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4K UHD Review: Arrow Video’s The Cell (Limited Edition) 

A.W. Kautzer
The Cell

The Cell

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Jennifer Lopez stars in Tarsem’s trippy serial killer thriller The Cell.  Arrow Video has pulled out all the stops for this 4K UHD Special Edition.

The Film 

The serial killer thriller was a staple of 90’s genre studio filmmaking.  Literally, every few months there was a new one.  Beginning with 1990’s Silence of the Lambs to 1999’s Summer of Sam there was an overwhelming glut of films that featured Serial Killers as either antagonist, protagonist, or topic.  By 2000 the market was oversaturated and felt like every serial killer movie released was just another photocopy of what came before.  

Enter Tarsem’s visually astute The Cell. 

Instead of your normal cop vs serial entry into the genre, The Cell took its cat-and-mouse chase into the mind of the killer.  Using Child Psychologist turned lead researcher Catherine Deane (Lopez) who’s heading the way on a new tech that allows you to share someone else’s dreamscape.  Built to help, Deane is brought onto a ticking time bomb of a case.  Serial killer Carl Rudolph Stargher (Vincent D’Onofrio) has been recently caught by the FBI, but not before a stroke makes the man catatonic. Special Agent Peter Novak (Vince Vaughn) needs to find the location of Stargher’s last victim before she is killed.  Deane is their only hope.  As she heads into the fractured mind of a killer, she quickly loses grip on reality trying to find the killer and possibly save the fractured soul inside. 

The Cell still remains a visually amazing piece of filmmaking.  The meticulous design of every frame and camera movement only speaks to Tarsem’s artistically inventive mind. Add in the production design by Tom Foden and costuming by Eiko Ishioka and April Napier working perfectly in unison with Tarsem and Cinematographer Paul Laufer evoke a stunning confluence of nightmare and dream that feels as close to the kind of purposeful visual that David Lynch created.  However, unlike Lynch’s work, The Cell feels like it is without substance.  A hollow echo chamber of stunning visual upon stunning visual without purpose.  

That doesn’t mean The Cell is without merit.  In fact, its visuals are the reason to see the film.  Everything else is secondary to the head trip of a film that Tarsem has created.  One must only disconnect from the prosaic story and not read too much into it.  If one does there is a logic to the piece that works despite itself that will have one gripped to their seat.  

The Transfers

Arrow Video has gone all out for this edition of The Cell.  They have produced three different transfers for this edition.  

An all-new 4K restoration of both the 107-minute Theatrical Cut and the 109-minute Director’s Cut by Arrow Films, approved by director Tarsem Singh.  These two cuts appear on the 4K Ultra HD Blu-ray in The Cell’s original 2.39:1 aspect ratio with Dolby Vision (HDR10 compatible) encoding.  

Then a third version/transfer on a Bonus Blu-ray disc.  This is a previously unseen version of the film with an alternate aspect ratio (1.78:1) and alternate grading created by director of photography Paul Laufer from a 2K master created back in 2000 during the DVD post process.  

The all-new 4K Theatrical Cut and Director’s Cut are as bold transfers as this reviewer has seen.  The transfers for both are sharp and undeniably beautiful.  There isn’t a scratch, blemish, or artifact from the opening moments to the final credit.  The color reproduction and contrast levels because of the Dolby Vision encoding are both deeper in their details giving us a darker luminous and far more textured and beautiful image.  The Cell in its 4K UHD iteration is the best version ever produced for the film – even the 35mm release prints.  

The third/alternate version is a curiosity.  Even though the 2K master is 25 years old there is a beauty and astuteness to the transfer that puts even more modern transfer to shame.  It’s the time and care taken in this transfer and grading that is very apparent.  The color spectrum is very different from the newer 4K but all the same is more in line with the theatrical presentation.  The result is an image that is very different and a very different experience than the 4K UHD transfer.  This also has to do with the 1.78 full frame.   More information on screen isn’t necessarily a good thing.  The looser framing does cause some recontextualization that one can feel from the get-go.  The film somehow feels less intense of an experience.  

