Director Guillermo del Toro’s Mimic comes to 4K UHD from Kino Lorber in a massive special edition with both the maligned theatrical cut and the superior director’s cut from Kino Lorber.
The Film
Guillermo del Toro’s Mimic may be the least of the director’s filmography, but it is an interesting insight into a director at war with a studio, and specifically a notorious studio head. The outcome, even in the restored “director’s cut,” finds more of an interesting film than an actual successful one. Though it should be stated that an interesting footnote from del Toro is better than most directors’ apex work.
A viral plague spread through cockroaches has ravaged the New York City population of children. An entomologist, Dr. Susan Tyler (Mira Sorvino), with the help of a virologist, Dr. Peter Mann (Jeremy Northam), creates a cure through the mutating cockroaches killing the virus and the bugs that spread it. Their success breeds something more sinister, which three years later finds its way back into the NYC Subway system, where they release the mutated cockroaches. Tyler and Mann, now married, but fight for their lives along with a Gruff Young Detective (Josh Brolin), a Transit cop (Charles Dutton), and a subway shoeshiner (Giancarlo Giannini) as something more than a bug and less than human stalks them.
Part of the problem with Mimic is that it takes the shape of a Miramax/Dimension Horror programmer of the late 90s (Phantoms, anyone?) that’s at war constantly with del Toro’s both thematic and stylistic artistry. The director wants to make something within the genre but less caged to the tropes, using genre like in all of his films to explore his particular interests. Though the studio never got behind that more ruminating nature of del Toro’s best work, the result is something that feels neither successful as a straight horror film nor an arthouse horror film. Though both are drowned in the noise of plot mechanics and audience test scores, as so many Miramax/Dimension genre entries of the time (see Reindeer Games in its theatrical form for further proof of this).
That also bleeds over to the performances that feel like their hobbled by the sort of straightforward sort of genre exercises that Miramax/Dimension littered the cinema landscape with. Sorvino, Norhtam, Dutton, Brolin, and Giannini are all wonderful performers and do what they can with the material, but it feels too “plot point a, b, c…” in its exposition-driven mechanisms to be truly drawn out into any worthy performance. Though the work of young actor Alexander Goodwin, who plays Chu,y is the exception. The work he does is truly elevated because he’s not hindered by moving the plot forward in the traditional sense. One can see with crystal clarity the film that del Toro would have made unencumbered by studio shenanigans – one with Goodwin’s Chuy as the lead, following and befriending “Mr. Funny Shoes”.
Unfortunately, del Toro wasn’t allowed to make that movie; the film he did make in its director’s cut form is a fascinating glimpse at a director reckoning with the filmmaker he would eventually become. As a piece of cinema, it is a vital puzzle piece to the del Toro filmography because of its fascinating, albeit jagged construction.
The Transfers
The all-new HDR/Dolby Vision Masters of The Director’s Cut and Theatrical Cut – Both cuts sourced from a 4K Scan of the 35mm Original Camera Negative; The Director’s Cut integrates additional HD footage – both approved by director Guillermo del Toro. Kino has given both transfers room to breathe on two 4K UHD discs, one for the director’s cut and the other for the theatrical cut. This allows for two separate experiences, both of which are excellent representations of the 35mm shot production. Dan Laustsen’s photography is positively radiant in 4K. The depth of detail in the blacks/contrast is astounding. The image is always razor sharp with a beautiful patina of active grain to keep the look of film. The result is a nearly flawless image that, even if you’re not the biggest fan of the film itself, you will be of this transfer. Kino Lorber continues to level up with their work in 4K.
