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Stephen Sommers
Hugh Jackman, Kate Beckinsale, Richard Roxburgh, David Wenham, Shuler Hensley, Elena Anaya, Will Kemp, Kevin J. O'Connor, Alun Armstrong, Silvia Colloca, Josie Maran
Writing Credits:
Stephen Sommers

The One Name They All Fear.

Legendary monster hunter Van Helsing (Hugh Jackman) is summoned to mysterious Transylvania on a mission that will thrust him into a sweeping battle against the forces of darkness! With non-stop action and electrifying special effects, Van Helsing is an adrenaline-powered motion picture event Roger Ebert calls "Spectacular!"

Box Office:
$160 million.
Opening Weekend
$51.748 million on 3575 screens.
Domestic Gross
$120.025 million.

Rated PG-13

Aspect Ratio: 1.85:1
English DTS-HD MA 5.1
Spanish Dolby 2.0
French Dolby 2.0
Supplements Subtitles:

Runtime: 132 min.
Price: $14.98
Release Date: 7/8/2008

• Audio Commentary with Director/Writer Stephen Sommers and Editor/Producer Bob Ducsay
• Audio Commentary with Actors Richard Roxburgh, Shuler Hensley, and Will Kemp
• U-Control Interactive Feature
• “Van Helsing: The Story, The Life, The Legend” Featurette
• “Track the Adventure” Featurettes
• “Bringing the Monsters to Life”
• “You Are In the Movie!” Featurette
• “The Music of Van Helsing” Featurette
• Bloopers
• “Dracula’s Lair Is Transformed”
• “The Masquerade Ball Scene ‘Unmasked’” Featurette
• “The Art of Van Helsing” Featurette
Van Helsing XBox Game
• Monster Eggs


Panasonic TC-P60VT60 60-Inch 1080p 600Hz 3D Smart Plasma HDTV; Sony STR-DG1200 7.1 Channel Receiver; Panasonic DMP-BD60K Blu-Ray Player using HDMI outputs; Michael Green Revolution Cinema 6i Speakers (all five); Kenwood 1050SW 150-watt Subwoofer.


Van Helsing [Blu-Ray] (2004)

Reviewed by Colin Jacobson (March 10, 2015)

While a lot of directors like to branch out after a couple of smash hits, Stephen Sommers stayed close to home for his first few films. He hit it big with 1999’s The Mummy and struck gold again with its 2001 sequel. With that as his background, Sommers decided to stay with the CG-heavy monster movie theme in 2004’s Van Helsing, a broad combination of many different horror characters.

We get a taste of the film’s franchise-crossing premise right off the bat. Victor Frankenstein (Samuel West) brings his monster (Shuler Hensley) to life, and we find out that Count Vladislaus Dracula (Richard Roxburgh) acted as his financial benefactor. We learn that Dracula needs Frankenstein’s research for his own not-yet-named nefarious plot.

With the doctor’s dream realized, Dracula no longer needs his efforts, so he kills Victor. This enrages the monster, who runs off with Victor’s body to a house that the local mob soon torches, an act that appears to cause the end of the creature.

We jump ahead one year to meet villain-hunter Gabriel Van Helsing (Hugh Jackman) as he hunts Mr. Hyde (voiced by Robbie Coltrane) in Paris. After he takes down that baddie, he heads to the Vatican to meet with the mysterious order of religious leaders who commission his efforts.

There Van Helsing gets his next assignment. He learns that the Valerious family has attempted to battle Dracula and his minions for four centuries. If they don’t succeed, no members of the clan can ever enter heaven, and they’re down to only two siblings: Velkan (Will Kemp) and Anna (Kate Beckinsale). Van Helsing gets sent to Transylvania to help them, and the amnesiac also may find some hints as to his own mysterious past.

To assist, the order sends along clever weapons expert Friar Carl (David Wenham). The bookish Carl doesn’t want to go, but his superiors think he can help with the hunt, so out the pair head along with a mix of creative vampire-fighting components.

Over in Romania, we see the monster-battling attempts of Anna and Velkan. They try to take down a werewolf, but this ends negatively, as the furry beast takes down Velkan with him.

