Miracle Mile (1989)

[TheHutt]

It's misleading because they included the entire ending sequence because of a tiny difference.

[dissention]

Steve De Jarnatt has been posting about upcoming screenings of Miracle Mile and the Arrow release, which he said should be out in early '18.

It's showing June 4th at the Metrograph in Manhattan, the best 35mm print out there, and will be followed by a Q&A with De Jarnatt, Mare Winningham & Anthony Edwards. He also said Winningham and Edwards are now a couple.

[TheHutt]

The two German mediabooks of Miracle Mile has been released at last. Here be photos:

By the way: the "Reunion at Johnie's Diner" is 10 minutes longer on the German release than it was on the Kino version.

[sanjuro_61]

capsaholic comparison is available:
http://caps-a-holic.com/c.php?go=1&a...102944&i=4&l=0

I see better compression on the german BD.

Brightness is reduced (but we still have clipped whites).
http://caps-a-holic.com/c.php?go=1&a...102943&i=3&l=0

Overall, the german looks a bit better.

[StingingVelvet]

Arrow was just announced and will likely be the best looking anyway.

[javi92]

I was going to grab the Arrow if it was a new scan, but since it doesn't appear to be, I'll pass. The existing master can only look so good.

[HanaBi]

Just watched this after picking it up from the KL sale. Great little film, would make a good double feature with Night of the Comet, or maybe even Return of the Living Dead.

Wish I had seen it back in 89. Too bad Steve De Jarnatt hasn't done more films, I'm curious about Cherry 2000, which sounds pretty odd.

[Member-167298]

Originally Posted by HanaBi

Just watched this after picking it up from the KL sale. Great little film, would make a good double feature with Night of the Comet, or maybe even Return of the Living Dead.

Wish I had seen it back in 89. Too bad Steve De Jarnatt hasn't done more films, I'm curious about Cherry 2000, which sounds pretty odd.

Cherry 2000 is a fun movie! Dumb, but fun!

[rdodolak]

Caps-a-holic has some comparisons of the Arrow to the Kino release. At least the Arrow release is in the film's OAR.

http://caps-a-holic.com/c.php?go=1&a...=79632&i=0&l=1

[Member-222782]

Originally Posted by rdodolak

Caps-a-holic has some comparisons of the Arrow to the Kino release. At least the Arrow release is in the film's OAR.

http://caps-a-holic.com/c.php?go=1&a...=79632&i=0&l=1

I was just thinking about whether or not I should double dip on this. Going by that screencap the Arrow looks slightly less "contrasty", which I like. But what about that thing about the OAR? The only difference I saw between the caps was the presence of black bars (the image area appears to be exactly the same). Does this mean that Arrow added black bars to the film unnecessarily?

[rdodolak]

Originally Posted by Cinema74

I was just thinking about whether or not I should double dip on this. Going by that screencap the Arrow looks slightly less "contrasty", which I like. But what about that thing about the OAR? The only difference I saw between the caps was the presence of black bars (the image area appears to be exactly the same). Does this mean that Arrow added black bars to the film unnecessarily?

Kino just released it open matte to fill the remainder of the screen while Arrow matted to the intended aspect ratio.

[TheHutt]

The German version (which is best in terms of bonus material) will be available in a keepcase in April. It'll feature a reversible cover.

https://www.amazon.de/dp/B079PHKJKV/

[TheHutt]

PS; AnyDVD shows me the German release as region free.

[TheHutt]

Received my copy of the German MM edition in a keepcase today. Note the slight change in artwork compared to MB Cover A.

[Member-167298]

What an incredibly appropriate day to get this in the mail from NetFlix. Wanted to see this for years but only just got around to it now. So glad I avoided spoilers. I was

[Show spoiler]so worried that the film would not follow through on what I felt was the best possible ending and I was so glad that it did. I literally yelled out “holy s—t!” when the big bomb hit at the end and the screen went white. So pleased the filmmaker had the courage to end it like that.

