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The Invisible Man (2020)

The Invisible Man (2020)

As I begin this review, I’m chuckling to myself over something I wrote in my Underwater review almost a month ago: “Somewhere along the line (perhaps in 2004 with the introduction of the first film in the Saw franchise), Hollywood started turning the horror genre into something . . . distasteful. Filmmakers went from trying to simply scare people to trying to outdo each other by shocking and brutalizing viewers with horribly graphic depictions of torture and mutilation.”

 

The Invisible Man is categorized as “horror” and happens to be written and directed by Leigh Whannell, the gentleman who wrote the first three films in the Saw franchise as well as four installments of the grisly Insidious series. But don’t let 

Whannell’s connection with those films deter you from seeing Man, as it is far more a psychological thriller with a few jump scares thrown in than a traditional horror film, and it certainly shares little of the grisly attention to the macabre with Saw.

 

Following a string of films over the years based loosely on H. G. Wells’ 1897 book of the same name, Man updates the story for the 21st century, using modern technology along with some timely feminist issues to craft a tale that is both suspenseful and engaging. It was also one of the films that received an incredibly short theatrical run—just four weeks—before NBC Universal made the decision to make it available as a premium-video-on-demand rental for $19.99 and then for purchase in full 4K HDR video quality with a Dolby TrueHD Atmos soundtrack.

 

The film begins with Cecilia Kass (Elisabeth Moss) escaping a beautiful oceanfront home in the dead of night. We’re given no reason for her escape, but her terrified demeanor and elaborate plans, which include drugging her husband

INVISIBLE AT A GLANCE

More psychological thriller than horror film, The Invisible Man relies on film-like visuals and a carefully crafted surround mix to create an appropriately creepy atmosphere and deliver the scares.

 

PICTURE     

HDR helps bring needed accents of light to the film’s many dark scenes.

 

SOUND

The Atmos mix heightens the sense of horror by continually immersing you in the action, whether through subtle sounds like the creaking of tree limbs or the loud crashing of waves against a rocky shore.

with Diazepam and turning off all the security cameras, make it clear the marriage to wealthy optics pioneer Adrian Griffin (Oliver Jackson-Cohen) has not been a loving one.

 

Cecilia describes years of dominating control and psychological and physical abuse at the hands of Adrian, and hides out with policer-officer friend James Lanier (Aldis Hodge) and his teenage daughter Sydney (Storm Reid), terrified to even step foot outside the house for fear her husband will track her down. When her sister Emily (Harriet Dyer) brings news that Adrian was found dead of apparent suicide, Cecilia feels her life might finally be hers again. But she is then summoned to the law office of her husband’s brother, Tom (Michael Dorman), who informs her that Adrian left her $5 million.

 

Which is when the weirdness starts happening.

 

Cecilia can’t shake the feeling she is being watched or there is another presence in the room with her. Blankets get pulled off her in the middle of the night, doors open and lights flicker, then the bottle of Diazepam she used to drug Adrian appears on her bathroom counter.

 

Of course, when Cecilia suggests that her husband faked his own death, found a way to make himself invisible, and is harassing her, no one believes her, thinking this is just PTSD from the years of abuse. Even when she tells them, “He said that wherever I went, he would find me, walk right up to me, and I wouldn’t be able to see him,” the thought of an invisible person tormenting her is too much for people to believe.

 

When this specter starts actively ruining Cecilia’s life—sabotaging a job interview, sending hateful emails, hitting Sydney, and more  . .and worse—Cecilia decides she has to get proactive.

 

Filmed on the paltry budget of just $7 million, Man is not an effects-laden film, but is propelled by Moss’s terrific acting and some interesting camerawork. Often, the lens will slowly travel to an unoccupied part of a room and just . . . linger there. “Is something there?” “Are we supposed to be seeing something?” “Is something going to happen?” This adds to the tension of many scenes, as you are left hanging with this will it?/won’t it? stress that keeps you engaged.

 

With many “horror” films, you are shown the subject of the nightmare fairly early. Take Pennywise the Clown from It. From the very beginning, we know what he looks like (at least in his preferred form), and seeing him/It takes away some of that fear because it is now a known. Once we see the boogie man, we can process it and deal with it. But when you don’t, or in this case can’t, see the thing that is haunting you, it becomes all the more terrifying. Is it there, right next to me? Is it waiting just in the other room? The sense that it can pop out literally at any moment from anywhere heightens the suspense and adds to the jump-scare factor.

 

One of the classic tropes of films involving invisible men is the classic shower scene—unseen man sneaks into the shower and creepily watches young girl(s) showering. I’m happy to say that Whannell avoids that, and the film is certainly better for not stooping to that level.

 

Shot on Arriraw at 4.5 K resolution, Man is sourced from a true 4K digital intermediate. While images are clean and detailed throughout, I found them to be of the “softer” variety, looking more film-like rather than digital. Long shots didn’t have that razor-sharp quality of some transfers. Closeups certainly retain a ton of detail, with the tight shots on Moss revealing every ounce of emotion and every subtle inflection in her gaze, along with every pore, line, hair, and blotch. We can also appreciate fine fabric detail, such as the weave texture on Cecilia’s pillowcase.

 

The color palette is often on the dreary side with exterior shots, with even an early shot of the Golden Gate Bridge appearing in a blue-grey misty morning pan. Interiors often have a slick-modern silvery blue-grey look as well.

 

There are many dark scenes in the film, and HDR is used nicely to give extra pop to bright lighting throughout, whether the lights in the darkened house Cecilia escapes at the beginning, the gleaming overhead fluorescents of Adrian’s work space, or piercing flashlight beams. Beyond just the added brightness, images look incredibly natural with lots of depth and black-level

detail.

 

When watching It, I discovered just how much a creative audio mix can heighten a horror movie, adding to the tension and awareness of what is happening by having subtle little audio cues emanate from a full 360-degree soundfield. The Dolby Atmos soundtrack here does a great job of immersing you in the onscreen action. From the opening moments, where massive waves roll in overhead to powerfully crash on rocks against the front wall, you are in the action, and audio is used in sudden jarringly loud and dynamic moments to keep you on edge.

 

As you move about throughout quiet scenes, there are the subtle sounds of wind howling outside, the buzz of fluorescent lights, the sounds of air blowing through a gently rattling HVAC register, or the creaking and swaying of tree limbs and branches. Inside, you hear audio cues of doors creaking open, footsteps treading on wooden floors, or the buzz of a silenced cellphone over your head. There is also a pouring rainstorm that pelts water into your room, with the sound of heavy droplets splashing overhead.

 

The musical score by Benjamin Wallfisch Chamber is also appropriately tense. It features Christopher Egan conducting the Orchestra of London, and there are

The Invisible Man (2020)

several moments, such as the opening “Escape” or the song “Attack,” that have an ominous, almost alien-sounding quality as they blare loud electronic bass-heavy notes from all around.

 

When I can’t take my eyes off the screen long enough to jot down a viewing note, I know the film is intense and engaging. The Invisible Man might be treading through mostly familiar territory, but it does it with first-rate acting and a quality audio mix. And there aren’t too many horror films that can garner Rotten Tomatoes critics’ ratings of 91 and Audience Scores of 88. If you’re looking for a movie that offers a bit of edge along with a couple of good scares, The Invisible Man makes for a fun night in your home theater.

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.

3 Must-See Music-Based Videos

3 Must-See Music-Based Videos

Across the Universe

There is no shortage of things to watch these days, but sometimes it’s hard to figure out where the good stuff is hiding—especially when it comes to music-related programming. There are often things that look cool but fall flat in other areas, particularly with the actual performances. Some programs sound great but have lesser production values that become obvious when viewed on a quality home theater or media room system. 

 

Here are three music-centric presentations that offer dynamic visuals, impressive—even game-changing—performances, and compelling, often immersive, surround sound experiences. (All three are available on Blu-ray and for download from Kaleidescape. Across the Universe is also widely available for streaming.)

 

 

Pat Metheny: The Orchestrion Project—Stunning Visuals, Magical Music

Whether you like Pat Metheny’s music or not, watching this live-in-the-studio end-of-tour video featuring his Orchestrion project, is a mesmerizing demo-worthy view. Not sure what an Orchestrion is? Well, perhaps an excerpt from my earlier review of this performance on Blu-ray will help paint a picture:

 

Have you ever been to one of those “Pizza ‘n Pipes” type restaurants? You know, one of those places where they rip apart an old-time movie theater pipe organ and then set it up in a pizza parlor, placing all the inner workings and 

accompaniment instruments (like percussion ‘n bells ‘n stuff) all around the restaurant for all to see and watch while the organist plays. It is really quite entertaining and mesmerizing if you can find one that is still open.

 

So that is effectively what we have here in a 21st 

Century manner—a computer-propelled, guitar-user-controlled orchestra all performing compositions Metheny wrote specifically for this project. The results are spectacular! 

 

I have this performance on Blu-ray and it looks terrific in 1080p, with remarkably crisp definition on all the multitude of instruments in the dynamically lit loft studio space. The lossless Dolby TrueHD surround mix (up to 7.1 channels) delivers a very immersive experience, but even in stereo the sound is rich, engaging, and almost three-dimensional.    Kaleidescape

 

 

Across the Universe—Demo-Worthy Beatles Bliss

Beatles fans tend to be divided about this film, but I have much love for it. It is one of the rare instances where Beatles music has been reinterpreted well, in a compelling new way while still respecting the underlying song.

 

All in all, Across the Universe has a great deal of entertainment depth to it. It can be viewed on its own, with a strong storyline and extremely high production values. As a musical, it works very well too, bringing new meaning/interpretation to the Beatles’ music in the context of the storyline. And if you are a Beatles fan and of ‘60s counterculture, with its iconic stars like Janis Joplin, Tina Turner, and Jimi Hendrix, you’ll no doubt catch the references. There are all sorts of neat little Easter egg-type moments peppered throughout. (For example, all the characters are named after people mentioned in actual Beatles songs.)

