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20TH CENTURY FOX

MOVIE INFO
Director:
Harold Becker
Cast:
George C. Scott, Timothy Hutton, Ronny Cox, Sean Penn, Tom Cruise, Brendan Ward
Screenplay:
Robert Mark Kamen, based on the novel Father Sky by Devery Freeman

Tagline:
This school is our home, we think it's worth defending.
MPAA:
Rated PG.

DVD DETAILS
Presentation:
Widescreen 1.85:1/16x9
Audio:
English Dolby Digital 4.0
English Dolby Surround 2.0
French Monoraul
Subtitles:
English, Spanish
Closed-captioned

Runtime: 126 min.
Price: $19.98
Release Date: 3/5/2002

Bonus:
• Theatrical Trailers
• Fox Flix


PURCHASE
DVD

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EQUIPMENT
Sony 36" WEGA KV-36FS12 Monitor; Sony DA333ES Processor/Receiver; Panasonic CV-50 DVD Player using component outputs; Michael Green Revolution Cinema 6i Speakers (all five); Sony SA-WM40 Subwoofer.

RELATED REVIEWS


Taps (1981)

Reviewed by Colin Jacobson

How things have changed! When Taps hit movie screens back in 1981, George C. Scott received top billing, but that occurred solely due to his star status. He actually played a supporting role in the film; he didnít even appear after the first act of the flick.

The movieís main character comes from its second-billed actor, Timothy Hutton. At the time, he was the only notable among the young performers. Hutton made a splash with 1980ís Best Picture winning Ordinary People. Hutton nabbed his own prize as Best Supporting Actor and seemed on his way to a bright career.

Hutton continues to work, but he never achieved great stardom. In fact, heís not appeared in a major release since 1999ís The Generalís Daughter, in which he played a small role. On the other hand, Taps boasted a couple of supporting actors who went on to a smidgen of success. As Huttonís second in command, we found Sean Penn, who earned fame a year later with Fast Times at Ridgemont High. In a smaller role, we got Tom Cruise, who hit the big time in 1983 with Risky Business.

No one knew the star game would work out as it has, though at least Hutton still has Oscar bragging rights over the other two. Both Cruise and Penn have earned a few nominations, but neither has been able to walk home with the trophy yet. I doubt either would trade their success for an award - especially considering Penn never bothers to show up for the ceremonies - but who knows?

Anyway, itís interesting to see this conglomeration of then-young talent all in one place. Taps examines the events at the Bunker Hill Military Academy, a prep school for middle and high school students. We encounter the crew at the end of a school year. Hutton plays Brian Moreland, a rising senior who gets the key position of Major and who will be the schoolís student leader. Brian will answer mainly to General Bache (Scott), the facilityís long-term chief.

All seems well in their world until they get some shocking news: real estate developers slate Bunker Hill for extinction. They want to use the property for condominiums and tell the folks theyíll need to split after the following term. This causes consternation but at least the students and leaders have a year to change this situation.

However, matters take a distinct turn for the worse during an end of the year ball. Some rude townies jeer the arriving cadets and matters turn violent when they start a fight. Bache tries to break up the conflict when one of the interlopers grabs at his pistol. Bache tries to regain control of it when it discharges and hits one of the townies. He dies soon thereafter. Bache goes into custody and quickly suffers from a heart attack, which puts him into the intensive care unit.

Because of this controversy, the powers that be decide to close Bunker Hill virtually immediately. This doesnít sit well with the students, and they decide to take matters into their own hands. Brian organizes an armed occupation, as the students use their skills to take over the campus and keep out external forces.

The rest of Taps follows these events. The film examines the way in which the students interact and react to the pressures put upon them, especially due to the outside actions that try to drive out the kids. Brian has some confrontations with his father (Wayne Tippet) and we also meet Colonel Kerby (Ronny Cox), the main person who comes to eliminate the students toward the end.

At its best, Taps provides a reasonably compelling character examination, and it offers some depth. The best aspect of the film relates to its lack of obvious sentiment. During the first act, the story seemed to fall strongly on the side of the military academy. Everything appeared hunky dory until non-military elements - the real estate folks, the townies - came in and ruined things. Had Bunker Hill been left well enough alone, no problems would have occurred.