Into this setting step Van Helsing and Carl. After a hostile introduction to the locals, Van Helsing immediately goes into action during an attack from Dracula’s three brides (Elena Anaya, Silvia Colloca and Josie Maran). Van Helsing manages to slay one of them, an act we might think would please the residents. However, they react negatively, since this action will serve to further enrage the Count.

Nonetheless, this sets up an awkward alliance between Van Helsing and Anna. She states that Dracula seems especially desperate to finish her off but doesn’t know why. The rest of the film follows their quest along with other developments such as the fate of Velkan and Frankenstein’s monster along with the evolution of Dracula’s experiment, a task that connects to the movie’s opening.

Since Sommers did well with one classic movie monster via the Mummy movies, shouldn’t a flick that presents three of them be three times as fun? Heck, Helsing includes four of these characters if we count the early and brief appearance from Mr. Hyde. Unfortunately, this movie offers an inverse relationship; with three times the monsters, Helsing comes across as maybe one-third as enjoyable as The Mummy.

Many criticized the Mummy movies for their lack of depth and their silliness. I think most of the criticisms missed the point, though, as they presented an absolutely pure form of escapist entertainment. Whereas most action flicks like The Day After Tomorrow or even the Bond movies attempt at least a little social commentary, Sommers’ efforts come without any form of introspection or broader goals. These were popcorn films of the most genuine variety, as they strived to entertain and nothing else.

Some may regard that as shooting too low, but I don’t have a problem with it. Not every movie needs some form of social context, and since many of them stretch awkwardly to provide that element, it’s good to occasionally find a flick with no delusions of grandeur. Sommers makes simple action films and offers no apologies for that.

As long as Sommers creates fun action flicks, that’s fine with me. Unfortunately, Van Helsing is short on enjoyment and long on tedium. As I watched the movie, I experienced an emotion that I never encountered during the two Mummy flicks: boredom. I waited for the tale to catch fire and go somewhere, but that never occurred. Instead, it plodded along aimlessly and just wouldn’t stop.

At 132 minutes, it’s way too long for this sort of flick, though the extended length isn’t the movie’s only problem. Independence Day runs even longer, but it manages fairly consistent excitement. Helsing suffers because the action rarely takes off and becomes involving.

One notable exception occurs: the first time that Van Helsing faces off against the vampire brides works well. That scene demonstrates some of the movie’s potential, as it combines slick visuals with rapid action.

Too bad it sits in isolation. Just as less is more, sometimes more is less. Sommers pounds us with action, as he tries to make every sequence equivalent to a climax. On rare occasions, a filmmaker can pull off that level of intensity; Spielberg did it for Raiders of the Lost Ark. Sommers can’t match up with the master, though, and here the constant barrage of action scenes just wears down the viewer, especially since so many of them lack inspiration.

Sommers remains too obsessed with the visual elements and ignores good storytelling. With the two Mummy movies, they progressed with simple enough goals that the effects didn’t overwhelm them. That was especially true with the first flick, which was the strongest of the pair. Those movies enjoyed likable characters as well, a factor absent from Van Helsing. Sommers invests all his effort into flashy visuals and forgets to give us personalities about whom we care.

I really wanted to like Van Helsing. I dig this kind of movie and enjoyed the director’s prior flicks, so I anticipated a bigger and better experience here. Unfortunately, the film’s expanded scope proves its undoing, as it becomes too focused on wild visuals. It ignores its characters and story to a significant degree, and it turns into a dull, tiresome piece.

The Blu-ray Grades: Picture B+/ Audio A/ Bonus A

Van Helsing appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. A generally excellent presentation, I found little connected to the movie’s visuals about which I could complain.

Overall sharpness was very good. At times, a few wide shots looked a wee bit soft, but the majority of the flick offered strong delineation. I noticed no jagged edges or shimmering, and edge haloes were absent. I also thought the movie lacked noticeable source flaws. Outside of some stylized, intentional grain, it came without any defects and remained clean.

Van Helsing began with a black and white sequence, and based on the movie’s palette, it might as well have stayed that way. While not thoroughly monochromatic, the flick usually lacked any strong evidence of colors. Nonetheless, the subdued tones we did see looked very rich and full.

