WATERWORLD - Arrow Limited Edition with 3 Different Cuts - December

[AndyDursin]

Whoa, everything you wanted to know about WATERWORLD but were afraid to ask!

3 different cuts and tons of extras too:

The most expensive film ever made at the time of its release, Waterworld has thrilled audiences through the years with its awe-inspiring action scenes, gargantuan maritime sets and ground-breaking special effects.

A definitive post-apocalypse blockbuster, Waterworld stars Kevin Costner (The Untouchables) as The Mariner – a mutant trader, adrift in a dystopian future where Earth is submerged under water and humankind struggles to survive on boats and in ramshackle floating cities. The Mariner becomes embroiled with the Smokers, a gang of pirates who, led by villainous leader Deacon (Dennis Hopper, Blue Velvet), are seeking Enola (Tina Majorino, Napoleon Dynamite), a girl with a map to the mythical realm of “Dryland” tattooed on her back.

Famous for both its epic scale and the controversy that swirled around its production, Waterworld is a key cult film of the 1990s, and an essential entry into the subgenre of ecologically-minded blockbusters. Presented here in an exclusive new restoration, in three different cuts, and with a wealth of extra material, this high-water mark of high-concept Hollywood can now be enjoyed as never before.

TWO-DISC LIMITED EDITION CONTENTS

• New restoration from a 4K scan of the original negative by Arrow Films, presenting the film in three cuts

• Original 5.1 DTS-HD Master Audio and 2.0 stereo audio options

• Optional English subtitles for the deaf and hard of hearing

• Six collector’s postcards

• Double-sided fold-out poster

• Limited edition 60-page perfect-bound book featuring new writing on the film by David J. Moore and Daniel Griffith, archival articles and original reviews

• Reversible sleeve featuring original and newly commissioned artwork by Paul Shipper

DISC ONE – THE THEATRICAL CUT

• High Definition Blu-ray (1080p) presentation of the original theatrical cut

• Maelstrom: The Odyssey of Waterworld, an all-new, feature-length making-of documentary including extensive cast and crew interviews and behind the scenes footage

• Original archival featurette capturing the film’s production

• Global Warnings, film critic Glenn Kenny explores the subgenre of ecologically aware Hollywood blockbusters

• Production and promotional stills gallery

• Visual effects stills gallery

• Original trailers and TV spots


DISC TWO – THE EXTENDED CUTS [LIMTED EDITION EXCLUSIVE]

• High Definition Blu-ray (1080p) presentation of the extended US TV cut, which runs over 40 minutes longer than the theatrical cut

• High Definition Blu-ray (1080p) presentation of the extended European “Ulysses” cut, which includes censored shots and dialogue

[KevinEK]

I've sat through the longer version of this (for review purposes). I can't imagine sitting through an EVEN LONGER version.

[Monterey Jack]

I've sat through the longer version of this (for review purposes). I can't imagine sitting through an EVEN LONGER version.

That "Ulysses" cut is just the longer TV edit, but with all of the censored-for-TV language and bits of footage put back in. I don't think it has any additional footage.

As for this, it seems ideal for fans...but who the hell is a fan of Waterworld? It's not nearly the fiasco that it was made out to be due to the ridiculous cost overruns (although, ironically, there are about 20+ movies with $200 million budgets released per year now ), but it's still a bloated, mediocre Road Warrior ripoff.

[KevinEK]

Agreed, MJ.

[AndyDursin]

Yeah, I mean I found it pretty entertaining but its not a film I revisit or have much incentive to do so.

[Monterey Jack]

I mean, if the new making-of material offers a blunt, honest look at the film's tumultuous production history, I'd probably find that more interesting than the film. It's a watchable flick despite its flaws, but I wouldn't lay down $35+ to own it.

[AndyDursin]

I mean, if the new making-of material offers a blunt, honest look at the film's tumultuous production history, I'd probably find that more interesting than the film.

I wonder how interesting that will be though. This isn't HEAVEN'S GATE or some film that completely went overbudget mostly because of the personalities involved. WATERWORLD is more a case of a studio spending a ton of money already on an overly ambitious physical production (that nobody would duplicate today -- all of it would be CG), with a star then commanding top dollar, and the weather and general elements conspiring to make the process even more taxing for all involved. Typically happens with stuff shot on the ocean (see JAWS lol).

[KevinEK]

I do remember the production being nicknamed "Kevin's Gate" at the time, and I remember plenty of predictions of doom for it before it opened. One AD who was working with me at the time tried to be a contrarian by saying that it was going to be a "big hit", which it wasn't.

It was Costner's ego project, borne from him feeling he was on top and could do whatever he wanted. In the end, as with 1941, Universal did recoup its costs and actually make a little money, but it was the kind of thing that nobody wants to go through twice. Costner was able to survive this but The Postman pretty much finished the big dreaming. He continued (and continues) to have a career as a solid character actor, with the occasional directing gig (like Open Range), but he'll never make another Waterworld again. I'm used to seeing him today as the "crusty but benign boss character".

You would think people would have learned, particularly at Universal from the debacle of the JAWS production, but they apparently did not. And the thing about JAWS was that Universal was monitoring it - it wasn't an out-of-control production with a bunch of yahoos running away with the money. Universal had confidence in Zanuck/Brown for good reason, given their work and track record, and they were completely behind Spielberg from the beginning. To them, they were taking a gamble, but an informed one. When JAWS exploded at the box office, they looked like geniuses. When 1941 didn't, there was a moment of pause, but not to the point that anyone counted Spielberg out - particularly because he made it clear that he understood he couldn't do that again. When E.T. was made for less than a third of the budget of 1941 and went to Mars at the box office, Universal execs not only stopped worrying about 1941 but essentially gave Spielberg his Amblin shingle on their backlot. (And when Jurassic Park went through the roof, that was the ballgame - Spielberg could tell Universal he wanted to make "The Brave Little Toaster" in 3D, and they'd finance it at this point. Even now, if Dreamworks were to come to Universal for anything, there will always be a home for it there.)