[chas speed]

Can anybody tell me if the no frills (without the media book) German Blu-ray version of "Miracle Mile" has the directors early short film "Tarzana"? The two media book German Blu-rays are just out of my price range and I am mainly interested in the short film.

[ArnoldLayne56]

Decent entertainment, but I came into to it totally green, and I spent half the time thinking it was a B movie as hole- y as Swiss cheese. But it looks great ;-)
I'll have to think on it...................

[Splatterpunk]

An unconventional thriller that plays at being a romantic drama before taking a hard left turn into Cold War paranoia, I’d say it’s fair to call writer/director Steve De Jarnatt’s MIRACLE MILE from 1988 a hidden gem. It’s a little clunky in spots, but it’s effectively tense and uncompromising. Featuring solid turns from its leads and a bevy of solid character actors, it’s an enjoyable flick that mines the era’s darkest fears for bleak thrills.

Jazz trombonist Harry (everyman Anthony Edwards) and spunky waitress Julie (heartfelt Mare Winningham) have only just met but they’re already madly in love. When a series of mishaps leads to Harry answering a random payphone at 4AM in the Miracle Mile district of Los Angeles, he is given information that could impact the immediate future of possibly everyone on Earth. Is it real or a joke, and if it is true, can he find Julie and outrace a horrible fate? Notable supporting roles belong to Mykelti Williamson (credited as Mykel T Williamson) as a thief, Denise Crosby as a well-connected businesswoman, Kurt Fuller as an irritated assistant, and Robert DoQui as a no nonsense cook. Other familiar faces include John Agar, Lou Hancock, Kelly Jo Minter, O-Lan Jones, Earl Boen, Diane Delano, Jenette Goldstein, and Brian Thompson. Future writer/actor/producer/director Peter Berg also has a blink and you’ll miss it bit part.

De Jarnatt’s scripting is mostly solid. It asks us to swallow a few unrealistic turns, but De Jarnatt’s own evenhanded direction moves us through these rough patches in an assured manner. The way the story is structured, with much of it unfolding in real time, also delivers some labored moments to maintain the requisite anxiety. That being said, his commitment to his premise is impressive and his ultimate vision doesn’t pull punches. That such a grim tale was produced within the studio system is truly remarkable. Edwards is really the main character, and he handles the material well. We sympathize with him despite not knowing if some of the ensuing chaos is his fault. Winningham disappears from the film for about twenty-five minutes, and she doesn’t get as much character definition as Edwards, but she holds our attention and is a calmer but confused counterpoint to Edwards’ frantic performance.

Theo van de Sande’s photography is immersive but subtly stylish. Composing some striking images, some vaguely surrealistic, while capturing the deserted streets of LA and still vibing with De Jarnatt’s unorthodox tonal turns is a huge win for the presentation. I wouldn’t say the film is flashy, but it doesn’t have a typical look, either. The locations and sets effortlessly place us in the narrative’s predicament, with van de Sande ensuring that we’re right in the action without confusing us and lending authenticity to the story’s setting.

I wouldn’t call this an effects film, but stunts and action sequences are well done. Major moments in this department include two full body burns, some car crashes, some gunshot wounds, and a handful of explosions. Despite the relatively small budget, the film feels bigger than it is due to the presence of elements like an anarchic sequence with tons of extras and a scene with a helicopter.

One of the film’s biggest strengths is its synth score by the iconic Tangerine Dream. Crafting low-key dread and draping it over the proceedings, it’s assists in achieving the panicky atmosphere that’s essential to the movie’s success. Distinct and memorable, while still being unobtrusive, it evokes feelings of romance, unease, and melancholy, and even helps propel the film when the story is slightly sagging.

Steve De Jarnatt’s MIRACLE MILE does a lot with a little. It admirably doesn’t take the easy path and feels fresh, as a result. Though it’s definitely of its time, it’s still an enjoyably moody time capsule with engaging performances and an excellent score. Highly recommended for fans of THE QUIET EARTH, AFTER HOURS, and CLOVERFIELD.

