ONCE UPON A TIME IN CHINA
Director Tsui Hark has only made two American films, both with Jean Claude Van Damme, and both mediocre at best!  While visually stunning, they lacked even the semblence of a believable story structure necessary to hold a viewer's attention. In keeping with the standards set for mediocrity in modern action films, the heroes weren't well developed or interesting.
Simply put, Hark's vision suffers the more he tries to "Westernize" it.
This makes his film, "ONCE UPON IN CHINA," newly released from COLUMBIA TRISTAR, all the more important.  It deals with the conflicts revolving around western influences on the Chinese.  While this isn't really a martial arts film, there are plenty of dazzling fight sequences, and first-time viewers should be pleased to find there are even more films than "Crouching Tiger, Hidden Dragon" which transcend the "Chinese-action" genre. 
Jet Li stars as Wong Fei-hung, leader of his village's militia.  His
followers are made up of an unusual group, likely to win over audiences with well developed characterizations.  Making up the assorted group Wong encounters are a fat character appropriately named "Porky Lang", his aunt Yee, whom has returned from America disenchanted with her experience there,  an aspiring actor, Leung Fu, as well as many other equally engaging players.

All of these characters are in conflict, either fighting the influence of
the West, or the uncaring greed of a local triad.  Of course, this lends
plenty of opportunities for fight sequences, and they won't disappoint the
audience. COLUMBIA TRISTAR has presented "ONCE UPON A TIME IN CHINA" in its original 2.35:1 aspect ratio with 16:9 enhancement.  Unfortunately, there are some real problems with the transfer!  One is faced with two options, neither without dire consequence.  One can watch the uncut version, with either
Cantones or Mandarin dialogue, but both have an inferior picture.  The
alternate option, providing a wonderful image, is to view the American
version.  However, this version has been severely edited!  It's over a half
hour shorter, causing major changes in the disposition of characters!  Also, the English dubbing is atrocious!  The image on the dubbed version does offer far greater clarity and color detail though, but at such a cost!  The original Mandarin version suffers in virtually every scene from "ghosting." Contrast is also adequate at best! 
As mentioned, the Mandarin and Cantonese versions of the film are available as well as the English dubbed version.  All three are in mono sound.  While the dialogue is intelligible in all three versions, they all suffer from limited range.
COLUMBIA TRISTAR has included five trailers.  In addition to "ONCE UPON A TIME IN CHINA" there are three Jackie Chan film trailers, "MIRACLES," "WHO AM I," and "GORGEOUS." There is also a trailer, 16:9 enhanced, for "GEN-X COPS."  
The best aspect of this presentation lies in the audio commentary, featuring film expert Ric Meyers. His commentary is mostly from a "film-educational" stance, but it's quite interesting in its explanation of the genre itself.

ANIMAL FACTORY
"Animal Factory" marks Steve Buscemi's 2nd stint as a director, and it's a big difference in tone and quality than his previous film, "Trees' Lounge."
Whereas his previous effort was a light, but still twisted view of
relationships, "ANIMAL FACTORY" is a gritty, unrelenting view of the penal system, offering little hope for those within it.  Edward Furlong stars and gives a decent performance as a young man busted for possession of marijuana and sentenced to two years in prison.   He must quickly adapt to his harsh surroundings, finding protection with a veteran prisoner, Willem Dafoe.  Giving Buscemi his due, "ANIMAL FACTORY" is an original piece of work, not an easy task within the prison film genre!  It's not precise in its pacing, at times feeling uneven, but the film, like the characters it depicts, is trying to find its place, and the journey is ultimately sobering and worthwhile!  As it deals with prison life, there are various scenes that will be disturbing to viewers, but under Buscemi's direction, the homosexuality depicted is never exploitive.  The cast is well selected, and Furlong is actually improving with age!  Compare his performance here or in "AMERICAN HISTORY X" to his earlier "T2" for an example!  But, the biggest surprise is in Buscemi's casting of Tom Arnold as a prisoner!  He's terrific as an inmate with an eye for Furlong.  Further adding to the film's surprises, is an appearance by Mickey Rourke, giving a competent job.
COLUMBIA TRISTAR HOME VIDEO has presented the film in its proper 1.85:1 aspect ratio with 16:9 enhancement.  While Buscemi can't be accused of borrowing from the  same canvas of compositions found in Bertollluci's films, his images are well chosen, and at times, even memorable.  The color values are strong.  Fleshtones appear natural, and there is no grain anywhere, a big surprise for a film that strives to be gritty!
There's a dolby digital 5.1 soundmix, but it's extremely limited in terms of
surround effects.  Most of the separation is focused on the front speakers, however the LFE effects prove very much alive, especially in terms of the music, offering great bass at key moments for added suspense!
For some unexplained reason, Buscemi "isn't" featured on the audio
commentary, whereas screenwriter Edward Bunker and actor Danny Trejo are!
Bunker adapted the script from his own novel, so his commentary does add some insight into the filmmaking process and various compromises inherent in brining such a film to screen.  Trejo is a fine actor and provides some entertaining stories, but neither of these two can cover the fact that the director is absent!  However, he is present in a video interview, along with three other actors, in another supplementary section.