One should watch all three versions and judge for themselves but for this reviewer’s money, the 4K UHD restoration of the director’s cut is the way to go.  Even though Tarsem has changed the color grading it isn’t so much as it changes everything, rather it enhances the intense visual experience the director intended. 

The Extras

They include the following;

DISC 1 – FEATURE & EXTRAS (4K ULTRA HD)

DISC 2 – ALTERNATE VERSION & EXTRAS (BLU-RAY)

DISC 1 – FEATURE & EXTRAS (4K ULTRA HD)

The first of two all-new audio commentaries with film scholars Josh Nelson & Alexandra Heller-Nicholas begins with bonafides and their recollections of their first viewing of the film.  Some of the details include how The Cell is made better by watching his second film The Fall; a discussion of his third film Immortal; their first interactions with the work of Tarsem beyond his films – e.g., his visual installations, his ads, his music video; the development of the script by Mark Protosevich; how Silence of the Lambs was a reference point for Lopez and Protosevich; Tarsem’s surprising reference point for the film which was not Silence of the Lambs; how the film uses post traumatic diagnosis in the film and how it different from other serial killer films; actress Marianne Jean-Baptiste thoughts on The Cell; the work of Vincent D’Onofrio – including the research he did for the film; Tarsem working with D’Onofrio and their collaboration; a discussion of Tarsem’s film Self/Less and it relates to themes in The Cell and genre; a larger discussion of Tarsem’s critique of style over substance; Roger Ebert’s review and love of the film; the critical rejection of the film – which leads to a larger discussion of the rejection of Tarsem’s films though he come from the same era as visualist like Fincher, Romaneck, Gondry, Jonze were not; and much more.  Nelson and Heller-Nicolas provide a deeply researched, with quotes from multiple cast and crew involved with the film, a commentary track that covers all manner of topics on the film from Tarsem’s direction, the serial killer genre, the social and cultural impact, and more.  

The second of two all-new audio commentaries with screenwriter Mark Protosevich & film critic Kay Lynch begins with a discussion of when he wrote and sold this script – his first sale.  Some of the details include a discussion of the success of the film – including discussion about how New Line purchased in turnaround; the definition of what “turnaround” is; a discussion once at New Line the production team that was formed and began to develop and produce the film and how the time table was very fast; what Tarsem brought to the development process once he came on board; working with Jennifer Lopez – during the development process and during production; working with Vincent D’Onofrio and what he brought to the film with his process; the various other films that used similar dreamscape technology – including he and the development team seeing The Matrix opening day; a cameo that Protosevich makes in the film; the use of water in the film and how it was developed in the screenplay; a larger discussion of work with Tarsem and the collaboration; a larger discussion about being involved during the entire process because of being a producer on the film; a discussion throughout the visuals that Tarsem brought – including visual references as varied as Michael Crichton’s Coma and Bram Stoker’s Dracula;  and much more.  Protosevich and Lynch provide another interesting commentary track and a rare glimpse into the views of the Screenwriter.  

The third audio commentary is an archival one from the DVD release with director Tarsem Singh opening with how the opening was not what he initially envisioned.  Some of the details include the reasons why he it was important to shoot in the desert on location; the importance of the costuming and specifically getting Eiko Ishioka as costume designer; the work they had to do to pay off the more grandiose visuals for the killer – how they had to be so serious and graphic in order to pay that off; the way that during production certain more intense scenes can come off as extreme because how disconnected one can be in the moment; how performance is informed by the editing and the need for the testing process to understand when a character needs empathy; working with actors that lie to get the part and how those lies can affect the production; how he approached finding the locations and how he felt they backfired; how the script was an excuse for his visuals – using the genre as an excuse to be able to create operatic visuals and push them until it edges into self-parody but knowing when to pull back; the push back he received over the horse dissection scene; the help that Lopez gave him with some of the production to allow more filming days in scenes; the inspiration that was taken by the Brothers Quay films; a larger discussion trhough out how the visuals were accomplished during the mind set scenes;  and much more.  The track along with Tarsem’s feature-length interview provides a look into the process from a visually astute director.  

