The film that many thought impossible to make finds its way to DVD in fine form with this feature-packed Criterion release. Presented in 1.78:1 anamorphic widescreen, the image is pristine, from the drab interiors of the inner city to the mysterious streets of Interzone. Although the colors are fairly muted, accurate skin tones and solid blacks are presented in a clean print that's free of grain or debris. The Dolby Digital Surround soundtrack isn't necessarily dynamic, but the jazzy score rings through effectively with no audible hiss or distortion. While fans of the film will certainly be pleased with such a fine visual presentation, it's an audio feature that will most likely have David Cronenberg fans clamoring for this release. It's quite a rare event when this particular director sits down to record a commentary track and, thankfully, Criterion convinced not only him but also star Peter Weller to expound on their experiences making Naked Lunch. Though the track isn't what one could call lively (in fact, it sounds as if Weller and Cronenberg likely recorded their contributions separately), it does draw the listener into the complex production and offers rare insight into the mind of the man many consider to be one of the greatest living directors of horror cinema. From thoughts on the Saul Bass-inspired credits to the cinematic methods he used to incorporate the styles of William Burroughs and Allen Ginsberg into his film, Cronenberg is never dull. It's also interesting to hear Weller recall his first meeting with Burroughs and the amusing response that the author had upon first seeing his celluloid doppelganger. In addition to the commentary track, disc two offers a variety of fascinating supplements. Taken from London Weekend Television, the documentary Naked Making Lunch offers informative interviews with the cast and crew (including the revelation that star Judy Davis -- offended that she would be considered for such a role -- actually threw the script across the room upon first read) that truly draw viewers into the production. The inclusion of original storyboards from experimental filmmaker Anthony Balch's abandoned adaptation of Naked Lunch a few years after the book's initial release is especially compelling. A special-effects gallery offers an good introduction followed by six photo galleries (which include everything from pre-production sketches to photos of the final products, all containing detailed notes), in addition to marketing materials (including a promotional featurette), a trailer, television spots, and a B-roll montage of behind-the-scenes footage accompanied by an appropriately jazzy score. A reading of Naked Lunch excerpts by the author himself will certainly be treasured by fans of the book and movie, and photos of Burroughs taken by Ginsberg offer a rare peek into the worldly writer's early years. A 32-page booklet featuring essays by film critic Janet Maslin, Chris Rodley, Gary Indiana, and Burroughs rounds out the package nicely, with Burroughs' thoughts on Cronenberg's adaptation bringing the whole package fill circle.