The Extras
They include the following;
DISC 2 (4KUHD):
Audio Commentary by Director Guillermo del Toro
DISC 2 (4KUHD):
NEW Audio Commentary by Horror Cinema Expert Arne Venema & Cinema Author Stefan Hammond
DISC 3 (BLU-RAY):
Audio Commentary by Director Guillermo del Toro (Director’s Cut)
NEW Audio Commentary by Horror Cinema Expert Arne Venema & Cinema Author Stefan Hammond (Theatrical Cut)
Video Prologue with Director del Toro
Reclaiming Mimic: Featurette
A Leap in Evolution: Featurette
Back Into the Tunnels: Featurette
3 Deleted Scenes
6 Animated Storyboards
Gag Reel
Theatrical Trailer
The first of two Audio Commentary tracks is an archival one by Director Guillermo del Toro on the Director’s Cut of the film. The director opens with his thesis for this track that he would be giving clarity on how the original cut came to be. Some of the details include seeing Seven and wanting an opening credit sequence like that and working with Imaginary Forces; the projects that he developed before beginning to work on Mimic and how he came to direct this project; the original idea to make an anthology with other shorts one of which turned out to be Gary Felder’s Impostor; reasons why he refuses to use 2nd units any longer; two of the well-known directors that shot second unit; the development process including discussion of writers Steven Soderberg, John Sayles, among others; a larger discussion of the 2nd unit photography and how this was mandated by the studio and how all of the footage had been removed; the work and collaboration with cinematographer Dan Laustsen; a larger discussion of how during the development and production he was undermined at every turn; a larger discussion of the differences between the theatrical and director’s cut; a larger discussion of the growth he made visually during this production; and much more.
The second Audio Commentary is an all-new track by Horror Cinema Expert Arne Venema & Cinema Author Stefan Hammond on the Theatrical Cut of the film. The duo opens with their credentials before diving into the Kyle Cooper opening credit sequence. Some of the other details include a history of the career of Guillermo del Toro and how the film was pitched and picked up by Miramax/Dimension; the career and work of Mira Sorvino, which leads to discussion of the various issues that occurred with the Weinsteins outside of this film’s production; the career and work of Jeremy Northam; the casting what-if’s of Andre Braugher in the Northam role who del Toro wanted; the work of editor of Patrick Lussier; the work of F. Murray Abraham; a discussion of the budget, release and reception (both box office and critical); a larger discussion of the differences between the director’s cut and theatrical cut; a larger discussion of the series as a whole; a larger discussion of the location shoot in Toronto for New York City; a larger discussion of the behind-the-scenes drama that began with the development all the way through the release including quotes from various sources and the players that were involved even beyond who del Toro discussed in his commentary track; a larger discussion of the various actors that appear in the film; and much more.
Video Prologue with Director del Toro (1:06) – a brief introduction to the special features of a film that as Del Toro has mentioned was taken away from him and how this edition can shed some light on this “cautionary tale”.
Reclaiming Mimic: Featurette (14:32) – this archival featurette is an interview with director Guillermo del Toro looks at the making of the film. Del Toro discusses his theory on horror and suspense before diving into the film itself, including his original un-filmed ending. Beginning with the original story, and the restoration of the film and what that entailed.
A Leap in Evolution: Featurette (9:36) – this archival featurette looks at the design of the cockroach like creatures in the film. A very enlightening look back at the beginning of the design which Del Toro wanted the creature to be inspired from a scarabs but loss that fight and how they approached the design.
Back Into the Tunnels: Featurette (5:22) – this archival featurette looks at the making of the film using b-roll footage and EPK interviews with Del Toro and the various cast and crew including Josh Brolin, Charles Dutton, Mira Sorvino, Jeremy Northam, and more.
Gag Reel (2:20) – just some light moments and line flubs, camera flubs, unguarded moment, and a few appearances of by Del Toro.
Deleted Scenes (5:11) – A submenu allows you to play these either individually or all at once with a play all function. A word of note the Alternate Ending is truly a different ending and one can see what Del Toro was going for here which is more ambiguous and more akin to a virus horror film.
Lunch at the Park (2:30)
Kidnapped (0:44)
Alternate Ending (1:57)
Animated Storyboards (6:04) – A submenu allows you to play these either individually or all at once with a play all function. These are just as described, storyboards that are zoomed in and out of or panned across to give a sense of motion and idea of the how the visuals will play out. They have added a temp soundtrack for each scene shown. These are very rough and nowhere near animatics or what modern filmmakers now use. They are interesting to watch to get an idea of how closely Del Toro kept to his vision.