 

I love how Joe Cocker plays three completely different characters during the “Come Together” scene (a bum, a hippie, and a pimp!). Be on the lookout for a re-creation/representation of Janis’s psychedelic painted Porsche on the streets of New York in

one scene. There are many references like this throughout the film.

 

Across the Universe is a rich viewing experience with an immersive soundtrack that starts out subtly and builds in intensity as the plot-line thickens. For example, listen how the room ambience changes in the opening scenes during the relatively simple early

Beatles rocker “Hold Me Tight,” which shifts perspective between parallel lives of key characters who have yet to meet. One is shot in a bright wood-floored American dance-hall auditorium while the other is in a murky, claustrophobic stone basement club in England. I’m pretty sure that latter scene was shot in the current version of Liverpool’s Cavern Club (a nightspot where the Beatles initially built up their following). It’s all the more impressive how the music stays in sync between what sounds like two different bands performing (although I suspect it is probably just the different mixes that create that aural illusion).

 

By the end of the film, scenes such as “Strawberry Fields Forever” and “I Want You (She’s So Heavy)” have sometimes intensely immersive surround mixes supporting the spectacular psychedelic-dramatic visuals. These could become demo-worthy audio-visual experiences for some of you!

 

I’ll leave you with some advice pulled from one of John Lennon’s early solo singles: “Play Loud”!  This movie sounds great when you pump up the volume, so don’t hold back. If you want to read more about Across the Universe, click here and here to get to one of my earlier reviews related to it.    Amazon / Google / iTunes / Kaleidescape / Vudu / YouTube

 

 

Jimi Hendrix: Live At Woodstock—Legendary Rock History

In the annals of rock and roll, there are a handful of seminal concert performances everyone needs to experience at some point. Near the top of that list are the ones by Jimi Hendrix. 

 

This recently updated version of his appearance at the Woodstock festival in 1969 is particularly important because new footage materialized that fleshes out the performance, in which portions were missing. (Camera people ran out of film stock and were switching reels.) At some points, you can see angles the official cameras missed, especially closeups on Hendrix’

guitar playing. The new footage was shot unofficially by a 22-year old student from Bard College who brazenly walked up on stage with primitive video gear he had access to. He timed his ascent to the stage carefully so he would be seen as part of Hendrix’ and the filmmaking entourage, allowing him to openly set up his gear and record the performance! 

 

In this footage, segments of the performance missed 

3 Must-See Music-Based Videos

by the actual film crew were captured and 30 years later were shared with the Hendrix Estate for the sake of historical preservation. So while there are inevitable technical imperfections visually—this new footage is low-res, early black & white video—to be able to effectively see the full performance for the first time is a wonderful thing indeed! All things considered, it looks remarkable, benefitting greatly from the delayed beginning of Hendrix’ set during the daytime on the final day of the festival. If he had gone on at night, the footage would not be so compelling.

 

Original engineer/producer Eddie Kramer mixed the whole concert into 5.1 surround sound so now you can enjoy a quite fabulous immersion into the feel of what it might have been like standing near the stage during Hendrix’s legendary performance. It’s not exactly “demo worthy,” but musically and historically, Hendrix at Woodstock is essential viewing and listening.

 

After this, go back and watch Hendrix’ performances at the Monterey Pop Festival in 1967—his game-changing career breakthrough in the U.S.—and at the Berkeley Community Center (recordings that ended up on the great posthumous album Hendrix in the West).    Kaleidescape

Mark Smotroff

Mark Smotroff breathes music 24/7. His collection includes some 10,000 LPs, thousands of
CDs & downloads, and many hundreds of Blu-ray and DVD Audio discs. Professionally, Mark has
provided Marketing Communications services to the likes of DTS, Sony, Sega, Sharp, and AT&T.
He is also a musician, songwriter & producer, and has written about music professionally for
publications including Mix, Sound+Vision, and AudiophileReview. When does he sleep?

Musician Eliot Lewis on Doing Livestreams Right

Musician Eliot Lewis on Doing Livestreams Right

As a Hall & Oates and Live from Daryl’s House band member and a multi-instrumentalist who frequently takes his solo act on tour, Eliot Lewis suddenly found himself with nowhere to perform when the world came to a hard stop in March. Like many musicians, he soon embraced livestreaming as a virtual alternative. But, unlike many musicians, he decided to offer his fans a more satisfying experience by bringing his streams as close to the level of studio recording as possible—a laudable effort that deserved a closer look.

—Michael Gaughn

How many Facebook livestreams have you done over the past couple of months?

I’ve been doing them once a week on Wednesday. so it would probably be around eight so far. A lot of people are doing them almost every day—three or four a week. I wanted to make them a little more special than that. Quality over quantity.

 

What are you doing to mix it up a little?

The cool thing about doing a livestream, and one of the reasons so many of us musicians have turned to them, is that it gives us something to focus on. Like with any live show, I work up new arrangements for songs, I’ll take requests. I write my own music. Some weeks I’ll do full backing tracks where it can have all the instrumentation around me, and then other weeks I’ll break it down to an acoustic show.

 

Also, because I’m a multi-instrumentalist, I do something where I’m playing guitar and singing, and I’m also playing drums with my feet. It’s an electronic drum kit I’ve come up with and programmed so everything can be live and spontaneous. I can 

change from one thing to the other on the drop of a dime.

 

On one of your streams, someone asked about the drums and I thought you were joking when you responded that you were playing them with your feet.

There are a few blues guys who will play steel, string, and acoustic guitar, and also play these snare 

Musician Eliot Lewis on Doing Livestreams Right

drums or a kick drum, and it’s very, very basic. I expanded that idea into my musical universe and came up with a way of doing it with drum samples and trigger pads. They’re electronic trigger pads but with real heads on them and real kick pedals so it feels like I’m playing a real bass drum. I’ve programmed it where I can have a kick and a snare I can change per song. If I want to do a ballad, I can have a softer sound. I’ve programmed a crash cymbal where I’m hitting the kick drum at a higher velocity.

 

If I’m not mistaken, you perform most or all of the parts on your solo albums.

Yeah, everything is done by me. The only thing I’ll add is some extra background vocals from people.

 

So you’d already had a lot of practice before you jumped into streaming.

Well, yeah, since I was 10 years old. So that’s a few years.

 

Given how many people are relying on performance online now, it seems like it’s on a lot of musicians’ shoulders to move beyond iPhones in portrait mode. Have you seen other people trying to up the quality of their performances or 

trying to innovate a little with how they’re presenting?

When people started to focus on livestreams back in March, most of them were just using an iPhone, which there’s nothing wrong with that. But a lot of them were just using the built-in microphone and, depending on the internet connection or their data streaming, the sound could be really not good. And a lot were using the selfie side of the camera, which would flip the image and make a right-handed player look like they were playing lefty. And often the lighting wasn’t great.

 

So I just thought, “If I’m going to do this, I want to do it properly.” I literally started with my iPhone as well—iPhone 10, which has got a really decent camera on it. But instead of using the selfie one, I realized it would be much better to use the back-facing camera, which has higher resolution.

 

And I didn’t want to rely on the audio from the phone. I have a Yamaha mixer that’s iOS compatible, so I run everything directly and try to make it a really quality experience. I’m upgrading everything as we speak. I’ve got a GoPro Hero 8.

I also have a pretty good quality Panasonic Lumix DSLR camera with a nice Zeiss lens, which I’m incorporating for some of the stuff.

 

There’s a bit of a learning curve in going from a basic livestream to actually shooting video with proper studio lighting and that. But I had a little bit of an edge because I do a lot of photography to start with.

 

Acoustically, it looks like you’re miking pretty closely so the room isn’t having a lot of influence.

You’re absolutely right. I’m in an apartment, so I don’t have a ton of space. I’ve got full carpeting and I have some sound treatment I have up just for recording purposes, so it’s pretty dry. But I can control that with a little reverb or compression in my mixer as I’m doing it. It definitely is more studio-like than some of the stuff on livestreams where you hear a ton of the room, which can be distracting, obviously.

 

Were you doing professional recording in that space before all this happened?

Yeah. I’m such a self-sufficient musician—I write and record everything myself—so wherever I live, I end up setting up a home studio. I’ve been doing it all of my life since way back with multitrack cassette players. I don’t need a ton of room. I’m sort of a minimalist in that way. Everything I do in my apartment is record-studio quality, so that just transfers right over to the stuff I’ve been doing in the livestreams.

Was Live from Daryl’s House another form of preparation for all this?

Absolutely. I’ve been very, very fortunate because I’m the only musician, aside from Daryl, who’s been on every episode, all 90 of them. So that undoubtedly helped me with my own little livestreams and video performances, although the level is 

completely different. We started Live from Daryl’s House with a very small, very meager production and then it grew very quickly.

 

Are there any specific streams or videos you’ve seen lately you could point to as particularly good or interesting examples?

There are. Obviously, some of the artists have their pick of good production. I’ve seen stuff Keith Urban is doing, and Grace Potter, and, oh God, Allen Stone. Allen did Live from Daryl’s House and he was deep into video to begin with. So when he needed to do livestreaming, it was really properly done. I think he’s probably using OBS and multiple high-def cameras. So he’s really got it going on.

 

A good friend of mine, a great guitar player named Johnny A, is doing a morning livestream on Facebook five days a week. He’s not so much concerned with the video quality. But one of the positive things is that he’s getting a lot more people to interact with him. So sometimes it’s not all about the quality; it’s really about the content and how you present yourself and what you’re saying and who you get involved.

 

You have a new video out inspired by the current situation. Is there anything about its genesis you’d like to talk about?

I happened to be separated from somebody I love during the start of 

Musician Eliot Lewis on Doing Livestreams Right

this. The last physical show I did was at Madison Square Garden with Hall and Oates, and that was late February. I was out in the audience with her and friends and it was only two or three weeks later that New York just blew up. So long story short, she went back into the healthcare system so I haven’t seen her in a couple of months. That’s really where that song came about. I thought it’s something a lot of people can relate to because a lot of them have been separated from their children or from their parents in nursing homes.

