Blu-ray Review: Rio 2 (2014)

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Related Review:
Rio (2011)

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Blue Sky Studios’ globally-minded musically driven 3D CG-animated adventure movie Rio brought its aptly named Blue Macaw Blu and his bookish owner Linda (voiced by Jesse Eisenberg and Leslie Mann respectively) from Minnesota to the titular Rio in the infectious 2011 original that enchanted viewers with its high-spirited energy and fast moving storyline which danced at a steady Samba pace.

Unfortunately while it’s as beautifully vibrant as ever in a visually breathtaking opener that once again feels like it's an animated half-pint version of the Carnival classic Black Orpheus, the second film is an undeniably busy, ambitiously overstuffed and disappointingly episodic return to the delightful high-flying world of Rio.

Strategically released to coincide with the World Cup, Rio 2 incorporates a soccer fueled scene that’s – like everything else in the film – ratcheted up a million degrees so that it’s storyboarded less like a regular match and more like a spectacular Harry Potter styled aerial game of Quidditch.

And despite its pro-nature message about preserving the Amazon Rainforest (as well as the endangered birds in another through-line admirably carried over from the first film), far too much gets lost in the shuffle of individually isolated “scenes” in a movie that ultimately lacks the cohesive focus of a well-conceptualized whole.

As Rio 2 begins, we check back in with the paired off lovebirds (Eisenberg and Anne Hathaway) from the original as the couple and their three young flappers leave Rio behind before flying into acquaintances both new and old in the sequel’s dominated Rainforest setting.

Essentially a feathered version of Meet the Parents for the small set, in Rio 2, Hathaway’s Jewel is stunned to discover that the family she’d long thought to have been deceased is alive and well in her old Amazon home.

While indulging in his opportunity to play the Robert De Niro like Parents heavy, voice actor Andy Garcia is clearly having a ball as Jewell's long lost father who takes an immediate dislike and disapproval to Blu by admonishing him as a mere “pet.” However, the biggest surprise is musician Bruno Mars, who steals several scenes in an often screamingly funny role as a childhood friend who still clearly carries a torch for Jewel.

Burning through subplot and supporting characters (including a return of the first film’s fan favorite Jemaine Clement who’s now partnered with Kristin Chenoweth), from its snappy one-liners to obligatory pop songs and brightly colored, firework-fast diversions, Rio 2’s key takeaway about preserving plant and animal life on Earth gets pushed into the periphery.

Sloppily written, the film shortchanges its talented cast and expectant audience alike with a collection of sitcom level scenes edited together with a few eye-opening epic moments (such as the aforementioned opener) buried in between in order to satisfy the shortest of attention spans.

A pleasant enough diversion for your tiniest tots especially given the multiple format combo pack release which boasts a Blu-ray, DVD and digital copy, director Carlos Saldanha’s effort works better than a majority of run of the mill fare like The Nut Job.

And likewise given the studio's dedicated to discovering new topics, techniques, and terrain (even by way of a preexisting template), it is a stronger than average follow-up as far as animated movies go.

Nonetheless there’s still no beating the South American spirit of Blu’s original opus that showed ticket-buyers that outside of the frozen tundra of the impressive Ice Age franchise, Blue Sky has a bright future ahead of them in the sun.

   

Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Blu-ray Review: Beverly Hills Chihuahua (2008)

Finding Its Bark on
DVD & Blu-ray
3/3/09

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In Once Upon a Time in Mexico, Johnny Depp asks if another character is a "Mexi-can" or a "Mexi-can't." In this south of the border Disney comedy that elevates itself following a clunky start-- Beverly Hills Chihuahua surprisingly turns into quite the entertaining family film and proof that it's a "Mexi-can."

Although, since I must confess that after witnessing Space Buddies, the idea of live action animals with animated mouths to match their vocals has made its way onto my list of irrational fears including escalators and Die Hard era Alan Rickman-- I was completely unprepared by how enjoyable this movie would turn out to be.

Beverly Hills Chihuahua begins as though it's a canine version of Romy and Michelle's High School Reunion, Clueless, Legally Blonde, or The House Bunny by introducing us to our spoiled chihuahua heiress Chloe (voiced by Drew Barrymore) as essentially the Paris Hilton of dogs whose owner Jamie Lee Curtis (Freaky Friday) is a cosmetics industry tycoon.

