It Waits appears in an aspect ratio of approximately 1.77:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Though not without some problems, the movie usually looked pretty good.
Only a few issues affected sharpness. Occasional shots came across as a little soft and ill-defined. However, most of the flick appeared crisp and concise. I saw no jagged edges or shimmering, and only a little edge enhancement could be observed. As for source concerns, the movie was a bit grainy at times, and I noticed a couple of specks. Neither created real problems.
The palette of Waits went for the gloomy side of natural. Green dominated the outdoors landscape. While the colors werenít really vivacious, they seemed fine given the setting and the movieís tone. Blacks were adequately dark and deep, and most low-light shots offered decent delineation. Although a few appeared a little dense, those were the exceptions to the rule. Overall, this was a more than acceptable transfer.
Unfortunately, I found less to like about the Dolby Digital 5.1 soundtrack of It Waits. Audio quality was a definite concern. Speech varied from reasonably natural to muddy and dense. The movie split between lines recorded on the set and a few looped pieces. Neither of those elements managed to sound consistent. The dubbed bits were obviously done in the studio, and the ďliveĒ material tended to be flat.
The same issue affected effects. These lacked much vivacity, and that meant even dynamic bits like explosions failed to possess any heft. For these parts, low-end was lacking. On the other hand, the music suffered from too much bass. The score and songs appeared thick and sludgy, and they didnít display good brightness. Sound quality wasnít atrocious, but it was erratic and rarely better than lackluster.
Additional concerns greeted the soundfield. Music offered the most consistent use of the various speakers. The score and songs showed pretty decent stereo imaging and also spread mildly to the surrounds. Effects did little outside of the center channel, however. Occasional elements popped up from the sides, but I was hard-pressed to find many examples of these.
It seemed even more difficult to locate material from the surrounds, as I canít recall any prominent instances of effects from the rear channels. This mix preferred to promote that material only in the center, and that meant it didnít offer much breadth. This was a dull mix that barely mustered a ďC-ď.
Despite the filmís obscurity, it packs a few extras. We open with an audio commentary from director Steven R. Monroe and actor Cerina Vincent. Both sit together for this running, screen-specific chat, though Vincent departs before too long; she needs to head to an audition and splits at the 30-minute, 55-second mark.
Not that her absence creates real problems in this consistently lackluster commentary. It goes over typical topics such as locations and sets, performances and story, score and music, camerawork, effects and various challenges. We hear a lot about the cold, rainy weather on location and get a sense of a few problems related to the filmís low budget. Occasionally we find decent insights, and I like the parts about the concerns related to working with a parrot.
However, the track sputters more often than Iíd like, and Monroe sometimes repeats himself in an attempt to fill time. For instance, he often reminds us that a nudist resort resided just off camera. Along with the usual batch of praise, the director tends to simply narrate the movie at times and doesnít make this a terribly useful piece. It provides a rudimentary take on the film and nothing more than that.
Next we get a documentary called Blood on the Pines. This 20-minute and 57-second program provides the usual mix of movie clips, production elements, and interviews. We hear from Monroe, Vincent, producer Stephen J. Cannell, and creature performer Matt Jordan. We learn about the projectís script and development, casting and performances, the parrot, design and creation of the creature, shooting in Vancouver and the locationís impact on the story, camerawork and the directorís work, makeup and effects, and filming a few specific scenes.
ďPinesĒ provides a rudimentary but reasonably informative program. It never quite digs into the material with great depth, and it definitely throws out too much praise for this dreadful film. Nonetheless, it covers the basics with acceptable efficiency and gives us a passable overview of the production.
The DVD opens with a few ads. We get promos for Room 6, All Soulís Day Ė Dia De Los Muertos, and Demon Hunter. In addition, the disc presents these in the Also On DVD area, and we find the trailer for It Waits.
I watched It Waits with a simple expectation: naked shots of a hot woman. Not only did the movie avoid such bare pleasures, but also it presented one of the cheesiest films Iíve watched in quite some time. Incompetent in virtually every possible way, it provides unintentional laughs and nothing more. The DVD offers good picture with problematic sound and a couple of decent extras. I can find no reason to recommend this utterly atrocious movie.