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Hollywood Dives Deep Into Day & Date

Hollywood Dives Deep Into Day & Date

Those who listened carefully—and knew how to read the signs—heard the first domino fall a few weeks ago when MGM delayed the release of No Time to Die, the upcoming 25th James Bond film, from an original opening date of April 3 to November 12 in light of the recent virus outbreak. At the time, it seemed a pretty drastic decision to push the opening of such a tentpole film seven months, especially after so much had already been committed to and spent on advertising.

 

Following that, we saw other premieres cancelled, as studios delayed movies in the uncertain market. The next big domino to drop was announcements from major cinema chains saying they would be voluntarily cutting capacity in auditoriums and limiting ticket sales to 50% in an effort to encourage social distancing. But as the outbreak continued to spread, pretty much all of the commercial cinemas soon shut their doors.

 

Along the way, other studios followed MGM’s example of pushing back release dates of upcoming major titles. Things like Mulan, A Quiet Place Part II, Black Widow, and F9 have all been delayed; some by months, some with no new scheduled release. We also saw multiple studios halting production of major films currently in the works such as James Cameron’s

Avatar sequels, Matrix 4, The Batman, Jurassic World: Dominion, and many more.

 

The next domino to drop was by Disney last weekend when the company upped the digital release date of Star Wars: Episode IX—The Rise of Skywalker a few days, followed almost immediately by the announcement it would be making Frozen II available on its Disney+ streaming service months earlier than planned.

 

Then the biggest domino of them all (so far . . .) dropped this past Monday, March 16 when Universal 

Hollywood Dives Deep Into Day & Date
Hollywood Dives Deep Into Day & Date

Studios announced it would be making three films still early in their theatrical runs available for viewing at home in a premium-video-on-demand release: The Invisible Man (released theatrically on February 28), Emma (released theatrically on March 6), and The Hunt (which just opened at theaters on March 13). As of today, you can watch any of these movies in the comfort of your own home without any special hardware for just $19.99 on platforms like Vudu, Fandango Now, or iTunes.

 

Even more surprising, in that same announcement, Universal also said that its upcoming Trolls sequel, Trolls World Tour, would debut on April 10 at home, day-and-date with its originally scheduled theatrical release.

 

Having followed the day-and-date landscape for some time, these changes—and the speed with which studios made themare nothing short of jaw-dropping.

 

Outside of the elite Bel Air Circuit—where an invitation-only group of A-listers are allowed to watch cinema content in their personal screening rooms using the same digital files sent to commercial theaters—there has been no way for “normal” people to view content still playing in theaters at home, and studios have maintained a very clear firewall of release windows to ensure that theater owners are given exclusive access to this premium content.

 

Typically, movies play exclusively in the theater for a month or so before going to premium video-on-demand (PVOD) services such as pay-per-view or airlines, then to an online digital release such as via Kaleidescape, Vudu, or iTunes, then a disc release about 14 weeks after the theatrical run, then to home video services like HBO a couple of months later, and then

finally to non-pay TV services. 

 

Universal’s recent moves have taken this model and blown it up.

 

And, here is a bit more perspective on how radical Universal’s decision is to make these films available at the 48-hour PPV viewing window of $19.99. Just a few years ago, Universal was one of the early investors in a high-end home theater startup 

company called Prima Cinema. Prima planned on bringing first-run, day-and-date theatrical content to the home market, but with a slew of restrictions that included an insane amount of anti-piracy measures, a limit on the number of seats in the theater, biometric sensors, and requiring a piece of proprietary hardware installed in a closed system that cost $35,000. Oh, and each viewing cost $500.

 

That is why letting anyone with a Roku, Firestick, or AppleTV watch Trolls day-and-date for $19.99 is utterly gamechanging. (Currently the quality of these titles appears to be limited to HD resolution, not 4K HDR, but this is a rapidly changing landscape and that is subject to change.)

 

After the big Universal domino fell, other studios started adopting a similar strategy.

 

Sony Pictures announced the latest Vin Diesel actioner, Bloodshot, which just hit theaters on March 13, would be 

available for purchase for $19.99 starting March 24. Warner Bros. is releasing the Ben Affleck sports drama, The Way Back, which hit theaters on March 8, for purchase on March 24 as well. And the faith-based music drama, I Still Believe, which Lionsgate released on March 13, will be available on March 27.

 

Then, on March 20th, the next domino dropped—the biggest one so far from Walt Disney Company, which announced that its latest Pixar release, Onward, which just hit theaters on March 8, would be available for purchase starting at 5 p.m. eastern and heading to Disney+ for streaming on April 3. This was a massive release from Pixar, with an estimated budget of $175-200 million, yanked from theaters after less than two weeks and put into the home market.

 

With commercial theaters forced to temporarily shutter their doors, the home market is the only outlet for studios to get these films out there and try to recoup some of the costs. Of course, I’m sure an argument was made for just “freezing” films in the theater as they were, and going back to business-as-usual once theaters reopen. But with film releases often scheduled months or years in advance—and films already stacked up in an uncertain pipeline—sometimes it is a now-or-never proposition to secure a film’s release date.

 

This offers Hollywood an almost guilt-free major-market test of bending or easing the early-release window. With commercial theater owners forced to close and unable to claim this is hurting their profits, the studios can experiment with the market demand and interest in early release and see if there is enough money to be made from going into homes early.

 

What we are seeing now could be an end to theatrical releases as we knew them, or it could just be a temporary anomaly forced by unprecedented events.

 

Either way, we’ll continue covering this news as it develops. Meanwhile, you now have the opportunity to enjoy some fantastic content in your own home far earlier than normal.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Just Mercy

Just Mercy (2019)

Wherever you stand on the controversial topic of capital punishment, it’s probably safe to say that no one wants to get it wrong and accidentally put an innocent person to death. And while we would probably all like to believe the justice system is infallible and that it goes out of its way to get it right and ensure those given the ultimate sentence are truly guilty and deserving, the sad truth is that isn’t the case. Especially in the past. And even more especially in parts of the South.

 

Just Mercy is the true story of an idealistic, fresh-from-Harvard-Law graduate African American, Bryan Stevenson (Michael B. Jordan), who travels to Alabama to open the Equal Justice Initiative with Eva Ansley (Brie Larsen) to seek justice for those wrongfully convicted or who had received inadequate counsel. While visiting the William C. Holman Correctional Facility in Alabama, Stevenson meets with a variety of inmates and listens to one sad story after another about being railroaded by a legal system that seems rigged to work against them.

 

One of these is Walter McMillian (Jamie Foxx), accused, convicted, and sentenced to death in Monroe, Alabama for the 1986 murder of an 18-year-old white girl. After McMillian has spent years on death row, Stevenson takes up his case. (Interestingly, Monroe County is where Harper Lee was born, and the wrongful trial and conviction of Tom Robinson in her novel To Kill a Mockingbird in many ways echoes what happened to McMillian.)

 

As Stevenson starts digging through files and records and court transcripts, it quickly becomes apparent that the case against McMillian was fueled by deep-seated racism and the need to solve the murder, with much of the evidence that would have acquitted him having been excluded, and with the guilty verdict—and the prosecution’s entire case—hinging entirely on the forced and fabricated testimony of a convicted felon, Ralph Myers (Tim Blake Nelson).

