The Guardian Blu-ray Review

Shout! Factory's Blu-ray presentation of "The Guardian" effectively retains the film’s original 1.85:1 theatrical aspect ratio with an AVC-encoded BD-50 transfer. While this transfer shows a marked improvement over the previous DVD release from Anchor Bay, it is evident that the master used is somewhat dated. The video maintains a consistent and well-balanced grain structure, although large display owners may notice a general drabness to the image. Colors are realistic, if not always vibrant, and detail appears somewhat opaque, with room for a cleaner texture in terms of dirt and debris removal.

Despite these minor setbacks, Scream Factory has done a commendable job with the 1080p HD transfer. The detail stands out particularly well during well-lit close-ups, revealing individual hairs, makeup effects, and blemishes with surprising clarity. Wider shots maintain fluidity with minor soft spots. The depth of the image is satisfactory, particularly in exterior sunlit scenes where colors pop more than in other moments. Black levels are impressively deep and inky, though some occasional bleeding can occur in darker scenes. Skin tones are consistently natural, detailed, and nicely rendered.

Technically speaking, the MPEG-4 AVC encoding ensures detailed clarity, though a hint of smoothness is sometimes present. Depth is decent, especially notable in scenes like the final moments where Jenny Seagrove floats, enhancing the cinematic feel of movement. Colors hold a natural appearance with a subtle pop to blues and greens. As for noise and artifacts, while some grain appears to have been slightly toned down, a few specs of dirt remain. Overall, despite its age and minor flaws, this is a solid video presentation for a 26-year-old film.

The Blu-ray release of "The Guardian" features a DTS-HD Master Audio 2.0 track, the sole audio option provided by Shout!. Although there is some chatter about a possible 5.1 mix, this seems to be a mislabeling error on the packaging. Originally employing Dolby Stereo Spectral Recording (SR) to enhance dynamic range in analog recordings, this audio track has failed to live up to the expected clarity and fidelity. The dialogue occasionally lacks enunciation and precision, making it necessary for viewers to adjust treble levels or volume to follow the character exchanges, particularly during certain scenes such as the Sheridan boy's reading from "Hansel and Gretel."

Despite these shortcomings, the DTS-HD MA 2.0 mix redeems itself in key areas. The sound effects are forceful, robust, and manage to deliver a layered ambient presence, giving the horror sequences an effective auditory impact. Though lacking the true immersive quality of a surround sound presentation, the stereophonic soundscape remains engaging. The score by Jack Hues is a standout aspect of this mix, providing haunting crescendos with admirable depth and range without overshadowing dialogue. Overall, while the mix could benefit from a 5.1 option for complete immersion, it still offers a generally clear, powerful, and effective audio experience suited for the film’s horrific elements.

The Blu-ray extras for "The Guardian" offer a comprehensive behind-the-scenes exploration of the film, blending new and vintage interviews with the cast and crew. Each interview provides unique insights, from Dwier Brown's reflections on working with William Friedkin and the film's production design, to Gary Swanson's anecdotes about his career and involvement in the movie. Highlight interviews include Natalija Nogulich sharing her experiences without auditioning, Jack Hues discussing the film's unique score, and Matthew Mungle elaborating on the tree effects. Notably, William Friedkin and Stephen Volk offer detailed discussions on their inspirations and creative processes. The collection of behind-the-scenes photos and the original trailer complete this rich compendium of supplementary material.

Extras included in this disc:

• A Happy Coincidence: Interview with actor Dwier Brown discussing his work on the film.
• From Strasberg to The Guardian: Actor Gary Swanson reflects on his career and involvement.
• A Mother's Journey: Actress Natalija Nogulich discusses her role.
• Scoring The Guardian: Composer Jack Hues details the film's score.
• Tree Woman: The Effects of The Guardian: Makeup effects artist Matthew Mungle explains the special effects.
• Return to the Genre: Director/co-writer William Friedkin shares his inspirations and production insights.
• The Nanny: Actress Jenny Seagrove discusses her part in the film.
• Don't Go Into the Woods: Co-writer Stephen Volk talks about screenwriting and adaptation.
• Still Gallery: A collection of behind-the-scenes photos.
• Theatrical Trailer: The original film trailer.

