Has anyone seem the recently released Australian Blu-Ray of Rob Zombie's remake of Halloween?
If anyone has, let us know how's the PQ/Audio quality, and what extras are included. Most stores list just a couple of extra features, but since this release is a 2 disc set I'm hoping it's more or less a port of the US region-locked release.

Has anyone seem the recently released Australian Blu-Ray of Rob Zombie's remake of Halloween?
If anyone has, let us know how's the PQ/Audio quality, and what extras are included. Most stores list just a couple of extra features, but since this release is a 2 disc set I'm hoping it's more or less a port of the US region-locked release.

Roadshow's release is a port over from our domestic DLT.

Is the theatrical cut available on Blu anywhere in the world? Its my prefered version.

Is the theatrical cut available on Blu anywhere in the world? Its my prefered version.

The German BD release has the theatrical version. Comes in a Steelbook (or the copy I received last fall did at least anyway).

http://www.amazon.de/Halloween-DVD-Blu-ray-Malcolm-McDowell/dp/B001CNO6GI/ref=sr_1_1?ie=UTF8&s=dvd&qid=1234816915&sr=8-1

Great transfer,solid score.Can't wait for H2 this August.

I just plopped down over $50 to import this from Amazon.de because I, too, only have interest in the theatrical cut (I bought the U.S. BD for the bonus features only--you don't want to know the depths of fury I felt when I discovered the theatrical cut was not included). So tell me, please, reassure me, won't you--there is a) an English audio track and b) no forced German (or any other language) subs, right?

The Director's Cut was pretty good until the end. Things seemed to get all out of whack when they're splicing in DC footage with theatrical footage. Things happen and then it's like they didn't happen. I with the American release had included the theatrical cut via seamless branching.

The Director's Cut was pretty good until the end. Things seemed to get all out of whack when they're splicing in DC footage with theatrical footage. Things happen and then it's like they didn't happen. I with the American release had included the theatrical cut via seamless branching.

I got the german steelbook version. I didn't like the directors cut as much so I picked this one up. I just got it from Amazon last week.

The thought of dropping $50 on this awful film makes me physically ill. I also don't quite get hating the DC but loving the TC -- the only major difference is Michael's escape. He either escapes via tasteless rape scene, or engages in a generic mass murderer. Neither one really works.

The thought of dropping $50 on this awful film makes me physically ill. I also don't quite get hating the DC but loving the TC -- the only major difference is Michael's escape. He either escapes via tasteless rape scene, or engages in a generic mass murderer. Neither one really works.The way the ending is put together is quite different as well, IMO.

I got the german steelbook version. I didn't like the directors cut as much so I picked this one up. I just got it from Amazon last week.

Interesting--Amazon.de was it? My order from them was placed yesterday and shipped this afternoon, but I couldn't confirm anything on the site as to whether it will be the steelbook or not. I desperately hope so...

The way the ending is put together is quite different as well, IMO.

And that's the real deal there; the tasteless rape is bad enough, but to lose that divine theatrical ending, the one that offered in one delicious instant the thematic closure fans of the Jamie Lee Curtis HALLOWEENs had waited decades for in exchange for a witless and banal shootout with a horde of cops...no thank you.

I watched the Director's Cut on DVD a while back, and the-

shot of Laurie shooting Michael Meyers after he rams her out the window

-was still there. The "alternate" ending was probably included in the special features on disc 2, but the final few minutes were the same in both. Are you confusing the Director's Cut with the Workprint that was leaked about a week before the R-rated version was released in theaters?

Are you confusing the Director's Cut with the Workprint that was leaked about a week before the R-rated version was released in theaters?

It's possible but, if that's the case, it's only due to a slew of poorly written reviews for the title on DVD/Blu-ray, many of which made it sound like the Unrated Director's Cut features a) the rape escape and b) cops killing Michael instead of just Laurie mano-a-womano. Even if that was faulty information and the UDC features no real change from the theatrical cut other than the rape escape, I still feel justified in sticking with the theatrical cut.

I'd argue that the original ending, with the cop shootout, fits the film more than the twenty minute chase through the Myers house and Magnum-to-the-face bit. The first ending actually builds on what's been established with Michael and Loomis. The new ending is just dull stalk-'n-slash.

But for the record, the director's cut still features Michael getting shot in the face. No poignancy to be found.

Also, the Director's Cut is the canon version when it comes to the sequel.

I'd argue that the original ending, with the cop shootout, fits the film more than the twenty minute chase through the Myers house and Magnum-to-the-face bit. The first ending actually builds on what's been established with Michael and Loomis. The new ending is just dull stalk-'n-slash.

But, as great as the Ahab-vs.-the-whale subtext of Loomis vs. Michael is, the core of the HALLOWEEN series is the family connection piece (this is, of course, extremely arguable if you're just going with Carpenter's original). And even if Zombie wanted to tilt the focus from Laurie vs. Michael to Loomis vs. Michael, then have Loomis take the bastard out, not a bunch of cops. How ho-hum.

Also, the Director's Cut is the canon version when it comes to the sequel.

