Friday, August 31, 2012

"Broken... And Done:" KnightFall: Part One - Broken Bat

PORTEmaus Literature Society (Funny Books edition) No. Fifteen: KnightFall: Part One -Broken Bat

*Editor's Note: This was a part of our Dark Knight Rises coverage that ultimately fell through the cracks... This is also the end of the Funkowitz backlog.

KnightFall: Part One - Broken Bat

It has been almost two decades since the first and last time that I have read the first volume of KnightFall. I remember it like it was yesterday, when I spied it sitting in the new book section of my local branch of the Phoenix Public Library. For a twelve year old, it was a nice respite from the works of Michael Crichton and assorted Star War (I read a lot of crap back then). It may be running towards its twentieth birthday but Knightfall is still a relevant piece of the Batman mythos (Moreso than Miller's now cliched and kind of dull (story for another time kiddies) Dark Knight Returns)

Knightfall Part One is a difficult trade to read for some who loves Batman. With every turn of the page, you know that some form of doom is coming (or if you were an aficionado of Wizard back in the day) that he would be broken physically. While the breaking of Batman's spine by Bane is compelling, it is --in my humble opinion--the breaking of Batman's will that is heartbreaking. Bane stacks the proverbial deck against Batman with the latter mentally succumbing to the stress well before the physical.

The end of the story ends with the Dark Knight being broken both physically and mentally. For me, this has always been difficult to accept and watching it play out on the silver screen nearly brought the man with heart of coal to tears. While in the back of our minds, Bruce Wayne and his alter ego Batman is somebody who is supposed to be inexhaustible, a mortal man who can do anything. As a fan of DC Universe, witnessing his unraveling and ultimate destruction, you lose all hope. Knightfall leaves the reader how Gotham is ever going to recover from this because after all, if the mighty Batman has fallen, how does Robin and the others stand a chance?

Parting Thoughts:
It might be going on two decades but it still remains a seminal piece of Batman's history.

Tuesday, August 28, 2012

Weekly Wish List UPDATE: Juan of the Dead

Get that name out of your head. Because if you go in with that chip on your shoulder thinking this is just a "stupid knock off" of Shaun of the Dead, itself a play on Dawn of the Dead, then you're going to miss out on an excellent entry into the zombie genre. And in a genre as saturated as this one it's great to see something fresh. What we have here is a film that gives a look at the working class of Cuba and then throws a zombie epidemic at them. The film lampoons the country as much as it praises it. Is it ridiculous? Absolutely, but it's a lot of fun and has some truly memorable moments.

Juan is a lazy man child, a man with a good heart that spends his days whatever's or whatever scam can get him to the next while sleeping around with whoever he can. He has a daughter that is tired of his childish ways that Juan is desperately trying to reconnect with. He has loyal friends and a cast of colorful characters that inhabit his apt building. Then once day, zombies begin to appear. And like any good Zombie movie the numbers grow exponentially and soon we have a full fledged epidemic. The news' treatment of the zombies is hilarious, constantly calling them American Supported Dissidents.

Juan, always on the lookout for a scheme, decides to use this situation to his advantage, and begins charging people for "killing their loved ones." this is of course the meat of the film and yields some great moments of gore. There's a great bit with a harpoon and one or two mass decapitations. I love that the characters find trademark weapons with a slingshot an an oar being standouts. Again this is a silly movie full of fun.

The film moves a long at a brisk pace and never forgets what it is. It puts some sociological themes about Cuba in there but they're played light, even the relationship with his daughter. They never go too in depth but give it enough time that we understand their relationship and it's not just tossed by the side.

This is a chance worth taking. This is genre fare done with a nice dose of wit. The film references countless other zombie films, and does so with reverence rather than irony. My favorite easily being the reference to Fulci's masterpiece. Seek this one out.


One last thought - this ones only on DVD but still check it out.

Sunday, August 19, 2012

"War makes monsters of us all:" A Feast For Crows

PORTEmaus Literature Society No. Fourteen: A Feast For Crows

*Editors note: I am getting close to catching up. -Manny

A Feast For Crows

It is high time that we returned to the literary world of Westeros. I must admit this book took much longer to read than its predecessors, which is odd because it is shorter than those novels. I had some hesitation before cracking the spine of this book after reading the reviews on this novel prior to reading Game of Thrones. Having finished the it is clear why A Feast For Crows is a controversial novel for fans of this series. Certainly, this is a valid position, yet, I do not feel that such vitriol is warranted and I (kind of) understand what George R.R. Martin was trying to do (even if it did rob fans of a novel).