When she isn't pampered at the salon or engaging in super expensive play-dates with her fellow wealthy dogs, Chloe spends her time trying to ignore the adoration of George Lopez's Papi-- the landscaper's chihuahua who obviously has spent too much time watching telenovelas longing to break canine class clashes and romance the beautiful diva. However-- always reminding Papi that although they are the same breed-- they're of fiercely different stock-- the stuck-up Chloe gets a much needed reality check after Curtis must venture to Europe for a business trip and leaves her irresponsible niece played by Piper Perabo (The Adventures of Rocky and Bullwinkle, The Prestige) in charge.

Quickly venturing with her friends on a Mexican vacation, Perabo's Rachel ignores the list of her aunt's demands about expensive cuisine and three outfit changes per day and tries to feed Chloe food from a can. Gasp! When she leaves Chloe behind to go partying-- the fed up chihuahua decides to venture out on her own and is promptly abducted by ruthless members of a dog-fighting ring where she meets up with other pet-napped dogs.

Fortunately, Andy Garcia's German Shepard with the heart of gold takes pity on the pint sized Chloe and thereafter busts her out of the ring (not to mention an incredibly intense and frightening sequence that may scare Disney's youngest viewers) as the two team up to try and make their way home.

Meanwhile, having gotten word that his beloved Chloe is missing down south, Papi and his handsome owner Nick Zano decide to help-- for Chloe and their devotion to Curtis in lieu of the bratty Rachel who shares some predictable banter with the man she dismisses as the simple "gardener," only to realize that-- just like Chloe-- she must move past her spoiled ways.

With the terrifying El Diablo (Edward James Olmos)-- a GPS equipped villainous dog hot on Chloe and Delgado's tails, all the characters keep moving-- predictably missing each other at times by seconds-- as they encounter some unique and quirky Disney supporting characters like Cheech Marin's con-rat Manuel.

Although initially when Chloe landed quickly into the hands of dog-fighters, I worried it was going to stereotype-- the film quickly proved me wrong as it boasted countless roles for a wonderful ensemble of mostly Latin American actors including everyone from Paul Rodriguez and Luis Guzman to one of the three tenors himself-- Mr. Placido Domingo who arrives in the most-over-the-top set piece that's fitting for the opera man.

Living in essentially a haven for Chihuahuas to school Chloe in on her royal heritage as a descendant of the Aztec line, he implores her to look beyond the fact that she's tiny to instead think of herself as mighty in order to find her bark and say "no mas" to silly outfits or life relegated to being a purse accessory.

While it's cute and obviously contemporary in poking fun at those who treat Chihuahuas as though they were purse dogs-- Beverly Hills Chihuahua also manages to sneak in some interesting plot-lines involving an undercover police case, a subtle message about immigration as at one point Chloe and Delgado contemplate sneaking her across the border with the help of a coyote, and needless to say-- the true Disney tenants of unlikely friendships.

While every time a Disney film featuring dogs has been released, spontaneous pet ownership skyrockets-- Disney conquers this head on by ending the film with an important public service announcement that adding a pet to your home is a commitment for life.

Additionally and exclusive to the Blu-ray format, it's filled with more dog-oriented extras that go behind-the-scenes of working with hundreds of dogs (some who understood Spanish and others who only knew English) as well as learning more about the training process, Drew Barrymore's work to help save dogs from being euthanized, and intriguing facts including that the scene-stealing Papi was found at a local shelter, scheduled to be put down before the filmmakers stepped in and adopted him for the movie.

Also featuring a terrific animated short focusing on the Legend of the Chihuahua along with the run-of-the-mill disc inclusions of bloopers and deleted scenes-- most of the truly worthwhile featurettes are only available exclusively on the Blu-ray including a fun look at the cast as they record their voice work, such as Cheech Marin who likens the process of acting for animation as "carving with a chainsaw" since they have to be very big.

Giving Blu-ray fans the opportunity to access the Disney BD-Live Network and featuring the film in a crystal clear transfer that fills widescreen televisions and sounds excellent in English, Spanish, and French language 5.1 or 2.0 Dolby Digital as well as 5.1 English Uncompressed audio tracks-- it's a marvelously high quality disc that again in boasting exclusive content for Blu-ray helps encourage Disney devotees to make the switch yet again with each successive superlative transfer to Blu-ray.

