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Closed Caption; "The Slap Reel" outtakes; "The Gospel of The Ladykillers" deleted music scenes; "Danny Ferrington: The Man Behind the Band" featurette - the master guitar-maker tells all; The Ladykillers ScriptScanner enhanced computer feature; Dolby Digital 5.1 Surround Sound; Widescreen (1.85:1) enhanced for 16x9 televisions; French language track; French and Spanish subtitles
Full Product DetailsSide #1 --
1. Opening Credits [12:01]
2. Members of the Ensemble [7:17]
3. Shine on Me [9:04]
4. Practicing Music [5:39]
5. The Bandit Queen [8:42]
6. A New Friend [6:47]
7. Bad Timing [6:25]
8. Trouble [9:21]
9. Entertaining the Ladies [9:51]
10. "A Middle Way" [8:19]
11. Dazzling Conversation [14:43]
12. End Credits [5:42]
The classic 1955 British black comedy starring Alec Guinness and Peter Sellers gets a thorough updating and change in location for this droll remake written and directed by Joel and Ethan Coen (Fargo). The Guinness role is reworked for top-billed Tom Hanks, delightfully eccentric as Professor G. H. Dorr, an old-school southern gentleman who poses as a music teacher while secretly masterminding bank robberies. For their latest caper, Dorr and his equally eccentric associates (Marlon Wayans, J. K. Simmons, Tzi Ma, and Ryan Hurst) have chosen a casino; their planned means of access is a tunnel they’re digging from underneath the home of Dorr’s churchgoing landlady (Irma P. Hall). When the old woman begins to suspect the professor’s “students” have something other than music lessons in mind, she becomes an obstacle that must be overcome…or removed. No strangers to black comedy, the Coens manage to make Hanks and company likable even when they’re expressing murderous intent. The secondary characters are limned carefully, with Simmons -- best known as newspaper editor Jonah Jameson in the Spider-Man movies -- a clear standout as an explosives specialist with alarming lapses of judgment. Hanks, the recipient of numerous close-ups, squanders no opportunity to mug for the camera while he rattles off dialogue in a molasses-thick Dixie accent. Irma P. Hall has the toughest assignment, playing straight to these oddballs. But she gets plenty of laughs herself, especially when chastising Marlon Wayans about contemporary music like “hippity-hop.” Although the coming attractions made Ladykillers seem relatively benign, don’t be fooled: This movie has plenty of edge and a denouement that will be especially surprising to anyone who hasn’t seen the original. Ed Hulse, Barnes & Noble
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