It is completely understandable that he split book four into two novels, A Feast For Crows and A Dance With Dragons since both the page count and point of view characters have become unwieldy. However, to end A Storm of Swords on such a cliffhanger and begin book four with a character that nobody knows was foolish. Furthermore, to not include the best character who was the focal point of that cliffhanger at all was frustrating. To be fair, George R.R. Martin addresses this with a note at the end of the novel but it is too little too late.

That is not to say that A Feast For Crows is a bad novel. There is not much to complain about in the realm of story, it is more a failure in execution. Once you get over the fact that the novel was split, you have to address that the first part of the novel was downright dull. To be honest, I am completely ok with this since Game of Thrones was pretty slow-moving in the first few chapters. Once Martin gets everything sorted out and the plot takes shape, you cannot put the book down. It is that good and because book was split, the reader knows that they are in for another exciting (but frustrating) cliffhanger. Which given the low key and sloth like progress in the beginning, you kind wish that Martin had not spent so much energy on the buildup. Of course, since Martin split the book, as a reader, I become more interested in the plot lines that I just read and less in the story lines that neglected by not keeping the manuscript intact.

For most readers of the series, you have to select which House to align yourself in a sense and this directly impacts how you receive certain characters. For instance, since I (like most fans) am a follower of House Stark than I pretty much dislike all of the members of House Lannister save for Tyrion (who simply transcends his association with this house by birth. In this novel, Martin does the unthinkable, he is able to illustrate a dynamic change to a character that you would have thought impossible. The result is a different character that makes regret hating him for several thousand pages worth of text. Conversely, he also takes a member of this House, Queen Cersei and makes her a more despicable character than she was win the novel began. Granted, this reinforces the frustration that results because of the cliffhanger. In the end, I think A Feast For Crows is a pretty good novel (which runs contrary to the sentiment of most fans). Sure, it was slow moving in the beginning but once the plot gets going (For the B-side characters that it follows), it is damn good.

Parting Thoughts:
I definitely understand why these same fans were pissed off about this novel and the fifth book. When you have a excitable group of fans, you cannot tell them that you split the book and promise them that the book will be there within the next year... Only to deliver it six years later. We will see if that wait was worth it.

Saturday, August 18, 2012

"Jiminy Cricket, he flew the coop!:" Moonrise Kingdom

Film Foray Cavalcade Vol. Cinquante-Huit: Moonrise Kingdom

Editors note: More from the recent archives of Manny Funkowitz

Moonrise Kingdom

Like most of my compatriots here at the Maus, I am a huge fan of Wes Anderson's and if he releases a film, you better believe your Aunt Fanny that I will be in the theaters to see it. So, one particularly blustery Saturday evening, I ventured to the local multiplex to see Wes Anderson's latest gem. It quickly became apparent that very few filmmakers, screenwriters or both exist within the same artistic space as him. To put it simply, Wes Anderson makes films that have the look and feel of films from an era that is bygone.

In many ways, it is odd film to be released during the summer blockbuster season and will likely be forgotten when the awards season begins. I mention this because Moonrise Kingdom is a wonderful film and a nice escape from the usual fare that appears at the multiplex these days. It has a wit and relative whimsy that is not seen in stories or scripts made within Hollywood these days. Plus, the best part of a Wes Anderson film and the performances he elicits from the cast are odd and quirky but genuine. This cannot be said for the independent films that the Academy goes ga ga for year after year.

As one can gather from this review, I thoroughly enjoyed this film. For me, it is slightly depressing that the film did not attract a wider audience. Hell, Lady Funkowitz flat out rejected the notion of seeing it. It is a truly enjoyable film that conjures up the carefree notion of youth in the viewers mind. Such nostalgia goes a long way with yours truly and has a lot to do with that fact that we cannot return to such times.

For me, Moonrise Kingdom that notion of the endless summer. Sure, I was not a part of the boy scouts, was struck by lightening or was married but I had my own low key adventures in the severe desert heat. This film succeeds in its ability to capture the lost (or more appropriately last) days of youth as Roman Coppola and Wes Anderson see it. In the progress they created a classic film that is going to go unnoticed in a summer that bore Prometheus and The Dark Knight Rises.

Rooney rating:

Parting thoughts:
I am curious if this will get a Criterion Collection release the first go round.