 

Beyond the compelling story, what truly drives Just Mercy are the fantastic performances turned in by Jordan, Foxx, and Nelson. Jordan is quickly becoming a favorite actor of mine, after engaging roles in Creed, Black Panther, and Fruitvale Station, and he definitely delivers here, showing off Stevenson’s idealism and hope to change the system and save lives. And we repeatedly experience the shocking injustice at virtually every turn through his eyes and expressions.

 

Foxx is the polar opposite of his normal bombastic and cocky persona, instead being reserved and slow to believe and hope that this time this lawyer will actually be different, but when intensity and emotion are called for, Foxx delivers.

 

Nelson, who has made a career of playing quirky characters (and whose appearance in movies never fails to elicit an, “We thought you was a toad!” quote from my wife and me, recalling his character Delmar O’Donnell in O Brother Where Art Thou?) does a terrific job of inhabiting the conflicted Myers, adopting a tic and speech pattern that represent his abuse growing up in the foster system and bringing some humanity to what initially seems an unredeemable person.

 

The film avoids all of the usual prison-film tropes of guards beating prisoners, yard riots, or shower rapes, and instead focuses on the friendships that develop between prisoners on the Row and the helpless feeling of waiting around in a cage for someone or something else to make a decision that will change or end your life.

 

There is one execution that underscores the high stakes involved should the appeals fail, but even that scene shies away from reveling in anything gruesome, with the camera instead cutting away right before the electricity is applied. However, it retains a high level of emotion as we experience what we can’t see through Stevenson’s eyes and the feelings of the other prisoners along with a low, steady hum of high-current passing off camera.

 

Repeatedly, the film leaves you feeling infuriated by the smug confidence and corruption of the (then) all-white Alabama law machine, specifically Sheriff Tate (Michael Harding) who seems less concerned whether McMillian is the guilty person and more so that someone is going to pay. The justice system appears to circumvent and corrupt justice at every turn, and, like 

McMillian, you end up with a feeling of despair, hopelessness, and anguish. Just how many wrongs can be uncovered and the truth still be denied?

 

Filmed in 8K, Just Mercy is taken from a true 4K digital intermediate, and closeups certainly reveal each pixel of this detail. Facial detail is sharp and in razor focus, showing every pore, pockmark, and whisker. Early on Stevenson wears a V-neck sweater vest, and there is fine-line stitching clearly visible along the neck and shoulders.

 

The film has a mostly reserved color palette throughout. Many exterior scenes feature earth tones under a mostly muted and overcast sky, with even the often bright-blue Alabama skies dialed back. The interior of McMillian’s home is filled with tans, browns, creams, and other muted tones, and the prison interiors are taupes, greys, whites, and beiges.

 

HDR is used to provide punch to shadows and sunlight streaming through windows, but this isn’t really a film that stuns with amazing visuals.

 

Sonically, I’d call the Dolby Atmos soundtrack reserved. Fortunately, dialogue, which is the all-important character here, is well and faithfully presented in the 

A Gallery of Souvenir Movie Programs

center channel, letting you easily understand every line. They do use some opportunities to provide some ambience in the mix, such as having birds chirp, wind blowing, and leaves rustling in outdoor scenes. The mix also does a nice job of putting you inside the prison, with dialogue mixed in a way to makes you feel like you’re in a low-ceilinged room, with the subtle buzz of lights and hum of the HVAC system. Occasionally, you’ll hears doors slamming or shouts off in the distance. When McMillian is locked in his cell, the door slides shut with a weighty and convincing thunk.

 

Just Mercy is a heavy and powerful 2 hour and 17-minute film that received a well-deserved 99% audience rating on Rotten Tomatoes, and is one that will leave you thinking well after the credits roll. In fact, an end-credit scene leaves you with the staggering statistic that for every nine persons executed in the United States, one is exonerated and set free.

 

The film dropped a week earlier than expected at the Kaleidescape store, nearly a full month before the physical Blu-ray release on April 14. No 4K disc version is announced at this time, making Kaleidescape your best option for the highest-quality viewing experience.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

A Gallery of Souvenir Movie Programs

In “The Lost Art of Souvenir Movie Programs,” Tony-winning director Gerard Alessandrini talked about his efforts to hunt down the promotional programs for classic movies spanning the entire history of film. Here, as promised, is an extensive dive into that unique and diverse collection of movie ephemera.

 

Click on any of the images to enlarge them.

SILENT FILMS

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs

click on any of the images to enlarge

MUSICALS

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs

click on any of the images to enlarge

EPICS

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
Gallery of Souvenir Movie Programs

click on any of the images to enlarge

SCI-FI / FANTASY

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs

click on any of the images to enlarge

DRAMAS

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs

click on any of the images to enlarge

1950s WIDESCREEN

A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs
A Gallery of Souvenir Movie Programs

click on any of the images to enlarge

. . . and lastly

A Gallery of Souvenir Movie Programs

As promised, Gerard’s copy of the movie program for Star!, signed by both Julie Andrews and director Robert Wise.

Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X,The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.

The Lost Art of Souvenir Movie Programs

Collections of film memorabilia are always fun and interesting because posters and paraphernalia are essentially advertisements that are attractive and eye-catching, as well as informative. And because advertising styles change every year, a poster or press book from the 1940s is enormously different from one from the 1990s. But no matter the decade, the tie-in is often a fond reminder of the movie it promotes.

 

I’ve always appreciated movie posters, but there is another type of film memorabilia I’ve enjoyed even more—the souvenir movie program. This is definitely a long-lost art from the past. In fact, it’s not even well known that these even existed.

 

From 1915 to about 1995, many films wanted to be taken seriously as theatrical-type “events.” These films sold elaborate color programs, just 

like the ones sold at theatrical shows and concerts. In the 1960s when reserved-seat road-show engagements were popular, films were marketed like a Broadway show. (Indeed, many of these films were adaptations of Broadway hits.) The film companies would print up hundreds of booklets to be sold at the initial engagements.

 

In the 1960s, they sold for about a dollar each. Often, they were displayed and sold at the concession counter. You felt they were a very special souvenir because they could only be purchased at the movie palace where the film was playing. Nowhere else. When the film went into general distribution to “neighborhood theaters,” the programs could no longer be found.

 

What made these programs important to film lovers at the time was that they were a lovely reminder ergo “souvenir” of the film they just saw, as it might be a very long time before they viewed the film again.

 

In the first part of the 20th Century, there was no video you could buy a few months after the film’s release. It could be many years until a movie would be broadcast on TV. Or if it was a true blockbuster, like Gone with the Wind or The Ten Commandments, the studio would hold it from view or re-issue for seven years until a new generation was born.

 

Likewise, movie posters were never for sale or available to the public since distributors would save the used posters and store them for secondary distribution or future use. Even up to the 1970s, if you wanted a movie poster of a favorite film, you had to steal it. Remember Francois Truffaut’s childhood memory in Day for Night, where he steals the Citizen Kane lobby cards?

So, the only item a film fan might have to remind them of the film was a souvenir program.

 

I first started collecting them in the 1960s. I always brought an extra dollar along with me to a road-show film so I could buy the program to the likes of My Fair Lady, The Sound of Music, or Oliver!. As my collection grew, I realized from research and sometimes inserts in the programs that they had been printing up souvenir programs for many years.

 

In thrift shops and out-of-print book stores, I found the likes of the hardcover Ben-Hur (1959) souvenir book. From the back page, I found the address of the original publishers. (Remember, there was no internet then.) I began writing directly to the 

publishers and found they were more than wiling to sell me older programs for a dollar. I was able to add How the West Was Won and many other of the 1960s epics.