Judas (0:46)
Pinned down (0:13)
Pipe Limbo (0:31)
Death of Josh (2:18)
Run for the Car (1:10)
The Big Bite (1:06)
Rounding out the special features are trailers for Mimic (1:52); Graveyard Shift (1:37); Death Machine (1:35); Body Parts (2:34); Leviathan (1:54);
The Final Thought
Kino Lorber continues to bring their wonderful curation of wonderfully restored picture and sound on 4K UHD discs. Highest Possible Recommendations!!
Director Guillermo del Toro’s Mimic comes to 4K UHD from Kino Lorber in a massive special edition with both the maligned theatrical cut and the superior director’s cut from Kino Lorber.
The Film
Guillermo del Toro’s Mimic may be the least of the director’s filmography, but it is an interesting insight into a director at war with a studio, and specifically a notorious studio head. The outcome, even in the restored “director’s cut,” finds more of an interesting film than an actual successful one. Though it should be stated that an interesting footnote from del Toro is better than most directors’ apex work.
A viral plague spread through cockroaches has ravaged the New York City population of children. An entomologist, Dr. Susan Tyler (Mira Sorvino), with the help of a virologist, Dr. Peter Mann (Jeremy Northam), creates a cure through the mutating cockroaches killing the virus and the bugs that spread it. Their success breeds something more sinister, which three years later finds its way back into the NYC Subway system, where they release the mutated cockroaches. Tyler and Mann, now married, but fight for their lives along with a Gruff Young Detective (Josh Brolin), a Transit cop (Charles Dutton), and a subway shoeshiner (Giancarlo Giannini) as something more than a bug and less than human stalks them.
Part of the problem with Mimic is that it takes the shape of a Miramax/Dimension Horror programmer of the late 90s (Phantoms, anyone?) that’s at war constantly with del Toro’s both thematic and stylistic artistry. The director wants to make something within the genre but less caged to the tropes, using genre like in all of his films to explore his particular interests. Though the studio never got behind that more ruminating nature of del Toro’s best work, the result is something that feels neither successful as a straight horror film nor an arthouse horror film. Though both are drowned in the noise of plot mechanics and audience test scores, as so many Miramax/Dimension genre entries of the time (see Reindeer Games in its theatrical form for further proof of this).
That also bleeds over to the performances that feel like their hobbled by the sort of straightforward sort of genre exercises that Miramax/Dimension littered the cinema landscape with. Sorvino, Norhtam, Dutton, Brolin, and Giannini are all wonderful performers and do what they can with the material, but it feels too “plot point a, b, c…” in its exposition-driven mechanisms to be truly drawn out into any worthy performance. Though the work of young actor Alexander Goodwin, who plays Chu,y is the exception. The work he does is truly elevated because he’s not hindered by moving the plot forward in the traditional sense. One can see with crystal clarity the film that del Toro would have made unencumbered by studio shenanigans – one with Goodwin’s Chuy as the lead, following and befriending “Mr. Funny Shoes”.
Unfortunately, del Toro wasn’t allowed to make that movie; the film he did make in its director’s cut form is a fascinating glimpse at a director reckoning with the filmmaker he would eventually become. As a piece of cinema, it is a vital puzzle piece to the del Toro filmography because of its fascinating, albeit jagged construction.
The Transfers
The all-new HDR/Dolby Vision Masters of The Director’s Cut and Theatrical Cut – Both cuts sourced from a 4K Scan of the 35mm Original Camera Negative; The Director’s Cut integrates additional HD footage – both approved by director Guillermo del Toro. Kino has given both transfers room to breathe on two 4K UHD discs, one for the director’s cut and the other for the theatrical cut. This allows for two separate experiences, both of which are excellent representations of the 35mm shot production. Dan Laustsen’s photography is positively radiant in 4K. The depth of detail in the blacks/contrast is astounding. The image is always razor sharp with a beautiful patina of active grain to keep the look of film. The result is a nearly flawless image that, even if you’re not the biggest fan of the film itself, you will be of this transfer. Kino Lorber continues to level up with their work in 4K.