Do you see all of this permanently changing how musicians are going to be thinking about performance?

I do. One of the positive aspects is that because these streams are live, musicians are going to become more conscious of upping their performance game. Since you can have tens of thousands of people getting onto your livestreams, you’ve got to make sure you’re prepared and your performance is right, because you can’t go back and fix stuff. That takes us back to more of the golden era of record-making and music-making where it was all performance. People didn’t have Pro Tools and digital workstations to cut and paste and fix and auto tune things.

 

And I think that when we do get back to a more normal situation where we can play live again, a lot of us are going to incorporate what we’ve been doing now. I know I will, because I really enjoy this part of it. It’s forced me to dive even further into livestreaming and video, and I’m learning a lot through the process.

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Who’s Doing Livestreams Right?

Ben Folds takes requests—and gives piano lessons to kids—while stuck in Australia.

The audience for livestreams has exploded in recent weeks as people have exhausted their options for more traditional mainstream entertainment and musicians and other performers have embraced online performance as the best near-term solution for engaging their fans. I talked to acoustic designer Steve Haas about who’s doing a good job of broadcasting from the internet and what musicians can do to up the sonic quality of their streams.

—Michael Gaughn

Thanks to the boom in livestreams, a lot of people are being exposed for the first time to the idea of famous musicians doing intimate performances, but you’ve been aware of and helping to arrange home performances for a while now, right?

Yes. I’ve been very passionate about promoting house concerts, and have been creating private concert venues in people’s homes for a long time. Before the pandemic, hosts of house concerts were putting on monthly shows with some really great 

artists. It was just amazing, the quality and caliber of musicians you got to see several feet from you in someone’s living room. They would clear out the furniture, put 50 people in there on some loose chairs, and have a suggested donation of 15 to 20 dollars per person.

 

But of course now that can’t exist for a while in any environment, commercial or private—hopefully not as long as everybody’s predicting. Certainly when Mozart did his house concerts in the palace, he didn’t have to deal with a pandemic, and certainly didn’t have the internet to be able to convey his music to the masses. But people do now, and it’s amazing how many performers have jumped on this. They understand that the only way they can keep their music and their talents alive in the minds of their fans and the general public is through online presentations.

 

Whether it’s prerecorded videos or live streaming, some bands will go to great lengths to individually record their parts and overdub the video. And then somebody will put it together through video editing software and create a pretty amazing production.

 


In general, what is the level of quality you’ve been coming across over the past couple of months, from an acoustics perspective?

Most people are just finding a room in their home or their apartment—sometimes the bathroom, which everybody thinks has great acoustics. But that’s a little iffy—sometimes it’s good, sometimes it’s not. It can also be their kitchen, their living room, wherever they can set up an iPhone or a simple microphone. That’s the bare bones.

Performers are realizing they need to use this vehicle to get their music out there. And some are realizing they have to rise above the tide and separate themselves from the masses.

 

I get dozens of livestreams every day on my Facebook and other feeds, but I just don’t have time to listen to all of them. And that doesn’t even include the highly produced streams, like the Together at Home concert with Lady Gaga, Elton John, and others. So there has to be a way for artists—not just musicians, but actors and dancers, too—to convey their craft. But they have to step up the production. And the thing is, the ones I’ve seen do that haven’t had to spend thousands of dollars.

 

It’s really about thinking, “OK, what can I do to create an environment that will give me something better than what sounds like a typical living room? How can I get a little better balance? How can I get some good audio equipment? What do I need to do 

to make sure my video and audio are in sync?” I’ve seen some videos that were out of sync, which is very annoying.

 

They also need to think about lighting. How many people are doing livestreams with a window behind them? I’m not a lighting designer, but Lighting 101 tells us don’t have a window behind you.

 

 

I realize it’s difficult to advise people on acoustics from a distance, but is there any general advice you could give? For instance, they should probably take a moment to listen to the room they’re thinking of using and get a sense of its sonic characteristics.

Most normal rooms—living rooms, kitchens, bathrooms—don’t have a neutral sound, but tend to sound very colored. Bathrooms usually have an excessively bright sound because you’re dealing with porcelain and plaster and other hard surfaces with nothing to absorb it. Kitchens can sound like that too because they don’t have any soft furnishings, so they tend to emphasize the higher frequencies.

 

Living rooms, family rooms, and dens can have a very midrange boomy sound because you typically have all of the low-end sound sucked out—that is, absorbed—by the windows and the thin sheetrock and plaster. The high end can also be muffled by some of the furnishings, especially if you have carpet or area rugs.

 

And that’s really indicative of what I’m hearing on a lot on livestreams—that midrange honkiness that’s left once the highs and the lows are sucked out. It’s better to simply try to soak up or absorb some of that sound. I joke about it, but bringing every pillow and blanket in your house or apartment into the room while you’re recording will actually make a difference. But it depends. If you have a huge living room, just having three or four pillows is not going to do it.

 

If you want to take it to the next level, you can buy or make 

A BRIEF SAMPLING OF STREAMS
Steve Haas on High-Quality Livestreams

Brad Paisley and special guests perform
in real time on Facebook 

The Doobie Brothers perform a video
sync-up of “Black Water”

Steve Haas on High-Quality Livestreams

Singer Maysa Leak (of Incognito fame)

your own acoustical panels. It’s pretty easy, getting some insulation boards, which are typically about one or two inches thick, and wrapping fabric around them. It doesn’t have to be pretty, but it certainly can be very effective.

 

As a practitioner and somebody who designs spaces to sound fantastic, I don’t typically advocate the DIY approach to acoustical treatment. But, my goodness, in this situation we’re in, why not get something that will improve your recordings, improve your livestreaming, and set yourself apart a bit for a modest cost?

 

 

I know there are a lot of variables, but in general, should they be using smaller spaces?

It really does depend on what a space is giving you sonically. It’s all about the balance. Does it sound neutral? You can get a large space that has enough furnishings and other things to create that neutral sound, and have the added benefit of giving 

you a really nice visual backdrop, too.

 

There’s this thing going around the internet, a father and daughter out of Utah—Shaw, I think is their last name. They’ve gotten millions of hits for the songs they sing together. They sound wonderful and they’re in a very nice, voluminous living room. And yet you don’t hear excessive reverberation or other imbalanced sound because they seem to have paid attention to their room’s acoustics.

One option is to create the performance in two parts. I’ve heard people say they’ve recorded their audio literally in a closet to get the best sound possible and then dubbed it on the video. There’s nothing wrong with that, especially if you’re trying to get high-quality sound and visuals. They may not always go hand in hand.

 

 

I don’t want to go too far into the weeds, but how much impact does microphone selection or placement have on all this?

If they’re recording the audio and video at the same time and their space isn’t perfect, it makes a huge difference. There are professional artists where you can see they’re using closely held wireless or wired mics. And if you don’t have a balanced room, that allows the sound to be picked up much better without getting too much of the room. You want to make sure you have the best-quality microphone you can find with what you have to work with. You also want to make sure the mic’s control pattern is fairly narrow so it’s not picking up too much of the area around you.

 

 

I realize no one can know the future for sure, but where would like to see all of this go from here?

It’s great that during these difficult times people are still keeping that sensation of live music. We’ve been witnessing what I call the one-to-many type of presentations, whether it’s a single artist or band delivering a song or a performance or the big 

production concerts such as Together at Home. The Metropolitan Opera just did one. And I heard of a hip-hop artist who actually did one on Fortnite, a gaming platform. So everybody’s finding unique ways to deliver that one-to-many experience.

 

I do think the next step, as this continues, is that homeowners who can afford it will say, “You 

know what? I want a private concert.” Even if they have to do it on the big screen in their home theater and have Elton John or another type of artist use two-way communication where the performer can hear them applaud and they can interact in conversation between songs, ask questions, or whatever. That way they can react to the performance in a one-to-one or one-to-a-family or small-group situation.

 

I look forward to that happening because it really is amazing when you can have that experience with an artist. If they can’t physically be in the same room with you, then get the next best thing and have them be on Zoom or another stable platform. Have that same type of experience and same type of two-way communications instead of one-way. Feel the intimacy of the performance.

Steve Haas is the Principal Consultant of SH Acoustics, with offices in the NYC & LA
areas. He has been a leading acoustic and audio design & calibration expert for more
than 25 years in high-end spaces ranging from home theaters, studios, and live music
rooms to major museums and performance venues.

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

5 Classic Offbeat Sci-Fi Films

5 Classic Offbeat Sci-Fi Films

Gattaca

Science fiction is a genre almost as vast as space itself, and even its sub-genres can be approached in wildly varying ways by filmmakers. Stepping away from Hollywood’s beaten path to indies and smaller releases can uncover astonishing imagination and daring. The following movies, all dealing with space travel and/or aliens, demonstrate this range. From energetic heroes tearing past the stars to exhausted travelers who never asked for such a strange life, these movies represent a bit of all of us.

 

 

THE LAST STARFIGHTER (1984)

Thanks to the original Star Wars in 1977, space became a cinematic backdrop for both individual heroism and humor. Like many movies of the ’80s, The Last Starfighter, directed by Nick Castle and written by Jonathan Betuel, tends toward a particular flavor of sweet goofiness. And while it hardly qualifies as lofty art, it’s a fun family movie with excellent alien 

5 Classic Offbeat Sci-fi Films

makeup that looks ahead to the creative wackiness of the Men in Black films.

 

A young man named Alex (Lance Guest) longs to escape from the trailer park where he grew up. He keeps his sanity by obsessively playing Starfighter, a video game. When he reaches the top 

level, he’s visited by an alien named Centauri (Robert Preston, resurrecting his Music Man slickness), who recruits Alex as a gunner for a real intergalactic war. Call it Tron meets War Games. In space.

