6.8 | / 10 |
| Users | 0.0 | |
| Reviewer | 2.5 | |
| Overall | 2.5 |
Motivated by Box Office statistics, Dax Shepard has made a decision to leave comedy to pursue his dream of becoming an international Martial Arts action star.
Starring: Dax Shepard, Nate Tuck, Greg Siegel| Comedy | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1
English: Dolby Digital 5.1
English: Dolby Digital 2.0
None
25GB Blu-ray Disc
Two-disc set (1 BD, 1 DVD)
DVD copy
Region A (B, C untested)
| Movie | 2.5 | |
| Video | 3.5 | |
| Audio | 3.5 | |
| Extras | 2.5 | |
| Overall | 2.5 |
Hollywood is a land built on perceptions, on illusion, on an audience’s willing suspension of disbelief coupled with its simultaneous ardent faith in magic and miracles. If you’ve ever spent any time in and around Los Angeles and its environs, the shabby, sordid truth of Hollywood, at least in part, becomes all too obvious. While we’re certainly light years away from the halcyon days of the Golden Era of Hollywood, when Stars were Stars, the actual fall from grace of so many actors relative to their on screen personae can be a little bracing at time. Walk around the streets, shops and restaurants of everywhere from Santa Monica to the vaunted lane of Rodeo Drive itself and if you come into contact with a “celebrity” (already a lesser stellar event than the old-time Star), you suddenly realize that for all its hype, Hollywood and its inhabitants are pretty much like you and me anymore, save perhaps for an inflated price tag. That dialectic between perception and reality has always provided significant grist for the mill in terms of how Hollywood portrays itself, whether that be in melodramas like any of the versions of A Star is Born to more satiric efforts like State and Main or The Player. Dax Shepard, an appealingly affable and pretty “regular” seeming guy, now jumps into the Hollywood satire fray with the fitfully amusing Brother’s Justice, a mockumentary that takes the Art of the Pitch to absurdist extremes. This low key, dryer than the Sahara sort of comedy may not appeal to everyone, but somewhere in its skewering of the mores of Hollywood there’s a cautionary tale for those who take themselves way too seriously, and if the film is rarely laugh out loud hilarious, it’s at the very least genial and good natured, much like its star (small “s,” please).


Brother's Justice can't quite escape its high-def video ambience, and though the AVC encoded 1080p transfer in 1.78:1 is fine in and of itself, the entire film is just kind of drab and soft looking. Colors are okay, but rarely vibrant and certainly never offering anything approaching a wow factor. The entire presentation here is smooth and textureless as glass, with diffused lighting and an overall look that just kind of sits there, like the film, only this time in soft focus. Obviously shot on the fly with handheld cameras, a certain amount of slack has to be cut for Brother's Justice, as no doubt there were never any huge ambitions for this film to look splendiferous, and while it's not bad, it's not very good, either.

Dax may want to talk to one of his peeps, because (as discussed below) the main feature here is presented with two lossy options, Dolby Digital 5.1 and Dolby Digital 2.0, while the Deleted Scenes are granted a lossless stereo LPCM 2.0 mix. What's up with that? One way or the other, the 5.1 mix here can only charitably be given any kudos for surround activity, and that's simply because almost all of this film is little dialogue driven scenes between a couple or a few people. Occasionally Dax's gargantuan pickup or motorcycle will roar across the soundfield, or in some of the faux trailers we'll get a stray discrete effect, but you can toggle between the 5.1 and 2.0 options here and not here much difference for the most part. There's nothing in the sound mix here that screams for a lossless option, truth be told, but audiophiles will not be pleased that they're not being given that option in any case.


This is one of those films I really wanted to like—really. But after about twenty minutes in, I realized it was just going to be more of the same, and in fact, that's all that happened for the next hour. Now there's certainly some fitfully amusing stuff here and the basic premise is just as certainly sound. But this needed a more manic (dare I say Tom Arnold-esque) approach to really reach comedy gold, and as it stands, Brother's Justice only rarely makes even feldspar grade. In the commentary, Dax talks about not properly pulling any permits for any of the location Los Angeles shooting, stating, "It's better to beg for forgiveness than ask for permission." If we generalize that out to include Brother's Justice, Dax, start begging.
(Still not reliable for this title)

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