Friday, August 17, 2012

Weekly Wish List: Sharks and Tim Curry tears in rain

Rio Grande - John Ford
Ford and Wayne made magic together. They told tales of the American Frontier the likes of which we might never see again. People today seem intent I'm either giving us a post modern western like Tombstone or No Country, or channeling the Spaghetti Western like Kim Jee Woon, or even Tarantino and his Spaghetti Western turned war film. There's nothing wrong with any of those films but the Western that Ford created was full of beautiful tableaus that told incredibly human stories and here we have two masters of cinema creating a post civil war tale.

Grosse Pointe Blank - George Armitage
I love the world this film lives in. What oddly absurd place where assassins want a union and your psychologist is your one confidante, all while telling the story of what happens 20 years after a John Hughes film. Cusack is on point here and playing off of Aykroyd and Driver the film is just incredibly watchable. High Fidelity comes out this week as well on blu, both are great, but this one is definitely more in my wheel house.

Clue - Jonathan Lynn
Well this list is just all about nostalgia isn't it. Here's another one, but this is from way back when before we could scour the Internet for news and spoilers and pictures and trailers. When every trip to the video store was a new adventure full of discovery, when I had no idea what I would find lining the shelves. I remember walking into the video store and being blown away that someone made a film about a board game. I grabbed it, and hey it had the guy from Home Alone 2 and Doc Brown so it had that going for it. This is a quick film with a fast moving script and some altogether ridiculous situations. In other words it captures the game perfectly. Everyone here knew what they were making and rather than try to make something serious, they had fun and turned in a great comedy full of murder. This is tongue in cheek from start to finish and I love it.

Juan of the Dead - Alejandro Brugues
This played a lot of genre festivals last year to some great acclaim. It also has the distinction of being one of the few independent Cuban films actually shot in Cuba. I've heard so much about this film and it's politically charged view of zombies or "American financed dissidents" that I can't wait to check this out.

The Raid: Redemption - Gareth Evans
Jaw droppingly badass. This is rough from start to finish. Watch the trailer and get a taste of what you'll experience here. An absolute must for action fans as our hero climbs each floor struggling to survive wave after wave of guys being thrown at him. Here's my original thoughts.

Jaws - Steven Spielberg
A high benchmark for blockbuster filmmaking and for many this is Spielbergs best. For me that still lies with Close Encounter and Jurassic Park. The influence of this film changed how people make summer movies forever and this release looks to be worthy of Spielbergs classic film. It's been awhile since I've seen this, definitely a must have for all film lovers, want more in depth? Well just scroll down or click here, Hawk gives a detailed breakdown of one of Spielberg's best films


One last thought - nothing wrong with a little Wes Anderson. I have the DVD release but I'll make my way here to the upgrade eventually.

Tuesday, August 14, 2012

Blu Review - Jaws

I had a talk with Bence some months back where I mentioned how you never stop loving Spielberg, but at a certain point, if you start to dig deeper into film, you outgrow him in a way. That being said, Jaws is on a short list of two or three films can be considered the core as to why I do what I do for a living. It's also on the short list of films I was truly excited about the blu-ray format for, and today is that let's dig in....

Can we go home now?

Personal Bias/Quasi-Film Review: I don't know what is was that got me so obsessed as a seven year old to see Jaws. It could have been any number of things: maybe a mention in a book or  something I heard at school. Whatever the reason was, I do remember becoming obsessed with seeing that film, even to the point of making my Dad pretend we were being chased by a shark and climbing up a tree in a park for safety. We were, after all, a good six hour drive away from a ocean. My Mom took a few days mini-vacation that winter to go see her sister and some family and that same night my Dad took us to the local blockbuster (remember that kids? When the film rental business meant supplying jobs and actual choices?) and upon seeing the film was rated only PG (and Mom was out of town after all) he allowed me to rent it. I don't think it's possible for a movie to make me more scared or happy at the same time. It still scares me, I'm serious. I don't shower because Jaws. Okay, that might be a stretch, but just as Richard Dreyfus' character describes a great white as a "perfect machine," he could have been describing the film itself: All it did was swim around to different theaters (and later to various home video formats) eating peoples money and leaving it's offspring: undeserving sequels, video games, lunch boxes, theme park rides and more. Jaws changed the movie industry, and to a lesser effect on this world, it changed my life. It's as perfect as an over-the-top summer blockbuster before there were summer blockbuster fish out of water (by placing a city cop IN water) story could ever be. 

