Proof that the Want Arc is building up to be one of the series' best, it already has a strong contender for one of One Piece's greatest fights ever. As Princess History desperately tries to bring Too and herself to safety, there just is no escaping Amazon the Man slayer, the secret assassin of Orchid's forces.
Literally born powerful and evil, the future troll of all the Blues entered the One Piece world on a rampage. Do flamingo has sold drugs, profited off of war, enslaved people as toys, and has even killed members of his own family.
When Buffy finally stepped up to bat, it was a grand crescendo of catharsis for those just wanting someone to wipe off Do flamingo's self-centered smirk. However, during the Denies Lobby Arc, everyone had their time to shine, and Kanji finally gave fans the epic bout that they were waiting for.
He can move at light speed, control lightning, reshape metal, restart his own heart, and even use Observation Heidi. To save the captain of his second division, Whiteboard has lead an all out assault on “Fire fist” Ace's execution day and is charging through the battlefield himself like the human earthquake that he is.
In what initially seemed like an offhand fight became one of the major highlights of the Dresses Arc, as Ericeira Odd really showed off what it means to be hard-boiled. After firing an onslaught of missiles and bullets at the evasive land swimming of Señores Pink, Frank decides to bring the fight to pure, physical action.
While both deal incredibly dramatic attacks, the major highlight is the middle of the fight as Señores Pink sinks to a flashback of his lost love and child, the very essence of his baby demeanor and hard boiled nature. While Zero has been building up sword fighting skills up until this point, he hasn't quite fought off someone as versatile as Day, who has eaten the Dice Fruit, allowing him to turn any part of his body into a blade which subsequently makes his entire body into steel, a real stepping stone for Zero's cutting ability.
Perhaps even greater than Zero's fight during the arc was Buffy's conclusive battle against the 80,000,000 bounty man of Baroque Works, Sir Crocodile. Crocodile has been plotting to usurp the Alabama regime and has launched an entire conspiracy to create civil war.
Monkey D. Buffy tries to stop him in protection of his newfound ally, Princess Nefertiti Vivid, and the good of the entire kingdom. This fight sees Buffy's first loss, an evolution of Devil Fruits, and Crocodile getting straight up punched through a city and into the sky.
This battle pushes the Straw Hats to their absolute limit, as each one uses some of their best moves to take down just one of the World Government's robot army. There are few fights in One Piece, let alone in the entirety of anime, that feel as close and personal as the infighting between Buffy and Us opp.
Buffy made the executive decision to do away with the beloved Going Merry and find a newer ship, much to the disgruntlement of Us opp. What ensues is the heart-shattering break up of a family, as Buffy and Us opp come to deathly blows to the horror of the rest of the Straw Hats.
During the Pennies Lobby arc, the Straw Hats are hunting down different members of CP9 to get a hand of the one keys that can free a chained Nico Robin. Zero's responsibility is to take on Baku, a secret assassin, master of the Rokushiki martial arts and four sword style, and a giraffe man.
Surprisingly enough, that last bit turns out to be the most dangerous, as they come to a fight that is equal parts epic as it is hilarious. This fight sees Buffy dish out new powers and techniques and come to a pure fist fight match that many may not have been expecting but assuredly wanted more of in the future, as it perfectly and intimately captured the drama and conflict of a person's vie for freedom as it comes to beings of absolute justice.
As Buffy tries to rescue Kanji from Whole Cake Island, he comes face to face with someone that he deems his greatest test for advancing as a pirate, Charlotte Atari, someone whose Devil Fruit not only mirrors Buffy's but also carries a heightened form of Observation Heidi that lets him see into the future. Sean Cubicles (539 Articles Published) As a writer, auteur, and innovator, I seek to expand human potential through the creative medium, intellectually and emotionally challenging the mass audience.
I seek to work in visual and written media, whether it be in film, video games, or publishing, using a variety of mediums to express the full spectrum of art. My interaction and networking with the Austin film community as well as my interests and studies as a Writing & Rhetoric major have contributed to a fundamental and growing understanding of trends and changes within the art and media industries.
