6.5 | / 10 |
Users | 4.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Two Arkansas firemen, Vince and Don, get hold of a map that leads to a cache of stolen gold in an abandoned factory in East St. Louis.
Starring: Bill Paxton, Ice-T, William Sadler, Ice Cube, Tommy 'Tiny' ListerCrime | 100% |
Thriller | Insignificant |
Action | 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)
English: LPCM 2.0 (48kHz, 24-bit)
DTS: 1709 kbps; LPCM: 2304 kbps
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.5 | |
Extras | 3.5 | |
Overall | 4.0 |
Following the strong critical and financial success of New Jack City and Boyz N the Hood, it was only a matter of time before Hollywood producers would find a suitable vehicle to cast Ice-T and Ice Cube in a picture together. The hip hop artists had each enjoyed critical acclaim for breakout performances in two of 1991's box office hits. They did not have to wait long for a pairing as Universal executives had gained notice and had a script waiting for them. The Looters, as Trespass was originally called, became a screenplay by Robert Zemeckis and Bob Gale in 1977 after the two scribes read an article written by Jon Bradshaw titled "Savage Skulls" in Esquire magazine about a seemingly unapproachable gang in the East Bronx. Zemeckis and Gale penned a draft set in an abandoned urban tenement in an Eastern city that also dealt with a mob dueling with a couple of firefighters seeking a hidden treasure. The script never made it past the development phase until the early nineties when Gale got together with producer Neil Canton, who passed it on to Walter Hill. The California-born filmmaker was rapturous over the material and promptly agreed to direct. William Sadler (Die Hard 2, Hard to Kill) was chosen to play brusque firefighter Don. Then-newcomer Brad Pitt was approached with the more milder part of Vince but turned it down because he deemed it too dark. In retrospective, I think Pitt would have been fantastic as Sadler's counterpart. Perhaps he thought he had made a mistake for a year later, he plunged himself in maybe the darkest performance he's ever given as serial killer Early Grayce in Kalifornia. To replace him, a producer knew Bill Paxton who more than ably filled Vince's shoes.
The Looters was originally planned to open in the summer of 1992 but in light of the LA riots, the film was postponed. Oddly, Universal did not announce a scheduling change to media outlets until late July 1992 when the Daily News of Los Angeles and other papers reported that the movie's title had been changed to Trespass and a new ending would be added. The revised Zemeckis/Gale script moved the setting to the Rust Belt in East St. Louis, Illinois. According to Universal's press material and reviewers familiar with the shooting locations, Trespass was filmed in two separate 19th-century buildings, a Memphis brewery and the derelict Allied Mills in Cabbagetown, Atlanta. As Trespass opens, the screen is directed to a TV monitor showing a grainy video of some kind of transaction occurring between two motorists. One gets in the other's vehicle but is unexpectedly gunned down. Watching this footage is mob kingpin King James (Ice-T) and his sometime volatile associate, Savon (Ice Cube). Was this a heinous act committed by a rival gang? Meanwhile, Hill cuts to a fiery apartment complex where Don (William Sadler) and Vince (Bill Paxton) attempt to rescue a thief (Hal Landon Jr.) from succumbing to the flames. The man really doesn't want to be saved but before being engulfed, he presents the two Fort Smith, Arkansas firefighters with a newspaper clipping and a map containing the bearings of precious religious artifacts that he pilfered from a Greek Orthodox church more than fifty years ago. Don and Vince may be impractical about their odds but they decide to give the treasure hunt a shot, traversing across the Poplar Street Bridge to a ruinous, abandoned factory in East St. Louis. Inside a secure room, Vince is attacked from behind by homeless squatter, Bradlee (Art Evans), who makes the building his abode. Bradlee is then tied to a chair but won't stop babbling. Little do the three characters know that this is also the hideout for King James and his posse (at least for a weekend). King James is meeting with Goose (John Toles-Bey), the suspected gunman on the video, and King James's little brother, the junkie Lucky (De'voreaux White). Once it's determined by King James's entourage that Goose was the killer, the rival gang member is shot and descends through a skylight. Vince is seen and all hell breaks loose. As King James's men try to attack Vince, Don grabs Lucky and deploys him as a shield.
King James and Savon mean business.