This guys opinion: 5/5

Richard tries to talk Roy out of SeaQuest. Roy tries to talk Richard out of pretty much everything he did after Close Encounters.

Aesthetically speaking: Jaws arrives, like a handful of other recent Universal "100th Anniversary" special releases, in two formats: a Blu-Ray/DVD combo pack with slipcover (featuring on opening flap!) that you can find anywhere. The other, that I opted for, is the Best Buy exclusive Digibook: Similar it is a Blu-Ray/DVD combo pack, however the discs are not the generic logo and semi-clear discs but full color designed discs, all packaged in a beautiful gloss-finished digibook package that features behind the scenes still photos, cast and crew bios, info into all aspects of the creation of the film, storyboards and more. A fantastic package that Universal deserves mad props for delivering. The main menu, like all of Universal releases, is the same generic menu layout only changing it's background video and audio for the specific release. 

Aesthetics & Package: 5/5

My favorite scene/shot/scare in the film. This scene is also an excellent visual representation of what happens to your career when you piss of Spielberg ala Shia LaDouche. 

Visually Speaking: As someone who owned and or viewed Jaws on VHS, laserdisc, DVD, TV (in SD & HD feeds), this Blu-Ray transfer is a sight to behold for those of us used to the green tint that used to plague so many shots, or being forced to view the film in chopped off 4:3 "full-screen" formats. The mid-70's film stock isn't exactly renowned for its clarity or color representations, and the original film print for Jaws after all these years, in the words of Spielberg himself, was "pretty crummy." Universal, who has had it's share of criticisms in past years for their catalogue title blu releases, has gone the extra mile in not just remastering this film, but going through a full restore, starting with a 4K scan of the negative through a liquid gate process. There are those armchair video quarterbacks who would't know what it takes to author a blu or DVD if it smacked them in the face, who say some stupid things. Things like (from a Jaws release forum) "I hope it's a AVC and not crappy VC-1 encode!" not realizing that VC-1, like AVC, is a MPEG-4 intraframe codec capable of beautiful high bitrate images like Inception's or The Dark Knight's blu transfers. The other complaint used for, well, everything, is "DNR" or digital noise reduction. These same people who complain about DNR rave for Criterion releases, which yes, use DNR, a necessary component in creating a fain grain transfer out of a movie shot on 35mm film. Can DNR be over-used? Sure, just ask Predator about that. All my complaining aside, my point? Well, my point is those complainers have nothing to complain about: This is a 30MBps AVC codec in the films original 2.35:1 anamorphic aspect ratio and there is a nice fine grain to this film (more-so in night scenes or those sea shots with lots of sky) so anyone worried about "wax face syndrome" should breathe a sigh of relief. Spielberg himself approved of the final color timing of the film, which as I said, shows no signs of the overly dark, green tinted images of Jaws home releases of past. My richest memories of Jaws are from VHS: crappy, noisy, 2:3 "progressively interlaced" pan and scanned VHS. Seeing the film in 1080P with this attention to color and detail despite the 70's film stock source problems or sometimes very noticeable chromatic aberration (especially on underwater photography), is an eye opener and I'm glad to say the frame by frame restoration is a definite success. 

Visually Overall: 5/5

The best part of having read Jaws the actual book? Knowing why Chief was really so uptight all the time: His old lady was shagging Matt Hooper from the oceanographic institute...

Speaking of Sound: As I get older, I think what scared me more than anything on this film is John Williams score. Everyone now knows the story of how Spielberg laughed when Williams first played him his idea for the score on piano. Spielberg expected a rousing, deep pirate movie score and Williams felt that wasn't the movie he watched. The whiners once again will have to shut up, because the sound is an overall success too. The problems inherited by the 5.1 "up-mix" from the DVD a few years back aren't really problems here, and yes, the dinosaur scream and dynamite sounds from the films climax are still in there. Film purists will be glad the mono track is included, though it's a lossless 768kbps track as compared to the 7.1's massively awesome 4.9MBps track. overall the 7.1 mix isn't perfect (the use of back speakers is bit much for the outdoor scenes as compared to most newer films) but it definitely adds a whole new element to enjoying the film, and overall does a good job in it's separations and the mix of both really high and low ends will make many audiophiles happy. 