 

Castle wisely had the spaceships and battle stations animated rather than photographed from models. This not only avoided the inevitable problems of making viable effects for a movie without a Star Wars-level budget, but it also fits thematically with the video game Alex pictures as he fights. Dan O’Herlihy turns in a touching performance as Grig, the turtle-faced alien who pilots Alex’s ship.     A / G / I / K / V / Y

 

 

GATTACA (1997)

The longing to escape also underpins the much more serious Gattaca, but the focus here is on the longing, not the escape itself. Ethan Hawke, as a man born without the genetic preselection that has become commonplace, must take on another identity in order to reach his lifelong dream of flying in space. The underlying theme here is defiance of societal prejudice.

Writer and director Andrew Niccol employs the trope of a future society that looks perfect and ordered until one scratches the surface to reveal its rotten foundation.

 

Visually and aurally, it’s a film of great beauty. Michael Nyman’s powerful score is the ideal match for the costumes and Oscar-nominated art direction, together evoking a sepia-toned Art Deco future world. The intriguing story, if a bit too reliant on narration, is given life by a fine cast: Jude Law as the man who sells his identity to Hawke on the black market and Uma Thurman as Hawke’s co-worker at the space-travel corporation, along with appearances by Tony Shalhoub, Ernest Borgnine, and Gore Vidal.
A / C / I / K / TV / Y

Where to See Some Sci-Fi

The letters after each movie description link to the major non-subscription streaming and download services that offer the title. Kaleidescape has all 5 films available for download in the best available quality. Gattaca is free on Crackle and Tubi, as is Midnight Special on Amazon Prime.

 

A = Amazon Prime / C = Crackle
G = Google Play / I = iTunes
K = Kaleidescape / T = Tubi
V = Vudu /
Y = YouTube

5 Classic Offbeat Sci-Fi Films

MOON (2009)

Not everyone in space wants to be there, as quickly becomes obvious in Moon. Laboring alone on a lunar energy-mining base, Sam Bell (Sam Rockwell) is nearing the end of his three-year contract and can hardly wait to get home to his wife and daughter. GERTY, the computer and its robotic extensions (voiced with HAL-like eeriness by Kevin Spacey), keeps asking Sam if he feels all right. We watch Sam struggle with sudden physical and mental problems until they quickly become extreme, and we wonder with him whether any or all of this is in his imagination. It eventually becomes clear that the movie’s theme is not solitude, but corporate exploitation of workers.

 

Director Duncan Jones won a BAFTA for this film debut. Gary Shaw’s cinematography is gritty and gray to evoke the lunar atmosphere as well as Sam’s emotional state, while the base interior glows threateningly through orange filters. While the visual illusions are very different from those usually needed in science fiction—I can’t explain without spoilers—they are integral to the plot and well enough executed that they don’t become an annoyance. After Sam’s battle to learn the truth of his own existence, the film’s final moments are psychologically satisfying if physically nonsensical.     A / G / I / K / V / Y     

 

 

HIGH LIFE (2018)

Solitude in space has a different context for Monte (Robert Pattinson) in High Life, directed by Claire Denis, who also co-wrote the screenplay with Jean-Pol Fargeau. Monte started his voyage with a dozen fellow violent convicts as part of an

experimental space-survival program, acommpanied by a supervising doctor (Juliette Binoche). For him, space is just another version of prison.

 

At the movie’s opening, Monte is the only one still alive, with the exception of a baby girl. We learn his backstory through the rapid intersection of his

5 Classic Offbeat Sci-Fi Films

memories, both from his early life on Earth and the more recent time on his current voyage when his co-travelers were still alive. This is a violent tale of blood and sex, society’s outcasts reduced to their most primal urges. In that sense, it’s a horror movie.

 

The sound engineering is raw and thrilling. Occasionally Stuart A. Staples and his band, Tindersticks, supply spooky electronic atmospherics, but Denis is not afraid of long stretches without music, letting the aging ship’s creaks and groans be the score.     A / G / K / V / Y

5 Classic Offbeat Sci-fi Films

MIDNIGHT SPECIAL (2016)

One might argue that this film is not about space or aliens. But there are many definitions of being not of this world, and while the child Alton (Jaeden Lieberher) was born of humans on Earth in our own time, he has powers that connect him with something beyond humanity.

 

In a feat of highly skilled storytelling, writer/director Jeff Nichols starts near the end of Alton’s story, yet explains what led to that point piecemeal throughout the movie without resorting to either flashbacks or the “info-dump” exposition so common in less well-crafted science fiction.

 

Michael Shannon is Alton’s father and a member of a cult called The Ranch, led by a pastor (Sam Shepard) whose sermons are interpretations of the mysterious phrases and numbers Alton speaks during his “fits.” Among those numbers are coordinates for satellites, which alerts the FBI to Alton’s existence. Alton’s father and a friend, Lucas (Joel Edgerton), are trying to bring Alton to a certain place at a certain time, without knowing why; the cult leadership pursues them, wanting Alton back; the Feds chase both parties, thinking a terrorist attack is in the offing.

 

Despite this complex, high-stakes plot, the hallmark of this film is its underlying calm. Nichols hints at violence without showing it, thus maximizing the impact of the violent onscreen episode that starts Act Three. Throughout, the small-mindedness and greed of those in power is muted by acts of love—the father’s sacrifices for his son, Lucas learning to reopen his heart to a friend he lost to a cult, a social scientist (Adam Driver) who really listens, and a mother (Kirsten Dunst, in the best work of her career) who understands that someone can belong to this world and another at the same time.
A / G / I / K / V / Y

Anne E. Johnson

Anne E. Johnson is a freelance writer in Brooklyn. Her music journalism appears
regularly in
Copper Magazine, Classical Voice North America, and Stereophile. She’s
also the author of several novels and over 100 short stories, mostly science fiction
and fantasy. Learn more on AnneEJohnson.com.

The Best of Tiny Desk

The Best of Tiny Desk

Given how quickly people are burning through entertainment at home right now, we’re hoping to open up some new avenues to explore by highlighting less mainstream content that’s readily available online and will look and sound great on a luxury entertainment system. First up is Dennis Burger’s quick tour of some of the most intriguing musical performances from NPR’s acclaimed Tiny Desk series.

—ed. 

 

 

I guess I just assumed that NPR’s Tiny Desk would be one of the first casualties of the pandemic. After all, this long-running series—in which artists and bands cram behind the desk of All Songs Considered host Bob Boilen and jam their hearts out—doesn’t quite work in this era of social distancing. Turns out, though, like most things these days, Tiny Desk just reinvented

itself as Tiny Desk (Home), with artists from around the world and across all musical genres shooting intimate little shows from the comforts of their own living rooms or garages. I stumbled upon this almost by accident, when the latest Tiny Desk (Home) concert, by nuevo flamenco/rock duo Rodrigo y Gabriela, popped up on my YouTube homepage.

 

If you’re not already hip to Tiny Desk, you’re in for a treat, since over 

the past 12 years more than 800 of these mini concerts have been recorded and uploaded to YouTube. And there really is something for everyone, whether your musical tastes lean more toward roots and folk or rap and rock.

Part of the fun, though, is that since each concert typically runs less than 15 minutes, it’s easy to step outside your comfort zone and explore music you may have not been drawn to otherwise. That’s how I discovered what would end up being one of my favorite bands, Buke and Gass. (Now known as Buke & Gase to make the pronunciation a little easier to grok, I guess.) The duo’s 2011 turn at the tiny desk remains one of my favorites to this day.

If you’re looking for something a little more traditional, check out the amazing 2016 performance by Tedeschi Trucks Band. I’ve seen Derek Trucks live more times than I care to count (starting when he was just a wee 16-year-old playing honkytonks here in Alabama), but I’ve never heard him or his band sound better than this. The controlled environment and lack of screaming crowds put the focus right where it belongs—on the music and the performance.

Speaking of sounding great, if there’s any single Tiny Desk concert that makes the case for listening in a proper media room or home theater instead of hunching over your phone or laptop, that would be Andrew Bird’s incredible show, also from 2016. The performance is stunning, but it’s the recording quality that really makes this one a standout. It’s punchy, dynamic, in-your-face, and incredibly detailed. I’ve seen Bird in concert nearly a dozen times now, 

and I’ve never enjoyed this level of clarity and intimacy in person.

Another fantastic-sounding fav is the 2018 performance by jazz/hip hop/R&B-fusion supergroup The Midnight Hour, formed by Ali Shaheed Muhammad of A Tribe Called Quest and composer Adrian Younge (whom you may know from his work on the Luke Cage score). There’s not much to say about this one other than turn down your lights, turn up your sound system, open up your favorite bottle of wine or cognac, and get ready to groove.

I mentioned above that stepping outside your comfort zone is one of the best things about Tiny Desk. But the series is also at its best when it pushes the performers themselves out of their comfort zones. Take the 2016 performance by Blue Man Group, for example. A cramped little office space is probably the last place you’d expect to see this performance-art group playing their percussive contraptions these days, but this set is every bit as weird and wonderful as any of the 

stadium shows I’ve seen them play over the past couple decades, mostly due to the ways the group is forced to adapt to such an intimate environment.

 

Again, that’s just a tiny taste of what’s available behind the tiny desk, and if you’re a longtime fan of the series, I’ve almost certainly left off 15 or 20 of your favorites. And if you’re new to the series, consider this as more of a jumping-off point for your own exploration than a definitive best-of list.

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.

Cineluxe Talks to Kaleidescape’s Cheena Srinivasan

Cineluxe Talks to Kaleidescape's Cheena Srinivasan

Last week, I had the opportunity to chat with Kaleidescape’s CEO Cheena Srinivasan about the current state of the movie industry and home entertainment. Among other things, with theater chains around the world being closed due to the pandemic, movies are being released in the home market far earlier than usual, and the studios have held the release of some major films and delayed production on others. Cheena shared his insights on Kaleidescape’s movie sales, the quality of streaming versus downloading, and day-and-date film releases.