Although it was unfairly ridiculed as silly fluff and in some bizarre cases charged with celebrating a posh lifestyle during this horrific economic climate (as if reviewers felt that children weren't allowed the opportunity to escape from bleak times or that perhaps adults wanted a chance to laugh at the heiresses that treat their dogs better than human beings), I must say that Beverly Hills Chihuahua is much better than one would think, if like Chloe and Rachel you leave your cynicism and judgments at the doggy door.

And-- aside from a few cheesy jokes that seem to have been packed in as though they'd get an extra million every time they added the term "Chihuahua" to any given punch-line and a few overly CGI characters-- it's a nice treat of a family film that manages to simultaneously amuse adults and children alike which is a rare feat indeed but luckily again, we realize we're in the hands of a true "Mexi-can"-- the always royal Chihuahua.

DVD & Blu-ray Review: Henry Poole is Here (2008)

Overture Films & Anchor Bay Entertainment's
"Modern Day Fable"
Miraculously Materializes on
Blu-ray & DVD on 1/20/09

An Introduction

Although admittedly Henry Poole is Here was one of my least favorite films of 2008 as I didn't quite buy into the contrivances set forth, I definitely admired its intention and great heart in trying to craft a film that would provide hope and encouragement during a dark time, even if the result was less than stellar.

Despite its uneven result and mixed critical and audience reception, this sleeper work garnered enough support from its target demographic which was no doubt bolstered when the film received one of the year's Heartland Truly Moving Picture Awards.

While I still greatly prefer Overture Pictures' more subtle works of positivity and friendship including last year's magnificent The Visitor (one of the very best of '08) and the late '08 and early '09 (depending on your city) offering, Last Chance Harvey (which also received the Heartland Award), the most satisfying element that Poole has going for it is in its terrific portrayal by its leading actor, Luke Wilson.

Always underrated yet able to slip in and out of comedy and drama as he did in the works made with his brother Owen and friend Wes Anderson including Bottle Rocket, Rushmore, and The Royal Tenenbaums-- he keeps the film from sinking as Poole's true anchor and will hopefully impress future directors that there's much more to the handsome Texan than the endless roles as "the boyfriend" which he played in Charlie's Angels, Legally Blonde, My Super Ex-Girlfriend, and countless others.

On behalf of the film's release to DVD and Blu-ray, Anchor Bay Entertainment was kind enough to send both formats my way for a second look. While my response to the film itself remains unchanged, I'll evaluate the technical aspects of the discs following a reprint of my original review below in this two-part post.

I. The Film

Original Theatrical Film Review:
Henry Poole is Here
8/15/08

Director:
Mark Pellington

If your house is made of stucco, run like the wind.

After getting his start directing some of the '90s most recognizable and lauded music videos, including Pearl Jam’s controversial MTV award-winning “Jeremy” and U2’s moving “One,” film critics took note of director Mark Pellington with his 1999 paranoid, terrorism chiller Arlington Road starring Jeff Bridges and Tim Robbins. In fact, in retrospect it seems all the eerier for having been released just two years before 9/11.

Following up Road with the lukewarm new age thriller The Mothman Prophecies, which pegged him squarely in the same genre territory as M. Night Shyamalan, later Pellington was offered the cruelest twist of fate in his personal life when he unexpectedly lost his beloved wife in 2004.

Understandably driven to a deep depression and suffering post-trauma in trying to cope and raise his daughter at the same time, according to journalist John Horn, Pellington “started reexamining screenplays he had earlier considered making, looking for more humanistic stories.”

While it’s an admirable decision and indeed American audiences are hungry for more genuine “people movers” such as The Truman Show, Stranger Than Fiction, and Pleasantville, unfortunately Pellington made a poor choice in source material by committing to the overly preachy, heavy-handed, and condescending Henry Poole Is Here, penned by screenwriter Albert Torres.

Despite this, it benefits greatly from the emotionally effective performance of its lead Luke Wilson, working in a similar vein as his character in The Royal Tenenbaums. As the film opens, Wilson — who serves as Poole’s anchor as the misty-eyed, titular sad puppy — purchases a bland suburban home in Los Angeles from the perpetually sunny realtor played by Cheryl Hines (Curb Your Enthusiasm) in an upbeat portrayal that seems modeled on a stereotypical combination of cheerleader, Avon lady, dental hygienist, and flight attendant.