The fourth and final audio commentary is an archival one from the DVD release with director of photography Paul Laufer, production designer Tom Foden, makeup supervisor Michèle Burke, costume designer April Napier, visual effects supervisor Kevin Tod Haug, and composer Howard Shore all stitched together from separate scene specific interviews.  Some of the details include Laufer discussing the red sand and how much trouble it was to time the color correct; Shore’s first impressions of the film and how he wanted to approach the score after meeting with Tarsem; Haug’s discussion of the collaboration between Tarsem and him and the entirety of the production; Haug’s discussion of the various kinds of directors and how they approach visual effects work; the inspirations that Tarsem gave Burke for the makeup and corpses throughout the film; not shooting anamorphic and the reasons why they chose not to shoot it; the two different camera packages Laufer used and the reasons why; how Napier came onto the project and the reasons why she came aboard; and much more.  The commentary track is a fascinating look from various different perspectives that are not normally included on tracks.  

Projection of the Mind’s Eye, director Tarsem Singh on making The Cell (89:39) – in this all-new feature-length interview with the director he begins with his aversion to museums and loves architecture and dives into his views of art, painting, sculpture, and more how they relate to his theories on film.  Some of the details include his childhood growing up without context of language for the film and TV he grew up with – which was the seed for The Fall; they approaching him for The Cell – and the producers thinking he wouldn’t be interested in; the development with screenwriter Mark Protosevich and a discussion of visuals as text on the page; the give and take to with the studio over the tone and content some of which he gives examples of that he lost over and stuff that he was able to negotiate; working with Jennifer Lopez – a larger discussion of when they made her deal, his working with her as someone who became a superstar, the working with the crew regarding her wants and needs; working with Vincent D’nofrio – including some great anecdotes about their collaboration; working with costume designer Eiko Ishioka; working with Paul Laufer – including the new versions of the film and the transfers, including a discussion of their falling out over him not shooting The Fall; the recutting of the film during previews – including the back and forth to make the film and studio required “happy ending” and how they compromised; the additional shooting in Namibia for the opening – Jennifer Lopez going to the location; the reference of his own REM, Losing My Religion video for a specific scene; the horse dissection scene and the legal troubles the studio was worried about; how he approached the visual style set up and payoffs through the entire film; the scene the tests audiences love the most; and much more.  Singh provides a great, lively, and entertaining discussion of the making of the film.  

Between Two Worlds, Paul Laufer sheds light on The Cell (43:16) – in this all-new interview with cinematographer Paul Laufer begins with his upbringing in South Africa and eventually moving to Southern California and eventually getting work on the Warner Brothers lot after conning his way into the studio moving onto MTV with Music Videos then turning to Teaching at Pasanda Center of the Arts and meeting Tarsem in his first class (that also included Michael Bay and Zach Snyder).  Some of the discussion points include his collaboration with Tarsem over the years before The Cell; his hesitance do shoot The Cell because of the genre – and how Tarsem convinced him to do the film; to get the visual look they were looking for he pushed for a “digital intermediary” – and the backlash he received, the people who helped, the work they did in secret and how they got the buy-in eventually; working with Tarsem on The Cell – a larger discussion of Tarsem’s theories on filming anything; working with the various below the line crew members and their collaborations; technical discussion of the lighting and photographic challenges throughout the dream/inner mind sequences to achieve the look and feel they were wanting and just how complex/challenging it was to accomplish it was; a detail discussion of the bleach by pass process; the beginning of the digital era and the process, storage requirements, technology, and challenges that were required to digitally upload a full scan of the film; The Cellbeing his last feature films and transition back to Music Videos; and much more.  This interview is a fascinating technical look at the process of making The Cell and his entire career.  