In "The Guardian," esteemed director William Friedkin reenters the horror realm after a seventeen-year gap following his success with "The Exorcist." With Friedkin's signature approach, the film diverges into a supernatural fable, borrowing elements from Dan Greenburg's novel "The Nanny." It centers on a young couple, Phil and Kate, who hire an alluring British nanny, Camilla, to care for their newborn. As Camilla's unsettling practices surface, the couple becomes drawn into a sinister plot involving druidic lore and malevolent forest spirits. Nearly three decades post-release, "The Guardian" remains a cult classic with its unique blend of horror and fantastical elements.

While Friedkin's distinctive touch is evident, critics largely dismissed the movie due to its chaotic execution and underdeveloped narrative. Despite this, John A. Alonzo's cinematography significantly elevates the film, capturing haunting visuals and creating an atmospheric sense of dread. Matthew Mungle’s practical effects contribute notably, particularly in scenes of demonic transformations and gruesome deaths. However, the movie struggles with maintaining coherence, haphazardly weaving through mythological themes without adequate explanation. Friedkin employs various techniques, such as crosscutting similar to those in "A Nightmare on Elm Street" sequels, which may engage seasoned horror fans.

Ultimately, "The Guardian" positions itself as a moderately effective horror film—more riveting for its striking imagery and practical effects than for its storyline. It presents intermittent moments of genuine terror but lacks the gripping intensity of "The Exorcist." Despite its flaws, the film garners appreciation among die-hard genre enthusiasts who savor its graphic nature and ambitious, albeit disjointed, narrative. While it won't redefine the horror landscape, it persists as an intriguing piece of Friedkin’s diverse directorial portfolio.

"The Guardian," directed by William Friedkin, has seen its reputation improve over the years. Initially met with lukewarm reception, it now stands as a solid entry in the horror genre, especially considering today's often tame horror offerings. The Blu-ray presentation by Shout! Factory is commendable, with a decent video and audio transfer that enhances the viewing experience. Although this release primarily includes interviews as its supplementary content, these retrospective discussions provide valuable insights into the film's production and its place in Friedkin's oeuvre.

Technically, the video quality on this Blu-ray is impressive, although not groundbreaking. The image is clean with a fair amount of detail and accurate color reproduction. The audio presentation is equally capable, delivering clear and immersive sound that utilizes the movie's atmosphere effectively. However, the disc lacks some of the older commentary tracks and a more extensive making-of documentary, which would have further enriched this package. Nonetheless, the new interviews add considerable value for fans and collectors alike.

While "The Guardian" doesn't achieve the same status as Friedkin's masterpieces like "The Exorcist," it offers an unrestrained take on horror that remains impactful. The story may have its flaws in terms of narrative coherence and fluidity, but the execution, practical effects, and performances are noteworthy. Fans of Michael Wadleigh's "Wolfen" and those interested in Friedkin’s broader body of work will find this Blu-ray iteration particularly appealing.

In conclusion, while "The Guardian" does not approach Friedkin's best work, it seems a better film now than when it was in 1990 and especially compared to today's crop of mediocre horror. Shout! delivers only average video and audio presentations but stacks its disc with a slew of new interviews. It is too bad, though, that the label could not have acquired the older Friedkin commentary from Anchor Bay (or Universal). A new making-of-doc would have been an added bonus but the retrospective interviews cover a variety of topics. Friedkin devotees will want to add it to their collections. Fans of Michael Wadleigh's Wolfen (1981) will definitely want to give The Guardian a look. With very solid supplements, the Shout! disc earns a MODERATE RECOMMENDATION.