Scream VI (2023)

 

So far, I have not been disappointed with any of the "Scream" films. They are a great amalgam of horror, film tropes, meta analysis and comedy. The fact that these have managed to sustain themselves for twenty-five plus years is impressive. Watching each new version is also an opportunity to peek into the development process of the franchise because they put their thinking right in the script and invite everyone to appreciate and laugh at it. The movies have managed to stay this side of parody but to also enjoy some of the clear cutting that parody allows. 

The previous iteration of the films was a "requel" , a term I'd not heard before but is a perfect sniglet for the type of film we are seeing. These are not reboots where the series is starting over, and the two most recent films are not direct sequels to the original four films. What we are getting is an integration of new characters with the old (legacy) characters, and a new scenario that ties back to the previous story lines but usually in a circuitous manner. In this case, we need a link to the original series of murders and the deaths in the previous film. When the resolution comes, the tie in is just adequate enough to satisfy the desire for this universe of killings to all be interrelated. 

One way that the film subverts itself is in the opening. There is the traditional phone exchange and then a gruesome murder, but the the identity of the killer appears to be revealed. Will we be looking at this story with a completely different perspective for the remaining time? I won't spoil things for you but I will say that the traditions of the tropes are respected, even as they are being mocked. I found that sequence very clever and enjoyable. The new cast, which may be referred to as the "core four", then gets the front and center attention we are expecting. Jasmin Savoy Brown as Mindy, again gets to pontificate on the traditional tropes of a horror film, but then expand on the convoluted explanations that her character provided before. Everyone questions their role on the story, and people who are in on the joke (that's you and me) get to laugh at the obviousness of some of the points and the cleverness with which we then get thrown off of the trail, and finally the realization that the film has stuck to it's stated "rules" after all. 

Melissa Barrera and Jenna Ortega are back as the main characters of the Carpenter sisters. Big Sister Sam is trying to cope with and manage her heritage still and the trauma she has undergone. Younger sister Tara is trying to sublimate the trauma, and that forms the early conflict in the story. Once the more active pursuit of Ghostface starts however, those sibling issues get shunted aside for the horror tropes we are looking for. Courtney Cox returns as Gale Weathers, and there is a little contentiousness because of events that supposedly happened between the two films, but that goes away pretty quickly as well. 

I'm not ashamed to say that in most of the previous films, my first time through, I was fooled by the tricks and taken in by assumptions which lead to my surprise at the reveal. This was the first of the films where I saw what was going to happen, at least in part, before the final reel. In trying to play fair, the screenwriters gave one character a piece of dialogue which is a tell. If you are looking for it, you will probably see it as well. Everything won't be explained, but you can connect the dots rapidly as the conclusion plays out. I don't consider this a flaw in the film, just a moment of clarity that comes from having seen this form of story subterfuge play out before. 

David Arquette is missed but only because his character was well beloved. Mason Gooding as the fourth corner of the "core four", clearly looks like he will be taking over many of the tropes that Deputy Dewey had in the previous films. There is a callback moment near the end which make me laugh really hard. Some characters just are too resilient. If you stick it out through the credits, there is one more joke and good laugh to be had, but be warned, it will be at your expense. 

KAMAD Throwback Thursdays 1975 "French Connection II"

 

Throwback Thursday #TBT

Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don't see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy. 

French Connection II

After the huge success of "The French Connection", someone figured there must be money to be made by doing a sequel, after all it worked for "The Godfather". The original story in the French Connection was based on a non-fiction book about a huge drug bust. Obviously it was built up and goosed to make it more dramatic and exciting than watching guys watch cars for three nights in a row. The car chase in The French Connection is an elaboration that was not part of the real story. For French Connection II, they had to invent a whole new plot.

Popeye Doyle was a larger than life character that could be the focus of a new story and Gene Hackman had already won an Academy Award for playing him. The idea of a fish out of water plot, featuring a hard boiled detective from NYC, tring to maneuver the ways of French law enforcement was a good place to start. Probably the most memorable images of the film contain Hackman, wandering around Marseilles in his Hawaiian shirt and suit, with the pork pie hat on his head. The image in itself just screams "ugly American".  In essence, that is what turns his character into a lure for the criminal organization headed by the character referred to as Frog 1 in the original film. When Alain Charnier spots Popeye in his hometown of operations, it triggers a reaction which the French Police and the NYC Brass had hoped for. The problem is that Popete was not in on the ploy and he becomes a pawn in the game, and one that is captured relatively easily. 