However, in spite of her pesky perkiness, her brief presence is especially welcome, in stark contrast to the overwhelmingly depressed, unkempt, unshaven, heavy drinking and doughnut-eating Henry Poole who, due to easy to foreshadow circumstances, shares that he isn’t planning on living there long. And indeed Hines is desperately missed after her character vanishes and she’s replaced by Oscar nominated Babel star Adriana Barraza as his well-intentioned busybody neighbor Esperanza, who sets the ridiculous plot in motion when she catches a glimpse of a mysterious water stain amidst the stucco siding of Henry’s house and decides that it is the face of God.

Logically irritated, Poole who is adamant about living his life in solitude, is soon overwhelmed by not only Esperanza’s routine visits but other members of his community and her church (including her priest played by George Lopez) after a drop of what seems to be blood appears in the stucco. And the floodgates open even wider when miraculous events start occurring in his seemingly ordinary neighborhood after people touch his wall.

However, whatever one’s individual religious beliefs may be, the film quickly goes from intriguingly quirky to obnoxiously pious. In addition it ridicules those who believe in the importance of science with the incessant phrasing that everything that happens to you is within your control "if you believe" and likewise your misfortune is your own fault if you don't. (Oh yes, try telling that to someone with cancer or using that explanation to sum up the Holocaust or genocide happening around the world.) It's a cruel sentiment to both those who have suffered and a cruel stereotype of the "religious" depicted as Pellington's film gives a bad name to believers and non-believers alike.

This is especially evident as characters given obvious names such as Patience (played by a likable Rachel Seiferth) and Dawn (Melinda and Melinda's Radha Mitchell) along with the wearying Esperanza condescend to the audience repeatedly. And soon it’s hard to tell the characters apart due to the dialogue as they begin delivering their homily-styled speeches, quoting Noam Chomsky and citing Gorbachev. As written, the women all sound like dogmatically propagandist character cut-outs — or worse, door-to-door converters or airport preachers — rather than fully fleshed out human beings, sharing their own experiences about faith or spirituality in a way that seems at all believable, genuine, and/or admirable.

Although he hesitates to call Poole “a religious film,” correctly arguing that “there's a separation for me between religion and spirituality,” unfortunately as a film Poole is unable to convey Pellington’s assertion. Instead, it presents itself as a truly transparent morality tale that would even be a bit too contrived to play as an effective Sunday school lesson, let alone offering a compelling or intriguing enough arc to make a worthwhile, quality mainstream film.

In predictably going from one contrived plot point to the next, Poole manages to provoke shaking heads and unintentional giggles by its complete lack of respect for the audience’s intelligence. Additionally, it forgoes any attempt to legitimately and admirably inspire viewers by constantly telling us what to think and how to feel as if it’s a sermon, instead of the Capraesque work it’s aspiring to be.

A rambling mess of a movie — while it’s painful to criticize a work that came from such a personal place for the talented Pellington — ultimately by forcing us through “therapy” rather than leading us through a journey of humanity, he managed to make something one can’t label religious, spiritual or hopeful but just woefully ill-conceived and nearly unbearable, save for Luke Wilson.

II. The Blu-ray & DVD

As the film is predominantly set in what Henry Poole's press release describes as a "cookie cutter house in a drab, middle-class, L.A. neighborhood," the film's cinematographic color scheme is noticeably muted and dulled on both the DVD and Blu-ray but the Blu's quality is predictably superior, offering excellent flesh tone color (almost too close as we can see every single stubble of hair on Henry's face).

And, since the film's visual look is supposed to be bland overall, there isn't a very large difference between the formats but the sound clarity on the Blu-ray heightens the experience as we hear every subtle effect in the overly quiet film in crystal digital clarity.

While typically the special features offered on both are the same, there are some distinct differences with the two. Boasting a feature-length audio commentary with the director and screenwriter, a fifteen minute making of featurette (which serves as a near love letter to Wilson's blend of Jack Lemmon and Jimmy Stewart like aura), a music video for "All Roads Lead Home," and a theatrical trailer, the Blu-ray additionally offers a second audio commentary with Pellington and cinematographer Eric Schmidt as well as BD-live enabled features such as deleted scenes with optional commentary and more exclusives. However, the DVD does dish up one extra not found on the Blu in the "Henry Poole is Here" music video performed by the film's Myspace.com Song-Writing Contest Winner Ron Irizarry.