—John Sciacca

We are in uncharted waters when it comes to traditional film distribution, with some studios releasing movies to the home market right after they were in theaters for only a short time. Are you seeing customers exploring catalog or older titles or are they primarily going for new releases?

Kaleidescape is interesting in that we cater to a movie-loving audience that has invested in a high-quality media room or home theater experience. These people are generally affluent and also tend to be very busy, so they are looking for great content to watch in the time they have. But when it comes to great content, it’s hard for the latest releases to make up for what a hundred years of movie-making has already contributed to people who love cinema, so there’s always good stuff to catch up on. Kaleidescape has a deep library of more than 11,000 titles, and historically we’ve always seen a 65/35 split between customers purchasing great catalog library titles and new releases.

 

We have agreements with 44 movie studios now, giving us a complete content offering. In general, the number of movie downloads increases each year, and for March we saw a 70% growth. New titles being released early certainly helped these 

numbers, and we also had a nice injection from the recent 4K James Bond releases.

 

Besides movies, we also have a large selection of concerts, TV series, documentaries, and even operas. If you want to enjoy a nature series, there is nothing better than the rendition of Blue Planet II available in 4K HDR from BBC. No one else offers that with the level of 

quality we do. Ditto with some of the Disney 4K HDR titles with full Dolby Atmos audio. We are very proud to have the kind of offerings we do for the cinema connoisseur, people who really care about that experience—because that’s what it’s all about, the experience.

 

We also offer a movie pre-download service enabling dealers to provide a turnkey solution for their clients. Clients can choose from the finest curated content that is important to them, which is then purchased and downloaded at the factory onto their new Kaleidescape system. When the system is configured in the client’s home cinema, all of their pre-purchased fantastic content is available to watch immediately.

 

Most other internet services rely on streaming for content delivery, but Kaleidescape employs a download-only model. Why is that?

To ensure that predictable, always-great experience we’re known for, content must be downloaded instead of streamed. This is something we have taken as an anchor for our brand. With Kaleidescape, you can schedule downloads to happen when everyone is asleep, and once downloaded, the content resides on a server in your home and you aren’t reliant on the

internet or delivery speeds to dictate the highest fidelity picture and sound playback.

 

With recent improvements to our system and a gigabit internet connection to your home, we’re able to deliver a full 4K movie with lossless audio soundtrack in 15 minutes or less. We can’t provide instant streaming playback without sacrificing what the brand stands for, which is the finest quality experience every time.

 

Increasingly, studios aren’t releasing 4K versions of movies on Blu-ray but instead sending them directly to the download and streaming services. The recent Kristen Stewart film, Underwater, is one example, as are the older, non-Daniel Craig James Bond films. Is this the next step in the demise of physical media?

Disc-based products have declined rapidly in the past couple of years, which makes total sense to me because there is more complexity with anything physical. You have to forecast how many quantities are needed for different markets, then edit, review, test, approve, and manufacture the discs. This is followed by working with retailers on the logistics of stocking the right amount, and, finally, working with the retailers to dispose of unsold inventory at a discount or loss. This is too much work, and you have none of this complexity or uncertainty with digital. Internet entertainment will be the way consumers will watch Hollywood’s greatest movies for years to come.

 

Universal tried something unprecedented with the release of the Trolls sequel as a $19.99 premium video-on-demand rental the same day it was scheduled to be released in theaters. Do you think we will see any long-term changes to traditional theatrical release windows after things open back up, and will this help ease the move to more widespread day & date releases at home?

We have not seen other studios following NBC Universal’s lead. Most studios, especially with big, blockbuster titles, have opted to push them out until later when theaters reopen. That’s because it’s very risky to release movies early. It all depends on how much money you put into producing the movie and what kind of confidence you have in terms of monetizing that content over a period of time to break even on the investment. There’s no proven model for doing early releases, and I think studios will embrace the age-old belief system: If it ain’t broken, don’t fix it. And if you’re going to fix it, you better have very high confidence it’s going to work. What is clear is that more mid-range and low-budget films will be hitting the home entertainment window, skipping theatrical releases.

 

If consumers get used to the in-home convenience of enjoying movies, especially as they come closer after the 

theatrical release, they might decide to just wait and not go to the theater. But there is a case to be made that blockbusters and tentpole films are mutually beneficial for both content owners and theater chains. The big question no one can really answer is, “What can we expect in the future?” It doesn’t make sense to have a tentpole and require people to sit six feet apart from each other, because tentpoles are as much a social driver as the movie itself. And what if customers get frustrated that tickets are sold out because the theaters are operating at 50% capacity? This is why I think many studios have decided to push new releases out many months to when theater operation returns to normal.

 

Now that people are aware that they can find themselves at home for long periods, do you think they will start improving their entertainment systems and we will perhaps see a boom in media room installations?

The resurgence of interest in home theater and media rooms suggests that people are looking at it and saying, “It may not be a bad idea. We could enjoy it for many years to come.” And once they do that, that’s a psychological, mental preference change. But I think no matter what, content owners always win. It’s a mere matter of figuring out the economics, and the market will adapt and evolve.

 

It’s also very clear that the home entertainment experience is improving, and people are becoming more cognizant. Just look at the millions of soundbars and millions of 4K TVs, or even general consumer awareness of technologies like Dolby Atmos. The more that large-TV big-screen viewing happens, the more people will decide, “Hey, I’m going to find out if I could have somebody come and put a media room together!” We have always diverged from the general market in that our audience

tends to be pickier about how and with whom they spend their time—the emphasis is as much social, big-screen home cinema experience with the people you love. This is about quality entertainment time.

 

It’s been interesting to see the vibrancy of home entertainment in a very big way, and I’ve been happy 

Cineluxe Talks to Kaleidescape's Cheena Srinivasan

about recent reports discussing the shifting of content viewing and streaming services away from portable, mobile devices over to TVs. Kaleidescape has never offered any kind of mobile viewing experience because we don’t deem that to be cinematic. Anything cinematic is deserving of watching with family and friends, and we’re fortunate to be the purveyor of the highest fidelity content for home cinema owners.

 

I think there are going to be some major changes over the next couple of years that will make us look back and say, “You know, I’m glad I was on the side of internet home entertainment because this is a horse that’s destined to win!” Home entertainment has a lot of tailwind and that’s going to help it in the foreseeable future.

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.

Star Wars: A New Hope

Star Wars: A New Hope

As I mentioned in my review of The Empire Strikes Back, this year’s May the Fourth celebration (or Revenge of the Fifth, should you prefer the Dark Side) will be particularly festive, thanks to the recent release of the entire Star Wars franchise in 4K HDR with Dolby Atmos soundtracks. Along with the impressive “The Skywalker Saga” box set ($250), which includes all nine films across 27 discs along with hours of bonus materials, the films are also available for sale individually from digital retailers. Even better, internet services are currently discounting the titles, with each movie available for download on Kaleidescape for $13.99.

Along with Empire, Cineluxe has featured reviews of the two latest films in the Star Wars canon, The Last Jedi and The Rise of Skywalker. But we thought it would be worth taking a look at the film that started it all: Star Wars. Or, as it is known now, New Hope.

 

While the modern usage of “blockbuster” started in 1975 with Steven Spielberg’s Jaws, A New Hope took that to the next level in 1977. In our modern era where movies are in and out of the theater in a little over a month, A New Hope enjoyed a theatrical run that lasted over a year, including one theater in Beaverton, Oregon that ran it for 76 weeks! Images of lines wrapping around the block waiting to get a seat were commonplace.

 

I was seven when the film came out, and I can clearly recall seeing A New Hope for the first time. My family was visiting Carmel, California, and my parents dropped me and my 

NEW HOPE AT A GLANCE

The 4K HDR/Dolby Atmos treatment benefits A New Hope as much as it did The Empire Strikes Back, making the 43-year-old initial entry in the Star Wars saga feel surprisingly contemporary.

 

PICTURE     

HDR is used judiciously, but adds plenty of pop to lightsabers, laser blasts, engine thrusters, and the Star Destroyer’s cannons.

 

SOUND

Atmos really opens up the Oscar-winning soundtrack, making Tatooine, the Cantina, the Death Star, and even the garbage compactor feel more convincing.

cousin off at the theater while they went shopping. I can’t recall having any anticipation about seeing the movie, or even hearing anything about it prior to walking into the theater, but my world changed when the lights dropped and that opening fanfare blared from the speakers. When that Star Destroyer flew overhead for the first time, I remember thinking this was like nothing I’d ever seen before, and how was this even possible?!?

 

For two hours, my cousin and I sat engrossed, taking it all in. When it ended, we ran out to the lobby, told my parents that we had just seen the most incredibly movie of all time! and then turned around and went back inside to watch it again! We then spent the rest of the vacation lightsaber fighting each other with anything we could grab that could be imagined into a sword.

 

I was also fortunate enough to see A New Hope at Grauman’s Chinese Theater in Hollywood—which also showed the film for a staggering 57 weeks!—where my biggest memories are of the giant auditoriums and eating an entire box of Red Vines that

I also used as straws to drink a large Coke.

 

Today, there are basically three different generations of Star Wars fans: Those who grew up with the original trilogy, those raised on the prequel trilogies, and those who have come in recently with the sequel trilogies. And, with no disrespect to these “newer” fans, it is difficult to fully appreciate just how important Star Wars is to someone who didn’t grow up with it. From 1977 to 1983, it played a massive role in our lives. It was what we played, what we talked about, what we imagined, what we dreamed.

 

With Star Wars, George Lucas created a universe so real and so unlike anything that had come before that it transcended just being a movie. And to have this come about at an age when you were old enough to understand just how special and different it was, and then grow up with it over the next six years . . . well, it’s not an exaggeration to say it shaped many people’s lives.

 

If you grew up during that time, you fantasized about making that trench run in your X-wing and using the Force to fire those proton torpedoes; or waving your hand and changing someone’s mind; or snapping open your lightsaber and standing down Vader; or playing space chess (technically “Dejarik”) with Chewie aboard the Falcon; or having a Princess place a medal around your neck while the galaxy cheers.