The main justification from a dramatic point of view for the film to exist, is to give Hackman some tasty scenes to chew on and let us relive the character. The interviews with suspects are of course compounded by the fact that Doyle does not speak French and his threats are not processed by the suspects or the interpreters very well. When he repeats the question from the first film,   "if he ever picked his feet in Poughkeepsie", it does not resonate at all with the others and Doyle starts steaming like a kettle getting ready to boil over. Before that can happen however, the big plot twist comes up. After being taken by the criminals, he is tortured and questioned by being strung out on the heroin he is in pursuit of. This is the sequence that probably encouraged Hackman to reprise his role, because he gets to play high, beaten, frustrated and wrung out through the addiction and Cold Turkey that follows. He is very good in those scenes. 

Laying the groundwork for dozens of police procedurals over the next half century, there are several footchases in the film. There is usually a slight twist to them, such as the suspect is really a police informer, or there is a shootout rather than a suspect being tackled at the end. There is no chase as exciting as the one in the original, but there are a couple of solid action bits that help make up for that. Doyle, discovering the location where he was held and tortured, engages in some police sanctioned arson. I don't know that it was believable, but it was satisfying to see him take some vengeance in this fashion. When the police discover the unloading of the blisters filled with heroin off of the ship in the dry dock. There is a shootout and an exciting sequence with water flowing down on the cops in a very dangerous circumstance.  The shootouts are staged adequately, but there are an awful lot of them, which makes the film feel a little more artificial that the original. Director John Frankenheimer was very good at action scenes and you will see that in many of his other films. 

The contentious relationship between Dole and his French counterpart Barthélémy, ended up working pretty well although it was oversold in the early part of the film. Ed Lauter is in the movie, as a U.S. General, tied in with Charnier, but outside of a couple of conversations, that plotline goes nowhere. Lauter is the only other American in the film and he feels like a weak red herring for us, which is too bad because I like him as a character actor very much but he gets nothing to do here. There is an interesting interlude during Doyle's captivity with an Old Woman, which has a different payoff than you might expect, so there are a few good character moments in the film, but it is a much more action driven movie than I remembered.

Speaking of memory, I can't quite recall the circumstances under which I saw this. When I looked at the release date of May 21, I immediately assumed I saw the movie with my two friends Dan Hasegawa and Art Franz. Art was scheduled to go into the army at the end of June, and we saw several films together before he headed off to bootcamp. Dan and I were both going to U.S.C. in the Fall, and we might have gone together after Art reported for duty. Forty Eight years later I'm afraid I'm fuzzy on the details. The movie was a moderate success and I recall liking it quite well, but not thinking it lived up to it's predecessor. That's also the way I feel about it now. 

Casablanca Fathom Event (2023) Revisit

 

I have written about this movie before, but as you can see from all the "Jaws" and "Lawrence of Arabia" posts, I don't necessarily feel sated by one entry on a film. "Casablanca" may be one of the most important films in my love of movies. The main character is my namesake, and the circumstances under which I first fell under it's spell, tell a traditional story of a movie fanatics love affair. 

Eleven years ago, there was a 70th Anniversary screening by Fathom Events, You can read my comments on that occasion here:

70th Anniversary Casablanca Screening 

My opinion on the film has not changed at all, the movie is still perfection. The Sunday Night show that we went to was three quarters full, which is good, but the audience was elderly, which is less so. That comes from someone who just reached the Social Security milestone, so it was noticeable. This is a program that is designed to sell the release of the film on a 4K format, which probably means little to most of the fans who came out, but maybe it will help bring in some younger viewers so that the near Universal respect that this film is held in will continue. 

There has been a Social Media prompt the last couple of weeks, listing a series of items to answer, you know: "Movie that I Hate", "Movie that I find overrated",  "Movie that I can watch over and over again". Several of my on-line friends played along and the one item that stood out to me was that at least three of them answered "Movie I should have seen but haven't"; CASABLANCA.

