The recording sessions for "Afternoon Delight" are next and this is exactly what you think it would be. A fly on the wall view as the news team goofs off while trying to record the song.
Some of those things were also on the original DVD but others, like the Cinemax making of, are new and pretty cool. There is an absolute insane amount of audition footage on this disc. Just think — Steve Carell as Brian Fantana. So yeah, if you are a fan of Anchorman, you will spend hours and hours with this disc just eating wait waiting for Anchorman 2.
It's highly recommended. It's been a few years since I last watched the movie all the way through, which always raises the danger of changed taste and disappointment. Happily, that isn't the case. This was a movie that could only have been made in , when the likes of Apatow, Ferrell, Carell, and Rudd inspired no detractors. But it's a movie that seems destined to entertain for a very long time. I'd be disappointed if this film isn't elevated to a classic comedy by the time the American Film Institute gets around to a new celebration of the genre.
Ferrell is nothing short of genius in this film, which puts his gift for creating distinctive characters on wondrous display. The Apatow model of shooting a lot and experimenting with improvisation serves this film remarkably well. One can tell that design takes its toll on the editing process; there's the occasional off rhythm and Kurtis' voiceover narration is occasionally summoned to keep this on track.
But, much like Sex Panther, Fantana's odiferous cologne of choice, sixty percent of the time, Anchorman works every time. The laughs flow from Burgundy's pompous non sequiturs and Brick's reminders of his easily-confused brain to the team's outstanding chemistry and pitch-perfect send-up of the '70s with its misogyny and unhealthy habits. Some of the film's greatest hits are utter flights of fancy that come out of nowhere: Burgundy's spontaneous "yazz" flute performance, his and Veronica's trip on unicorns' backs to the animated Pleasure Town, the News Team's a capella "Afternoon Delight" rendition, a beautiful, elaborate alley fight between various news divisions, and a subtitled climactic chat between animals.
The latter supplies many of the film's first-rate cameos, a veritable checklist of the so-called "Frat Pack" that has kind of branched out in recent years. This Blu-ray gladly corrects that, presenting both the theatrical and unrated cuts in widescreen, of course, and on the same disc. Though it only runs 3 minutes and 18 seconds longer, every time I'd watch my unrated DVD, I'd notice added bits that weakened the film, like a barrage of F-bombs that belabors Ron's gaffe.
At the same time, watching this theatrical cut now for the first time in nearly a decade, I recognized some bits that maybe play a little better in the unrated version and missed parts that I have warmed to via exposure e. I think I still prefer the theatrical cut, but this is a movie enjoyable enough in either edit that you'd hate to not have the choice to watch the other when so inclined.
Fun fact: Anchorman contains a rare and uncharacteristic executive producer credit for David O. Russell, whose own s comedy, the highly acclaimed American Hustle , goes head-to-head with Anchorman 2 at the box office in its nationwide expansion this week. Whether it's because the Blu-ray was authored a while back or because Anchorman will soon turn ten, the 1. But the picture is almost always sharp and vibrant, showing off those gaudy '70s fashions cinematically. There's slight room for improvement, but this does just fine for now.
The 5. While dialogue drives the picture, it remains crisp and full-bodied. The mix also does a nice job of distributing music, be it original score or the flashier period needle drops that form one of the more creative soundtrack albums out there.
Player-generated subtitles translate Baxter and other animal speech. They're edit-specific at the start anyway. The unrated one finds McKay and Ferrell being deliberately profane though much of it is inconsistently bleeped , as they ignore the film for 18 minutes to push the boundaries of censorship. Eventually the two tracks sort of align with some creative randomness, albeit with some trims and extensions. Kyle Gass and Andy Richter join in to be offended they weren't in the movie.
Then, Paul Rudd calls in to strike back after he hears them insulting him. It's all staged, obviously. When those guests leave, McKay and Ferrell perform a kind of radio play as they worry about head wounds from the supposed punches thrown.
Singer Lou Rawls joins them to reflect on the '70s, partake in a scat-off with Ferrell, discuss Chicago, love, and mustaches, and remark upon the movie he had nothing to do with. David Koechner joins in around the minute mark to throw a fit about his deleted material. There's also made-up technical talk, terrible film idea pitches, and feuding over Ferrell's comments about McKay's wife. Christina Applegate calls in around 80 minutes in to feel sad for being left out of this and negotiate compensation.
Both tracks are kind of a waste of time and bound to disappoint those wanting serious insight into the film's creation, but they're occasionally entertaining and not soon forgotten. They include appearances by a number of actors not seen in either cut of the film, including Rance Howard playing the priest at Champ's father's funeral , Joe Flaherty Veronica's former boss , Neil Flynn as a police officer , and our narrator Bill Kurtis as a network anchor.
Scotchy scotch scotch. Here it goes down, down into my belly. I wanna say something. I'm gonna put this out there: if you like it, you can take it. If you don't, send it right back … I want to be ON you. I don't know how to put this but I'm kind of a big deal.
People know me. I'm very important. I have many leather-bound books and my apartment smells of rich mahogany. You look awfully nice tonight.
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