Sound Overall: 5/5

A/V Bitrates: As mentioned, the video is a AVC variable bitrate that averages to about 30, the audio is a massive 7.1 track coming in just under 5MBps, with the mono coming in just over 750kbps. The film is presented in the 2.35:1 anamorphic aspect ratio that will see widescreen televisions having black bars at the top and bottom of the film. 

Bonus Goodies: Universal brought it to the table with this one, with the only complaint is not a lot of the extras are in HD, but they are here in bucketful's:

Making of Jaws (2 Hours - SD) - It's getting a bit dated now, and anyone who had the 25th anniversary DVD will remember it, but it's still an excellent look into the making of the film. 
The Shark is Still Working (100 mins - SD) - Almost a myth, this documentary put together a few years back was rumored to having been turned down by Universal when offered to be on a future Jaws home video release. Thankfully that was just a rumor or they changed their minds. It's not "all new" as the box reads, but is a few years old, but a great doc that thankfully has it's place here on this Blu-Ray
Jaws: the Restoration (8 mins - HD) - Pieces of this little piece have made their way online in hype for the release, but it's a quick, though still in-depth look into just how much went into restoring the film. Anyone who doubts the importance of post-production, even after editing is complete, should watch it. 
Deleted Scenes & Outtakes (15 mins) - You've seen them before, see them again!
From the Set (9 mins in SD) - A vintage documentary thats worth a view just to make fun of how dorky Spielberg could look in those days. 
Plus Trailers, Archives, the DVD copy and UltraViolet. 

Goodies Overall: 4.5/5

More Blu-Ray Screen Grabs:
Taken from Sony BD Player into Avid Media Composer at 1080P
Blogger Re-Sizes images to well below 1920x1080
All images under fair use for Discussion, Critique and Review

Monday, August 6, 2012

Blu Review - Big Easy Express

With the line-up for the 2012 incarnation of the Railroad Revival Tour recently announced - and speaking of which, honestly, I'm not tempted in the slightest to go, No offense to Willie Nelson or John C. Reilly - I figured it was time to re-visit the 2011 tour by taking a look into the recent blu-ray release of Emmett Mally's music-documentary on the six-date stretch. For more on the '11 RRT, you can look back at my thoughts of it in PART 1 and in PART 2. Okay, let's dig in...

It's like we all left our baggage at home and only brought our instruments...

Personal Bias/Quasi-Film Review: Okay, by reading that first paragraph it's rather obvious my bias in that I was at one of the shows (and yes, you can see me in this documentary but I won't say when or where) but that's beside the point really. Why you ask? I enjoyed the show, but it certainly wasn't in my top 5 concert experiences of all time or anything like that. Let's also get something else out of the way, this isn't a music documentary as much as it is a music film. Sure, there are a few moments cinema verite fans will love - Alex Ebert waking a very blurry eyed Marcus Mumford comes to mind - there are a few interview moments with various members spliced in here and there - Old Crow's Willie Watson steals the show here with his talk on the love of the ramblers life and talking about the connection he has with the other bands just by the fact they also don't shower often either -  and sure, there is a journey and a story at the films heart: Three unique bands coming together to take on a musical journey across the land of America the way people did 100 years ago. The music is where it's at, and not even the concert footage (which is fun, but it isn't he highlight), but the post and pre-concert jams that take place (usually) on the train: The groups playing their own songs, playing each others songs (the outtake of Marcus Mumford doing Old Crow's "Take 'em Away" is a highlight I wish was in the film), jamming with each other and even in one case, Alex Ebert of Edward Sharpe is working on a new song based on the his journey on the tour. But this isn't a film that isn't going to get at the heart of any of the groups, because lets face it, two of the three groups are touring behind their FIRST record, they have no great long career journey...we're getting to watch them take steps on it though. Old Crow is the veterans here, and even though they don't get as much screen time or concert footage as the other two newer, more popular, acts, but they are the films central guiding force, they're the veterans of the road. Marcus Mumford at one point mentions how as a teenager he was into Dylan, but it was listening to Old Crow for the first time he understand the depth of country music - that it wasn't just "country," the folk, blues, the Americana behind it all. Old Crow is also the ones that recommend the almost too obvious Woody Guthrie tune "This Train is Bound for Glory" as the other two groups try to decide on "a train song" that the three acts could perform together to close out each show. It's a brisk, but not too short 67 minute runtime that never outstays it's welcome. The heart of the film is it's music, and the music is fun, it's lively, it's joyous even during the heart wrenching numbers. They didn't just leave their troubles behind, they left any hint of negativity or ego too, and that is a accomplishment in itself on a train journey of 150+ plus band and crew members - and it shows on film.