However, matters became less clear as the movie progressed. Taps easily could have been a rah-rah David and Goliath story as we blindly cheer for the kids to overcome the odds. But that doesnít happen. Instead, nuances emerged to make us question the legitimacy of the occupation and their actions. Reflexively, we remained on the side of the students to a degree, but Taps didnít present a black and white tale. Ultimately, the movie can appeal to both hawks and doves, as it never comes down obviously on either side of the fence.

Across the board, Taps seemed a like a good but unspectacular, piece of work. The acting appeared solid though nothing special. Cruise and Penn stood out from the cast, but I thought that occurred mainly because of their subsequent prominence; I canít go back in time to when they were unknowns and view them in that light. Both seemed just fine in their roles, though. Penn got the more naturalistic and three-dimensional part, and he helped bring Brianís friend Alex to life. Cruiseís David Shawn is little more than a generic budding fascist, but he brought nice spark to the character.

Hutton seemed moderately disappointing as Brian. He didnít appear weak in the part, but I thought he was a bit drab and without much spark. Hutton didnít harm the movie, but he also didnít add much to it.

Ultimately, I thought Taps was a good movie but it lacked a tremendous amount to make it stand out in a positive way. It was well meaning and admirably deep, but I didnít think it came across as terrifically compelling or absorbing. Overall, it offered a good but unspectacular piece of work.


The DVD Grades: Picture B+ / Audio B / Bonus D-

Taps appears in an aspect ratio of approximately 1.85:1 on this single-sided, dual-layered DVD; the image has been enhanced for 16X9 televisions. The picture displayed a mix of small concerns, but for the most part I thought it looked quite good.

Sharpness usually came across as solid. A few wider shots displayed some minor softness, but those problems appeared infrequently. Overall, I thought the image looked reasonably crisp and well defined. Jagged edges and moirť effects caused no concerns, and I also saw no signs of edge enhancement. Print flaws remained pretty minor, especially considering the age of the material. Some light grain popped up through the movie, and I also detected a few marks and speckles, but the film stayed fairly clean as a whole.

Colors generally appeared positive. Skin tones occasionally seemed a bit reddish, but otherwise the hues were clear and well saturated. The movie stayed with a fairly bland palette, but the DVD rendered them nicely, with accurate and distinctive tones. Black levels looked quite deep and rich throughout the movie, while shadow detail usually appeared clean and appropriately opaque; a few low-light sequences came across as slightly thick, but those occasions were rare. Ultimately, I thought Taps presented a very satisfying image.

Also good was the Dolby Digital 4.0 soundtrack of Taps. The soundfield seemed fairly broad for its era. Audio spread widely across the front spectrum. On the negative side, those elements appeared pretty speaker-specific; different aspects of the track didnít blend together terribly well for the most part, as they remained heavily isolated in their different channels. Actually, a few pieces - like driving trucks - panned across speakers nicely, but most of the track stayed with this speaker-specific attitude.

Nonetheless, the breadth to the mix seemed pretty impressive for a movie from 1981, and Taps seemed rather active in that regard. Surrounds contributed decent reinforcement to the forward spectrum. Not a lot of unique audio came from the rears, but they supported the main channels well and added a nice layer of depth. Considering that most films from 1981 remained monaural, I felt fairly impressed by the soundfield of Taps.

Audio quality seemed somewhat erratic but generally positive for its era. Speech came across as a little tinny, but the lines lacked edginess or problems related to intelligibility. Music seemed nicely bright and vivid, and the score occasionally showed some positive depth. Effects varied in quality. Some elements - like gunfire - appeared surprisingly flat and thin, while others - such as the rumble of vehicles - were rich and distinct. Bass response could be quite positive at times, as trucks and tanks showed nice depth and warmth. I heard a little hiss at times, but that was a minor concern. Overall, the quality of the audio seemed a little lackluster at times, but this remained a nice mix for its age.

Taps skimped on extras. We get the filmís teaser and both its US and Spanish theatrical trailers. All three were presented anamorphic 1.85:1 with scratchy monaural sound. In addition, the Fox Flix area provides ads for Cast Away, Edward Scissorhands, the 1968 edition of Planet of the Apes, and Baz Luhrmannís Romeo + Juliet.

As a film, Taps seemed to be a decent piece of work. I found the movie to appear consistently watchable, but it never escalated beyond that level to become something special. The DVD offered quite good picture and usually solid sound but it lacked any significant extras. Taps was a slightly above average flick that probably merits a rental.

Viewer Film Ratings: 4.3157 Stars Number of Votes: 19
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