 

As I collected what I could find from the past, I continued to collect newer ones from road-show movies I attended, such as 2001: A Space Odyssey, Sweet Charity, Cabaret, and The Godfather. As the road-show era subsided, so did the production and sale of souvenir programs. However, about that same time in the 1970s, I found out that in Britain the idea of the color program was still popular. The British have a love and knowledge of theatergoing, and understood and enjoyed their value. I was soon sending to London for programs like The Boy Friend and The Battle of Britain.

THERE’S LOTS MORE TO SEE!

Gerard’s collection of movie programs is so extensive that we didn’t even have enough room for all the highlights. So if you’d like to see some more rare treasures—like a look inside the original Singin’ in the Rain program, the industry-only booklet for the original Star Wars film, and even the program for the infamous mega-flop Star!, signed by Julie Andrews and director Robert Wise—check out our image gallery for “The Lost Art of the Souvenir Movie Program.”

Here in America, the rise of the science-fiction blockbuster helped keep the tradition of the souvenir program barely alive. Star Wars had a modest souvenir program for the general public to buy at the candy counter. For the audiences attending the premiere, however, a more spectacular program for the “upper class” movie industry was distributed. The Star Wars special edition was larger, more colorful, and glossier. To acquire a special-edition program like that you had to know somebody in the industry. As a young man that was a challenge!

 

But I think I enjoyed expanding my collection because movie souvenir programs were so hard to find.

 

When I grew up, I would take business trips to Hollywood, where I found various film bookstores like Larry Edmunds where they had large selections of classic Hollywood programs. I began to collect souvenir programs back to the 1920s, such as 

The Lost Art of the Souvenir Movie Program

Noah’s Ark, and even much earlier D.W. Griffith films like Intolerance and Birth of a Nation. Even these were elaborate booklets with many color pages.

 

After the LA earthquake of 1994, a big bookcase fell over at Larry Edmunds’ bookstore, and behind it lay a well-preserved collection of 1930s souvenir programs. They were kind enough to sell me this lost treasure trove, which included an elaborate die-cut program from the Grauman’s Chinese Theater premiere of Walt Disney’s Snow White and the Seven Dwarfs.

 

As I added to my collection, I found it easier to locate programs from the 1920s and ’30s than the 1940s and ’50s. But many of my favorite films are from that later era. I wondered, “Were there souvenir programs for The Best Years of Our Lives or An American in Paris?” Through private collectors, I found out. Indeed, there were! The reason for the scarcity of programs from that time was the paper shortage caused by World War II and the subsequent Korean War.

 

After years of searching, I eventually found very rare souvenir programs to Citizen Kane, Sunset Boulevard, and even All About Eve.

 

Since the country was still recuperating from the paper shortage, these are mostly in two-color monotone, but in this way, they match the films. Only the American in Paris and Singin’ in the Rain seem to want for more, although they have a certain two-color charm of their own. What they lack in Technicolor punch they make up with in stylish collage design.

 

As the movies became more spectacular in the 1950s, so did the programs. Hardcover editions for Around the World in 80 Days, Spartacus, and El Cid were created. They are loaded not only with color stills but profuse information about the making of the epics and “backstage” behind-the-scenes pictures.

 

For that reason, they are still helpful and very fun to thumb through today. Sometimes they are even fun to pull out when you’re watching a classic David Lean film like Dr. Zhivago in your high-end home theater.

 

Today you can’t buy a program at a theater’s concession counter. Instead, blockbuster and fantasy films have complete film books that are sold to the public in stores such as Barnes & Noble. They are spectacular and often of the coffee-table variety. But that’s a different kind of film-book collecting.

 

One of the last programs sold in a movie was Dreamgirls (2006). I remember buying a gorgeous oversized program 

for the movie at the Ziegfeld Theater in New York. Even then, I suspected it was not a return to the golden age of souvenir programs but part of the marketing choices to give a 1960s retro feel to the film.

 

Gone is the era of seeing a film and leaving with a little piece of a movie by taking home a souvenir program. But if you search the internet enough you can still find a few. They are a vivid reminder of the golden age of Hollywood hype!

 

Gerard Alessandrini

Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X,The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.

The Report

The Report (2019)

Sitting at home during the early stages of what may turn out to be a genuinely spectacular pandemic, I sometimes let my mind drift over recent history, with specific key aspects of select periods pointing to some deeper meaning.

 

Sure, it may be the wine talking, but there are truths that only become apparent when allowed to ruminate without the burden of an overly hectic social schedule. Facts like how 2019 was unlike any other year in that it indeed was the Year of Adam Driver.

 

Think about it: Last year, Driver starred in no fewer than four full-length North American releases: The Dead Don’t Die, Marriage Story, The Rise of Skywalker, and The Report, the last of which came and went in a haze all too fast to garner nearly as much box office success as it deserves.

 

Released in November ’19 a month ahead of the super-hyped wrap to the original Star Wars saga, The Report places Driver in the role of Senate staffer Daniel J. Jones who, in 2009, was enlisted by Senator Dianne Feinstein of California to investigate the ’05 destruction of videotapes documenting allegedly abusive CIA interrogations of prisoners in the months following 9/11. 

 

When the report detailing the findings of the original two-year investigation is brushed aside, Feinstein directs Jones and his team of six to dig deeper, leading them to discover horrible truths that the CIA preferred to remain buried.

 

As a thriller, The Report relentlessly grabs viewers by the collar as we’re taken behind the scenes of the torture program that came to be known for the introduction of the term waterboarding into the American vernacular.

 

Like Three Days of the Condor and other classic thrillers of the ‘70s, The Report builds tension by allowing the story to unfold around a central character, in this case Jones, whose sincerity and near-disbelief at the attempts to thwart his investigation only inspire him to push harder, if not always with the greatest of prudence.

 

Directed by Scott Z. Burns, The Report is a big film with big-ticket stars that remarkably maintains the feel of a lean, independent production. Special effects are replaced by a keen eye on detail, as Jones and his team methodically research the use of “enhanced interrogation techniques,” videos of which went missing shortly before the original investigation kicked into gear. This isn’t some Watergate-style 18-minute gap in audio—hundreds of hours of tapes quickly went MIA thanks to the CIA, or so Jones and his team maintained as the followup investigation built momentum over five years. According to history, the small group dove into more than six million pages of documents, conducted interviews, and met with interference by the Agency and members of the Obama administration, among others. 

 

Unlike thrillers that expand the narrative into the leads’ personal lives, The Report is all about the business at hand. We’re left to surmise that Jones’ home and love lives are anemic at best, as we see him work tirelessly with an added boost of adrenalin every time he or a member of his staff discover a new and potentially beneficial revelation.

 

Playing a man who is consumed by his mission, Driver portrays Jones as supremely buttoned-up, humorless, and wholly wonkish as he dives into a sea of paper in pursuit of the true story. Burns, making his directorial debut, lets the day-to-day details of the story build as the 6,700-page report takes shape. Aside from occasional violence depicted in flashback scenes to the CIA black sites where the abuses took place, The Report is all talk and tension in the best possible way.