DVD & Blu-ray Review: Swing Vote (2008)

Campaigning for Your Vote
On DVD & Blu-ray
1/13/09

In 2007, the world was introduced to the young Irish actress Saoirse Ronan with her Oscar nominated turn in director Joe Wright's acclaimed Golden Globe winning heartbreaker Atonement, based on the novel by Ian McEwan.

While admittedly, director Joshua Michael Stern's political satire Swing Vote doesn't aim for the same high brow art house crowd, those who sought out the 2008 film in its August release, became acquainted with a young, extraordinarily talented eleven-year-old American actress named Madeline Carroll.

Turning in a performance that was both bittersweet and mature, the young girl whom actor Kevin Costner called the film's "little home run" in the DVD & Blu-ray Making-of Featurette managed to keep us interested, even when the sometimes bloated film began to veer off course.

Holding her own opposite not only Costner but Stanley Tucci and other acclaimed professionals more than three times her age, it was young Carroll who managed to stop the film from becoming a spoiled ballot, despite a number of fine supporting performances and an ingenious concept.

Now arriving on DVD and Blu-ray in the same month that our country finds ourselves being given a new opportunity with a change of leadership, it's the right time to check out a political comedy now that we can all collectively breathe a sigh of relief that campaign media coverage has ended.

And although I can't altogether recommend the film which moves unevenly in tone-- I have to recommend that you seek it out regardless as young Carroll definitely earned the vote of this reviewer in a performance that I listed as one of the standouts of the year in Film Intuition's 2008 Year in Review.

However, before I delve into the aspects both the DVD and Blu-ray disc themselves, I'll break this post up into three parts beginning with my original theatrical review of the film.

I. The Movie

Director: Joshua Michael Stern

To precocious twelve-year-old Molly Johnson (an impeccable Madeline Carroll), voting is not only an optimistic privilege but it’s also an American citizen’s “civic duty.” However, to Molly’s under-achieving father whom — for the zero parenting he offers — she fittingly calls Bud (Kevin Costner), voting in America simply risks the chance that you’ll wind up on the fast track for jury duty. Unfortunately for Bud, along with making the family budget and packing his daily lunch, Molly registered her father to cast his vote, aligning him as a political “independent” since she proclaims that “the two-party system neglects the working poor.”

While Lou Dobbs would no doubt beam with pride, Bud struggles to make sense of his daughter. This is especially the case when — in equal fascination of the electoral process as well as her tie-in school project — Molly reveals that she took the trouble to fill in her parental political questionnaire for Bud because she wanted to make him “sound smart.” Despite his protests and canned statements that voting is useless, Molly demands that her father meet her at the polling place after school with a peck on the cheek and a warning to Bud, namely, “screw this up and I’m leaving you.”

And while Molly has a fruitful day delivering a beautifully worded political essay and ends up on the news after local Texico, New Mexico reporter Kate Madison (Paula Patton) decides to feature it in the evening broadcast, Bud’s prospects that day are far less successful. With incriminating footage that depicts Bud ruining more of the eggs than he’s able to neatly package in the plant where he works — not to mention the fact Bud hasn’t punched in on time in six months and proceeded to take thirty-one sick days — before he’s officially laid off, his boss and former high school friend asks him to give him one good reason not to let him go. Foreshadowing his inability to make a decision which will propel the rest of Swing Vote's plot, needless to say Bud can’t offer him any explanations.

Later, predictably forgetting his promise to Molly until it’s nearly too late, Election Day ends on a far stranger note after a bizarre computer error concerning Bud’s vote makes the results of the day — already in a deadlock for the presidency — all boil down to whom Bud will vote for ten days later when, by oath, he swears he must recast his vote. Literally holding the fate of the government in his hands as his vote will decide which candidate earns swing state New Mexico’s five electoral votes and ensures him the presidency, Bud is overwhelmed by the media reaction as every major outlet from MTV to CNN to the BBC sets up a stakeout right outside his trailer. And just as quickly, political organizations start flooding into the tiny town that — before the gaffe — had been so inconsequential it wasn’t even on the state map.

