Let's start this review of "GET ON THE BUS" by stating that in this reviewer's opinion, Spike Lee is perhaps the most overrated director/writer of all time.  He's also a hypocrite for continually criticizing the Hollywood industry as being racist, when its relationship to Lee is the one instance in which it has bended over backwards to develop and nurture a filmmaker whose success record is hardly one to be bragging about!  With this said, at least "GET ON THE BUS" wasn't written by Lee, so while its commentary on race relations is still open to argument, at least the narrative structure of the film is comprehensible!  This, by itself makes it better than most of Lee's other films!  

The film focuses on a group of young black men traveling from LA to Washington D.C. for Farrakhan's "Million Man March."  The cast, including Charles S. Dutton, Andre Braugher and Isaiah Washington, are terrific!  The film emphasizes characters more than plot, and in this area, the film is really entertaining at times.  The actors aren't limited by Lee's direction and they deserve a lot of credit.   While many potential viewers will probably first be turned off by the film's misguided preaching, they should give the film a chance. The acting is "that" good!!!

COLUMBIA TRISTAR has provided a decent transfer for the film.  The 1.85:1 aspect ratio is intact with 16:9 enhancement.  This is an extremely low-budget film, and while there is grain present, it was present in the theatrical showing as well, and is mostly due to the film's lighting constraints.  The fleshtones appear natural throughout.  Color values are generally solid.  

The Dolby Digital 5.0 soundtrack offers a restrained sound mix.  While there are some directional effects, surrounds are employed mostly to boost the wonderful score by Terrence Blanchard.  There is virtually no .1 LFE effects.  The dialogue is always intelligible and focused towards the center channel, free of distortion.

Lee provides a commentary and while he's extremely self-serving at times, he's also passionate and this comes through making it a worthwhile commentary. He also offers some insightful tips and stories that should invigorate aspiring filmmakers.  

"GOYA IN BORDEAUX" has just been released by COLUMBIA TRISTAR on dvd.  Director/writer Carlos Saura and cinematographer Vittorio Storaro have collaborated before on "Tango" and two other films, but this is their best film so far!  

The film opens on the eve of Goya's death in 1828.  He's unable to prevent the images that come to him as he spends his last hours in a house belonging to one of his numerous lovers.   The first and most sobering image is made evident in this opening sequence.  We see the walls to the room he's in come to life as a bluish light emanates from them.  As he ventures down a hallway, he and the audience view his life's works, just before he awakens in the midst of the nighttime street below.  The rest of his life is then told in flashback as Goya's daughter patiently listens to them, as she's apparently done many times in the past.  

This is an important film, not just for its daring exploration of an artist, but for its examination of the history which was being made during Goya's existence too.  Goya's art and the times surrounding it are inseparable.  Goya lived through four monarchies, a violent war for independence, Napoleonic invasions, and more!  

In one of the film's most telling moments, he is asked, "Can't you paint something happy?"  This question is asked regarding Goya's famous "Black Paintings" when painted directly onto the walls of a farmhouse.  At this time in his life, he'd already survived unbelievable amounts of stress, deafness and the Napoleonic invasion of Spain!  

Cinematographer Storaro has employed some ingenious techniques to convey the world brought forth in Goya's paintings.  Much of his work is deeply entrenched with blacks and warm colors.  Not easy to bring out with clarity on dvd. But, it's achieved here!

In one of the film's finest moments, all of the 17 engravings belonging to his 1810 "Disasters of War" is brought to life via an incredibly staged production sequence.

Saura began his work as an assistant to Bunuel, and it's aggravating just to contemplate what kind of brilliant commentary could've been achieved with Saura and Storraro! 

Saura's brother, Antonio, is one of Spain's best known painters as well, and Saura's understanding of art has certainly influenced him as a director.   Goya's work is controversial for its direct, unsympathetic depiction of war.  Perhaps no other artist has better captured its violence!  While much of this film moves between the reality of what Goya paints and the imaginings taking place in the painter's head, few other directors could have better captured the creativity of the painter depicted.

The transfer to this dvd is exceptional. COLUMBIA TRISTAR has presented the 2.00:1 image with its correct aspect ratio and 16:9 enhancement.  Storarro utilizes projections and other creative techniques to present Goya's work in a new and accessible format.  It's due to the terrific transfer process, that all of these images remain as sharp as they do here.  There's great resolution and color values are excellent.  Fleshtones appear natural throughout.  Contrast is terrific, with great delineation between blacks and grays in even the darkest scenes. 

The dolby digital 5.1 sound employs a creative soundmix.  While it's not an incredibly active mix, it utilizes directional effects and music sparingly for the most impact!  The score is made up of a blend of Spanish popular music and classical music that will win over many fans.  We only wish that it had been provided on an isolated track.  .1 LFE effects are virtually non-existent.