DVD Review HTF REVIEW: Waxwork/Waxwork 2 (1 Viewer)

[Brian Kidd]

WAXWORK was indeed released to theaters. I saw it. IMDB also has a photo of the movie poster. Perhaps this is an open-matte presentation, however I should hope that a HTF reviewer would not knowingly support a non-OAR disc. Please be aware that your current review does just that.

As for rated and unrated, I'd rather have the unrated. Oh well.

 

[Michael Elliott]

From everything I've ever read this film was just matted for theaters. So, if this goes against the OAR thing then I'm sure some would be upset. However, the LD was 4:3 as were two foreign DVDs. This makes the fourth release and it's 4:3 as well. I know the video versions were too but that doesn't say much I guess.

My knowledge of these types of films tell me that the correct ratio is 4:3 but I guess this would fall under the open matte catagory. We could also go back to THE EVIL DEAD, which was shot 4:3 and matted in theaters. Anchor Bay took some heat when they released a widescreen version of the film. I SPIT ON YOUR GRAVE was shot 4:3 only to be matted. You'll notice the matted version makes you miss information on the bottom.

I'm not sure what stance people are going to take on this issue but personally, everything I know leads me to believe this was shot 4:3. Many of these types of horror films were meant for video but eventually made it into theaters in CA and NY. The rest of the country usually got it direct to video.


As for the unrated issue, here's the problem. I was told that the unrated version ran 97 minutes and 14 seconds. The current DVD runs 97 minutes and 07 seconds, which is why I said the film was cut. A member at DVD Maniscs rented the R-rated VHS and she said it ran just over 95 minutes, which means that this video was cut more from the original R-rated version or the DVD is in fact uncut. That's why I was hoping someone would have the uncut running time.

The uncut VHS lists the running time as 100 minutes, which is false either way. The DVD lists the running time at 100 minutes as well but it only runs 97 minutes and 07 seconds. It's also listed as being R-rated.

 

[Damin J Toell]

My knowledge of these types of films tell me that the correct ratio is 4:3 but I guess this would fall under the open matte catagory. We could also go back to THE EVIL DEAD, which was shot 4:3 and matted in theaters. Anchor Bay took some heat when they released a widescreen version of the film. I SPIT ON YOUR GRAVE was shot 4:3 only to be matted. You'll notice the matted version makes you miss information on the bottom.

I'm not sure what stance people are going to take on this issue but personally, everything I know leads me to believe this was shot 4:3. Many of these types of horror films were meant for video but eventually made it into theaters in CA and NY. The rest of the coun

This is how films intended for 1.66:1 to 1.85:1 projection are almost always done. The fact that they were "shot 4:3" is irrelevant to what the film's proper AR is.

DJ

 

[Michael Elliott]

This is how films intended for 1.66:1 to 1.85:1 projection are almost always done. The fact that they were "shot 4:3" is irrelevant to what the film's proper AR is.

Hello, Damin.

I guess it depends. If that's the case then THE EVIL DEAD had never been released the correct way until Anchor Bay delivered the widescreen version. However, I believe most fans were unhappy about this release. MARTIN was another film matted for theaters yet Romero prefers the 4:3 version. The same could be said with Kubrick and THE SHINING, FULL METAL JACKET and EYES WIDE SHUT. Since the director of WAXWORK hasn't made it clear which version he prefers, I guess it's up to the fans to purchase this or not.

Since two videos, a LD and now three DVDs have shown the film open matte, I think this is all we're going to be getting.

 

[Damin J Toell]

However, I believe most fans were unhappy about this release. MARTIN was another film matted for theaters yet Romero prefers the 4:3 version. The same could be said with Kubrick and THE SHINING, FULL METAL JACKET and EYES WIDE SHUT. Since the director of WAXWORK hasn't made it clear which version he prefers, I guess it's up to the fans to purchase this or not.

Yes, we know directly from both directors that they prefer 4x3 framing for those films. Such is not the case with Waxwork, as you point out.

DJ

 

[Michael Elliott]

You're the first I've heard say the 1.85 transfer of THE EVIL DEAD is better than the 4:3. I personally saw this as a way to make more money off the fans but at least both versions are out there to pick from.