Tired of Governor Quintero's (J. Edward Bomber) exploitation of poor Californians, Don Diego (Tyrone Power) decides to fight back and assumes the identity of Zorro. A masked hero with a sword, Zorro fights on behalf of the people against the corrupt Quintero and his wicked assistant, Captain Pasquale (Basil Rathbone).
In Martin Campbell's swashbuckling adventure The Mask of Zorro, Antonio Band eras turns up the charm and panache as the legendary California hero of the classic serial novels by Johnston McCully. Caught in several death-defying acts and narrowly escaping some really pantyhose scrapes, his Robin Hood-esque heart-throb is continuously dashing and comical all at once while joined by another smooth-tongued sophisticate in award-winner Anthony Hopkins as the original cape-crusader.
That little girl grows up to be the always dazzling and impeccable Catherine Zeta-Jones, acting the delicate and genteel type but on a turn, proving herself equal to the boys, both in politics and with a sword. A sensationally fun popcorn action er, the swashbuckling adventure makes for an excellent addition to the original pulp series, the Zorro mythos and its many film adaptations.
Sony Pictures Home Entertainment brings Martin Campbell's The Mask of Zorro to Ultra HD Blu-ray as a two-disc combo pack with a flyer for a Digital Copy, which can be redeemed via sonypictures.com and Movies Anywhere. At startup, the disc goes straight to a menu screen with the usual options along the bottom, music playing in the background and clickable windows on the left.
Zorro rides again on Ultra HD donning an absolutely gorgeous, demo-worthy HEC H.265 encode that's guaranteed to charm the pants off previous home video releases, making this UHD edition the best the movie has ever looked. Coming from a brand-new remaster and reported restoration of the original 35 mm camera negatives, the native 4K transfer is easily a massive improvement over its Blu-ray predecessor.
From the individual hairs and whiskers and the fine stitching of the costumes to the smaller features in the stage production and in the surrounding foliage, the 2160p picture is quite stunning to behold. Granted, there are a couple slightly softer moments sprinkled throughout and very brief instances of minor ringing during the final climactic battle, but these small issues appear to be inherent to the source and the result of the photography.
The 4K video also boasts a strikingly attractive boost in overall contrast and brightness, showering the swashbuckling stunts and melodrama in velvety rich blacks without sacrificing the finer details in the deepest, darkest shadows. Meanwhile, crisp, dazzling specular highlights add an appreciable energetic pop to every scene, such as the radiant sparkle in buttons and medals, the luminous fluffy clouds in the sky and the sharper details within the hottest spots like the climactic explosion or the blaring sun through the window at around the 85-minute mark.
The primaries are not only fuller and richer, but secondary hues are more vivid and captivating, providing better and more natural-looking skin tones in the entire cast. While not necessarily offering a leap and bounds jump over its DTS-HD predecessor, the additional channels nonetheless add a welcomed layer of immersion that makes this audio option a clear winner.
Vocals are continuously precise and intelligible amid the loudest, most chaotic segments while the higher-frequencies are broad and sharply rendered without a loss in detail. James Corner's score joins the fun, extending into the ceiling channels with a great deal of warmth and detailed clarity, exhibiting excellent fidelity and definition within the mid-range.
As expected, the action sequences deliver the best enveloping moments with the chaos of debris panning in every direction and the cheers or screams of people coming from all around. Quieter, dialogue-driven sequences fill the room with birds chirping in the distance, the noise of a crowded party surrounding the listening area and the echo of water dripping from Zorro's cave lair, generating an immersive hemispheric sound field.
Starring Antonio Band eras, Anthony Hopkins and Catherine Zeta-Jones, the blockbuster is loads of fun, providing the excitement and sweeping romance expected of the serial. Twenty years later, the movie continues to entertain on Ultra HD with a gorgeous, near-reference HDR10 presentation and a boisterously fun Dolby Atmos soundtrack, giving fans a notable and highly satisfying upgrade over its Blu-ray counterpart.
Buy it... if you truly want to hear James Corner take his trademark style of writing in a splashy and fascinatingly different ethnic direction, resulting in one of the most engaging and flavorful action scores of the digital era. Avoid it... if you have no love for Latin instrumentation or were not impressed by the more robust and mature variation of this score in The Legend of Zorro.
