Me, Myself & Irene (2000)
Main Menu Introduction
Music Video-Breakout-Foo Fighters
Audio Commentary-Bobby Farrelly (Co-Director) & Peter Farrelly (Co-Director)
Featurette-Behind The Scenes-6
Easter Egg-Alternate Menus
|Year Of Production||2000|
|RSDL / Flipper||RSDL (52:19)||Cast & Crew|
|Region Coding||2,4||Directed By||
Twentieth Century Fox
|Case||Six-Sided Star Clamp|
|Pan & Scan/Full Frame||None||
English Dolby Digital 5.1 (384Kb/s)
English Audio Commentary Dolby Digital 2.0 (96Kb/s)
|Widescreen Aspect Ratio||1.85:1|
|Video Format||576i (PAL)|
|Original Aspect Ratio||1.85:1||Miscellaneous|
English for the Hearing Impaired
|Smoking||Yes, lots of it - both good and bad guys|
|Annoying Product Placement||Yes, enjoy cola?|
|Action In or After Credits||Yes, pictures through credits, scene after credits|
The story follows Charlie Baileygates (Jim Carrey), an 18-year veteran of the Rhode Island State Troopers, and a loser whose wife left him for a midget Negro Mensa member, and whose three children are decidedly dark skinned - and rather smart. Charlie doesn't deal well with conflict, and spends most of his time being used and abused by every man and his dog (literally). One day, something snaps inside of Charlie, and we meet Hank (Jim Carrey). Hank loves conflict and will do almost anything to create it. Unfortunately, despite the fact that Charlie can control Hank with drugs, the State Troopers aren't exactly thrilled to have the possibility of Hank working for them. It is at this point that Irene Waters (Renée Zellweger) is brought in on an arrest warrant from out of state. This seems to be the perfect job for Charlie - an easy trip to take Irene to up-state New York and hand her over for her warrant. Unfortunately for Irene, her ex-boyfriend and well-to-do hood gets worried that she might know a little too much about the shady dealings he has been involved in. It is up to Charlie and Hank to ensure that Irene survives not only the ex-boyfriend and corrupt cops, but himself, long enough to prove her innocence.
This movie is very funny, and closely follows the formula laid out in previous Farrelly brothers movies. The final note to make regarding this movie is on the relationship between Jim Carrey and Renée Zellweger who had quite a public romance following the shooting - and an equally public break up. By all accounts, Renée Zellweger did not allow a romantic relationship to develop while working on the movie, and this seems to have created a good on-screen chemistry between the two. Certainly comparing this movie to Proof Of Life that involved the highly public Russell Crowe and Meg Ryan relationship, Me, Myself & Irene came away without any ill effects.
Presented in its original theatrical aspect ratio of 1.85:1, the transfer is 16x9 enhanced.
This transfer is only reasonably sharp. While this is not a problem in particular, it does come up as being somewhat of a poor effort compared to DVD releases of other recent films. There is a problem with grain levels that are quite noticeable early in the transfer (in the sequence 0:30-1:00), and close to the end (the sequence 104:08-104:20, just before the credits roll). During the bulk of the movie, however, the grain is controlled quite well, and it only occasionally becomes noticeable for a few shots. The shadow detail is quite good, although not spectacular, although as only a very few sequences are not brightly lit this really plays no part either way. The transfer contains no low level noise.
Colours are for the most part quite good, although the number of outdoor scenes affected by clouds causes some variation in the vibrancy of the colours over the duration of the transfer. Some of the aerial shots of American farming land are quite beautiful to behold.
Aside from some background pixelization caused by the grain at the start and end of the transfer, there are no MPEG artefacts. Aliasing is quite minor and restricted to a few incidences, the worst of which (the side of a weatherboard house at 7:24) is quite mild. Film artefacts are quite prevalent, especially for a film as recent as this. The worst affected sequences are the same opening and closing scenes that contain the excess grain.
The subtitles are very accurate, only leaving out the most inconsequential of words. A nice touch is that each time a song starts, the title and artist are listed in the subtitles.
This is an RSDL formatted disc with the layer change occurring at 52:19 during Chapter 7. The change is quite noticeable, as it occurs during a brightly lit scene making extensive use of ambient surround effects that are interrupted for the time it takes to negotiate the change. While it could have easily been better placed, a positive note is that the change at least interrupts no dialogue.
There are two audio tracks present on this disc, being the original English dialogue in Dolby Digital 5.1 at 384 Kbps, and English audio commentary in Dolby Digital 2.0 stereo at 96 Kbps. I listened to both tracks in full.
Dialogue was clear and easy to understand at all times, and it was never necessary to replay a segment to understand what was being said. This is also despite the voice used by Jim Carrey for Hank being little more than a growl.
Audio sync was never a problem, always matching without any noticeable delay.
Music is a blend of score music and contemporary songs, as is the typical style for this genre. The score music is provided by Pete Yorn and Lee Scott, but it is almost impossible to tell what is score and what is a pre-existing tune, just woven into the movie. In this regard the score is very effective, although overall it provides a less satisfying experience than a traditional style score.
Surround channels are often used extensively, although there is a tendency to collapse to a very frontal soundscape. This really is to be expected for a comedy, as the dialogue is generally more important than the action. In general, the score makes limited use of the surround channels, and the most impressive surround channel use is for ambient sounds, such as on the golf course at 26:05, and in the forest at 53:54. Unfortunately, these sequences tend to highlight what the soundtrack lacks for the most part.
Subwoofer use is very good, providing a nice lower end for Charlie's motorcycle engine, backing up the score, and filling in very nicely where needed. For what is really a combination of dialogue-driven and physical comedy in which low frequency audio generally plays no part, the subwoofer track is quite impressive.
|Surround Channel Use|
This is available from the last page of chapter selections (Chapters 13-15), where the fourth selection would have been. It
is presented in full frame with Dolby Digital 2.0 sound, and is quite amusing.
The video quality is good but not great, suffering a little from grain, especially early on in the movie.
The audio quality can only be called serviceable, being good enough for the presentation, but it could easily have been better.
The selection of extras presented here is very good, and while it does lack a little in comparison to the R1, I don't think we have much to complain about.
|DVD||Pioneer DV-535, using S-Video output|
|Display||RCA 80cm. Calibrated with Video Essentials. This display device is 16x9 capable.|
|Audio Decoder||Built in to amplifier/receiver. Calibrated with Video Essentials.|
|Amplification||Onkyo TX-DS787, THX Select|
|Speakers||All matching Vifa Drivers: centre 2x6.5" + 1" tweeter (d'appolito); fronts and rears 6.5" + 1" tweeter; centre rear 5" + 1" tweeter; sub 10" (150WRMS)|