Until the director of WAXWORK speaks up then I guess we'll call it a mystery. I haven't seen the PAL Dragon release so perhaps he mentions something in the interview.

 

[Brian Kidd]

Lots of movies have never been released in their proper AR, even on laserdisc. Prior releases mean nothing. The vast majority of 35mm films are meant to be shown theatrically at a wider-than-Academy ratio. There are exceptions such as the aforementioned Kubrick films, but Kubrick was more the exception than the rule. In the interest of full disclosure, I knew nothing about aspect ratios when I saw the film in theaters as I was a fairly young kid. I still think that I can say with a fair amount of certainty that the film was not released to theaters at 1.37:1. Until I can be proven wrong, I'll consider the disc to be non-OAR.

I didn't mean to sound snippy, Michael, and I apologize if I came across as such. Your review was quite good and it was nice to see a review of a title of which I have fond memories.

 

[Damin J Toell]

Until the director of WAXWORK speaks up then I guess we'll call it a mystery.

I really don't see what the mystery is. The vast, vast majority of flat feature films shot in the US in the last 40+ years were meant to be seen matted. Waxwork had a theatrical release, and it was surely shown at 1.85:1. The safest assumption is that a film's theatrical release AR is its intended AR. Do we really need to hear from the director to find out that a modified version of his film is incorrect? Do we really reseve judgment on every MAR release until we hear from the director? As with most other films, there's no reason to believe that Waxwork may be some weird exception.

Unless and until Mr. Hickox says otherwise, we should be demanding that the film be presented in its original theatrical AR of 1.85:1. Mystery solved.

DJ

 

[Michael Elliott]

Well, we'll get to the bottom of this in a day or so. People can bash Artisan about releasing P&S releases but Dragon has a better history of delivering the goods. I just sent an e-mail to Dragon so let's see if they know anything about what the director wanted for their release of the film.

I'm willing to bet what the answer will be. These films were not shot thinking they'd end up in a theater. They were shot for home video and that's clear as day. If they made it into a theater they were usually only shown in the bigger cities while everyone else got it on video. The video release often happened while the films were still playing in the bigger cities. Some films appeared on video only to get a brief theatrical run later on.

I think we all agree this was shot open matte. I think we all agree it was probably shown 1.85 in theaters. Now it would be interesting to see which version the director wanted for home video. I'm certain Dragon will send a reply so we'll wait for their word on the matter.

If this is a fight over OAR then I'm certainly not going to be fighting Artisan on this one. And Damin, you know from the other board how much I fight P&S and MAR releases. We disagree more often than not but you certainly know I fight against these types of things.

 

[Damin J Toell]

I'm willing to bet what the answer will be. These films were not shot thinking they'd end up in a theater. They were shot for home video and that's clear as day.

What might be clear as day to you is far from it to me. I think it unlikely that Waxwork somehow ended up with a theatrical release by mistake.

DJ

 

[Michael Elliott]

I think it unlikely that Waxwork somehow ended up with a theatrical release by mistake.

Not at all. As I mentioned before all sorts of these low-budget films were made for video and luckily got into theaters. I actually owned LEPRECHAUN 3 on video before it started making a limited theatrical run. WATCHERS 3 was shown theatrically overseas and of course it was matted for their theaters. In America it was straight to video. Several of THE HOWLING sequels played theaters overseas.

I could be wrong here so correct me if I am. If a director is shooting open matte, he's going to have an idea where the mattes go while filming. I'm sure his filming everything as if it was a widescreen film. This way nothing gets below the mattes that shouldn't be there. I believe you said at Maniacs that director's would put up mattes on the camera so that they would have a better idea of what was being recorded.

If the director thought this was a straight to video horror film, I doubt he would have been framing anything for a widescreen release. If it was shot meant for video then by adding mattes you'd be hurting the film more than anything else. BRIDE OF RE-ANIMATOR is a good example of this. I believe it played a few theaters in LA and the DVD offered a matted version, which looked horrible. I personally feel the same is true with THE EVIL DEAD. I very seriously doubt Raimi shot this thing thinking it would make it into theaters. There's been all sorts of controversy over BLACK CHRISTMAS with what the mattes hide and doesn't show.

