a rights nightmare, as it uses unauthorized footage from at least four other shark movies - knows what they’re getting into, so if you’re reading this review because you love all of those scrappy Italian nuclear wasteland films and want to know if this one is worth your time, the answer is… sure. It fits right into that wheelhouse.

Much like the film itself, Exterminators of the Year 3000 arrives on Blu-ray with a 1.85:1 1080p picture that is gritty and rough around the edges. To be fair, technically the presentation is about as good as it’s going to get, plus this also marks the first time the film has been released on home video in its proper aspect ratio. Code Red had released a DVD edition in 2010 that was full frame, so enough said there. This hi-def release features a marginal uptick in quality over standard resolution, with only extreme closeups worthy of any sort of praise. In general, it’s a soft focus feature with accurately rendered colors, unspectacular details and a sunbaked color palette. In darkness, detail is completely swallowed; thankfully, very few scenes take place in such conditions. Fans will likely be happy enough just having the film in widescreen.

Once again, on a technical level there’s not much fault to be found within the English DTS-HD MA 2.0 mono audio track. Every trait of the sound mix, for better or worse, is cleanly carried over here. In the bonus features it’s made clear that the languages spoken on set were English, Italian and Spanish, and their vocalization wasn’t always done when cameras stopped rolling. Therefore, the entire film had to be dubbed. So expect lots of tin can dialogue, “Look out, it’s Godzilla!” lip synching and a near total lack of any presence whatsoever. Composer Detto Mariano gets a modicum of credit for crafting a catchy low-fi synth motif, but it gets so overused you’d think it was all he wrote. Subtitles are included in English.

If you’re able to withstand the moderation by Code Red’s Bill Olsen, then this audio commentary with actor Robert Iannucci may be worth a listen. Iannucci has many clear recollections from the set, speaking about the different nationalities participating in the production, eating snakes, the stunt work and so forth. Personally, Olsen is just a little too deprecating and hyper for my tastes, and his mania sours otherwise decent commentary tracks. Just my two cents.

“Boogie Down with the Alien: Interview with Robert Iannucci” runs for a little over 17 minutes. This footage looks rather old and is presented undated. The actor sits down to discuss his involvement with the project from casting to production and its legacy. Some info is redundant here if you’ve heard the commentary track.

The film’s trailer and a couple of TV spots are also included.