A pretty fine and interesting commentary, without being particularly remarkable. Hoblit talks randomly about the various aspects of the movie in a very pleasant and clear way; he also speaks about a specific element of the plot with which he wasn't very pleased but wasn't able to change because it got a very positive reaction from the audience in previews. The best part of the track is after about 20 minutes when Hoblit briefly switches to "William Friedkin mode" and goes on a very insightful talk about his knowledge and understanding of the real-life role of the cops and firemen depicted in the movie. On a technical note, the sound of this commentary (I haven't listened to the other ones yet) seems to be mixed differently than the average, because the volume of Hoblit's voice is almost on the same level of the movie's sound, which can be confusing sometimes.

Well...the following excerpt of the commentary, spoken by screenwriter and producer Toby Emmerich about one hour into it sums up quite well the attitude prevalent on this track: "...it's hard to sit here for two hours and watch a movie you've watched, you know, three hundred times in editing rooms and test screenings and on the stage, etc.; I mean, the last thing I wanna do is actually watch this movie again."
The two speakers are just killing time telling random stuff about the movie, almost nothing of which rising above the level of useless trivia, and making some unfunny jokes. Nothing that offers any insight from the screenwriter's point of view. There is, however, something original in the commentary: at some point, Toby gives away his e-mail address and asks anyone who listen to the whole track to write him, and Noah says he'll pay his brother some small amount of money for each e-mail he gets. A little before one hour and a half into the movie, Noah leaves and Toby starts to speak more seriously and impart at least some information, but then it's too little, too late.

This isn't really a commentary, but a quite interesting account by the late Michael Kamen, probably recorded on an interview, of his participation on the movie that also has very insightful observations about the role of music in a movie, as well as some information about his career. The problem is that some "genius" had the idea of not only passing it off as a commentary track, but also of jamming it between the silent gaps of the great isolated music score on 5.1 sound, giving the listener no option of listening to the two separately.