All sorts of horror films during the 1980's got into theaters by accident. Corman talked about this with HUMANOIDS FROM THE DEEP. The film turned out better than expected so they threw it into theaters to make some extra money. The film SLAUGHTERHOUSE was made for video yet someone watched the film and decided to do a college tour with it, which lead to the film being released in theaters. The director even talks about this on the DVD. The film REVENGE (with John Carradine) went straight to video yet resurfaced a year later in theaters.

Again, WAXWORK might have been meant for theaters but we really don't know and won't know unless the director comments on it. However, this is certainly far from a mainstream movie and the limited theatrical release proves that. To me, it seems this film turned out better than expected so they put it into theaters. Again, I could be wrong and all of this is just my opinion.

 

[Damin J Toell]

Again, WAXWORK might have been meant for theaters but we really don't know and won't know unless the director comments on it.

Right you are. And my point has been that when a flat theatrical feature film from 1988 is released on video, the safest assumption is that the matted theatrical presentation is the correct one. It's the only sensible assumption to make.

DJ

 

[Michael Elliott]

That review also states the film is in its OAR.

What are your opinion on stuff like SLAUGHTERHOUSE, which was shot for video yet they threw it into theaters? Should the 4:3 version be included or the theatrical ratio? While it did play 1.85 it wasn't shot that way nor did the director have a theater matting in his mind when it was shot. The same is true with REVENGE, which was shot 4:3, released to video and then later put in some NY theaters shown at (I'm guessing) 1.85. Wasn't there even some controversy over THE BLAIR WITCH PROJECT when released on DVD?

Can theaters even show 4:3 material anymore? I know several theaters in Louisville used to show 4:3 films yet they were matted to 1.85.

 

[Peter Apruzzese]

Can theaters even show 4:3 material anymore?

Sure, as long as they have the right lens and aperture plate. It's been a long time since a new film came in with instructiuons to run it in anything other than 1.66 (subtitled foreign films, usually), 1.85 or 'scope (2.40). The last one I can remember was One From the Heart, back in 1982.

When I run classic films (pre-1954), they're run in Academy ratio (~1.33). IIRC, Blair Witch was released windowboxed to preserve the 4:3 ratio.

 

[Damin J Toell]

Can theaters even show 4:3 material anymore? I know several theaters in Louisville used to show 4:3 films yet they were matted to 1.85.

Most modern theatres tend to only carry plates for 1.85:1 and 2.39:1, but arthouse and other theatres carry 1.37:1 plates.

DJ

 

[Michael Elliott]

Thanks for the info guys.

Baxter Ave. in Louisville used to show all sorts of older films yet they were matted. I never saw a 4:3 shown that way. THE SHINING and FULL METAL JACKET looked horrid when matted IMO. I also watched stuff like CREATURE FROM THE BLACK LAGOON, which of course was matted.

I was under the impression that this stuff had to be matted in order to be shown in a current theater.

 

[Peter Apruzzese]

I was under the impression that this stuff had to be matted in order to be shown in a current theater.

Only if the theatre doesn't have the right lens and aperture plate.

Since most modern theatres do not run pre-1954 films, most of them do not have the correct lens and plate on hand. The Shining and Full Metal Jacket were both matted to 1.85 (EDIT: matted in the projector) during their original theatrical releases.

 

[Michael Elliott]

Kubrick is my favorite director but I actually walked out of THE SHINING because of the matting. I guess I was just too familiar with the DVD but the matted version looked very bad to me. CREATURE FROM THE BLACK LAGOON also looked horrid but it was in 3D so I stuck around.

 

[Peter Apruzzese]

The Shining plays well matted to 1.85, so I'll bet the theatre was running it out of frame or enlarging it too much with the wrong focal length lens.

 

[Damin J Toell]

BTW, on the issue of the framing of Bride of Re-Animator: the booklet for the Pioneer DVD, after liner notes from Brian Yuzna and Jeffrey Combs, states that 1.85:1 is the "filmmakers' intended framing." It's a shame that Pioneer executed these intentions so poorly given the direct involvement of Yuzna, but perhaps the American licensor gave them very little with which to work. I've been tempted to pick up one of the R2 releases at some point for comparison.

DJ