DISC 2 – ALTERNATE VERSION & EXTRAS (BLU-RAY)

Paul Laufer Illuminates (10:47) – in this all-new interview with the cinematographer of the alternate master of The Cell presented on this disc.  Laufer opens with an illuminating camera and lens tests he did and research that led to him using two sets of lenses to alternate from to allow for the specific looks in the blacks.  The cinematographer also discusses his decision to shoot spherical but frame for widescreen because of the lighting image advantages of using it – but the issues came up in the digital grading process and postproduction and printing process.  Not pleased with the release print because it was five generations behind – he worked with post-house Laser Pacific to produce an HD which at the time was not done.  That HD master he did which is 16×9, which he kept, and is now for the first time presented which no one has seen other than a few post-production staff since 2000 when it was done.  Note: This reviewer was lucky enough, though he did not know it at the time, to see Laufer and the postproduction staff working on this HD-D5 master because of a brief relationship with New Line Cinema’s Home Video Production Executive Evan Edelist.  If one ever wants to ask, I’ll be happy to discuss it.  

Art is Where You Find It (12:32) – is an all-new visual essay by film scholar Alexandra Heller-Nicholas that looks into director Tarsem’s maximalist style and how he is both inspired by and takes from all forms of art to achieve the visuals within The Cell.  Taking a quote from his underrated Immortals which he describes as “Caravaggio meets Fight Club” Heller-Nicholas dives into the director’s beginnings in Music Videos and Ads as the origins of Tarsem’s style.  The film scholar also discusses Tarsem’s ability to make art accessible for all through his strong collaborations, his style, the actual direct references from the art world (the Damien Hirst infamous cow art installation), and the echo/chamber effect that all of these references create in The Cell.  The visual essay is edited by Jonathan Zaurin, produced by Neil Snowdon and Heller-Nicholas and the writing is acutely detailed and well-researched by Heller-Nicholas.    

The Costuming Auteur (10:37) – is an all-new visual essay by film critic Abbey Bender that looks into the work of Costume Designer Eiko Ishioka and specifically her collaborations with director Tarsem – which they worked on four films.  The film critic uses Ishioka’s and Tarsem’s career parallel to show how their strong collaborations worked so well.  When discussing The Cell Bender approaches both the pragmatic (how the work was divided with costume designer April Napier on The Cell) to the more ethereal (how Ishioka’s costumes not only were visually sumptuous but how they informed on the style and themes of the film) to the anecdotal (Lopez not understanding the purpose of a specific costume).  The visual essay is edited by Jonathan Zaurin, produced by Neil Snowdon and Heller-Nicholas and the writing is well-researched by Bender.  

Style as Substance: Reflections on Tarsem (11:50) – is an archival featurette where the cast and crew dive into the unique visual style of director Tarsem.   This looks into the directing style goes beyond just the normal soundbites but rather a discussion of how he imprints his overwrought style of the visualist.  The featurette is a wonderfully edited compilation of interviews, B-roll footage, and the making of material. Featuring interviews with director Tarsem, stars Jennifer Lopez, Vincent D’Onofrio, Vince Vaughn, Marianne Jean-Baptiste, cinematographer Paul Laufer, VFX supervisor Kevin Haug, digital animator Richard Baily, makeup supervisor Michelle Burke, and others.  

Eight deleted/extended scenes with optional audio commentary by director Tarsem Singh – each scene has to be played individually but one has the option to play with or without Tarsem’s commentary on the scene and why it was deleted or shortened.  

Six multi-angle archive visual effects vignettes – each of the six featurettes does not allow you to change angles but rather shows you each of the angles in a PIP once then each PIP is played separately.  Still a fascinating group of featurettes looking into the making of these specific set pieces.  

Theatrical trailers – the US Trailer (2:25); International Trailer (1:24) 

Image gallery – the gallery consists of a whopping 340 images.  They mostly consist of production stills though the final 10 are various pieces of poster art.  

The Final Thought 

Arrow Video continues to amaze with their 4K UHD upgrades and their special edition content to popular 90s titles like The Cell.  Highest possible recommendations!!! 

Arrow Video’s 4K UHD Edition of The Cell is out now.  

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