Supplementary material is relegated to the accompanying Blu-ray--a new pressing that offers the 4K remaster in a 1080p SDR downscale. (It has a slightly warmer appearance than the previous BD.) The dreadful "They Are Here: The Real World of Poltergeists Revealed", a limb Poltergeist can't seem to shake, resurfaces here, where it's joined by Amblin co-founder Frank Marshall's long-suppressed "The Making of Poltergeist" (7 mins., SD), featuring B-roll and soundbites from Steven Spielberg, producer Marshall, and actor Craig T. Nelson. It's shot on film, so it has the texture of a serious documentary, but it's really just selling a prospective audience on the movie's suburban-ghost-story pitch and state-of-the-art f/x. Spielberg is the first person you see and hear, describing "the Beast" to the ILM team. It is insanely cool to have the curtain pulled back on stuff like the giant pink Hellmouth (while Spielberg calls it "strep throat," it's unmistakably a rectum whose like we'll see again in Hooper's Lifeforce), a massive rig made to "breathe" with pneumatic tubes and hand-operated pedals--not to mention the Freeling home, only the exterior of which is real. Spielberg, the de facto narrator, walks us through the shot of Diane and Steven right before she goes to "the other side" to retrieve Carol Anne, revealing that a fish tank was employed to accentuate the light's shimmering quality. The piece does not plead the case for Hooper, who is shown only briefly as he consults with an unidentified camera operator--but take that with a grain of salt, considering Marshall's close ties with Spielberg and the fact that he was seeking more autonomy at Amblin with side projects like this. (Steve Starkey, destined to produce Who Framed Roger Rabbit and the Back to the Future sequels for Amblin, edited it.) Poltergeist's lengthy trailer, in 1.78:1 and 1080p, rounds out the second platter.
Tanya Roberts was unprepared for her warm welcome and the presence of such a loud and boisterous crowd. Upon arrival she made herself scarce. Oscar-winning Bond villain Christopher Walkin and musician-turned-actress Grace Jones joined their co-stars before the boys from Duran Duran were welcomed warmly, with their groupies almost outnumbering Bond fans. Speaking to reporters on the red carpet Simon Le Bon said, "We thought, 'Oh that's a big one,' because you're standing up with all those illustrious stars who've made some very good records. But we couldn't really refuse once offered it, could we?" Speaking about their music video as a pastiche of their earlier videos John Taylor remarked on the choice of location: "It's a play on a scene in the movie. We shouldn't really have to go searching for locations when you've got all the scenes from the movie, so we chose the Eiffel Tower... because it was cheap."
Ek Villain 1080p Blu-ray Movie 25
"James Bond just isn't what he used to be. Roger Moore, who portrays 007 once again in this film, is fifty-seven. His face shows a few wrinkles and some of the bounce has vanished from his step. The movie's script appears about as tired as Moore does. A lackluster opening sequence is borrowed almost wholesale from The Spy Who Loved Me, and the film's main action scene doesn't measure up to those from other Bond films. Singer Grace Jones turns in a good performance as a villain, but the movie's other actors don't help the film any. Tanya Roberts plays Bond's love interest with a thick New York accent and struggles with any line over three words long. Christopher Walken is a tad too laid-back in his role as the main villain. Maybe it's time for producer Albert Broccoli to find a young 007, Jr." - Ralph Novak People Weekly
The content for the movie is a solid PG-13. The language isn't too bad, with one "S" word over a staticky airplane pilot's feed, and a military general literally saying "effing" near the end of the movie. There's only mild blasphemy with a couple uses of "Oh my G-d" as exclamations, and then there were a handful of uses of the "a" word and "h*ll" (and "d*ck," as well). The sensuality is very minor, with just a passionate kiss between Superman and Lois, so the biggest red flag for the movie is the violence -- and it's intense. While it's seldom graphic, it's nearly constant in the later half of the movie. And as I mentioned earlier, it's just destruction upon destruction. Zod and his people beat people, throw them around, and destroy just about anything in their path. We see the destruction of a planet and flames shoot from the ground, consuming everything, with a fireball consuming one person in particular. Incredible destruction is brought down on a major city and we see buildings collapse, cars tossed and flattened, and many people destroyed in its wake. Also, there's a final brawl between Superman and a villain; SPOILER (You've been warned): In this battle, it comes to a climax as Superman has a villain in a head lock and they threaten a family of civilians with their heat vision. We see the family cowering in its path and Superman tries to stop the villain but can't in time. When he sees what they have done (we don't see it), he snaps the villain's neck, killing him. It's pretty intense, especially considering that a family, including kids, were vaporized by the enemy, so it's definitely something some parents who are on the fence about the intensity of the movie might like to know before going into seeing it. 2ff7e9595c
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