Fair enough, and if the sequel is a) a worthy one and b) would create continuity concerns with the theatrical cut of the the first film (obviously, this may very well be the issue in regards to the Loomis character), then I still own the UDC and can easily sell off the German Blu-ray, if I so choose. I could really do without the rape escape, though; it's not that I have fragile sensibilities (hell, this whole film wouldn't be for me, if that was the case), it's just so blatantly unnecessary and garish.

But, as great as the Ahab-vs.-the-whale subtext of Loomis vs. Michael is, the core of the HALLOWEEN series is the family connection piece (this is, of course, extremely arguable if you're just going with Carpenter's original). And even if Zombie wanted to tilt the focus from Laurie vs. Michael to Loomis vs. Michael, then have Loomis take the bastard out, not a bunch of cops. How ho-hum.

This is true, but Zombie's Halloween isn't part of the Halloween series. I don't mean that as an insult, simply that it exists as its own thing. Michael Myers is the star of Zombie's Halloween. It's about his development. Therefore the ending should have something to do with said development. Michael holding Laurie hostage and remembering his childhood deals with what we've seen, and there's that great ambiguous moment where he takes a step forward and we don't know why.

Loomis is a contradiction in the remake. Zombie's original material doesn't work with rehashed Pleasence. If Michael's just a book deal, why risk his life going to Haddonfield? Trying to talk Michael down at the end -- and it actually working -- brought forth a change in that character that's completely ripped away in the final version(s). Loomis should always be more of a psychological adversary to Michael than a physical one.

Trying to talk Michael down at the end -- and it actually working -- brought forth a change in that character that's completely ripped away in the final version(s). Loomis should always be more of a psychological adversary to Michael than a physical one.

You're words present a bit of a contradiction, too, then. If Loomis should always represent a psychological, not physical, adversary to Michael, then (by default) we'd have to shift to Laurie as the physical one, which is what the film does that you dislike. Again, either Loomis or Laurie personally taking Michael out are far more inspired, thematically satisfying conclusions than a bunch of nameless cops.

It's not about taking Michael out, though. It's about what's more relevant to the rest of the movie.

There's the "slasher flick ending," where you get a big final chase scene, the heroine gets the upper hand, the end. But the film kind of fails as a slasher flick because it's never even remotely scary.

And there's the "real movie ending," where the character we've been following since he was a ten-year-old makes the decision to let his sister, established as the one person he loves in the world, go. And then he takes that step forward -- maybe changing his mind, maybe not -- and dies. It's as "tragic" an ending as you can get in Halloween.

It's not about taking Michael out, though. It's about what's more relevant to the rest of the movie.

There's the "slasher flick ending," where you get a big final chase scene, the heroine gets the upper hand, the end. But the film kind of fails as a slasher flick because it's never even remotely scary.

And there's the "real movie ending," where the character we've been following since he was a ten-year-old makes the decision to let his sister, established as the one person he loves in the world, go. And then he takes that step forward -- maybe changing his mind, maybe not -- and dies. It's as "tragic" an ending as you can get in Halloween.

Hmm, I guess I don't relish in the same themes from the film you do. It's one of those things wherein I in no way wish to imply you're wrong but, too me, the only satisfying conclusion is the how it currently plays out. Doubtless, some of my satisfaction is informed by the Laurie/Michael struggles of the original series, but nonetheless, I stand by my opinion that, with Michael representing the ultimate predator, it comes off in the workprint as flat that his reign of terror is ended by people with no intimate connection to him as victims.

I don't mean to imply you're wrong, either. Carpenter's Halloween is my favorite film of all time, but I completely have to divorce it to fairly judge the remake. Laurie and Michael aren't the same characters. Having Laurie take the upper-hand in Halloween H20 and finally kill Michael (the hell with Halloween: Resurrection) was a wonderful moment. It just feels false and slasher-y to me in the remake. It hasn't been earned with Laurie's character.

Also, I really hate the extended Myers house chase. It's dull with a capital, well, dull.

I don't mean to imply you're wrong, either. Carpenter's Halloween is my favorite film of all time, but I completely have to divorce it to fairly judge the remake. Laurie and Michael aren't the same characters. Having Laurie take the upper-hand in Halloween H20 and finally kill Michael (the hell with Halloween: Resurrection) was a wonderful moment. It just feels false and slasher-y to me in the remake. It hasn't been earned with Laurie's character.

Also, I really hate the extended Myers house chase. It's dull with a capital, well, dull.

There were things that worked very well in H20, yet this seems to be one of my least favorite in the series. I almost think that's the movie that Zombie should have directed. His dark tone would have suited the movie beautifully. Instead, it turned out kind of fake up until the last 10 minutes, which was the only saving grace for the movie.

I personally didn't think Zombie or anyone for that matter could not fail when trying to "re-amagine" the holy grail of horror movies. The problem is that Carpenter's version was just too perfect and couldn't be touched.

So the real test will be to see what Zombie can bring to the table now that the series is in new territory. I personally am looking forward to it.

It hasn't been earned with Laurie's character.

To the degree that it had with the original HALLOWEEN series, I fully agree with you. Nonetheless, I still assert that, for the conclusion to bear any weight, one of the characters that has been directly acted upon by Michael should be the one to act back up on him, whether one argues for Laurie or Loomis. But a bunch of cops? There's just no dramatic or thematic weight there.