 

It is a challenge to present relatively recent news.Yet, Burns and the cast pull it off with what felt like a never-ending race from the windowless box where the team did their research to meetings with administration officials, the CIA, and conversations with anonymous sources. Throughout, Driver maintains a focused, sort of angry composure that had me anticipating an explosion of emotion that never materializes. Instead, he is simply a professional with no intention of letting up, especially as it becomes clear that early suspicions about allegations of torture are in fact true.

 

As a screenwriter, Burns collaborated with co-producer Steven Soderbergh on several films, including Contagion, which unsurprisingly is getting cited in current news stories. He eschews oversized scenes for adherence to the story, acknowledging that the story itself is more powerful than any dramatic flourish can provide. Of course, this means the viewer must keep up with the dialogue, which is mixed clear and upfront, with sound effects and music playing their roles as distant seconds to the words.

 

This is Driver’s sweet spot. His dry yet impassioned delivery comes across as honest and sincere, whereas a lesser actor may have lapsed into a more over-the-top presentation throughout the film. As Sen. Feinstein, Annette Bening becomes the character—from her outward appearance to her mannerisms in public and private, she embodies the senator’s pleasant, no-nonsense manner without it becoming a caricature.

 

Upon its release, The Report came and went without making a dent at the box office, which is a shame, given that you will be hard-pressed to find an equally gripping film with a commitment to historical accuracy that makes it required viewing for fans of historical narratives. The combination of a tight script and first-rate cast makes The Report a home run for Burns, box office losses to the contrary.   

Adam Sohmer

Longtime consumer and professional technology specialist Adam Sohmer is president
and
owner of
Sohmer Associates, LLC, a Brooklyn, NY-based public relations & marketing
communications boutique agency catering to leading audio, video, and wireless brands.
Even longer than his career is his obsession with music and movies, and the gear used to
bring them to life. 
Find him on
Facebook, Twitter, and Instagram.

The Rise of Skywalker

The Rise of Skywalker

There hasn’t been a lot of good news swirling about lately, so it was a real treat to open my email on Saturday morning and see a message from Kaleidescape announcing that Disney and Lucasfilm had decided to give fans a little bit of weekend fun by releasing the latest Star Wars movie a few days early. (It as originally scheduled for March 17; the disc release is scheduled for March 31.)

 

While the Mouse House offered no official announcement (at least that I could find) about the reasoning behind this early release, the company did make an announcement that Frozen 2 “will be available three months ahead of schedule on Disney+ in the U.S. . . . surprising families with some fun and joy during this challenging period,” an allusion to the COVID-19 pandemic.

 

With more families staying at home, a bit of Star Wars could be just the thing to lift spirits.

 

Officially carrying the weighty title Star Wars: Episode IX—The Rise of Skywalker, this film brings to a conclusion the space opera created by George Lucas back in 1977, and wraps the final trilogy of films which began in 2015 with The Force

Awakens and continued in 2017 with The Last Jedi.

 

Following the mixed fan reception of director Rian Johnson’s Jedi, which received a favorable critics’ rating of 91% on Rotten Tomatoes, but a dismal, franchise-low audience score of just 43%, Star Wars looked to finish strong with Skywalker. But there was difficulty early on as initial writer and director Colin Trevorrow was quickly replaced due to “creative differences,” and J.J. Abrams was brought back in to helm the ship and finish the trilogy he began with Awakens.

 

To be fair, Abrams had an almost impossible task here—to conclude a saga that had taken on myth and meaning in people’s lives, with expectations far beyond what any movie could ever deliver. To its credit, Disney threw a ton of money at the film (an estimated $275 million), and J.J. tried to give fans the farewell they wanted, even bringing back a host of characters not seen in years, including Lando Calrissian (Billy De Williams), Wedge Antilles (Denis Lawson), and Wicket (Warwick Davis), along with even more that are only heard. And while he reversed the tide of Last Jedi’s ratings, scoring an audience score of 86%, he also managed a franchise-low critic’s rating of just 51%.

 

Abrams also faced the major obstacles of losing Carrie Fisher, whose Princess Leia was supposed to be a central character in this final episode, and having to follow some of the story choices Johnson took with Last Jedi. The result is a movie that feels a bit disjointed at times, shoehorning and repurposing previously shot footage and dialogue of Fisher where it could, and feeling like it was rewriting Johnson’s film at others. The result left some with more questions than answers.

 

Like many of you, I grew up with Star Wars. I saw the first film at a small theater in Carmel, California while my parents were out shopping when I was 7. I can remember that first Star Destroyer flying overhead and thinking this was like nothing I’d ever seen before. When the movie was over, I walked out and met my parents outside, told them how amazing it was, and then turned around and went back in and watched it again.

 

For the record, I enjoyed Skywalker, but left the theater on opening night a bit conflicted. When my wife asked me what I thought of it, I said, “I liked it, but I’m not sure it is the movie I wanted. But I’m not sure what I wanted.”

 

No matter how great this film was, it was always going to be somewhat of a bittersweet experience for fans. We all watched the final credits knowing this was the end of 

something that had become important in our lives, and now there is no more Star Wars to look forward to. (At least in the manner that we’ve grown accustomed to. Disney and Lucasfilm will most certainly continue to mine that galaxy far, far away for stories for years to come.) For me, this is now the third time I’ve “lost” Star Wars, the first being when Return of the Jedi finished in 1983, the second when Episode III—Revenge of the Sith finished in 2005.

 

Now, I’m not going to presume my review or analysis of Skywalker is going to sway your decision to watch it, nor am I going to bother wasting time and space trying to recap the plot—especially since this is an almost two-and-a-half-hour film that concludes 42 years’ worth of storytelling. If you’re a Star Wars fan, you’ve already seen the movie, and have already drawn your own conclusions, and have likely already pre-ordered the mega box set of all the films, scheduled for release at the end of the month. (Incidentally, the other eight films in the Star Wars saga were also released in 4K HDR with Dolby Atmos soundtracks at the same time as Skywalker.) But if you haven’t seen Skywalker by now, maybe you can be swayed to give this a viewing in your home theater. I assure you, it’s well worth the time, and I feel it improves on repeated viewings. (I far more enjoyed it on my second viewing this past January in Las Vegas on the only Sony Premium Digital Cinema in the country.)

 

OK, with that out of the way, lets get down to it: How does the 4K HDR release of Rise of Skywalker look and sound? Fortunately, this is a far less controversial question to answer, as the presentation is top-notch! The film even garnered three Academy Awards nominations, for John Williams’ original score, visual effects, and sound editing.

 

Shot on a combination of Kodak film stocks, Skywalker’s transfer is taken from a true 4K digital intermediate and uses HDR throughout to really pump colors and highlights, with a Dolby Atmos soundtrack that surrounds and immerses you in the action.

 

From the opening scenes, Kylo Ren’s (Adam Driver) unstable lightsaber sizzles on screen, glowing and seething with bright reds. The final battle on Exegol is like an HDR demo reel, with dark skies dotted with glowing engines of ships, and illuminating the room with frequent bright blue-white bursts of pupil-searing lightning strikes and laser bolts.

 

While space is never “pitch black” in Star Wars films, images remain clean and noise-free, and we get some true blacks in interiors. The scenes aboard Ren’s Star Destroyer (which reminded me of what an incredible job Disney did of transporting you into the Star Wars universe in its new Rise of the Resistance ride) look fantastic, with gleaming, glistening black decks, bright lighting illuminating hallways, and laser blasts and sparks.

