Limp Bizkit-Kick Some @$$ (Unauthorized) (Warner) (1999) (NTSC)
|Year Of Production||1999|
|Running Time||51:05 (Case: 48)|
|RSDL / Flipper||No/No||Cast & Crew|
|Region Coding||1,2,3,4,5,6||Directed By||None Given|
|Pan & Scan/Full Frame||Full Frame||English Dolby Digital 2.0 (192Kb/s)|
|Widescreen Aspect Ratio||None|
|Video Format||480i (NTSC)|
|Original Aspect Ratio||1.33:1||Miscellaneous|
|Annoying Product Placement||No|
|Action In or After Credits||No|
This feature kicks off with a fairly dire warning: "This documentary contains no music or performance by Limp Bizkit". In fact, it contains no footage of the band at all, and the only images of the band on show are still photographs or artistic representations. The bulk of the programme features interview footage with former Limp Bizkit guitarist Rob Waters, John Jenkins (who produced their first demo) and local Jacksonville D.J. John Goodman. The rest is made up of some fairly lame and pointless interviews with gushing fans waiting to enter a gig, as well as some identities even more remotely connected with the band than those listed above, such as journalist John Citrone, Fred Durst's ex-girlfriend Sage, and other former crew.
The documentary charts the band's humble beginnings in Jacksonville, Florida, through their lucky break when Fred Durst tattooed various members of Korn and dropped them a demo tape, through the release of their first album to... well... now. The whole thing reeks of "cash-in", which may as well have been emblazoned on the cover rather than the word "Unauthorized" which currently is. There's hardly enough material here to sustain an 8 or 10 minute music channel segment let alone a fifty minute documentary, and without any music or footage of the band themselves, what is there is pedestrian at best.
The image was also a little soft throughout. Grain wasn't a problem, with the exception of some of the still images used that were inherently grainy, however shadow detail was quite poor. The colour palette was a little washed out, with nothing in the way of vibrancy on show, giving the entirety of the feature a somewhat drab look. Blacks were a little on the dirty grey side as well. Some chroma noise was apparent in some of the still images (see 5:28 for an example), as well as some cross colouration at 8:48.
There were some MPEG artefacts to be seen, with aliasing also being an occasional problem, especially with the rims of John Goodman's glasses and on a stripe on his jumper. It also occurs at 29:15 on that perennial culprit, venetian blinds. Film artefacts are almost totally absent with the exception of those added for reasons of style, and a glitch at 21:33 which was certainly present in the source tape.
The dialogue was always clear and easy to understand, which wasn't much of a feat in light of the fact that most of it was delivered in interview situations. Audio sync was not a concern.
The incidental music by Ron Anderson was eminently forgettable, whilst the additional live music provided by Skat was derivative at best, and downright bad at worst.
Being a Dolby Digital 2.0 soundtrack, there was no action from the surrounds or subwoofer.
|Surround Channel Use|
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
|DVD||Toshiba 2109, using S-Video output|
|Display||Sony Trinitron Wega (80cm). Calibrated with AVIA Guide To Home Theatre. This display device is 16x9 capable.|
|Audio Decoder||Built in to amplifier/receiver. Calibrated with AVIA Guide To Home Theatre.|
|Speakers||Front: Yamaha NS10M, Rear: Wharfedale Diamond 7.1, Center: Wharfedale Sapphire, Sub: Aaron 120W|