However, the story really heats up when both candidates journey out to try and win over Bud by any means necessary. Pulling out all the stops and White House goodie bags he can carry, the first of the two competing front-runners, the favored Republican incumbent President Andrew Boone (a pitch-perfect Kelsey Grammar) arrives in Texico complete with the aptly named Martin Fox, his amoral strategist, in tow (Stanley Tucci). Also vying for Bud’s ear — or rather his vote — the earthy Democratic challenger Donald Greenleaf (Dennis Hopper), who along with his campaign manager Art Crumb (Nathan Lane) promises a racially blind, all inclusive “rainbow” White House, pack up their “Truth Train” and “Operation Real Deal” to make the long trek to the desert. Although the Dems learn that — while they can’t even begin to compete with Air Force One — their secret weapon is none other than Willie Nelson, who was the subject of a tribute band that Bud had played in before his rhythm section ended up in the slammer.

In an effort to better understand Bud, the candidates and their smarmy managers resort to shameless pandering, insincere flattery, and manipulation, including letting the dimwitted, perpetual beer drinker win at poker or using cue cards to make small talk with Bud about fishing. Most memorably, this results in a wonderfully hilarious speech by Grammar likening his role as commander-in-chief to that of a quarterback, breaking foreign policy down with the aid of football terminology. Grammar nails every scene he’s in and nobody plays a buffoon or the prototypical blue collar American male quite like Kevin Costner, although he’s essentially recycling the far more likable characterizations he crafted in Bull Durham and Tin Cup.

However, by making our lead character such an idiotic Homer Simpson-like oaf, we’re laughing at Bud rather than with him throughout the film’s entirety. And far more often than I felt empathy for him, I was surprised to find myself actually loathing him numerous times throughout because of his complete inability to see beyond himself and understand not just the gravity of the situation but recognize how it’s all affecting his daughter. Speaking of which, as Molly, the young Madeline Carroll completely steals the film and our hearts in the process, especially in a scene wherein she shows far more worldliness and morality than her father ever could, while breaking down in tears in front of her classroom, telling white lies in order to make her father sound like he actually cares about the country he’s living in and his fellow Americans.

For a comedy, Swing Vote is a bit more melancholic than perhaps director Joshua Michael Stern, along with his co-writer Jason Richman, had planned since there’s nothing funny about child neglect; but they try to keep the satire swinging along with the mystery of Bud’s vote and make great use out of their supporting players in the process. As the candidates begin to address Bud directly in a series of new political ads, suddenly Costner’s Bud becomes his very own Truman Show, being followed and analyzed around the clock in every journalistic medium. Although quality wise, Swing Vote is less like Truman Show and more like EdTV.

However, hilarity ensues as the candidates embrace political flip-flopping as the Republicans suddenly promote gay marriage and environmental protection with the Democrats tackling illegal immigration and embracing the pro-life movement simply because the inarticulate Bud misspoke a few times while being interviewed by the beautiful local, ambitious newswoman Kate Madison. In an underdeveloped subplot, Madison, who shares a bond with Bud’s brainy daughter, must reconcile her ethics with her desire to get ahead in the business, seeing Bud’s story as the ultimate break in getting the hell out of her tiny town and station run by George Lopez in order to follow in the footsteps of idols like Paula Zahn.

With the inclusion of an “everyman” and a “reporter with a conscience,” Stern reaches to emulate the type of underdog film that Frank Capra perfected with Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. And while the performers elevate the material, Stern forgot the fact that what made Capra’s films such a success is they delivered us a hero we could root for and one whom - despite not being the smartest - had a heart as big as the White House and therefore endeared us to him from the get-go. Predictably, Costner’s Bud has a wake-up call late into the film but it’s rushed and protracted — crammed into the last twenty minutes, making it pay off less than it could have had we seen glimmers of his goodness earlier on.

While it’s not as cynically intelligent as Wag the Dog or Bulworth, nor as paranoid as the underrated Man of the Year, there’s no doubt this film plays much better during this particular election year with audiences growing weary of endless coverage of the candidates and outrageous accusations and distracting spin. Despite this, Swing’s sound bites and satire get awfully repetitive in the last hour of the film’s surprisingly lengthy running time.

And similar to the way that the issues a voter cares most about are often neglected as soon as their candidate hits the Oval Office, on my way out of Stern’s film I felt like I’d just voted again. For instead of contemplating any food for thought by recalling some truly terrific scenes and stellar performances, I wondered what would have happened if the film hadn’t been ultimately overshadowed by such an inconsistent screenplay. Now that’s something that calls for a re-vote or at least, in the case of Swing Vote — political comedy reform.