 

The underground sand worm’s lair on Pasaana is another scene that could be a recipe for producing a video and compression nightmare, with dimly lit passageways illuminated by BB8’s glowing lights along with a couple of flashlights and the searing blue of Rey’s (Daisy Ridley) lightsaber. Blacks remain deep, with lots of shadow detail without any distracting banding or other artifacts.

 

Closeups reveal a terrific level of detail, showing every pore, strand of hair, stitch, texture, and bit of wear. Part of owning the film—and watching it repeatedly—is the you can revel in the attention to detail in nearly every shot, such as the creature design and the large interiors. The only scenes that appear “soft” are the ones with Leia. All of her shots are comprised of previously unused footage shot while filming Force Awakens. The previous background elements were removed digitally so she could be composited into the new shots.

 

Disney has received flack over the soundtracks on many of its top-level releases, but the Atmos audio included here is beyond reproach, with lots of dynamics and activity. Whether it is the snap and hum of lightsabers, the effects of Force energy, the waves crashing on the moon in the Endor system, the thrum of various engines, or explosions, bass is deep, powerful, and room-energizing when appropriate.

Surround and height speakers are used frequently to immerse you in the scenes and action. The speeder chase on Pasaana has laser blasts that shoot around the room and troopers launching and flying overhead. The scenes on Kijimi are filled with expansive street sounds to place you on location, with wind blowing, snow falling, and distant shouts and voices. The height speakers are also used to good effect during Rey and Ren’s Force chats, Emperor Palpatine’s (Ian McDiarmid) booming voice, and the voices of Jedi past that echo in Rey’s mind.

 

Sonically, my favorite scenes are aboard the remnants of the second Death Star. These scenes are among the most interesting from an audio standpoint, with loads of drips, creaks, and groans of wires twisting and metal straining as the giant ship constantly settles while Rey moves about in the cavernous interiors. The exterior shots are filled with the roar of wind and crash of waves and water splattering—all of it an ambient feast for the audio senses!

 

Beyond dialogue being clear and easily intelligible, the soundtrack also does a wonderful job presenting Williams’ score, what he says will be his final time working with Star Wars.

The Rise of Skywalker

Even if Rise of Skywalker isn’t your favorite film in the Star Wars saga, the movie is worth purchasing just for the extras, including the feature-length documentary The Skywalker Legacy, along with five other featurettes. Included with the Kaleidescape release as a digital exclusive is “The Maestro’s Finale,” which has John Williams looking back on his 40-plus-year career working with Star Wars.

 

While this might not be the conclusion to the Skywalker saga that some wanted, this is the one we’ve been given. And there is still a lot here to enjoy, especially in a home theater setting. Get a bowl of popcorn, turn down the lights, turn up the sound, sit back and enjoy, and I all but guarantee the Force will be with you.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

1917

1917 (2019)

Filmmakers don’t typically cover World War I with the frequency they do more recent wars. Perhaps it’s because with the age of the war there aren’t many first-hand accounts to draw from, or it doesn’t feature the cool tech of modern wars, or the political angle of Vietnam, or the clear-cut good-versus-evil themes of WWII. Whatever the reason, if director Sam Mendes’ 1917 is the last film we ever get covering the First Great War, the subject will have been well served.

 

This is a personal project for Mendes, who not only directed but also co-wrote and produced, being based in part on stories told to him by his grandfather, who fought in the war as a 17-year-old. And it clearly resonated with both fans and critics alike,

raking in over $360 million worldwide and nabbing ten Academy Awards nominations, including Director and Picture, along with wins for Visual Effects, Sound Mixing, and Cinematography.

 

To me, 1917 is less about the actual story—which is rather simple—and far more about the way it is told and how it visually unfolds.

 

The film opens on April 6, 1917, where we are introduced to two young British soldiers, Lance Corporals William Schofield (George MacKay) and Tom Blake (Den-Charles Chapman). Actually, “introduced” is really an 

overstatement; we just see them lying down and learn nothing of them before they’re called in to meet with General Erinmore (Colin Firth), who has some vital news that must be delivered by dawn to Colonel Mackenzie (Benedict Cumberbatch).

 

Through aerial reconnaissance, the British army has discovered that instead of having the German army on the run, Mackenzie is about to lead his men into a massive German ambush, likely causing the massacre of two full battalions—upwards of 1,600 men. Making the message even more personal, Blake’s brother is among the men in the regiment scheduled to attack, so failure could mean a personal loss. The two soldiers are thus sent off with a message ordering Mackenzie to call off the attack, covering miles of hostile territory alone and in the full light of day.

 

Welcome to the opening minutes of 1917.

 

In the hands of a different director, this likely wouldn’t have been such a successful and powerful film, as Mendes does two things that combine to make it feel so much more real, immediate, and personal.

 

First, it’s shot in a manner that makes the movie feel like one (well, actually two) continuous takes. There are almost no interruptions to the two long scenes; no quick camera cuts or edits, no perspective changes, just a continued focus on our heroes. You get a sense of the planning needed for this as the cameras follow the two protagonists through what feels like miles of trenches, sliding around other soldiers and navigating twists and turns, or following them as they run through battle scenes.

 

Second, the shots are almost always framed tight—either head-on or from a close follow—rarely more than just a few feet from the two leads. You frequently see little in the distance or much off to the periphery as you are locked tight on them. This draws you naturally in to their situation, seeing their feelings and emotions, the wear of their uniforms, and the strain of the task at hand, making you care more about the mission. But it also serves to add to the tension and unease and fog of war of the journey, as you are given far less information about your surroundings, and end up reacting to events as they happen instead of being prepared for them.

 

As you’d expect, Roger Deakins’ Oscar-winning cinematography looks beautiful. When the camera does pull back, we see the immense scope, with huge landscapes and wide vistas looking epic in the 2.40:1 aspect ratio. The lighting is also beautifully done—and greatly benefits from HDR. Whether it is the dark interior of a tent warmly lit in rich red-orange glows from lamps, the dark insides of bunkers illuminated by flashlight, or a French village lit up at night by overhead flares and a conflagration, blacks are deep, with lots of shadow detail. Skies during the daylight scenes—the first of the two shots—are a bright, overcast grey, free of any noise or banding and still revealing clouds and other details thanks to HDR.

 

Equally impressive is the attention to detail in the set dressing and production design (also nominated). Filmed in ArriRaw at 4.5K, with this transfer taken from a true 4K digital intermediate, you appreciate all the little details on screen. In the opening scenes, you can see the layers of texture and materials on the soldiers’ uniforms and kit, with individual stitching, fray, and wear, and the aging on their leathers.

 

Going through the trenches, you can see all the work required to dig in a protected position and the nightmare of having to sleep in a constant state of mud and muck (later juxtaposed by the much more advanced German trenches). We follow right on the heels of the two soldiers as they slog through the muddy, gritty, terrifying textures of life as a WWI soldier, where the landscape is frequently littered with rotting, fly-covered carcasses, rats running in and out of decomposing bodies, various bits of limbs protruding from dust-covered landscapes, and rusted-out helmets pocked with bullet holes. You could nearly get a case of trench foot from the wet-muddy realism of it. And all of these shots without break in a single, long take!