Far be it for me to chastise people for having a blind spot, believe me I have plenty. I am just surprised because this is such an accessible film Unlike some foreign language cinema masterpiece, or a dense metaphysical dive into existentialism, "Casablanca" is emotionally engaging, easy to dive into and a pleasure rather than a chore. I hope that all of you who have not caught up to it will do so soon. 

The love story at the center of the film, features a broken romance, a love triangle and the complications of the Nazi threat to the world. All of those get a satisfying resolution at the end, at least from a moral perspective. Everyone lives up to their duty and faith in the face of horror. My favorite elements of the film however, repeatedly involve Claude Rains as Captain Renault. His presenting self is as a neutral in regard to others and the politics of the war. He cynically accuses Rick of being a sentimentalist underneath his gruff exterior. Renault, is among the least moral characters in Casablanca, engaging in corruption and exploiting women through his power to grant an exit visa. Yet he is also the most charming and insightful of characters, and every time he and Rick engage in verbal by-play, it is music to my ears. 

So many films have good stories and dialogue that services the story, but it feels mannered and manufactured. Every line in this movie feels organic to the characters that are being presented. Sascha playfully flirts with Rick's current girl Yvonne, but it is not heavy handed and full of double entendres, instead it is light, fun and reflective of his personality. Peter Lorre's Ugarte is slimy with a sense of neediness that makes us sympathize with him in spite of his obvious faults. Carl is suitably felicitous as Bogarts major domo of the Café American, and he is a human being who reflects our own concerns about the characters in the main story. I will leave Ferrari, Strasser, Sam, Lazlo and so many others to another time, let's just say they are all perfectly cast and deliver performances that make the script sing.

The esteem I have for this movie can also be read in my birthday list from two years ago:

Top 10 List for my Birthday #6 

Till we meet again, we will always have Paris. 

A Nightmare on Elm Street (1984) Revisit

 

I did a pretty extensive write up of this film back in 2014 on the 30 Years On Project, which covered films from 1984. We are just a year short of a 40th Anniversary for "A Nightmare on Elm Street", but the screening was this last weekend so I'm not going to wait another year. 

Most of my previous comments are still true in regard to my opinion of the film. The practical effects are the thing that make this movie so compelling. The sequence where Tina is attacked, while she is in bed with her boyfriend, continues to be pretty horrifying. We think one way to deal with nightmares is to have someone with us, but Wes Craven doesn't give us that out. The brutal sequence happens in spite of the fact that physically capable Rod is right there. He is powerless as Tina is ripped open, flung around the room and snuffed out by the invisible nightmare she is having. The movement on the ceiling, the long cuts to her abdomen, and the volume of blood, make a terrific horror sequence. 

The same is true of the attack on Glenn played by Johnny Depp. I criticized his performance in the first half of the movie, but it is not any more problematic than the rest of the cast, and everyone does seem to do better once the character of Freddy is established as the villain. I suppose it is silly to knock a film like this for overkill, so I won't complain, but the amount of blood that poor Glen gives up is impressive. 

If the film has any element to it that does not hold up, it is the musical score which marks it as a product of it's time. Composer Charles Bernstein has the synthesizer do so much of the heavy lifting in the picture, that the music feels like an 80s cliché right out of the box. There were a few eerie moments, but way to often, the volume key and the hold key on the electronic instruments just happen too obviously. 

Wes Craven created a masterpiece with this film. I frankly have not seen any of the follow ups, but I think I am going to remedy that soon.   

30 Years On:1984 A Great Year for Movies-A Nightmare on Elm Street

KAMAD Throwback Thursdays 1975 "Diamonds"

Throwback Thursday #TBT

Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don't see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy. 

Diamonds

The trailer here represents one of the issues with selecting this film for the TBT project. The movie is not commercially available so no one seems to have cared to find and post the trailer for the film. What you see above is a fan created promo, obviously done on free software since the watermark is all over the video. I had never heard of this movie before checking a list of 1975 films on IMDB. When I saw that Robert Shaw and Richard Roundtree were the stars, I was enthusiastic about including it on the project. The problem is that it is not really available. No streaming services were offering it, it never had a DVD release, and the only home media that was available was a VHS tape for sale on ebay. 