 

And, to think, it was nearly not to be.

 

Multiple studios passed on the film early on, and the first

edits were said to be nearly unwatchable. The film was basically “saved” in post production as the incredible models and special effects came together (it won an Oscar for Best Editing), and it was finally bolstered by one of the greatest soundtracks ever thanks to John Williams. (If you haven’t watched the fascinating and fantastic two-and-a-half-hour documentary Empire of Dreams—The Story of the Star Wars Trilogy, I assure you it is worth the price of a month’s subscription to Disney+ for that alone!)

 

Taken from a new 4K scan, this transfer is sourced from a true 4K digital intermediate, and images throughout are incredibly clean and detailed, with little film grain, but also little damaging effects or softening from heavy-handed use of DNR (digital noise reduction). It is difficult to believe you are watching a film that is 43 years old, especially when you get to the finale, which has visual effects that still impress. (Granted they’ve been digitally helped over the years, but still . . .)

 

Closeups reveal incredible detail, such as the scratches and textures in the metal of R2-D2’s dome, or the streaks of white paint on his body. You can see the fray in Obi-Wan’s (Sir Alec Guinness) robe along with every line in his face, and practically feel the velvet texture of Vader’s cape. In one scene on the Death Star, I was able to clearly read the text “THX-1138” on one of the monitor screens in the background, a homage to Lucas’ first film. You could also see that the masks of the Stormtroopers influenced by Obi-Wan were a bit sloppily finished, with paint that isn’t perfect.

 

Colors look terrific and natural throughout, with laser blasts and lightsabers appropriately bright, as well as the bright blue of the Falcon’s engine, the red of the X-wings’ thrusters, and the bright green of the Star Destroyer’s cannons. (I’m also happy they fixed the saber “fizzle” during Obi-Wan and Darth’s battle.) You can see the crags, cracks, and textures in the rocks near Obi-Wan’s cave, and all of the fine little details put into the interior of the Falcon to make it look like a ship that has logged a lot of miles, errr, parsecs, traveling the galaxy.

 

Black levels are deep, and space looks appropriately inky, but not at the expense of crushing shadow detail. This really gives nice pop to all of the spaceships, as they stand out in stark contrast to the blackness of space around them. Notice the early scenes aboard the Tantive IV as Leia and the droids move around darkened corridors and passageways, or the prisoner detention bay on the Death Star with its deep-black walls, but you can still make out detail in the guards’ black uniforms.

 

HDR brightness is used sparingly—the Falcon’s glowing engines, big explosions—however, the overall depth of contrast added by the extra dynamic range provides enhanced images throughout, adding depth and dimension.

Sonically, A New Hope was game-changing when it came out, winning an Academy Award for Best Sound and a Special Achievement Award for Ben Burtt’s sound effects. And they have definitely done an admirable job of amping up the sound mix for the 21st century while retaining the classic elements that made it so memorable. From the opening, the Star Destroyer flies overhead, an iconic moment now expanded with overhead explosions as it bombards Leia’s ship. And when the tractor beam grabs it, you hear and feel the ship being pulled overhead. When the Falcon escapes the Death Star, TIE fighters fly over and around in pursuit, but the biggest sonic moment is held for the end, during the attack on the Death Star, with trench guns blasting all around, TIE’s screaming past and roaring overhead.

 

Every scene is brought to life with its own sonic space. You get the winds blowing overhead in the Tatooine desert, the background hum of life and little mechanical noises aboard the Death Star, the sounds rattling around in the Cantina, the appliance sounds in Owen and Beru’s kitchen, or the squeaks and groans of metal twisting and crushing in the garbage compactor.

 

Blaster fire is nice and dynamic, and bass is deep and engaging when called on, 

Star Wars: A New Hope

such as the deep thrum of the Falcon’s sub-light engines, the Death Star priming its main weapon, or the buzz of lightsabers. Deeper bass comes from the Falcon jumping to hyperspace and the massive explosion of Alderaan, with the Death Star’s spectacular destruction sounding particularly good, featuring a concussive bass wave that ripples and travels back through the left side of the room.

 

Yes, you can bemoan that this isn’t the original theatrical cut we grew up with. And that Lucas has tinkered yet again with the (now) infamous “who shot first?” Cantina scene. (Just Google “Maclunkey,” if you aren’t aware.) Or that the CGI creatures outside Mos Eisley that were added for the 1997 Special Edition bring nothing to the film—and now look even more jarringly out of place given the quality and look of the rest of the film. And that the added Jabba scene just steals the greatness of his reveal later in Return of the Jedi. I’ll grant you all of that. But to that, I’m still going all-in with this: This 4K HDR version of A New Hope is hands-down the definitive, best the movie has ever looked and sounded, and if you don’t watch it, you are punishing only yourself.

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.

The Empire Strikes Back

The Empire Strikes Back

Disney and Lucasfilm gave Star Wars fans a real gift this year, making all nine of the franchise films (plus offshoots Rogue One and Solo) available for the first time in 4K HDR transfers with Dolby Atmos immersive audio soundtracks. And, as an even more special May the Fourth present, the films are also all currently marked down at sale prices through digital retailers, with each movie available for download at Kaleidescape for $13.99 (opposed to the usual $33.99). A bargain in any galaxy
. . . no matter how far, far away!

While I’ve reviewed the two latest films in the Star Wars canon—The Last Jedi and The Rise of Skywalkerwe thought it would be interesting to take a look further back in the franchise and view one of the installments widely considered to be the best of the bunch: The Empire Strikes Back.

 

I was seven when Star Wars—now known as A New Hope—was released in 1977, and I can’t remember being as excited about seeing a sequel as when Empire came out in 1980. (In retrospect, it’s clear Empire only set me up for a lifetime of disappointment, expecting that all sequels would be fantastic and surpass the originals.) I clearly remember begging my dad to take me on opening night, and then breaking down and sobbing when he said he wouldn’t—a devastating blow to 10-year-old me having to wait even one extra day! (For the record, I have seen every Star Wars film since—including the Special Edition re-releases—on opening day.)

EMPIRE AT A GLANCE

Even if you already have Empire in every previous format, you’ll want to add this 4K HDR/Dolby Atmos transfer to your collection. Both picture and sound are reference-quality.

 

PICTURE     

Space has never looked blacker, the pinpricks of starlight have never looked brighter, and you can see every wispy strand of hair on Puppet-Yoda’s head.

 

SOUND

The Atmos mix is not only dynamic—with resonant AT-AT foot stomps and lots of impressive flyovers—but detailed, revealing all the activity in the Hoth rebel base as the blizzard rages outside.

As impressive as the first film was, Empire ratcheted everything up several notches: Exciting new locations—Hoth, Dagobah, Bespin; new weapons—snow speeders and AT-AT walkers; Jedi training, and a far more impressive lightsaber battle between Vader and Luke (Mark Hamill); new characters—scoundrel/frenemy Lando Calrissian (Billy Dee Williams), the Emperor (Ian MacDiarmid), a character so powerful even Vader kneels before him, and a new Jedi Master, Yoda! Plus, a huge—you actually want to hear an audience let out an audible gasp!?revelation from Vader, along with the introduction of everyone’s favorite bounty hunter, Boba Fett.

With all that going on, it’s no wonder this movie is both the best reviewed—Rotten Tomatoes critics’ score of 94—and most fan-loved—audience score of 97—of the nine-film series, along with being my personal favorite. And, let me assure you, it not only holds up after 40 years, but, oh my DAMN! does this film look and sound absolutely amazing! Fully restored and taken from a new 4K digital intermediate, Empire is clean, detailed, sharp, and visually stunning, and never looked as good as we have it now.

 

As stunning as the audio and video transfer is, nearly as impressive to me was not only how well the film holds up after all this time, but just how impressive the visual effects still are. Sure, you can tell that the Tauntauns and AT-ATs are stop-motion miniatures, and some of the matte paintings can’t compete with modern CGI, but overall, the film still absolutely delivers. (Leia calling Han “laser brain” and Luke oddly scratching Chewie under the neck still remain cringeworthy.)

 

George Lucas famously broke away from the Hollywood machine after the first film, deciding to take full control of his story and opting to finance Empire entirely on his own (a story documented in the fascinating two-and-a-half-hour Empire of Dreams—The Story of the Star Wars Trilogy, available for streaming on Disney+). Doing this not only made him fabulously wealthy, it made him realize he would be too busy to take on the directing chores, instead asking a former film professor, Irvin Kershner, to take over at the helm. Besides managing finances, Lucas also looked over the special effects of his other budding enterprise, Industrial Light and Magic, and remained involved as executive 

producer, writer, and editor, something you get an interesting glimpse into via one of the included special-feature docs “George Lucas on Editing The Empire Strikes Back.” 

 

Literally from the film’s opening seconds, you will notice the improvement in picture quality. The starfield is black and crisp, with hundreds of bright pinpoints of starlight (were there always that many stars?), and the opening text scrawl is a glorious vibrant yellow that leaps off the screen.

 

All of the space shots are wonderfully deep and black, with bright star points and little lights illuminating the various ships, along with a variety of colored engine plumes. These shots now have far more contrast, and the Imperial Star Destroyers look gorgeous. Featuring a beautiful shining-white leading edge, they’re illuminated by hundreds of lights, making them appear more ominous and alive and massive, and allowing you to appreciate all the detail.

The Empire Strikes Back

Edges are just razor-sharp and clean throughout, with closeup detail so good that you see every line and pore in the actors’ faces. Leia (Carrie Fisher) looks incredibly fresh-faced and young and beautiful. You also notice that the shoulder restraints of the snow-speeder pilots appear to be just bubble wrap. These tight shots reveal individual strands of Chewbacca’s fur, along with each single wispy piece of hair on Yoda’s head, face, and fingers, and each wrinkle and expression. Puppet-Yoda is more alive and real than ever, and you can really appreciate the master work done here by Frank Oz.