 

The only video issue I noticed was a pretty severe bit of judder at around 42:40 (immediately preceding “The Dogfight” scene). The camera shoots through the gaps between some vertical wooden fence slats while slowly tracking to the right. Whether it is the shutter speed used, the speed of the camera panning, or just an inherent issue with the limitations of filming at 24 frames per second, on my two displays (a JVC 4K projector and Sony 4K TV), the wooden posts broke down into a ghosted mess during these few seconds. At first I thought there might be an issue with the Kaleidescape encode, but I had fellow reviewer Dennis Burger check the same scene on a 4K version of the movie streamed from Vudu, and he had the same experience. (Another Kaleidescape user at the Owner’s Forum commented that he didn’t notice any issues with that scene, so it is likely display dependent.)

 

Given the film’s Academy Award for sound mixing and nomination for sound editing, I was excited to hear the audio mix; and while the DTS-HD 5.1 soundtrack included with the Kaleidescape download is certainly dynamic, I’d be remiss if I didn’t (again!) call out NBC Universal for not providing Kaleidescape with the fully immersive Dolby Atmos track.

 

Even still, the upmixer in my Marantz processor did an admirable job of extracting ambient cues from scenes, adding the swirl of wind through leaves and trees in a forest canopy, the roar of plunging water, or the sounds of a bunker caving in around 

you, with its wooden supports splintering and dust and debris filling the room. Another scene has a biplane roaring overhead and disappear out through the front of the room, and in another you hear flares launched up overhead, where they sizzle and burn.

 

This is a war film, so there is a fair bit of shooting and explosions, and rifle shots have an appropriately loud and sharp crack, with the sounds of ejected and spent brass shell casings tinkling and bouncing on the floor. One explosion was so loud and sudden that it literally had me jump in my seat!

 

Further, the movie is well served by Thomas Newman’s Oscar-nominated original score, which seems to always add the right level of sweeping scale, tension, and urgency to the film. It reminded me in some ways of the frantic, haunting music Hans Zimmer created for The Dark Knight, always reminding you that our characters are in a race against the clock, and the clock is ticking.

 

Dialogue is mostly easy to understand throughout, and when it wasn’t, it was more due to the occasionally thick accents of the actors than to any poor quality of the mix.

1917 (2019)

If I have one last nit to pick, it is again with NBC Universal. As is another of their maddening policies, they don’t provide Kaleidescape with any of the film’s extras or supplemental features, and 1917 is a movie that demands a making-of documentary viewing to see how they pulled off the incredible cinematography and camera work. Hopefully this policy will change in the future.

 

For me, recommending 1917 is a total no-brainer. It is not only one of the most unique and engaging films I’ve seen in a while, it looks fantastic in a home theater—the bigger the screen the better. It’s an intense viewing experience, but one that is well worth it.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Little Women (2019)

Little Women (2019)

I cannot tell you how faithful Greta Gerwig’s new big-screen adaptation of Little Women is to Louisa May Alcott’s coming-of-age classic. I’ve never read the book. Nor can I tell you how it compares with previous adaptations, including the beloved 1994 film starring Winona Ryder, Christian Bale, Claire Daines, et al. I’ve never seen any of them. What drew me to this film wasn’t the source material or any respect for its cultural significance. What lured me in was Gerwig herself, whose brilliant directorial debut—2017’s Lady Bird—earned her enough creative currency in my book that I’ll watch anything she helms going forward.

 

Still, my wife snickered when I told her we’d be watching the film.

 

“What’s so funny?” I asked.

 

“You’re way more of an Emily Brontë than a Louisa May Alcott, that’s all.”

 

I frankly have no clue what that means. But I do know this: If I honestly cared about organizing some personal ranking of the best films of 2019, Little Women would leave me scrambling to rearrange it yet again.

 

I think I can safely say that Gerwig’s film is structured very differently from Alcott’s book, if only because a novel written in such a temporally idiosyncratic way would read like James Joyce on a bad acid trip. The film follows seven years in the life of four sisters—Jo, Meg, Amy, and Beth March, played to perfection by Saoirse Ronan, Emma Watson, Florence Pugh, and Eliza Scanlen—but rather than following their maturation from adolescence into womanhood chronologically, Gerwig instead groups scenes thematically, jumping forward and backward in time with seemingly no rhyme or reason until you catch onto the fact that rhyme and reason are exactly what influenced the grouping of moments in time, rather than the straightforward passage thereof.

By taking this approach, Gerwig has constructed more of a tone poem than a traditional narrative, and it reminds me more of Tinker Tailor Soldier Spy (in its pace and momentum; definitely not in its tone or effect) than perhaps any other film I’ve seen in recent decades. Much like that film, Little Women assumes the intelligence of its audience, and trusts the viewer to locate themselves in time and space by way of context. Only one subtitle early in the film calls out the drastic time shifts, and from there on out Gerwig seems to assume you’ll either keep up or give up and enjoy the ride.

 

Far more than merely a cinematic conceit, these near-constant temporal shifts allow the viewer to do something I honestly wasn’t quite sure I would be able to do at the beginning of the film: Truly understand the unique personality of each of the story’s numerous characters. By clumping the tale’s visual, thematic, and narrative echoes together rather than sprinkling them throughout the film’s 135-minute runtime, Gerwig invites us to ruminate more on meaning than exposition, more on character than narrative.

 

Again, I’m at a loss to compare the themes of the film to the themes of the book, but the story as Gerwig tells it is really about the creative impulse. The drive to make art. The struggle to be taken seriously not just as a woman in Civil War-era America, but as an artist in an inartistic world. In many ways, the film ends up being as much a commentary on the story as an adaptation of it, best I can tell. And while it also grapples with issues of class, gender, and societal norms—all with surprising nuance and complexity—it’s really that artistic impulse that centers the film and gives distinct personality to each of its characters.

 

Perhaps the most surprising thing about Little Women is that it isn’t afraid to get a little weird at times. But it’s not a weirdness driven by affectation. Instead, it’s a weirdness driven by the needs of the story. As much as Gerwig’s film deviates from the structure of any comprehensible book to craft a uniquely cinematic work, it’s still in many ways a celebration of the written word. And in paying homage to the inimitable structure of written language, it relies on tropes that would normally drag a film down or cheapen it—like narration, for example. Rather than taking the safe approach or trying to bury that narration in the tried-and-true ways, Gerwig hangs a lantern on it at times and has her characters break the fourth wall and talk directly to the camera, even when they’re not speaking to the viewer.

 

Perhaps it shouldn’t work, but in Gerwig’s hands it does. And the cumulative effect is a film that’s as playful as it is heady, as sentimental as it is rebellious, as joyful as it is solemn in places. The one place where Gerwig doesn’t take bold risks is with the look of the film. I could have told you without looking that Little Women was shot on Kodak Vision3 500T stock, which gives the cinematography a decidedly warm cast, with a yellowish tint to whites

and a flush ruddiness to skin tones. But the overall look of the film is intentionally muted, and even the 4K/HDR presentation on Kaleidescape doesn’t make much obvious use of its expanded dynamic range and color gamut.

 

Don’t get me wrong—it’s a lovely film. Just not one that will be used as videophile demo material. The Dolby Atmos soundtrack, on the other hand, is unapologetically adventurous. Shockingly so for a period film of this sort. The height channels are used judiciously but effectively to provide a vertical boost in scenes that need it—large parlors, big theaters, the grimy city streets of 19th century New York—but they probably get used most to expand Alexandre Desplat’s score (his best since The Shape of Water, in my opinion) into the z-axis.