So I made my purchase and dug out the VHS player that my wife had used in her classroom, it also has a DVD player, and hooked it all up. It turns out I could have watched a bootlegged copy on You Tube. In the long run, a You Tube viewing will be my last resort for these lost films. I still prefer physical media, even if it is an antiquated format. 

Before I talk about the film itself, there are a couple of interesting points. First of all, the film was also marketed as "Diamond Shaft". That is the cover title on my ebay acquisition and the art work there pretty well explains why the title switch. Richard Roundtree was best known as the actor who portrayed Shaft in the movies. The character of John Shaft is nowhere in this film, and Roundtree does not ever hold a gun in his hand in the movie. Another alternate title was "Ace of Diamonds", which I think would have worked better, but back in 1975, no one asked my opinion.

This is a heist picture and it has some interesting elements to it. Robert Shaw for example, plays twins. He is both Charles and Earl Hodgson. Earl is a security expert who designs protection for large businesses. Charles is a diamond merchant. An early scene establishes the competitive nature of the two brothers, they are both blackbelts and they spar with one another. Charles has tricked his way into having a social evening with Sally, played by Barbara Hersey who was going by Barbara Seagull at the time. Sally is the girlfriend of recently released prisoner Archie, the professional thief played by Roundtree. It is a convoluted sequence designed to bring all of them together but also to potentially drive a wedge between Sally and Archie. Charles has some agenda that we are not yet privy to.

"Diamonds" was written and directed by Menahem Golan, who was yet to partner with his cousin Yoram Globus, to form Cannon Films, but they did have a history of making films in Israel, which is exactly where this movie is mostly shot. The rest of the cast are Israeli actors who I did not recognize, but they were all pretty good. Oh there is one other American actor in the cast, Shelly Winters appears as a widow visiting the Holy land, but her role is completely superfluous to the story. At best she is comic relief, but if you took her out of the film completely, it would not have changed a thing about the plot.

The three act structure is very clear in the plotting. The opening section is the recruitment phase, which largely takes place in London. When they arrive in Israel, things get more complex as the plan is being laid out for us and there is a substantial amount of police attention paid to Archie because he is a known criminal. I enjoyed seeing the Israeli locations and seeing all the people in the squares and marketplaces. This elaborate set up contains a lot of cat and mouse playing between the thieves and the police who have them under surveillance. There are also a couple of red herrings thrown in, to baffle the police and us. 

I am usually of the opinion that we as an audience should be in on as many details of the planning as possible, without giving away any surprises. There were a couple of technical elements in the execution of the theft which would have been more dramatic if we had seen them coming. However, the casing of the security vault and it's procedures was shown pretty effectively. Charles has some insider information that could have been laid out to his partners, but it was not of critical importance. I do think though that Shaw's character needed to have a little more development as a personality. The interactions between him, Archie and Sally, after the opening section in London, are pretty dry. There is a suggestion of some tension but none of it is very dramatic.

When we get to the heist itself, the parts we see were well staged. As is required in a plot featuring a crime like this, there are some complications, but the main variable is the cooperation of a representative of the security vault. His motivation to provide information is a result of threat and duress, but when he overcomes that, he is so tentative about approaching the authorities that the extra time feels like a dramatic cheat. Robert Shaw was on the other end of an elaborate con game in "The Sting", so it is kind of fun when the tables are turned on the cops and his partners at the climax of the film. "The Thomas Crown Affair" seems to have also been something of an inspiration for the story turns here. 

"Diamonds" or "Diamond Shaft" if you prefer, is not an essential film. Shaw was better in "The Taking of Pelham 1-2-3" the year before. The film is however interesting enough for fans of heist films and Robert Shaw. Roundtree and Seagull(Hersey) have little opportunity to shine because character development is not a goal of the screenwriter/director. This is a movie that is all about the crime, and it is only moderately interesting in spite of the tricks that get played.  

