7.2 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
When household tensions and a sense of worthlessness overcome Evan, he finds escape when he clings with the orphans of a throw-away society. The runaways hold on to each other like a family until a tragedy tears them apart.
Starring: Flea, Chris Pedersen, Gina Carrera, Bob Ozman, Ray LykinsThriller | Insignificant |
Drama | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
BDInfo
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (locked)
Movie | 3.0 | |
Video | 3.0 | |
Audio | 3.0 | |
Extras | 3.5 | |
Overall | 3.5 |
Penelope Spheeris is one of the only filmmakers to attend Punk University. The helmer of the 1981 documentary, “The Decline of Western Civilization,” Spheeris spent a substantial amount of time covering the punk scene, getting into the subculture to dissect its music and fanbase, trying to understand what made the movement tick. Such an education clearly dominates the creation of 1983’s “Suburbia,” with Spheeris heading back into the mud pit of neglected youth, this time using dramatics to help sort through young characters trying to make sense of their rotten lives. “Suburbia” has the electricity of “The Decline of Western Civilization” at times, but it’s also clumsy work from an inexperienced writer/director, with Spheeris getting carried away with tragedy and confrontational behavior, trying to make a point about generational hostility that never comes together as profoundly as she imagines. It’s a helluva time capsule, but not something that’s particularly heartbreaking.
Listed as a "New 4K scan of the original film elements," the AVC encoded image (1.85:1 aspect ratio) presentation for "Suburbia" is dealing with inherent cinematography limitations, giving the feature a softer look for its Blu-ray debut. However, there's some frame stabilization displayed throughout the viewing experience, which tips a few scenes into brief blurriness, giving the frame a slight shaky quality as well. It's not pronounced but it's there, working hard to keep the image together. Detail isn't strong, but some sense of life inside the house and on the streets is found, with harsh costuming and neighborhood dimension coming through adequately. Certain close-ups also retain skin textures, picking up on the weary, unwashed state of the kids. Colors are tastefully refreshed, indulging in vivid reds and blues, giving city visits and punk clubs some punch. Household spray paint work also brings out bolder hues. Community greenery is appealing, and skintones remain natural. Delineation is thicker but not solidified.
The 2.0 DTS-HD MA mix is obviously not created with ideal dimension in mind, or any dimension for that matter. It's more of a cocophony of sound, which fits the mood of the movie. Dialogue exchanges aren't defined, but performances are easily to follow, battling the production's limited resources. Music is noticeably louder, with stage performances roaring to life with pure punk energy that brings the track close to distorted highs, but never falls apart. It's a full court press of noise, but there's some management from the original track. Sound effects aren't sharp but intensity of body blows and squealing tires are noted. Hiss and pops are common, some quite loud at times.
Spheeris makes Jim and Bob the bad guys, but the line of proper conduct is blurred throughout "Suburbia." William is a tired but well-meaning cop, but the kids are no saints, openly engaging in theft and antagonism during the picture, while one scene showcases their mockery of a physically disabled market owner, happily ruining food items right in front of him. Still, the screenplay sides with the punks, highlighting their rough treatment and calloused spirit, with Spheeris trying to provide a voice to a segment of the population typically discarded without a second look. The effort is there and the message is necessary, but "Suburbia" isn't particularly well-thought-out or cleanly executed, often lurching from one extreme to another. It's fatiguing, but there's more to embrace about the feature than harsh melodrama, as the director finds the full force of punk music in the movie, and her vision for unity is distinct, only hampered by the amateurish aspects of the production, including the acting. It's not a film that's clearly realized, but it does have raw power at times, and true concern for its characters as they struggle to make sense of a world they've grown to resent.
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