II. The DVD

Featuring an audio commentary by the two friends turned professional collaborators, writer/director Joshua Michael Stern and his fellow scribe Jason Richman, this beautifully transferred widescreen DVD from Walt Disney Home Studios Entertainment and Touchstone Pictures arrives with great new cover art to highlight the film's stellar cast via an Altman-like design although unfortunately Carroll isn't billed in either side of the box.

Revealing that the impetus behind the film was following the shock of the 2000 election and the scary idea that the presidential decision could be narrowed down to "a tiny district in Florida," Stern and Richman share that they figured narrowing it down even further to just one man wasn't only not far fetched but great comedy fodder.

When it came to casting, the two who share that they "always wanted Costner" for the lead in order to "deconstruct his movie star persona," gratefully reveal the actor's generosity in arriving on the set as an actor first and foremost and leaving his "director's hat" at home (so-to-speak), ensuring that the film was the young director's vision through and through.

Crediting the richness of the script and the way it moved from humor to great emotion, numerous actors reveal the way that they were drawn to the piece because of precisely that mixture and the added bonus that it would make audiences think as well.

"Let's face it, we're making fun of ourselves as a country," one interviewee notes in the extra "Inside The Campaign: The Politics of Production," but in doing so, the filmmakers wanted to add as much credibility and authenticity as possible in persuading reporters, anchors and pundits from Larry King to Arianna Huffington to Bill Maher to make brief "TV Cameos" to heighten the film.

Additionally, it features some great tongue-in-cheek remarks from the cast including Grammer who notes that he couldn't turn down the opportunity to act opposite an elephant (as we discover in the deleted scenes) and Dennis Hopper who jokes that although this is a long ways away from Easy Rider and Blue Velevet, he doesn't "want to give up my day job playing villains."

Likewise, we also gain a greater appreciation for Patton's turn as the actress shares the way she studied the posture, intimations, and delivery of CNN and other channels to nail her character, along with Tucci who we discover improvised one of the funniest lines of the film that made it into the trailer (a spontaneous response to Carroll's charge that he would sell his own mother).

Additionally, although it's standard DVD fare, when it comes to Swing Vote, the deleted and extended scenes (with optional filmmaker commentary) are actually worth watching as-- in the two best ones that add more humanity to the politicians-- we see a hilarious "what if?" moment as Tucci and Lane hypothesize the way they could change Washington, Hopper and Grammer get in touch with the real reason they entered politics in the first place (including that aforementioned elephant).

Also boasting the "Hey Man, What About You?" music video from Costner's band Modern West which fuses footage of the film together and giving fans a better gauge of the actor's true musical talent (in lieu of the purposely overdone Bud Jams with the Democrats sequence in the film), the DVD also includes an insert for the debut album by the band-- Untold Truths-- which you can learn more about on the official website.

III. The Blu-ray Disc

As Walt Disney Home Entertainment was generous enough to send out both formats for Swing Vote, I was able to judge the technical quality of the film's Blu-ray version as well. Boasting the same featurettes that comprise the DVD (as described above) and a fun interactive menu that uses the sound of camera "flash bulbs" as you move through the options, the Blu-ray's quality is predictably far superior to the DVD with the soundtrack blaring out as though we were in a rock arena in 5.1 DTS-HD surround (especially evidenced in one of the earliest scenes as Bud drives Molly to school).

Seducing owners of Blu-ray players with a plethora of pre-feature trailers to experience the works of Miramax, Paramount Vantage, and other Disney owned films in the HD format, you'll get chills seeing some clips of your favorite films like Kill Bill and There Will Be Blood in their Blu-ray glory (which I can actually attest to, having rented Blood recently on Blu).

As for the feature film itself, Swing Vote's Blu-ray transfer is crystal clear from the far left of the screen to the far right as we can see heightened detail in flesh-tones, individual hairs blowing, and a wondrous magical effect of the chicken feathers flying as though they were snow at Bud's workplace near the beginning.

With heightened 3D like depth perception and a super sharp contrast, Swing Vote excels. This is particularly noticeable in scenes where the politicians and reporters all clamor together dressed in dark business suits, holding cameras and microphones with a high transfer of the deep, rich black tones that don't blur together to a muddy effect to which some Blu-rays have fallen prey. Thus in the end, it offers home viewers an even better Voter experience than the one I witnessed via the print I viewed during a crowded press screening back in August of '08.