Blacks became more important than usual, and the transfer delivered excellent depth and fullness to its dark elements. Low-light shots occasionally looked slightly opaque, but those occasions occurred infrequently, as those sequences mostly were clear and smooth. This ended up as a “B+” Blu-ray.

No complaints greeted the DTS-HD MA 5.1 soundtrack of Van Helsing, as it easily earned an “A”. I expected an assault on my ears and that’s what I got. The soundfield consistently used all five channels to good advantage. The mix featured a wide and involving soundstage.

Music demonstrated excellent stereo delineation, and the effects popped up all over the spectrum. Those elements showed nice localization and melded together smoothly. The surrounds played a very active role and added quite a lot to the mix. Given the almost constant nature of the film’s action, the soundtrack sure gave us many opportunities for involvement, and it never disappointed me. This was a vivid and engrossing mix.

Happily, the audio quality lived up expectations as well. Speech consistently came across as warm and natural, and I noticed no signs of edginess or issues with intelligibility. Music could have become lost amidst all the effects, but the score managed to maintain its own personality. The music stayed loud and dynamic, as the track replicated the score with nice clarity and definition.

Unsurprisingly, the effects packed a wallop. They were vibrant and accurate, with clear highs and booming bass. Low-end was always tight and firm; the track exhibited genuinely terrific bass response. This became a very high quality track.

How do the picture and audio of this Blu-ray compare to those of the 2008 Special Edition DVD? Both demonstrated growth. The audio showed the smaller improvements, as the two releases seemed pretty similar. Nonetheless, the Blu-ray’s lossless mix was a bit smoother and more dynamic.

As expected, visuals offered the biggest step up in quality. Even with a smidgen of softness, the Blu-ray was noticeably tighter and more precise. It offered a substantially superior depiction of the film.

Most of the extras from the 2008 set repeat here. We find two separate audio commentaries. The first one features director/writer Stephen Sommers and producer/editor Bob Ducsay, both of whom sit together for a running, screen-specific chat. Expect a lot of emphasis on the technical side of things.

At one point, Sommers gives us a quick synopsis about how he came up with the idea for the flick and developed the script, but mostly we hear about nuts and bolts elements of the production. We get some notes about the cast and how some of them came onto the project as well as a lot of information about visual elements. We hear many comments about computer-generated bits along with information about sets, locations, and stunts.

The pace lags at times but the pair usually keep things moving well. It’s a perky commentary that suffers from more happy talk than I’d like, but it’s lively and informative enough to maintain interest.

Next we hear from actors Richard Roxburgh, Shuler Hensley, and Will Kemp, all of whom sit together for this running, screen-specific track, though Hensley splits before it ends. As one might expect, they provide a look at the film’s creation from the actor’s perspective.

Given the technical bent of the movie, they mainly tell us of all the challenges that came with the makeup, visual effects and locations. They offer a fairly anecdotal discussion that concentrates on the elements they confronted throughout the film and also the fun moments as well.

The participants demonstrate a nice sense of humor, as they joke around a lot and make actor David “Daisy” Wenham a particular butt of their blows. I don’t know how much you’ll learn from this piece, especially since the first commentary goes over so much of the technical material they address here, but it’s still a mostly entertaining and enjoyable track.

Exclusive to the Blu-ray, we get an interactive feature called U-Control. While this usually includes a few different elements, Van Helsing just goes with picture-in-picture tidbits. Normally these give us storyboards and soundbites from participants, but this time U-Control goes entirely with footage from the set.

That makes it both more and less interesting than usual. On one hand, I like all the raw footage, as we find some good glimpses of the production. On the other hand, I’d like to hear some insights into the shoot and learn more about the flick. Since the U-Controls for the first two Mummy flicks included mostly banal remarks, though, I suppose I should be happy Van Helsing dispenses with the blather. It’s not a great PiP feature, but it’s got some intriguing material.

Under Track the Adventure, we find five featurettes. These take you to the following locations: “The Vatican Armory” (5:28), “The Village” (8:08), “Frankenstein’s Lab” (6:31), “Dracula’s Castle” (7:50), and “The Burning Windmill” (6:36). We find remarks from Sommers, Jackman, Wenham, Ducsay, Suwannath, Grossberg, Squires, Hensley, Roxburgh, Snow, production designer Allan Cameron, prop master Steve Melton, set decorator Anna Pinnock, visual effects editor Jim May, director of photography Allen Daviau, matte painting supervisor Syd Dutton, CG artist Kevin McIlwain, set decorator Cindy Carr, visual effects art director Christian Alzmann, model makers Grant Imahara and Salvatore Belleci, model shop supervisor Michael Lynch, ILM director of photography Martin Rosenberg, and actor Samuel West.

The programs take us through the various sets and discuss various aspects of the production. In addition to set design, we get notes about props and weapons, planning and previz, stunts and effects, camerawork, and other nuts and bolts aspects of the production. These pieces cover the material in a satisfying way. We get lots of good footage from the sets, and many nice details emerge. I’d prefer them packaged into one longer documentary, but I like the information a lot.

In Bringing the Monsters to Life, we find a 10-minute and one-second featurette. It depicts the creation of the creatures via behind the scenes elements and interviews with Sommers, Ducsay, visual effects supervisors Scott Squires and Ben Snow, executive producer Sam Mercer, previsualization supervisor Rpin Suwannath, animation director Daniel Jeannette, associate visual effects producer Joseph Grossberg, motion capture engineer Douglas Griffin, and technical director Raul Essig. They detail how they executed Mr. Hyde, the vampire brides, and other critters among various general challenges. We see a lot of pieces that demonstrate the work. Along with salient comments from the participants, those bits help make this a very interesting and informative show.

You Are In the Movie! presents a four-minute and 29-second piece with an unusual perspective on behind the scenes footage. The production mounted little cameras on various bits of equipment or set, and we get to see the shoot through those eyes. These snippets offer a cool look at the making of the flick.

During the nine-minute, 41-second The Music of Van Helsing, we hear from Sommers, Ducsay, and composer Alan Silvestri. We get some info about the movie’s score and themes. It covers the material in a somewhat breathless manner but it manages to provide reasonably useful notes about Silverstri’s work.

The standard reel of Bloopers goes for five minutes, 39 seconds. Though longer than usual, it presents the expected goofs and silliness. If you dig that, have a party!

Dracula’s Lair Is Transformed throws out a two-minute and 41-second piece. In addition to a few comments from Allan Cameron, this one shows time lapse photography of the creation and disassembling of some sets. That sounds interesting but actually isn’t. We don’t get a smooth view of the sets and the featurette doesn’t really go anywhere.

Called The Masquerade Ball “Unmasked”, we take a 25-minute, 29-second look at that sequence. We hear from Sommers, Jackman, Silvestri, Beckinsale, Mercer, Wenham, Daviau, Roxburgh, Ducsay, Cameron, Squires, Grossberg, choreographer Debra Brown, costume designer Gabriella Pescucci, lead Sabre artist Grady Cofer, computer graphics supervisor Doug Smythe, and art directors Giles Masters and Tony Reading. We learn about the dance choreography, music, locations and sets, cinematography, costumes and production design, and various effects. “Ball” digs into its subject well and provides an involving investigation of the shooting of this particular scene.

Under The Art of Van Helsing, we get filmed collections of production materials. The reel lasts five minutes, 10 seconds and shows a series of compositions created for character design purposes. It’s a nice set of drawings that lets us see alternate concepts.

Finally, Monster Eggs provides a few short clips. These include “Hugh Touchdown” (0:24), “Shuler in Ice” (0:35), and “Shuler in Training” (0:53). We see goofy antics from the set. They’re really blooper reel fodder.

Despite a lot of potential, Van Helsing mostly fails to succeed. The flick pours on the action but little of it sticks in this bland attempt to redefine the monster movie. As for the Blu-ray, it offers good picture and excellent sound plus a pretty informative roster of extras. I can whole-heartedly recommend the Blu-ray to fans of Van Helsing, but I can’t advise it to anyone else, as it just doesn’t bring its story to life.

To rate this film visit the original review of VAN HELSING

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