MCN Columnists
Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: Vacation

Only one test is necessary to judge a comedy—does it make you laugh?—and by the conditions of that test, the Warner Home Video release, Vacation, is a success. The slapstick, character humor and absurdist punctuations are plentiful, are linked by a coherent narrative, and are supported by a generally benign premise. There is hardly anything that is alienating about the 2015 feature, and plenty that is amusing. The one problem is that the film is a direct sequel to the original National Lampoon’s Vacation. That 1983 film, feeding a hunger for more movies like Animal House and more films from Saturday Night Live cast members, was a blockbuster, and this Vacation cannot possibly achieve the memories of humor (not necessarily the real humor, just the nostalgic memory for it—the movie itself even makes a direct meta-joke about that) the previous film represents.

Ed Helms stars as a commercial pilot who wants to take his family on a similar vacation to the one—depicted in the earlier film—he went on as a child. Christina Applegate plays his wife, and Chevy Chase and Beverly D’Angelo have an extended cameo when the family stops off at the grandparents’ house. They have two sons, and one of the film’s consistently funny gags is that the younger son utterly dominates the older one, like a Chihuahua terrorizing a shepherd. They go on their trip, disastrous incidents occur, and they bond a little tiny bit from the experience.

The movie has also been issued as a Blu-ray + DVD + Digital HD, with more special features, which is the only real reason to consider it, although the best feature, 12 minutes of fully amusing deleted scenes, appears on both.  If the picture quality is a little sharper on the BD, and the 5.1-channel Dolby Digital sound is a little stronger, that hardly matters.  There is an audio track that describes the action (“Rusty drives as everyone else sleeps.  He looks out his window to see a smoking hot blonde driving a red convertible in the next lane.  She smiles at him flirtatiously.  Rusty points to himself quizzically.  She seductively waves.  He waves back, then playfully points to his wedding ring.  She shrugs, then continues flirting.  Rusty nods with her.  She blows a kiss.  He catches it, then gives a salute.  She keeps flirting.  Rusty smiles bashfully.  He looks away as she changes lanes to the left.  She moves into oncoming traffic, and a huge semi-truck demolishes her.”), alternate French and Spanish audio tracks, optional English, French and Spanish subtitles, and a 2-minute tourism plug for the state of Georgia, where the film was shot.  In addition to that, the BD has Portuguese audio and subtitles tracks, a 2-minute blooper reel with a couple of choice moments, and 28 minutes of promotional featurettes that include a lot of Chase and D’Angelo.

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima