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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The Ultimate DVD Geek

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch