Mother
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Synopsis
Reeling after his second divorce and struggling with writer’s block, sci-fi novelist John Henderson (Albert Brooks) resolves to figure out where his life went wrong, and hits on an unorthodox solution: moving back in with his relentlessly disapproving, cheerfully passive-aggressive mother (Debbie Reynolds), whose favorite son has always been John’s younger brother, Jeff (Rob Morrow). It’s an experiment that, however harebrained, delivers surprising results. Brooks’s film perfectly blends the writer-director-star’s biting wit with insight and inviting warmth, while giving him a formidable foil in the delightful Reynolds, triumphant in a comeback role that’s equal parts caustic and charming.
Picture 9/10
Continuing their exploration of Albert Brooks' films, Criterion presents Mother on 4K UHD in its original aspect ratio of 1.85:1, housed on a BD-66 disc. The 2160p/24hz ultra high-definition presentation, delivered in HDR10, is sourced from a new 4K restoration of the 35mm original camera negative. Criterion also includes a standard dual-layer Blu-ray featuring a 1080p presentation sourced from the same restoration, alongside all of the release’s special features.
Despite the best efforts of Brooks and cinematographer Lajos Koltai to bring the material to life, Mother isn’t a film that cries out for a 4K presentation—it looks like most other '90s comedies. Yet, Criterion has not only given the film an all-new 4K restoration but has also gone the extra mile with a full 4K presentation. And, I have to say, it looks pretty great!
The restoration has significantly cleaned up the film, and the base encode is solid. The film is surprisingly grainy, but the grain is rendered exceptionally well, enhancing the finer details and textures when the photography allows it. While the Blu-ray’s 1080p presentation also handles this nicely, the 4K version is noticeably cleaner.
What truly impressed me, though, was how the HDR was utilized. Again, the film’s visuals are limited, but I noticed the colors are richer—reds, in particular—and the black levels are deeper, with a broader range in darker scenes, such as a quick nighttime shot on a beach. Highlights look especially good without washing out details, which complements the way light filters through sheer curtains.
It might seem like overkill, but this 4K presentation is shockingly solid—not what I would have expected for a film of its type.
Audio 8/10
Criterion includes the film’s original 2.0 surround soundtrack, presented in DTS-HD MA. Marc Shaiman’s orchestral score is, like the film’s visuals, typical of '90s comedy scores—it’s designed to heighten the emotional and comedic beats in a way that’s anything but subtle. However, it sounds great, with the music mixed effectively throughout the sound environment. Ambient noise is thoughtfully distributed to the surrounds, while the film’s dialogue remains focused primarily in the front channels. It’s a perfectly appropriate mix that suits the film well.
Extras 4/10
Unfortunately, the release only includes a couple of new interviews, one with Brooks and the other with actor Rob Morrow, both found on the included Blu-ray disc. I did enjoy Brooks’ 26-minute piece, where he delves into the inspirations for the story (which, unsurprisingly, is partly based on his own mother) and how he found the comedy within that context. He also touches on the visual limitations of the film and his efforts to keep things visually interesting. However, the most fascinating part of his discussion is his recounting of the casting process. Brooks reveals that Debbie Reynolds wasn’t his first choice and shares some intriguing stories about meeting with other actors for the role.
This leads into his reflections on costars in the film, particularly Reynolds and Morrow, the latter of whom, in his 11-minute interview, recalls his experience working with both Brooks and Reynolds before discussing his character. While not overly in-depth, he does share some amusing anecdotes, especially about the picture-phone scenes with Reynolds.
In addition to the film’s theatrical trailer (which is fairly standard), Criterion includes a teaser directed by Brooks, which played before Mission: Impossible and cleverly riffs on that film’s style.
The release also features an essay by Carrie Rickey, included in the insert, where she examines the film’s central relationship. Unfortunately, nothing else is included—not even a reprint of the review Brooks’ own mother wrote for Mother in Entertainment Weekly, which seems like a missed opportunity. There is, at the very least, a photo of it in Brooks' interview.
Closing
The special features barely total 40 minutes, but the 4K presentation is outstanding.
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