 

Sadly, Kaleidescape’s release of the film is delivered sans extras for now, which is unsurprising given that it’s a Sony release. Expect those bonus goodies to drop right around the time the film is released to disc (Blu-ray and DVD only, no UHD) in April. One supplement in particular I’m eager to see is an exploration of Orchard House, the real-life home of Louisa May Alcott and the inspiration for the March family home in Little Women.

Little Women (2019)

While I wait, I think I might actually give Alcott’s book a try based purely on the strength of this film alone, and despite my wife’s objections. As the credits rolled, I looked at her and playfully scolded her: “Why have you never pestered me to read that book?!”

 

She pondered for a few moments and replied: “Don’t get me wrong. I love the book. It’s one of my favorites. But the book wasn’t that good. It’s entertainment. That film was art.”

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Richard Jewell

Richard Jewell (2019)

Since 2006’s dual film release of Flags of Our Fathers and Letters from Iwo Jima, Clint Eastwood has increasingly turned his directorial eye towards films covering actual events. Another theme common among his recent films is focusing on American heroes, where lone individuals make a major impact on their surroundings, such as decorated Navy SEAL sniper Chris Kyle in American Sniper, quick-thinking pilot “Sully” Sullenberger in Sully, or the group of Americans that averted a terrorist attack on a Paris train in The 15:17 to Paris. To that list we can add Eastwood’s most recent film, Richard Jewell.

 

I imagine that anyone reading this was alive during the events this film covers, namely the bombing in Atlanta’s Centennial Park during the 1996 Olympic Games. The film principally focuses on the events following the July 27 incident, when Richard Jewell (Paul Walter Hauser) discovered a suspicious-looking backpack under a bench in the Park, which turned out to be filled with pipe bombs. The bombs exploded shortly thereafter, but only killing one person in the blast due to Jewell’s intervention. (A second person, a reporter, died of a heart attack running towards the explosion to cover the event.)

 

Initially hailed as a hero for finding the bomb and preventing further casualties, the tide of public opinion quickly turned against Jewell after an article by Kathy Scruggs (Olivia Wilde) ran in the Atlanta Journal-Constitution saying that he was a person-of-interest in the FBI’s investigation, with the headline, “F.B.I. Suspect Hero Guard May Have Planted Bomb.” When other outlets like CNN and the AP ran with the story, followed by round-the-clock FBI surveillance and some other unseemly tactics, Jewell was all but convicted in the public’s eye. While he was eventually cleared of any involvement in the incident, the trial by media had a grave impact on his life.

 

Eastwood has become increasingly outspoken in his political views, going back to his infamous “empty chair speech” to then President Obama at the 2012 Republican National Convention, and Jewell isn’t completely devoid of any political messaging. He often seems to be using the film to express concerns about the media and big government conspiring to lead an agenda.

 

Eastwood also manages to throw in a few jabs about the rights of gun ownership. In one exchange between Jewell and his attorney, Watson Bryant (Sam Rockwell), Bryant says, “You belong to any extremist groups, Richard? [The] NRA?” causing Jewell to reply, “Is the NRA a fringe group?”

 

During another scene when they are preparing for the FBI to come and search Jewell’s home, Bryant asks if Jewell has any weapons. After Jewell places a large stockpile of weapons on his bed, including several assault-style automatic rifles, Bryant says, “Oh, good Lord. What are you expecting? A zombie invasion or something?”

 

“No, I wasn’t expecting zombies,” Jewell replied. “I expect deer. I hunt.”

 

As a principally dialogue-driven piece, Eastwood keeps most conversations framed tight and close, allowing us to really see and connect with the actors, which works because he has such a stellar cast here. In addition to those already mentioned, Kathy Bates received a Best Supporting Actress Academy Award nomination for her role as Jewell’s mom, Bobi.

 

The film begins in 1986, establishing the relationship between Jewell and Bryant, and also sowing the seeds of Jewell’s love and obsession with being involved in law enforcement. Repeatedly, we see Jewell as a mostly failed loner, living at home with his mother and desperately wanting to find some sort of a career in law enforcement. When given a security job at a university, he goes well beyond his authority and is ultimately forced to resign after repeated complaints, which leads to his taking a position as a security guard in connection with the Olympics, where he is shown regularly looking to befriend or ingratiate himself with actual law-enforcement officers.

 

Eastwood leaves overt politics aside for the most part and just goes about telling Jewell’s story in a mostly accurate and linear fashion. This makes it easy to follow and watch as the FBI and media go about ticking the boxes to investigate and criminalize Jewell, even going so far as to trick him into coming to the FBI offices and trying to get him to sign a waiver of his rights under the guise of filming a training video to help future officers. According to History vs Hollywood, the film is surprisingly accurate save for one major point between story-hungry journalist Scruggs and FBI agent Tom Shaw (John Hamm) in an offer to trade sex for information, which Scruggs’ associates say never would have happened. (The actual Scruggs died in 2001.)

 

The only scenes that felt staged were the recreations in Centennial Park, where the crowds just felt light and forced, and the shots were framed to minimize how few people were actually there. These scenes just seemed to be missing the excitement and energy that would have existed in these pre-Olympics gatherings.

Shot on ArriRaw at 3.4K, this transfer is taken from a true 4K digital intermediate, and this shows in the pristine detail in closeups of actors’ faces, which just snap into ultra-sharp focus and clarity. You can see every line, wrinkle, pore, and stray hair, adding to the feeling of being right there coupled with Eastwood’s tight framing. Near the end of the movie there is a brick building with sharp lines from the edges of the mortar and bricks that could have been pulled from a test pattern.

 

Night scenes are appropriately dark and noise-free, with lights getting some punch from HDR. Following the explosion, the smoke-filled skies are lit by different sources, which would be a bandwidth torture test nightmare for streaming services, but the image on the Kaleidescape download remained free of any noise or banding.

 

Audio is served up via a DTS-HD 5.1-channel mix that is serviceable but doesn’t do too much to immerse you in the action. There are a few dynamic scenes, such as Jewell at a gun range or the bombs exploding with nails spraying around the room, but for the most part surround info is limited to some minor ambience, such 

Richard Jewell (2019)

as arcade sounds in an early scene or shutter clicks of ever-present cameras. One scene in a club has some jazz playing in the background (possibly arranged by Eastwood, who is known to play for his films) that has nice texture, with detailed brush strokes on cymbals and a piano playing. Fortunately dialogue, the most important element here, is clear and intelligible.

 

The 131-minute film received mostly favorable reviews, garnering 75% from critics on Rotten Tomatoes and a 96% audience rating. However, due to its less than stellar performance at the box office, it doesn’t appear that Jewell will be getting a 4K UltraHD Blu-ray release, so if you are interested in seeing it in its highest-quality presentation, downloading from Kaleidescape is your best bet.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

15 Great “Antique” Movie Musicals

15 Great "Antique" Musicals

Although there are very many interesting and even mind-blowing movie musicals from 1927 through the 1930s (think of Busby Berkley), most are quite antique now and the stories often unbelievable and silly. But they are fascinating from an historic point of view, and the ones I’ve listed here are hugely entertaining and well worth seeking out.