 

There were a lot of practical sets and props used during production, and the image quality really lets you appreciate the detail and care that went into them. The detail and texture along the Falcon is amazing, and you can see all of the little nicks and scratches and wear on the various pilots’ uniforms and helmets. The details of Han Solo (Harrison Ford) frozen in carbonite—with little dimples and cracks and pits—are also clearly visible. We get several nice interior shots of the Falcon’s cockpit, alive with hundreds of glowing and blinking lights of different colors, all vibrant in HDR.

 

While the Hoth battle scene is one of my very favorites—and is as exciting today as ever, enhanced with both better images and audio, and with the details of the snowy landscape now more visible thanks to HDR—I think one of the most visually striking parts of the film is in the carbonite freezing bay. Here the deep black of the room is accentuated with glowing orange, with bright blue lights and with smoke all around. When Vader and Luke face off here in the first saber duel, it looks

absolutely phenomenal. The visuals are crisp and sharp with tons of contrast, creating incredibly cinematic images that are every bit as dynamic and compelling as anything you’ll see in modern film.

 

As good as the images are, the sound does an equally impressive job of bringing Empire up to modern sonic standards, with the mixers taking every opportunity to have ships and objects flying or rumbling past overhead. Right from the start, probe droids launched from the Destroyer whiz across your ceiling, not to mention all the flyovers from tie-fighters, snow speeders, mynocks, and more. Ghost Obi-Wan (Sir Alec Guinness) and the Emperor’s voice boom from overhead and all around as appropriate.

 

Beyond the big action scenes, we get a ton of ambience and atmospheric sounds in nearly every scene. Take a moment and listen to all the little things that are happening inside the Rebel bases on Hoth . . . there are shouts from off screen, ambient little buzzes and droid noises, and mechanical sounds of repairs going on. Outside on Hoth, the blizzard whips wind and snow around the room. On Dagobah, we are immersed in jungle sounds, with creature noises and leaves rustling, and a brief rainstorm that showers the room.

The Empire Strikes Back

Bass is deep and powerful when called for, whether it is explosions or the mighty foot stomps of the AT-AT walkers. Perhaps most important, dialogue is always clear and properly placed, not always in the center channel but tracking characters as they move off screen.

 

I honestly can’t say enough about this 4K HDR transfer of The Empire Strikes Back; it is truly reference quality in every way. And having purchased the Star Wars films in so many formats and versions over the years—VHS, letterbox VHS, LaserDisc, DVD, Blu-ray—I was seriously planning on sitting this round of Star Wars releases out. But after watching Empire, I am starting to question that decision. If you are a Star Wars fan, you have never seen the movies looking like this, especially in a fine home theater. In many ways, it feels like seeing them again for the very first time. And that is a priceless 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.

The Greatest Modern Screwball Comedies

The Greatest Modern Screwball Comedies

The Greatest Classic Screwball Comedies” highlighted 30 zany gems from Hollywood’s Studio Era. Here, we’re going to trace how the screwball spirit has survived—and even thrived—in the modern era. Of course, these latter-day variations wander into areas their forbears never would have considered exploring. But that basic sense that anything can happen, and probably will, continues to define the genre almost 90 years on. 

The 1970s

What’s Up, Doc?

(1972)

Barbra Streisand, the great actress and film persona (and filmmaker) that she is, uses all her comedy skills, unique beauty, and talents in this revisit to the screwball comedy. Because she can be glamorous and funny (not crass or vulgar), she appears to be at ease fulfilling the classic 1930s role of the sexy girl who makes big trouble for everyone else. Ryan O’Neal is at his Cary Grant best. Madeline Kahn makes her screen debut with her brilliantly funny performance as O’Neal’s rejected fiancée. Indeed, the entire cast (Austin Pendleton, Kenneth Mars, and, in a surprise comic tour de force, Liam Dunn as the night court judge) reigns supreme and the result is a true screwball comedy—and it might just be the best one ever. It has all 

The Greatest Modern Screwball Comedies

the comedic perfection of mix-ups and ridiculous coincidences, but with an added chase scene. By 1971, this could be done realistically full-scale. It’s as thrilling as the car chase in Bullitt (also set in San Fran), but the results are a laugh a second. What’s Up, Doc? was a critical and box-office bonanza and created a whole new generation of screwball comedies.   Gerard Alessandrini

A / G / I / K / VY     

 

Sleeper

(1973)

Woody Allen, the great film historian as well as great writer/director, certainly knew what screwball comedy was, and when the genre became big box office again, he jumped right on the bandwagon with this semi-science-fiction farce that brought back the zaniness of the Marx Brothers. Diane Keaton is his Myrna Loy/Claudette Colbert, and she is as wonderful and crazy as any 1930s movie queen. Although many Woody Allen films contain elements of screwball, Sleeper is his purest one.  G.A.

 

Blazing Saddles

(1973)

Mel Brooks, one of the great kings of satirical comedy, 

crosses the border here directly into the center of screwball-comedy territory. While his Young Frankenstein, The Producers, High Anxiety, and Silent Movie are superbly entertaining, they are parodies of film genres. Yes, Blazing Saddles is a spoof of westerns but it transcends parody with its zaniness and non-sequitur plot. Cleavon Little is Cary Grant to Gene Wilder’s Carole Lombard here (although Harvey Korman is the one named Hedley Lamarr). Inspired Madeline Kahn is the Dietrich-like Blonde Bombshell (who’s a bit “tired”). Near the end when the actors cross from western soundstages into a Dom DeLuise musical, the film really goes screwball. Bravo, Mel!   —G.A.
A / G / I / K / V / Y     

 

Foul Play

(1978)

With the multiple revivals of screwball comedy films, it was inevitable a blonde star should take on the reign of Queen of the 1970s screwballs. Goldie Hawn had already won a Supporting Actress Oscar for her special brand of comedy. In Private Benjamin, she proved she was a formidable comedy force. 

But with Colin Higgins’ screenplay and Chevy Chase as her 1970s Cary Grant, she became the Queen of Screwball Comedy for the next decade. And any film that has the Pope in it has to be considered a screwball comedy.  G.A.

The 1980s

Seems Like Old Times

(1980)

Neil Simon, who certainly knew his comedic genres and classic films, wrote this second screwball for Goldie & Chevy. Simon pays tribute to screwball comedies by putting in a lot of surprise entrances and crazy exits and irrational mix-ups. The result has a good amount of decent belly laughs, even if the film doesn’t add up to be a brilliant work. At the time, critics were only moderately to nonchalantly impressed. But it’s fun all the way, and now that we have some distance from it, we can appreciate this charming film and enjoy the genius of Neil, Chevy, and, as always, Goldie.   —G.A.     A / CGIV / Y     

 

Arthur

(1981)

The breezy and fun-loving 1980s continued to surprise and delight with this box-office surprise. The wonderfully different story about a lovable alcoholic is a perfect fit for the talents of the late, great Dudley Moore. Liza gets one of her few good roles after Sally Bowles in Cabaret as the object of his affection. The music is also appealing and includes

Where to See Some Screwball

Of the 20 films here, only Sleeper, Foul Play, and To Be or Not to Be are currently unavailable on non-subscription streaming. Kaleidescape has gathered 15 of the titles into a “Modern Screwball Comedies” collection. And Crackle offers Seems Like Old Times, Clue, and Planes, Trains and Automobiles for free. (The boldface alphabet soup after each movie description indicates who’s got what.)

 

A = Amazon Prime / C = Crackle
G = Google Play / I = iTunes / K = Kaleidescape
V = Vudu / Y = YouTube

The Greatest Modern Screwball Comedies

the Oscar winner “Between the Moon and New York City.” But the best surprise is the stunt casting of the superb Shakespearean actor Sir John Gielgud as Arthur’s stalwart butler. His dry performance in this marvelous film did not go unnoticed as Gielgud won an Academy Award for his subversively witty turn here.    G.A.     AGI / KV / Y    

 

To Be or Not to Be

(1983)

Mel Brooks and his wife Anne Bancroft finally get to star in a film together in this color remake of the Jack Benny/Carole Lombard gem from 1942. This version is at least as funny as the original, but it also expands (and arguably improves) on 

The Greatest Modern Screwball Comedies

most of the absurd situations. Brooks wrote one or two of his special brand of “Nazi songs,” and they give the proceedings a Producers-type lift. Charles Durning as the befuddled S.S. Col. Erhardt is off-the-charts funny. Tim Matheson as Bancroft’s young paramour has the looks, the tongue-in-cheek delivery, and perfect Cary Grant lightness to give the film a romantic layer. And not to detract from the classic original, it’s fair to say that the arrival of Mel Brooks as Hitler at an English Pub is a terrific addition and a hilarious surprise. (Well, I guess I just spoiled that surprise!) It should be noted that Brooks didn’t direct this jewel of comedy, Alan Johnson did. Thomas Meehan and Ronny Graham re-wrote the screenplay of the 1942 Ernst Lubitsch version, so Mel gets to relax and fly to uninhibited heights. It’s particularly wonderful to see Ms. Bancroft sing, dance, do comedy-drama, and use so many of her God given talents.  G.A.