Martin Campbell's surprisingly enjoyable film fed off the both the mystique of the concept and the chemistry between its three leading stars. The film had a sense of charisma and enthusiasm absent from the belated sequel, The Legend of Zorro, and in many regards remains a guilty pleasure a decade later.
For composer James Corner, the concept of Zorro's plight represented a stark departure from the genre of films for which he had begun to mechanically provide Irish-laced themes and instrumentation. In the process of adapting his comfort zone to fit the flamenco sounds with which he would define The Mask of Zorro, Corner finally accomplished what many of his long-time collectors had hoped for: a perfect blend of his typical mannerisms with a refreshing new set of ideas and instrumentation.
His score for Deep Impact, released two months prior to The Mask of Zorro, was adequate, but did little to satisfy fans awaiting Corner's next major achievement. What those fans would hear in this film is perhaps more exotic than expected, for despite significant critical praise and long-standing respect in the following years, The Mask of Zorro never caught on with audiences outside the moderately successful pop song that Corner adapted from his score.
Still, this score and The Legend of Zorro is together a powerhouse pairing that exhibit the spirit of swashbuckling adventure and instrumental creativity that has been lacking from Corner's career in the years between. Corner may have improved upon nearly every element of the music in the sequel (except the actual flamenco accents), but the first score is as entertaining as ever in its own right, with a few unique aspects of its own to distinguish it.
The opening minute of this cue was absolutely unique to this film in Corner's career, starting with shakuhachi and acoustic guitar blasts that are joined by flamenco foot dancing and hand clapping sound effects at an ever-increasing tempo until Zorro's primary rhythmic device on guitar --perhaps a theme in and of itself-- explodes with trumpet and castanet accompaniment. The title theme takes the mariachi elements and bloats them to the performance depth of a full, symphonic ensemble, a style that continues throughout the score.
The remainder of this cue, as Zorro stops an execution and whips up a frenzy, offers several variants of this title theme that would clearly delineate one of the composer's most memorable ideas in years. Aside from the patchiness of the actual tune, the use of castanets, maracas, tambourines, Kenya, Campinas, and shakuhachi flute are all used as fascinating percussion accents; the shakuhachi never carries a theme as it did in Willow, instead wailing as representation of Zorro's entry or exit from the scene, or puffing along with a rhythm à la Thunder heart.
This secondary theme also accompanies the sentimentality of Don Diego, the original Zorro played by Anthony Hopkins. Corner masterfully alters the tempo of especially the title theme for Zorro, launching it with a sense of exuberance and high style that well matches the classic Alfred Newman approach.
Three of the action cues after the opening scene, “The Ride,” (which was used popularly in the trailers for the film), “Tornado in the Barracks,” and “Stealing the Map,” all present stunningly frenetic and enjoyable variations on the theme, also serving as the most ethnically rich sequences. The remaining action cues are slightly more anonymous in that very much mimic the material in Willow, with “Leave No Witnesses...” striking several similar notes.
A third theme in The Mask of Zorro is sadly underutilized and doesn't make more than a token appearance in the sequel score. It is in this cue that Corner makes the most out of his percussion section and soloists, taking simple triangle hits and castanet spasms and slowly building them into the recognizable Zorro rhythm for guitar as the younger man learns the trade from Diego.
Additionally, bass strings pluck along with the guitar to create a fuller sound, reminding in ways of Jerry Goldsmith's more playful moments from The Shadow. The slashing of a cymbal to represent the swoosh of a sword, most obvious at 4:25 into “The Fencing Lesson,” is the kind of creativity that more Corner scores could use.
Overall, you can't help but get the feeling that Corner really enjoyed himself with The Mask of Zorro ; whereas Deep Impact seemed to aimlessly go through the motions, this score is sharp, precise, funny, and resounding. On album, a welcome 70 minutes of score material is offered in outstanding sound quality and follows Corner's more favorable habit of being arranged into longer cues.
While this song would go on to receive considerable play on radio, it would take a more conservative mix thankfully absent of these effects. Both works mark high points in Corner's career, and each is the best score released during its respective year.