[Purplenoon]

Originally Posted by Splatterpunk

An unconventional thriller that plays at being a romantic drama before taking a hard left turn into Cold War paranoia, I’d say it’s fair to call writer/director Steve De Jarnatt’s MIRACLE MILE from 1988 a hidden gem. It’s a little clunky in spots, but it’s effectively tense and uncompromising. Featuring solid turns from its leads and a bevy of solid character actors, it’s an enjoyable flick that mines the era’s darkest fears for bleak thrills.

Jazz trombonist Harry (everyman Anthony Edwards) and spunky waitress Julie (heartfelt Mare Winningham) have only just met but they’re already madly in love. When a series of mishaps leads to Harry answering a random payphone at 4AM in the Miracle Mile district of Los Angeles, he is given information that could impact the immediate future of possibly everyone on Earth. Is it real or a joke, and if it is true, can he find Julie and outrace a horrible fate? Notable supporting roles belong to Mykelti Williamson (credited as Mykel T Williamson) as a thief, Denise Crosby as a well-connected businesswoman, Kurt Fuller as an irritated assistant, and Robert DoQui as a no nonsense cook. Other familiar faces include John Agar, Lou Hancock, Kelly Jo Minter, O-Lan Jones, Earl Boen, Diane Delano, Jenette Goldstein, and Brian Thompson. Future writer/actor/producer/director Peter Berg also has a blink and you’ll miss it bit part.

De Jarnatt’s scripting is mostly solid. It asks us to swallow a few unrealistic turns, but De Jarnatt’s own evenhanded direction moves us through these rough patches in an assured manner. The way the story is structured, with much of it unfolding in real time, also delivers some labored moments to maintain the requisite anxiety. That being said, his commitment to his premise is impressive and his ultimate vision doesn’t pull punches. That such a grim tale was produced within the studio system is truly remarkable. Edwards is really the main character, and he handles the material well. We sympathize with him despite not knowing if some of the ensuing chaos is his fault. Winningham disappears from the film for about twenty-five minutes, and she doesn’t get as much character definition as Edwards, but she holds our attention and is a calmer but confused counterpoint to Edwards’ frantic performance.

Theo van de Sande’s photography is immersive but subtly stylish. Composing some striking images, some vaguely surrealistic, while capturing the deserted streets of LA and still vibing with De Jarnatt’s unorthodox tonal turns is a huge win for the presentation. I wouldn’t say the film is flashy, but it doesn’t have a typical look, either. The locations and sets effortlessly place us in the narrative’s predicament, with van de Sande ensuring that we’re right in the action without confusing us and lending authenticity to the story’s setting.

I wouldn’t call this an effects film, but stunts and action sequences are well done. Major moments in this department include two full body burns, some car crashes, some gunshot wounds, and a handful of explosions. Despite the relatively small budget, the film feels bigger than it is due to the presence of elements like an anarchic sequence with tons of extras and a scene with a helicopter.

One of the film’s biggest strengths is its synth score by the iconic Tangerine Dream. Crafting low-key dread and draping it over the proceedings, it’s assists in achieving the panicky atmosphere that’s essential to the movie’s success. Distinct and memorable, while still being unobtrusive, it evokes feelings of romance, unease, and melancholy, and even helps propel the film when the story is slightly sagging.

Steve De Jarnatt’s MIRACLE MILE does a lot with a little. It admirably doesn’t take the easy path and feels fresh, as a result. Though it’s definitely of its time, it’s still an enjoyably moody time capsule with engaging performances and an excellent score. Highly recommended for fans of THE QUIET EARTH, AFTER HOURS, and CLOVERFIELD.

One of the all time great 80s films. Right up there with BUCKAROO BANZAI & BLUE VELVET. Absolutely classic flicks.

[fourfliesDVD]

Oh, f***, I hated this one. Did not like it one bit. Well... maybe a few bits weren't bad.

I'll take Night of the Comet over this any day.