|Category||Comedy||Audio Commentary - James Stern
Theatrical Trailer (1.85:1, non-16x9, Dolby Digital 2.0)
Featurette - The Making Of It's The Rage (13:25)
Cast & Crew Biographies
|Running Time||94:43 Minutes|
|Region||2,4||Director||James D. Stern|
Columbia Tristar Home Video
|Pan & Scan/Full Frame||None||English (Dolby Digital 5.1, 384
French (Dolby Digital 5.1, 384 Kb/s)
English Audio Commentary (Dolby Digital 2.0, 192 Kb/s)
|Widescreen Aspect Ratio||1.85:1|
|Original Aspect Ratio||1.85:1||
French Audio Commentary
Dutch Audio Commentary
|Annoying Product Placement||Yes, mildly|
|Action In or After Credits||No|
Tim just happens to be gay, or at least he lives with a gay lover by the name of Chris (David Schwimmer), who has become quite paranoid and unstable after a break-in. Chris has just bought a gun, and begins to suspect Tim of having an affair for no readily apparent reason. Meanwhile, Helen gets a job as an assistant to Norton Morgan (Gary Sinise), an eccentric computer genius who just happens to be paranoid and a gun owner. Tennel (Josh Brolin), the man she has replaced, gets a job as a clerk at a video store, and is smitten by Annabel Lee (Anna Paquin), a shoplifter who likes to complain about men to her pistol-packing psychotic brother, Sidney (Giovanni Ribisi), in order to set him off. Annabel starts an affair with Tim, who has also begun carrying a gun by this time. As this motley bunch of characters interweave and, in some cases, shoot one another, one is left wondering exactly what they are supposed to be laughing at. It's not that the actors are necessarily bad, except maybe for David Schwimmer, but the script really leaves a lot to be desired. Most of the story consists of missed opportunities and jokes that are, for want of a better description, culturally relevant.
Other opinions of the film itself are somewhat divided, with 128 users on the Internet Movie Database awarding the film an average rating of six out of ten. One camp describes this film as being hard to take seriously while not being terribly funny, either, which is the opinion I agree with. Others describe it as simply not being funny or entertaining, as well as being a waste of good actors. If this film is meant to be some kind of anti-gun statement, then it misses the mark in the same way that all other such statements do, by blaming the guns rather than the people. Having said all of that, I would advise renting this movie first, as you would have to completely mad about this attempt at satire to want to invest money in owning it.
The film is presented in the original aspect ratio of 1.85:1, and it is 16x9 Enhanced. The transfer is extremely sharp throughout, save for the credits sequence that appears to be stock footage culled from someone's home video collection, which in turn is as well-defined as you can expect from this kind of source. The shadow detail is excellent, with plenty of gradations between light and dark on offer, and everything that the director intended to be seen in night-time sequences is highly visible. There was no problem with low-level noise.
The colour saturation of this transfer is dull for the most part, but this is more a reflection of the way the film was shot. The only sequence that allows bright, vivid colours for the transfer to capture is the wrap-up, with some exterior shots containing plenty of greens and reds. The only other shots in the film that allow for a vivid display of colours are those in Morgan's office. Having said all that, however, the transfer is an accurate reflection of what I presume the director intended the colours of the film to look like.
MPEG artefacts were not readily apparent in the transfer, and there never seemed to be any problems with film-to-video artefacts. Film artefacts are only mildly present, with the occasional black spot or scratch on the picture.
The dialogue is clear and easy to understand almost all of the time, even within the minor limits of David Schwimmer's mumbling. There were no perceptible problems with audio sync.
The score music of this film is credited to Mark Mothersbaugh, with music supervision by Mary Ramos and Michelle Kuznetsky. Presumably, the latter two are responsible for the choice of contemporary numbers that appear in the film, and these make much more of an impression than any part of the score. The contemporary numbers are actually quite well chosen, with an obvious influence from Dr. Strangelove apparent in the way the songs were chosen. The score music, when it was present, failed to leave any serious impression upon me.
The surround channels were often active to support the music and the occasional directional sound effect, such as the sound of police sirens. However, most of the soundfield is biased toward the fronts, with most of the dialogue and sound effects coming out of the stereo and center channels. Given that most of the film is heavily dependent on dialogue, this is acceptable even if it is a little disappointing. The subwoofer was intermittently present to support gunshots and the lower registers of the music, but there is also little demand from the film itself for the LFE channel's use.
The video quality is very good.
The audio quality is good.
The extras are passable.
|DVD||Toshiba SD-2109, using S-video output|
|Display||Samsung CS-823AMF (80 cm) in 16:9 and 4:3 modes, calibrated using the NTSC DVD version of Video Essentials.|
|Audio Decoder||Built In (Amplifier)|
|Amplification||Sony STR-DE835, calibrated using the NTSC DVD version of Video Essentials.|
|Speakers||Yamaha NS-45 Front Speakers, Philips PH931SSS Rear Speakers, Philips FB206WC Centre Speaker, JBL Digital 10 Active Subwoofer|