Plot: What’s it about?
Walter (Kevin Bacon) has been in prison for the past twelve years, so his return to freedom is not a smooth transition. But the transition isn’t rough just because of the change in routine and atmosphere, as he now has to face the repercussions of his criminal actions. If he had robbed a gas station or even murdered someone, he wouldn’t have the same level of fear about his own freedom, as he is forced to try to blend in with people who do not want him around. Walter is a convicted child molester and while he knows his behavior was wrong, his will isn’t always as strong as it should be. His desires are not something he can switch off, no matter how much he resists or even hates the prospect, he has given in before and could again. He plans to make his new life a better one, but he is confronted by others who think he will strike again. His parole officer is even sure his freedom won’t last, while a female coworker digs to find out the truth about him, even as Walter tries to hide his past. Can he make a new life for himself, or is he condemned to act on his unnatural desires once again and this time, cost himself the chance at any kind of real life?
Even in our modern era of open minds and artistic freedom, the subject of sex offenders isn’t often broached, unless one of them is being hunted down. In The Woodsman, we have a story that centers on a sex offender and how he manages his life after a prison sentence. I was a little surprised to see such a film released by a major studio, but with a cast that includes Kevin Bacon, Kyra Sedgwick, Eve, and Benjamin Bratt, the name drawing power is more than solid. The subject matter is sure to upset some viewers, especially since the film never flinches in that regard, but this is not exploitation. The Woodsman is an intelligent, very well written movie that happens to involve a sex offender. The film doesn’t sympathize with the sex offender nor does it make him out to be pure evil. We’re not sure what to make of him ourselves, as the potential for good is there, but the vile past is hard to overlook. The Woodsman is a powerful, well crafted film that deserves an audience and Columbia’s disc is well worth the investment. But even if you’re shaken over the subject matter, do yourself a favor and rent this impressive motion picture.
Video: How does it look?
The Woodsman is presented in 1.85:1 anamorphic widescreen. This is a solid looking visual effort, but not up to the usual level of excellent from Columbia’s new releases. Although sharpness is keen, a slight amount of edge enhancement is obvious here, but not a lot. This doesn’t ruin the experience, but it does lessen the impact of the visuals and that’s bad news. I found colors to be well presented, true to the film’s natural visual scheme, while contrast is even handed throughout. Not quite the dynamic presentation I had expected, but still a more than solid overall treatment.
Audio: How does it sound?
This release includes both Dolby Digital and DTS 5.1 surround options, so both camps should be more than pleased. I found both tracks to be excellent and if I were pressed to choose the better, it would be the DTS choice, but not by much. The surrounds are used to effective ends all the time here, whether to add simple atmospheric effects or enhance the musical score, it all sounds superb in these mixes. The bass is used often also, with powerful and very memorable results. The dialogue is never lost in all this action however, so all the vocals remains crisp and clean, with no errors to report. This disc also includes English subtitles, so you can enable those if needed.
Supplements: What are the extras?
An audio commentary track is the main attraction, as director Nicole Kassell sits down to share her take on the production. A lot of time is spent on how the genesis of the project and the journey to production, but she also touches on in shoot topics. All in all, a very interesting and enjoyable session that sheds a lot of light on the creation of The Woodsman. This disc also includes a featurette on how the film was pitched and produced, as well as a selection of deleted and extended sequences.