Trespass makes its Blu-ray debut worldwide courtesy of Shout Select (#24 in the sub-label's series) on this MPEG-4 AVC-encoded BD-50. Shout gives the main feature a typically sterling bitrate, with video streams that average 31995 kbps and a total bitrate for the disc of 38.02 Mbps. Following a letterboxed LaserDisc, Trespass was first issued on DVD in 1997 by GoodTimes Home Video with a snapper case and a 1.78:1 anamorphic widescreen transfer. The disc was bare bones and Universal only modestly rectified that with a DVD of its own in 2004 that included just EPK-related extras. Universal did project Hill's film in its proper native aspect ratio of 1.85:1 and Shout has replicated that framing here. The print Universal gave Shout is in excellent condition and the transfer radiates a very clean appearance. Given the rather dismal milieu that almost all of Trespass is set, one would expect a murky appearance throughout. However, critics who viewed release prints of the films state that the picture had a fairly polished look. For instance, Michael Phillips, who then wrote for The San Diego Union-Tribune, discerned that "the imagery has a real sheen." Likewise, Malcolm Johnson of The Hartford Courant identified "sharp Technicolor images of [cinematographer] Lloyd Ahern." Shout does apply some grain removal, though. Contrast is often bold and perspiration glistens off Don and the characters' cheeks and forehead. This is not a heavy scrubbing effort by Shout as a nice sprinkling of grain is kept intact (see Screenshot #s 19 & 20) and is consistently well balanced.
Portions of Trespass are seen through the character of Video's (T.E. Russell) handheld camcorder. Reviewer Steve Murray of The Atlanta Journal-Constitution notes that the print contained "a dose of grainy cinéma vérité" and that look has been largely preserved here. The "fuzzier footage" and "blurry videotape" of a gang execution that begins the film was immediately apparent to The Hartford Courant's Johnson and Shout has thankfully not attempted to wipe that away.
In non-camcorder shots, the film is sometimes bright inside the tenement but levels haven't been amped up like they have been on other Shout releases. There is a kind of amber glow on faces (see #s 8, 17, and 18). Trespass also has a milky brown or light chocolate hue within some of the compositions. Colors are richly saturated (notice the beautiful turquoise on Raymond's trench coat and suit in #5.) Black levels are very deep without crush. There isn't any flickering, telecine wobbling, or other image stability issues. Generally, I think the color timing reflected on this transfer will please those who saw Trespass during its theatrical run of 1992-93. My score is 4.25.
Shout has finally added more scene selections than their standard dozen (sixteen are provided on this disc).
Shout! gives Trespass's original Dolby Stereo a DTS-HD Master 2.0 (1709 kbps, 24-bit) and a LPCM 2.0 (2304 kbps, 24-bit) tracks. I focused mainly on the DTS mix, which sounds crystal clear in enunciation and pitch. Originally, the movie was THX certified and mixed using Skywalker Sound so this was a quality recording to begin with. There is a wide dispersal of the f/x on the fronts and spatiality becomes quite wide at times. Ry Cooder stepped in once again for another composer's score whom Hill rejected. (Hill had rejected James Horner's music for Streets of Fire.) Original composer John Zorn was said to have written a very minimalist score comprised of banjos and a didgeridoo (an Australian wind instrument). (CD and digital editions are available under the album title, Filmworks II: Music for an Untitled Film by Walter Hill.) Cooder mimicks some of Zorn's beats but uses more stacatto and thumping electric guitars, which are sharply rendered on the Blu-ray.
Shout has supplied optional English SDH for the main feature.
In a dismissive critique of Trespass, longtime New York Times reviewer Vincent Canby observed that Hill "has difficulty filling the running time." I couldn't disagree more as the film is a lean and efficient action thriller that doesn't contain any filler. Once Lucky gets captured, the narrative moves at a breakneck pace with a wonderful balance of shifting between King James's associates and the four other characters in their enclosed space. Shout Select delivers a marvelous transfer and well-amplified lossless audio. Shout has recycled all of Universal's standard bonus features and added five news ones. The interview with Bob Gale covers a lot of ground in a relatively short period and is arguably the best extra on the disc. The interview with Neil Canton is also very good, although I had a few disagreements with his observations. It would have been stupendous if Shout had gotten Walter Hill, Ice-T, and Ice Cube to record new interviews. Still, this is a worthy "Collector's Edition" and comes VERY HIGHLY RECOMMENDED.
Collector's Edition
1976
Black Enforcers / Ghetto Warriors
1975
2014
1973
Limited Editon
1981
2013
2015
2018
2020
2011
Kill Julian Drake
1972
Enragés
2015
2014
1974
1982
Who Dares Wins
1982
2017
1972
2016
Collector's Edition
1981