TIME CODE
Director Mike Figgis' "TIME CODE" deserves credit for its boldness!  While it's certain to aggravate more viewers than it charms, he opts to make a very personal film filled with possibilities, actually several of them,
depending on where the viewer focuses their attention!  The film does
succeed on many levels.  In its finest moments, it evokes memories of a
young Robert Altman, and at its worst moments, it evokes memories of a bad Figgis film, "THE LOSS OF SEXUAL INNOCENSE."  While there isn't a strong narrative, focusing more on characters than plot, it's never actually boring, but instead too trying for most people!  Figgis' square screen is divided into four sections, each one holding a specific camera angle, revealing a specific, separate storyline.  While the film plays out, the contrasting images vie for the viewer's attention, and Figgis helps the viewer concentrate by alternately adjusting the volume of one story over another, etc.  While the effect is impressive, it also proves dizzying after a while!  The cast is excellent, headed by Stellan Skarsgard, Salma Hayek  and Jeanne Tripplehorn.  The complicated story offers Skarsgard as a filmmaker trying to thwart off what appears to be an inevitable breakup brought on by his wife.  Hayek is the beautiful woman having an affair with Skarsgard and Tripplehorn plays her wealthy friend.  These actors provide some great improvised moments and it's due to Figgis' bold vision that the interplay between the actors and the various scenarios they're a part of, appears as refreshing and entertaining as it does here!   Figgis isn't resigned to just shoot an ostentatious production, he needs to constantly push the envelope further, creating innovative camera movements similar to what Altman achieved in "THE PLAYER."  In fact, like "THE PLAYER,"  "TIME
CODE" is really a film within a film!  Its central characters are trying to
make a film that sounds in essence like what "TIME CODE" is!   Figgis has achieved making what may be the ultimate "interactive" film, at least for DVD purposes!   On this special dvd presentation, the viewer is actually able to select which audio track they wish to listen to, rather than the one selected by Figgis for the theatrical version.  This offers a multitude of possibilities, as well as many great moments with several actors whose lines were otherwise overshadowed by focusing on other storylines. 
This dvd presentation offers other outstanding features unavailable in the
theatrical showing!  To begin with, viewers can select to view the very
first take of the film, or the "15th" take!  Both are equally fascinating
and appear to have just as many satisfying improvised moments!  One also gets to see how the film actually evolved over time.  The music in the 15th take seems quite different in parts.  Also, the first take is offered in 2.0 only.  While still sounding good, it doesn't offer as creative a soundtrack as featured in the 15th take.  In fact, the 15th take has one of the best soundmixes in recent history.  Not only does the musical score, by Figgis, sound terrific, so do the directional effects.  The bass effects,
particularly during earthquake scenes, are outstanding!  Figgis offers audio commentary on both versions, and it's the kind of commentary that should be a prerequisite for any film student.  He goes into the film's production, his take on the talent of various cast members, and film theory.  It's never boring, and almost always informative.  The image quality is excellent on both versions.  While the first take isn't as completely impressive as the 15th take, it's due to the fact that by then, he was able to figure out what compositions looked best and the needs of each shot.  The digital video technique used here has its advantages, diminishing many of the grain problems associated with film under the same lighting conditions.  Figgis has always explored various camera techniques in order to obtain a unique look to his films.  In "Leaving Las Vegas" he utilized Super 16mm, a rarity back then, due to its unique slick finish when blown up to 35mm!  The trailer is included, as well as a 20 minute mini-documentary in which Figgis' development of the film is explored even further.