The Extras
They include the following;
DISC 2 (4KUHD):
DISC 2 (4KUHD):
DISC 3 (BLU-RAY):
The first of two Audio Commentary tracks is an archival one by Director Guillermo del Toro on the Director’s Cut of the film. The director opens with his thesis for this track that he would be giving clarity on how the original cut came to be. Some of the details include seeing Seven and wanting an opening credit sequence like that and working with Imaginary Forces; the projects that he developed before beginning to work on Mimic and how he came to direct this project; the original idea to make an anthology with other shorts one of which turned out to be Gary Felder’s Impostor; reasons why he refuses to use 2nd units any longer; two of the well-known directors that shot second unit; the development process including discussion of writers Steven Soderberg, John Sayles, among others; a larger discussion of the 2nd unit photography and how this was mandated by the studio and how all of the footage had been removed; the work and collaboration with cinematographer Dan Laustsen; a larger discussion of how during the development and production he was undermined at every turn; a larger discussion of the differences between the theatrical and director’s cut; a larger discussion of the growth he made visually during this production; and much more.
The second Audio Commentary is an all-new track by Horror Cinema Expert Arne Venema & Cinema Author Stefan Hammond on the Theatrical Cut of the film. The duo opens with their credentials before diving into the Kyle Cooper opening credit sequence. Some of the other details include a history of the career of Guillermo del Toro and how the film was pitched and picked up by Miramax/Dimension; the career and work of Mira Sorvino, which leads to discussion of the various issues that occurred with the Weinsteins outside of this film’s production; the career and work of Jeremy Northam; the casting what-if’s of Andre Braugher in the Northam role who del Toro wanted; the work of editor of Patrick Lussier; the work of F. Murray Abraham; a discussion of the budget, release and reception (both box office and critical); a larger discussion of the differences between the director’s cut and theatrical cut; a larger discussion of the series as a whole; a larger discussion of the location shoot in Toronto for New York City; a larger discussion of the behind-the-scenes drama that began with the development all the way through the release including quotes from various sources and the players that were involved even beyond who del Toro discussed in his commentary track; a larger discussion of the various actors that appear in the film; and much more.
Video Prologue with Director del Toro (1:06) – a brief introduction to the special features of a film that as Del Toro has mentioned was taken away from him and how this edition can shed some light on this “cautionary tale”.
Reclaiming Mimic: Featurette (14:32) – this archival featurette is an interview with director Guillermo del Toro looks at the making of the film. Del Toro discusses his theory on horror and suspense before diving into the film itself, including his original un-filmed ending. Beginning with the original story, and the restoration of the film and what that entailed.
A Leap in Evolution: Featurette (9:36) – this archival featurette looks at the design of the cockroach like creatures in the film. A very enlightening look back at the beginning of the design which Del Toro wanted the creature to be inspired from a scarabs but loss that fight and how they approached the design.
Back Into the Tunnels: Featurette (5:22) – this archival featurette looks at the making of the film using b-roll footage and EPK interviews with Del Toro and the various cast and crew including Josh Brolin, Charles Dutton, Mira Sorvino, Jeremy Northam, and more.
Gag Reel (2:20) – just some light moments and line flubs, camera flubs, unguarded moment, and a few appearances of by Del Toro.
Deleted Scenes (5:11) – A submenu allows you to play these either individually or all at once with a play all function. A word of note the Alternate Ending is truly a different ending and one can see what Del Toro was going for here which is more ambiguous and more akin to a virus horror film.
Animated Storyboards (6:04) – A submenu allows you to play these either individually or all at once with a play all function. These are just as described, storyboards that are zoomed in and out of or panned across to give a sense of motion and idea of the how the visuals will play out. They have added a temp soundtrack for each scene shown. These are very rough and nowhere near animatics or what modern filmmakers now use. They are interesting to watch to get an idea of how closely Del Toro kept to his vision.
Rounding out the special features are trailers for Mimic (1:52); Graveyard Shift (1:37); Death Machine (1:35); Body Parts (2:34); Leviathan (1:54);
The Final Thought
Kino Lorber continues to bring their wonderful curation of wonderfully restored picture and sound on 4K UHD discs. Highest Possible Recommendations!!
Kino Lorber’s 4K UHD Edition of Mimic is out now.
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