  

Cocaine Bear

 

I was really hyped up about this film. I expected it to be ridiculously violent and full of bad puns and jokes about a bear being high. There was some of that but not nearly as much as I wanted. If you have read this site in the past you know I have a weakness for cheesy, violent movies. "Smokin' Aces", "Seven Psychopaths", "Piranha 3D" and "Piranha 3DD" are good examples of the sort of nonsense I was looking for. It's not that this did not deliver, it did, just not in spades like I was hoping. We get caught up in a couple of stories that are supposed to structure the film, but they are just not that interesting and I kept hoping the bear would do some more damage to more people and property.

A movie like this has to be self aware of how over the top it is. In the best sequences, you do get that sort of malicious nastiness that we come to this for. The opening sequence with the European tourists sets us up pretty well. They are a little too self involved, but their dialogue was fun. I'm all for naming a kid Texas, I think they would both love it and hate it. The old joke about not needing to be faster than the bear, just faster than the other person, gets tossed aside pretty quickly. The dismemberment image is just enough without going too far in the intro. The problem is, it takes a long time to get back to this sort of thing. Even though there is an amusing sequence with the plane that drops the cocaine, it turns quickly to some issues that ought to get out of the way a little quicker.

Kids in jeopardy is a trope that also undermines the story. We know that the film maker is not going to have nine year olds ripped to pieces in front of us. That would undermine the enjoyment of the bear attacks. The victims need to be idiots, scum, or something else we can enjoy seeing brought down. This is not a horror film but a thriller comedy.  Now the drug smugglers, the muggers, the smug do-gooders, that's the stuff we are looking for. So there should be more of that. The problem is that the national park setting is not as target rich an environment as the river locations in the Piranha movies. There is also no gratuitous nudity to enhance the cheesy nature of the movie. The closest we get to characters who fulfill that need for our voyeurism, is a middle age ranger and a nature crusade. That don't work.

My favorite death moment in the film is not really a bear attack but an accidental moment by people who are so hyped up by fear that they act stupidly. The sequence at the ranger station and the ambulance is the high point of the bear mayhem, and it occurs halfway through the movie, and we need something a little stronger at the end. This is Ray Liotta's last film and he put in some effort, especially in the section where he confronts the detective in the story. The problem is he never gets hyped up the way the other characters do about the bear, and it makes this part of the story feel too much like it is from another picture. Director Elizabeth Banks, makes the sequences with the bear work well enough, but the pacing of the rest of the story seems off and a little slow.

Don't get me wrong, I had a good time with this but it is not the perfect realization of the high concept premise that I wanted. My standards may be low when it comes to a movie like this, but I need to be honest, some good laughs and disturbing deaths were not quite enough to make it a classic. If you are intrigued by the idea, and you understand the approach the story is taking to this, you too will have some enjoyment. You may not however feel a need to ever return to the film, and a movie with this sort of promise should always be re-watchable. 

 

KAMAD Throwback Thursdays 1975 "The Hindenburg"

 

Throwback Thursday #TBT

Throwback Thursday on the KAMAD site will be a regular occurrence in the next year. As a motivational project, to make sure I am working on something, even in a week where I don't see a new film in a theater, I am going to post on movies from 1975. Along with 1984, this is one of my favorite years for movies and it is full of bittersweet memories as well. 1975 was my Senior Year in High School and my Freshman Year in College. The greatest film of the last 60 years came out in 1975, as well as dozens of great and not so great cinematic endeavors. Most of the films in this weekly series will have been seen in a theater in 1975, but there are several that I only caught up with later. I hope you all enjoy. 

The Hindenburg

This was another of the few 1975 films I am covering on this year long project, that I missed in theaters when it opened in December. As a freshman  debater at USC, we were expected to participate in and help out in the major National Debate Competition held on our campus"The Alan Nichols Invitational". So I was preoccupied at the holidays and never got a chance to catch up. Also in December we had "Lucky Lady","The Killer Elite", "The Black Bird", "Hustle", "The Man Who Would be King", "Barry Lyndon", and  "Sherlock Holmes Smatter Brother". Many of these were released the same day as "The Hindenburg". The reviews on the film were not promising at all. Many reviewers called it a "disaster" of a disaster movie. Some said it was the worst film of the year, and called the acting and dialogue laughable. So it was no wonder that it slipped passed me at the time. 