Overall: 3.5/5

Aesthetically Speaking: While it has the "eco-case" that I absolutely hate, my list of cons on this release ends there. There is artwork (in the form of a map of the US showing each train stop on the tour) on the inside behind that afore-mentioned "eco-case," there is a bonus DVD (featuring not just the film but all bonus features as well), and a group of postcards - one from each train stop. Even better? Ketch Secor adds a little bit of verbiage to each postcard, and it can be hilarious, anyone who saw a RRT show with his constant banter about his love of their train knows what I'm talking about. The menus are nothing dazzling, but they are nice, custom motion menus that give you a hint of the film you're in store for.

Aesthetics & Package: 4.5/5

Visually Speaking: Shot on a mixture of DSLR, Panasonic HVX200 (a camera most familiar to this writer), 16mm and even 8mm film in a mixture of color and black and white, this is a documentary that, much like Emmett Malloy's previous doc outing White Stripes: Under Great White Northern Lights, has a unique look just by the fact that it incorporates so MANY unique looks, often within the same scene. The 16mm film shots are grainy, and the nighttime ones even more-so (the few select 8mm shots scene are far more grainy), the DSLR shots have that slightly muted, slightly to the red/gold tinted images that can suffer from a far too shallow depth of field. In a documentary you get used to those "find focus" moments as things are progressing live as the DP's film, however DSLR's have a far bigger sensor/frame size than 16mm film, so the depth of field is that much more shallow, and the find focus moments are that more apparent and often. It's a bit noticeable, not The Office noticeable, but it's there. The film is beautiful though, and encoded onto MPEG-4 AVC with a high bitrate, the beauty is as clean as you expect it could be. Where-as a music film like The Last Waltz gets much of it's beauty from being shot by high-end DP's on high-end 35mm film stock with numerous professional lighting cues, this is the type of film that gathers much of it's beauty from the exact opposite: those "just happened to happened" light changes - in sunlight, in stage light or other - that can give a beautiful shot or unique points of light look that wasn't necessarily planned.

Visually Overall: 4/5

The Sound: Even more than video, in a music film of any type it's the audio that is most important, it is the heart of the film after all. Here, with a  DTS-HD master 5.1 track at 1.5MBps, you get exactly that. The concert footage is well mixed, a fantastic mixture of soundboard recordings that give live concerts their depth and the open air mic that give them their life. The train songs are well recorded despite the fact their being recorded live on a moving train, and well mixed considering I doubt more than two microphones were used to record most of them. Any dialogue or interview footage is well mic'd and no problems there. As a music film, it can rock, it can get loud, but it never gets distorted or at least obviously so. The music is where the documentary itself shines, and the sound is where this blu-ray does.

Audio Overall: 5/5

A/V Bitrates: As mentioned, the video is a AVC-HD variable bitrate that mostly finds itself in the lower 30's. The film is presented in the 1.78:1 "open matte" widescreen aspect ratio. The Audio is a DTS-HD 1.5MBps 5.1 stereo track.

Bonus Goodies: As I mentioned in the aesthetics and packaging, the first bonus is when you open the case and find the six custom postcards. Necessary? Of course not, but like the fully laminated custom tickets from the shows themselves, it's a nice, classy touch. Also includes:
Deleted Scenes: A mixture of live concert and train songs/moments that were cut from the film. My favorites are the San Pedro performance of Edward Sharpe and the Magnetic Zeros where they bring on a twelve or so year old girl on-stage to sing "Janglin'" with them. I was there live for that moment and it was rather awesome. The other favorite deleted scene for me was a little jam session where Marcus Mumford takes lead vocals on Old Crow's "Take them Away."
Interview with Emmett Malloy: The director is interviewed here, moments before the documentaries festival premiere after some performances by the bands. It's a nice interview, it's not deeply informative into his process or making the film, but a nice interview where he gets across how long it took to put it together, most notably in the editing session.
Emmett Malloy's Photo Gallery: Lots of photos from the tour.
Trailer: If you don't know what that is, why are you here?

Bonus Overall: 3.5/5

More Blu-Ray Screen Grabs:
Taken from Sony BD Player into Avid Media Composer at 1080P
Blogger Re-Sizes images to well below 1920x1080
All images under fair use for Discussion, Critique and Review