 

Trading Places

(1983)

Directed by John Landis and starring Dan Ackroyd and Eddie Murphy, this is the story of an upper-class commodities broker and a homeless street hustler whose lives cross paths and switch places when they are unknowingly made part of an elaborate bet. It’s a classic 

screwball comedy setup worthy of Preston Sturges from 40 years earlier. Murphy and Ackroyd are both at the top of their comedic game. And most appropriately they are joined by Jamie Lee Curtis, herself an expert screwball comedienne. The production values are wonderful. Elmer Bernstein’s Academy Award-nominated music score is perfectly period. And Landis certainly knew he was making a 1940s-type comedy by casting true Hollywood screwball veterans Don Ameche and Ralph Bellamy in the senior roles.   G.A.     A / G / I / K / V / Y

 

Clue

(1985)

This comedy mystery film based on the popular board game by Parker Brothers initially did poor business at the box office but has since gained cult status. In a similar vein as the 1976 film Murder by Death, it is an all-star-ensemble whodunit where a

bevy of guests is invited to a big mansion, a murder occurs, and the suspects have to figure out which among them committed the crime. Where Clue and Murder by Death differ however is that the former is filled with much more slapstick and silliness, albeit with a less witty screenplay, catapulting it into the screwball comedy genre. With a tour de force performance by Tim Curry

The Greatest Modern Screwball Comedies

as the butler Wadsworth and brilliant comedic turns by Madeline Kahn, Christopher Lloyd, Michael McKean, Martin Mull, and Lesley Ann Warren, this film is notably quotable, with my personal favorite being Kahn’s line “Flames, on the sides of my face!” To add to the fun, there are three different endings!   Glenn Bassett     A / CG / I / K / V / Y     

 

Overboard

(1987)

Starring real-life power couple Goldie Hawn and Kurt Russell, Overboard was neither a critical or commercial success, but has become a cult classic screwball comedy. Hawn, the queen of ‘70s, ‘80s, and ‘90s comedy films, seems to be having a ball here playing Joanna, a rich, uptight snob who gets amnesia and is tricked by her carpenter, Dean (Kurt Russell), into believing she is his wife and mother of his four boys. The down-and-out Dean does this as payback for her refusal to pay him for work done and for throwing his tools into the ocean. The premise is ludicrous but in the hands of the charming and sexy Goldie and Kurt, as well as director Garry Marshall, the film manages to be heart-warming and witty amidst a very silly plot.    G.B.     AI / KV    

 

Planes, Trains and Automobiles

(1987)

Steve Martin has his own niche in the modern screwball comedy. Roxanne, The Jerk, and L.A. Story are just a few. But Planes, Trains and Automobiles has a special place in the hearts of screwball-comedy lovers. Of course, adding the genius of John Candy doesn’t hurt this wild road-trip romp. Here, Candy‘s obnoxious but lovable behavior comes across so effectively that it adds a certain dramatic layer to the film. John Hughes (Home Alone), at one of his peaks, wrote, produced, and directed this perennial holiday favorite. It has been noted that Hughes wrote his films quickly, and perhaps in doing so he gave them a driving urgency. Of course, this is always good for any film but even better for a comedy. Planes, Trains, and

Automobiles all takes place in a 24-hour period, and the unity of time adds excellent momentum to this “Traveling Home for the Holidays“ roller-coaster ride.    G.A.

A / CGI / KV / Y    

 

A Fish Called Wanda

(1988)

A Fish Called Wanda stars John Cleese (who also wrote the 

screenplay), Jamie Lee Curtis, Kevin Kline, and Michael Palin. I remember first seeing this movie when it had just come out, not knowing anything about it or expecting anything special. Well, what a surprise. Cleese’s screenplay is comic gold, as are his and all of the performances. It’s hard to pick a favorite among the leads as they are all doing their very best onscreen work here. And although this is a heist comedy, the hilarious situations, endless slapstick, and a trouble-making femme fatale (Curtis) at its center make it a screwball comedy classic. Deservedly nominated for three Academy Awards including Director (Charles Crichton) and Original Screenplay (John Cleese), Kevin Kline won for Supporting Actor in perhaps his funniest role to date.   G.B.     AGI / KV / Y     

The 1990s

Soapdish

(1991)

What a screwball brilliant cast this film has. Sally Field, who is always at ease in improbable screenplays, and modern comedy masters Kevin Kline and Whoopi Goldberg are just the headliners. Add in Elisabeth Shue, Carrie Fisher, Robert 

Downey Jr., and Cathy Moriarty in exquisitely broad comic performances, and it’s a star-studded screwball treat. The screenplay by Robert Harling and Andrew Bergman is as wild and improbable as it gets (but then again aren’t TV soap operas, too?) It’s exceptionally well directed by Michael Hoffman with just the right amount of frantic abandon. Also, the “look” of the whole film is

The Greatest Modern Screwball Comedies

terrific and matches perfectly the outrageous tone. “The Look” is a great time capsule of life in glamorous 1991 New York City. Those were the candy-colored days!    G.A.     AGIV / Y    

 

Housesitter

(1992)

This is one of my personal favorite screwball comedies. It pairs the incredible comic talents of Goldie Hawn and Steve Martin, with Martin hysterical as Newton, an architect who has built a dream house in his small hometown for his girlfriend Becky (Dana Delaney) as a wedding-proposal gift, only to be turned down by her when he pops the question. He leaves the house abandoned and ends up having a one-night stand with a supposedly Hungarian waitress, Gwen (Hawn), to whom he tells the story of the house. An artful opportunist and a compulsive liar, Gwen hunts down the house, moves right in, and soon has Newton’s parents and the whole town convinced she is Newton’s new wife. Screwball comedy heaven ensues when Newton returns to his hometown and realizes this unorthodox arrangement may be the only way of winning Becky back. This is an absolute must-see Goldie Hawn performance!   G.B.     AGI / KV / Y     

There’s Something About Mary

(1998)

Everything about this escapade into romantic obsession screams “True Screwball!” With Cameron Diaz as Mary, the carefree and unaware blonde center of attention, and her three crazy suitors (Ben Stiller, Matt Dillon, and Lee Evans), every bizarre plot

twist and slapstick ballet is a set up for provoking laughter, just like the broadest and best of the 1930s screwballs. But the big difference here is that now a comedy like this can use sexual situations, crude language, and politically incorrect setups. The result may be a bit crude, but it’s always hilarious. It’s all so well directed by Peter and Bobby Farrelly. And you’re sure to notice this film has a small, very drugged-up but indestructible cute little dog in it, so very Awful Truth-like!   —G.A.

AGI / KV / Y     

 

Runaway Bride

(1999)

Runaway Bride was a commercially successful re-teaming of director Garry Marshall and his two mega-stars from Pretty Woman (1990), Julia Roberts and Richard Gere. With a similar premise as It Happened One Night (1934), this screwball comedy has New York columnist Ike (Gere) traveling to small-town Maryland to write a factually accurate article about Maggie Carpenter (Roberts), whom the tabloids have dubbed “The Runaway Bride” for leaving numerous men at the altar. A somewhat cliche story, Roberts and Gere manage to rekindle some of the magic that made them box-office gold, and with a supporting cast including Joan Cusack and Héctor Elizondo (also of Pretty Woman), it has enough charm and laughs to entertain and amuse more than 20 years later.   G.B.     AGI / KV / Y    

The 2000s

Superbad

(2007)

After 30 years of screwball-revival films, a new type of “buddy” screwball emerged. In these comedies, the crazy female figure is nearly non-existent and the boys take the irrational behavior lead. There are some elements of the “Drug Comedy” in this

film, although the culprit here is alcohol rather than drugs. The “Drug Comedy” is actually its own sub-genre (Up in Smoke, Dazed and Confused) but in Superbad, the string of outrageous situations comes so fast and furious, it feels screwball throughout—at least till the end, when it very satisfyingly slides into a real and moving friendship story. By the way, this sentimental friendship has been used effectively again and again, and in other Jonah Hill films like 22 Jump Street.   —G.A.     AGI / K / V / Y 

 

The Hangover

(2009)

You could classify this hysterical adventure as a “Drug Comedy,” however it has a certain layer to it that is rather like a Billy Wilder movie. Rather than sit back and be amused, we are asked to participate in solving a certain mystery. What did happen “the night before”? This quality of “we need to do a little brain work here” is a sure trademark of any Wilder film, comedy or otherwise. It adds a certain wit and wryness to the proceedings, and elevates this bachelor-party flick. Of course, the fabulous and frantic direction by Todd Phillips of the Jon Lucas/Scott Moore screenplay

doesn’t hurt! This is the movie that catapulted Bradley Cooper to stardom. Zach Galifianakis, Ed Helms, and, yes, Mike Tyson and a friendly but man-eating tiger (shades of Bringing Up Baby?) add toothy support.   —G.A.     AGI / KV / Y     

The 2010s

Bridesmaids

(2011)

Not since The Women (1939) has there been an all-female ensemble comedy as hilarious or as much fun to watch from start to finish as Bridesmaids. Directed by Paul Fieg with an Academy Award-nominated screenplay by Annie Mumolo and Kristen Wiig, this screwball comedy about a woman named Annie (Wiig) who has lost everything and is about to lose her best friend is not only chock-full of slapstick, the troubled-woman trope, and witty dialogue, it also has enough raunch and ridiculousness to make modern audiences laugh till it hurts. The outstanding cast includes Wiig, Maya Rudolph, Rose Byrne, Wendi 

McLendon-Covey, Ellie Kemper, Chris O’Dowd, Jon Hamm, and Melissa McCarthy in a shameless, uproarious Oscar-nominated performance.   G.B.   

AGI / KV / Y     

 

 

Walk of Shame

(2014)

Although this isn’t a film that’s on everyone’s most-famous list, it nonetheless is an undiscovered gem of screwball comedy. Like 

The Greatest Modern Screwball Comedies

many (or most) of the great screwball comedies, it has a beautiful but screwy blonde in the central role. Elizabeth Banks is perfect and superbly comic as a TV news anchorwoman who has a wild night of fun, but through improbable circumstances has a lot of trouble getting home to change her clothes. Improbable is right, but writer/director Steven Brill pulls all the terrific fun off breezily and hysterically. Some critics found the story laced with broad caricatures and broadly drawn stereotypes. But should true screwball comedy do it any other way? This is uproarious fun.   —G.A.     AGI / KV / Y     

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
. 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. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. 

Glenn Bassett lives in Manhattan with husband Gerard and their two cats. He was set designer for
a production 
of On Golden Pond at The Katherine Hepburn Cultural Arts Center in Connecticut and
for the Salt Marsh Opera’s 
production of Pagliacci. He also did the production design for the
independent shorts 
Dollars and Sense and Marble-eyed Tanner. Current writing projects include
a mystery 
novel set in Provincetown, MA and an original musical thriller, Dig a Little Deeper.