Review by Leonard Norwitz
Studio:
Theatrical: Warner Bros. & Art Linson
Blu-ray: Warner Home Video
Disc:
Region: ALL
Runtime: 1:48:20.368
Disc Size: 22,392,657,959 bytes
Feature Size: 21,846,245,376 bytes
Average Bitrate: 26.89 Mbps
Chapters: 30
Case: Custom Blu-ray case
Release date: April 7th, 2009
Video:
Aspect ratio: 2.4:1
Resolution: 1080p
Video codec: Vc-1
Bitrate:
Audio:
Dolby TrueHD Audio English 1596 kbps 5.1 / 48 kHz / 1596
kbps / 16-bit (AC3 Core: 5.1 / 48 kHz / 640 kbps)
Dolby Digital Audio English 640 kbps 5.1 / 48 kHz / 640 kbps
Dolby Digital Audio French 640 kbps 5.1 / 48 kHz / 640 kbps
Dolby Digital Audio German 640 kbps 5.1 / 48 kHz / 640 kbps
Dolby Digital Audio Spanish 640 kbps 5.1 / 48 kHz / 640 kbps
Dolby Digital Audio Italian 192 kbps 2.0 / 48 kHz / 192 kbps
/ Dolby Surround
Dolby Digital Audio Japanese 192 kbps 2.0 / 48 kHz / 192
kbps / Dolby Surround
Dolby Digital Audio Spanish 192 kbps 1.0 / 48 kHz / 192 kbps
Subtitles:
English SDH, Spanish, French, Danish, Dutch, Finnish, German
Italian, Norwegian, Polish, Swedish & Portuguese
Extras:
• Theatrical Trailer in SD
The Film:
6
Hollywood wastes no time in bringing selected European and
Asian movies to the West, modified for what filmmakers
thinks will appeal to us and thereby make money for them.
While a significant number derive from France, we are likely
to think right away of Martin Scorsese's 2006 The Departed,
hot on the heels of Hong Kong's Infernal Affairs. But France
is a significant resource for a number of English language
remakes: There's Mike Nichol's relatively heavy-handed, but
commercially successful The Birdcage (La Cage aux folles);
the 1987 comic farce Three Men and a Baby (3 hommes et un
couffin); Sorcerer, William Friedkin's 1977 remake of
Henri-Georges Cluozot's 1953 Le salaire de la peur (Wages of
Fear), and Jeremiah Chechik's much less happy remake of
Clouzot's classic noir, les diaboliques. Ditto the 1983
remake of Breathless.
The trick, of course, is to remain faithful to the spirit of
the original while committing plastic surgery. The results,
like beauty, will lie in the eye of the beholder. John
Badham's Point of No Return plays it safe by sticking
closely to Luc Besson's screenplay for his 1990
Nikita (aka:
La Femme Nikita). Both movies have in common a bleak
melancholia that derives partly from the subject (a
drugged-out street urchin and careless killer is groomed by
the government as an assassin) and by the object (a
drugged-out street urchin and careless killer is groomed by
the government as an assassin).
The government employs two teachers: the one who breathes
new purpose for living (namely, killing, and all the
supportive technologies that attend thereto) and the other
who teaches her to do it with style. In both movies, the
first teacher – both named "Bob" - (Tcheky Karyo and Gabriel
Byrne) fall reluctantly in love with their creations. The
second teacher remains more in the background, more elusive.
(It's not entirely clear where her lair is located in the
compound - I was reminded of Sleeping Beauty's wanderings
through the castle before she comes upon the spinning wheel
that would alter her fate.) Here we have the enigmatic
Jeanne Moreau in Besson's movie vs. Anne Bancroft's more
upper class, holier than thou, but fierce as a tiger
persona.
Anne Parillaud appears more of a blank slate for her
Pymalion makeover. She's so out of it we are inclined to
think she might be brain damaged, and she is the more
beautifully transformed for the effort. Beautiful, but
broken. Brigit Fonda is the new Nikita, now named "Maggie".
Fonda's Maggie is the personification of American street
sass. Even when wasted on drugs, she seems in charge of
herself, a contradiction I found a little hard to grasp.
The second half of both films has our heroine finding love
in the form of a young man who has no idea of what this
woman's other life was or has become. In this, I think
Jean-Hughes Anglade works out better than Dermot Mulroney.
Mulroney plays a photographer and as such has insights on
her inner life as compared to Anglade's check out clerk.
Americans, it seems, don't want their men completely in the
dark.
In any case, both films are successful blends of high gloss
killing, resounding gunfire and pulsing music.
Image:
7/8
NOTE: The below Blu-ray captures were ripped directly from the
Blu-ray disc.
The first number indicates a relative level of excellence
compared to other Blu-ray video discs on a ten-point scale.
The second number places this image along the full range of
DVD and Blu-ray discs.
Point of No Return on Blu-ray looks pretty good. It's
reasonably free of scratches or blemishes and isn't
particularly noisy, though it has every opportunity. Shadow
detail is quite good. There is some mild edge enhancement,
which is only apparent if you look for
it in the usual places. I thought the image to be a wee bit
oversharpened.
CLICK EACH
BLU-RAY
CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION
Audio & Music:
8/8
Here is one of the biggest differences between Dolby Digital
5.1 and Dolby TrueHD I've yet encountered. I was surprised
it should be so on a movie as old as this. Not only am I
able to watch the movie without subtitles, bur dialogue now
comes with its own appropriate ambiance. For example when
Bob first enters Maggie's recovery room, there is a subtle
reverb to his voice underscoring the empty room in which he
stands. I wasn't aware of that in the DD 5.1. The music
always opens up the soundstage considerably whether in its
use of contemporary pop or Nina Simone on record. The
surrounds are effectively used for environmental sounds as
well as exploding gunfire, as in the opening gunfight at the
OK Pharmacy.
Operations:
7
A relative lack of features did not stop the designers from
having a well laid out menu.
Extras:
2
I'll give this Blu-ray a couple of points for the many
language options and a trailer in standard definition.
Bottom line:
6
If you liked
Nikita, you ought not be insulted by the
remake. On the other hand, the only good reason, besides a cinephile curiosity, to have this disc is if you have a
particular aversion to movies with subtitles.
Leonard Norwitz
April 19th, 2009