Sunny Side Up (1929)

This is the first original musical written directly for the screen. The terrific songs are by DeSylva, Brown, and Henderson, the great songwriting team of the 1920s. In fact, they had so many hits (like “The Best Things in Life are Free” and “Birth of the Blues”), they were the envy of the Gershwins. They left Broadway and relocated to Hollywood, where they wrote a string of hits for this movie and its lovely star, Janet Gaynor. Included in that score was a tribute to the new medium entitled “If I Had a Talking Picture of You.” It should be noted that the Fox company wanted a new full-length musical to show off its sound process, which was different from VitaPhone, used over at Warner Brothers and MGM, which used large, cumbersome records. Fox had a different idea—they put their sound right on the film in a track! That way it never went out of sync. Eventually, of course, Fox sound became the standard—and it was this funny and delightful musical that proved it was the way to go.
available on DVD-R

15 Great "Antique" Musicals
The Show of Shows (1929)

This is Warner’s big, big, BIG answer to MGM’s smash Hollywood Revue. And what was Warner Brothers’ answer to MGM’s new hit song “Singin’ in the Rain?” What else? “Singin’ in the Bathtub”! But my favorite segment is Rin-Tin-Tin and Myrna Loy (in Asian face) being serenaded by a very Jewish-looking Nick Luas dressed as a Chinese chef singing “Li-Po-Li . . . I’ve stolen all your rice cakes,” And all in early Technicolor yet!
available from the Warner Archive Collection

 

Whoopee! (1930)

This was Eddie Cantor’s biggest Broadway smash, and in 1929, Florenz Ziegfeld, its producer, brought the entire stage production to Hollywood to be filmed in (two-strip) Technicolor. It’s a wonderful record of how and what Broadway musicals were in the 1920s. Eddie Cantor and, more importantly, Busby Berkeley stayed in Hollywood, where their careers flourished. Lucky for us!
available from the Warner Archive Collection

The King of Jazz (1930)

This is a two-color Technicolor super spectacle from Universal Pictures in 1930. They pulled out all the stops trying to catch up with MGM and Warner Bros. in the musical-revue genre. Unfortunately, the movie took so long to finish, it came out a few months after the stock market crashed and it never achieved the popularity of other Roaring Twenties movie-musical extravaganzas. But it is 

Rhapsody in Blue, with a section of the Technicolor footage restored

absolutely a must-see for its innovative cinematography, musical staging, and George Gershwin himself performing Rhapsody in Blue—albeit in two-tone Technicolor teal.
available from The Criterion Collection

 

Love Me Tonight (1932)

Jeanette MacDonald and the young Maurice Chevalier made several very sophisticated musicals together, and they are all quite charming and clever. Love Me Tonight is one of the very best because its rather progressive cinematic techniques broke new ground for the musical movie. The opening number, “Isn’t It Romantic?” goes from location to location as the tune travels in the air. It starts with Chevalier as the leading man and ends up with Jeanette as the leading lady. It’s a wonderful setup for the upcoming romantic story. The concept and editing paved the way for many more cinematic screen musicals. The original score is by the great Richard Rodgers (music) and Lorenz Hart (lyrics). It has the wit and infectiousness of the best of Broadway, yet it’s all Hollywood.
available from Kino Video

 

42nd Street (1933)

This is the  original backstage Broadway musical, which spawned a whole generation of imitators. Wildly campy but wildly fun thanks to Busby Berkeley. But wait! There’s a pretty good dramatic story at its core: Warner Baxter (at his best) plays the nerve-frayed and dying stage director of the show. The film was a phenomenon in its day and brought back the movie musical as a popular genre. Staging director Busby continued his show-biz fantasy spectacles in Footlight Parade, Gold Diggers of 1933, ’35, and ’37, and many other Warner Brothers musicals, The numbers are all worth seeing, at least in part.
available on Blu-ray, for streaming on Amazon Prime, and for download on Kaleidescape

Evergreen (1934)

This film is rarely shown now but, in its day, it was very popular, especially in the U.K. It’s still critically popular due to its strong plot, engaging performances, and catchy Richard Rodgers and Larry Hart song score. (“Dancing on the Ceiling” included.) It’s the British equivalent of an Astaire/Rogers or Busby Berkeley film. Director Victor Saville did a classy and brisk job here. Everyone is at their 1934 best.
available on DVD and for streaming or purchase on Amazon Prime

 

Naughty Marietta (1935)

It’s amazing how fresh & funny this Jeanette MacDonald/Nelson Eddy operetta feels tday, especially considering it’s adapted from Victor Herbert’s great Broadway blockbuster of . . .1905! Frank Morgan and Elsa Lancaster help keep it fresh and witty.
available from the Warner Archive Collection

 

Born to Dance (1936)

It’s tapper Eleanor Powell’s best. It also has a great score by Cole Porter written especially for Eleanor and . . . Jimmy Stewart! It’s all “Easy to Love”! Also, note: It’s a little-known fact that Eleanor Powell conceived and choreographed all her own dance numbers!
available on DVD and for streaming or purchase on Amazon Prime

Swing Time (1936)

Directed by George Stevens (Shane, A Place in the Sun, Giant), Swing Time is certainly one of the best Astaire/Rogers musicals. Fred and Ginger are at their most magical, and the score by the great Jerome Kern (lyrics by Dorothy Fields) has a touch of gravitas some of their other vehicles don’t have. The songs start out light and buoyant, like the fabulous number “Pick Yourself Up,” but as the somewhat cohesive plot 

continues, it becomes lovely and heartfelt with “A Fine Romance” and the Academy Award-winning “The Way You Look Tonight.”
available from The Criterion Collection and for streaming or purchase on Amazon Prime

 

Shall We Dance (1937)

I believe Shall We Dance, one of the best Astaire/Rogers classics, to be the earliest film where story and music combine effectively. A great Gershwin score, good story, and Fred and Ginger at their classiest.
available on DVD and for streaming or purchase on Amazon Prime

 

Maytime (1937)

It may be hard for serious film lovers to admit, but many of the films of Jeanette MacDonald and Nelson Eddy are great pieces of cinema. MGM put all their glamor and “A-film” know-how and money into the MacDonald/Eddy pictures. Of course, the singing and musical aspects of these films seem like they are from another planet, let alone another century, today, but in Maytime the drama is on equal footing with the music. It’s believable and interesting thanks to the careful direction by Robert Z. Leonard and the dramatic performance of John Barrymore. Rose-Marie and Naughty Marietta may be the singing couple’s most famous films, but Maytime is the best one
available from the Warner Archive Collection and for streaming or purchase on Amazon Prime

 

The Great Waltz (1938)

Now this one is from another century—the 19th Century, that is! But Johann Strauss Jr. wrote the most infectious and popular music of the 1880s. This film serves his music well, with thrilling arrangements by Dimitri Tiomkin. The magnificent Academy Award-winning black-and-white photography alone makes this definitely worth seeing.
available from the Warner Archive Collection and for streaming or purchase on Amazon Prime

 

And, finally, two of the Mickey Rooney/Judy Garland movies:
Strike Up the Band (1940)

The youthful high-school band story is believable even today. Great songs, wonderful production numbers, and Mickey and Judy at their most lovable!
available from the Warner Archive Collection and for streaming or purchase on Amazon Prime

 

Babes on Broadway (1941)

But this is my favorite Mickey & Judy movie. It’s 

got the song “I like New York in June / How About You?” And a spectacular (if hysterically offensive) finale to end all finales.
available on DVD and for streaming or purchase on Amazon Prime

 

Anyone looking to dive deeper into the history of these early gems will find a wealth of anecdote and information in Richard Barrios’ superb A Song in the Dark: The Birth of the Musical Film. I can’t recommend it enough.

 

Gerard Alessandrini

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Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X,The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.