Many years later I caught up with the movie on a subscription service and my opinion was not nearly as negative. I remember thinking it was a little dull but I did not hate myself for having watched it. Today, I am going to stick to that opinion, the film is serviceable, not great, but certainly not the dregs that were suggested by Pauline Kael, Roger Ebert and Vincent Canby. The movie was made by Robert Wise, no slouch as a director,and meticulously integrates the real world events in with the fictional story that structures the movie. Several of the characters and the manner in which they escaped from the flaming crash of the Zeppelin, are accurate if dramatic re-creations of those events. I can't say that the acting was excellent but I can say that the cast was. George C. Scott was one of my favorites in the decade of the 1970s. He is trying to play a sympathetic German Colonel who is resistant to Nazi control of the military. He obviously needs the part to be written that way because we would be unlikely to root for a Nazi as our hero.  Anne Bancroft is a passenger on the trip, given a plot line just to justify having the female lead of the film portrayed by a star. William Atherton, who will become the default prick of so many 1980s films, is playing against type here as a crewman with a somewhat heroic but dangerous agenda. 

The rest of the cast was filled with familiar faces:Roy Thinnes, Gig Young, Burgess Meredith, Charles Durning, Richard A. Dysart, Robert Clary, and René Auberjonois. Young had been fired from "Blazing Saddles" a year before  because he was incapable of performing while withdrawing from alcohol. He was typecast as a boozer for very good reasons, and his ultimate tragedy is something you might wan to read about if you are in the mood to be depressed. Meredith and Durning both had two Academy Award Nominations in their careers, Meredith in fact was nominated this year for his performance in another 1975 film, "Day of the Locust" (which also featured Atherton and Dysart). While performances from this film were not honored, the special effects were, two wins for Special Achievement in sound effects editing and visual effects, and three nominations for art direction, cinematography, and sound. 

The best things about the film are in fact it's handsome production. The elaborate reconstruction of the interior of the Hindenburg is impressive. The metal frames and catwalks are intricate and provide lots of opportunities for the actors to run through, climb on, and ultimately fall off of them. The dining hall and lounge areas might make you wish that travel by airship still existed. The luxury of a cruise ship, combined with a view of the Earth from several hundred feet above the surface, is very appealing. The cabins look a little small but they could work if you spent most of your time looking out the observation ports. The manner of loadings, docking, and operating the ship seems to be pretty accurate, and if the plot does not suck you in, at least you can enjoy the details that are provided from the era.  

Basically, we know from the get go, that the Zeppelin explodes at the end of the movie. The story speculates on political intrigue because the Nazis used the Hindenburg as a propaganda tool, and it is still a mystery as to what really caused the explosion. This story postulates that there was a conspiracy to sabotage the airship as a way of indicating that there was a resistance effort at work in the Third Reich. The technical effectiveness of the film is tied up in how the actual film footage of the real disaster is integrated into the filmed sequences depicting what happens to the characters we see in the story. Except for some mild variations in the film stock and lighting, the results are very solid. Anyone who has watched the newsreel footage from 1937 will be amazed to learn that two thirds of the passengers and crew survived the conflagration.

The characters in the film represent a passenger list of 36 and a crew of 61. There is a fun sequence where the Broadway impresario plays a satiric tune on the piano as a vaudeville clown acts out the concepts. The mocking of the Führer was funny but unlikely to get as far as it did with the audience on board.  The movie is filled with red herrings about the plot. There is a clairvoyant, diamond smuggling, drafting sketches, and coded messages which are there to create intrigue but really have nothing to do with the threat to the vessel. Scott is a special security expert, brought on board to respond to a rumored threat, and Thinnes is the Gestapo counterpart who has methods that Scott's Luftwaffe Colonel objects to. 

I did find the film a little dull because of the pacing, but the whole point of a film like this is to build up to the conclusion. I did not find it objectionable but I would suggest that if you decide to watch this, you make sure you are fully caffeinated. I saw the Laser Disc version of this film many times but never pulled the trigger on that so I watched this on a bare bones Blu Ray release. There was literally no menu options except for subtitles. There were no extras, chapters, or other languages available on the media I had. I will say however, the picture looks fantastic and the images of the ship in the air combine the model effects with matte paintings very convincingly and in a beautiful composition.