In 1970, a simple tale of A Man Called Horse galloped its way onto the silver screen to shock audiences across near and far. With the Hays Production Code demolished and the MPAA now in full effect, filmmakers were at last able to make sprawling western adventure epics replete with gore and nudity. Because, well, after all, that's what made the Wild West so darn wild. Alas, Sam Peckinpah's The Wild Bunch had beaten the film to the screen (and fared much better at the box office), so copious amounts of violence (by the standards of the time) weren't entirely
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The oft-ignored sequel from one of cinema's lesser-explored trilogies gets a High-Definition makeover.
What's on tap from Arrow Video this month.
What the best from Arrow in June? The Night Evelyn Came Out of the Grave (1971) Italian giallo films are an acquired taste that I'm unsure I've acquired. The Night Evelyn Came Out of the Grave is one of the more fast-paced and cinematic of the those I've watched, but it's logic remains ill-defined and as messy as the blood-spattered walls at the end. Divided into two halves, things start out with a slash - introducing Lord Alan Cunningham (Anthony Steffen) as a sadistic murderer with a penchant for torturing women with red hair. Alan hopes to purge the inner
Elisabeth Subrin's directorial debut zeroes in on women in entertainment.
Whether it be directing or writing features, or just leading movies of substance, audiences are frustrated about how women are faring in the world of entertainment. Director Elisabeth Subrin's debut, A Woman, A Part explores the different facets of the female personality with an aim towards demanding added nuance regarding women in cinema, creating a "women's picture" without the perjoratives associated with the term. As the title implies, women are more than parts trotted out for a token bit of estrogen on a poster, and though Subrin's assertions are life-changing, the presentation will please indie fans. Anna (Maggie Siff) is
"I’m worried that I won’t get everything I need answered by the end of the season." - Kim
In which Kim and Shawn find themselves at the halfway point. Kim: So, we’re halfway through this very short season of Preacher and I’m actually going to criticize it. Not because I don’t absolutely love it, because I do. I’m going to bitch for a minute that there is a lot of time taken up by things that will make absolute zero sense to you if you don’t read the comics or use Google. I refuse to do either, because I don’t want to ruin the show. There are people out there who insist that things are better if you
A stylish opening sequence is not a harbinger of things to come.
A relatively obscure British crime thriller, John Harlow’s noirish Appointment with Crime (1947) nabs a few style points early on before settling in as a dull programmer that doesn’t so much twist and turn as it does lazily bend around a couple of easily navigable corners. William Hartnell, best known as the first incarnation of the Doctor in Doctor Who, stars as Leo Martin, a professional thief who gets caught when a jewelry smash-and-grab goes wrong, his wrists shattered by a security grate that comes abruptly crashing down. Despite assurances from boss Gus Loman (Raymond Lovell) that he won’t abandon
Classic rockers Bad Company finally release a live album and it's well worth the wait.
In 1979, an 11-year-old me took a major step in my musical appreciation evolution. It was the year I embraced the vinyl album and moved from radio listening to purchasing records. Some were older, Revolver, Hot Rocks and some were new - Breakfast in America and Bad Company's Desolation Angels. Bad Company is one of those bands that I've always liked and while that was my first purchase of their music, over the next few years I assembled the full collection. Fast forward more than 30 years, and while I still like and appreciate them, I rarely if ever dig
The Killer Tomatoes are back and this time it's personal.
We have Jim Henson to thank for this. During Muppets Take Manhattan, there was a fantasy sequence in which Miss Piggy fantasized about growing up with Kermit. In it, we see baby versions of Rowlf, Fozzie, Scooter, and Gonzo. This inspired Henson to create The Muppet Babies animated series for CBS (and inspired that odd-ball late '80s to early '90s genre of making baby/little kid versions of already popular adult characters). During the third season in an episode entitled “The Weirdo Zone,” the babies try to get in touch with their inner weirdness in order to understand Gonzo. Fozzie Bear
This underseen 1960s noir is a precursor to the 1990s erotic thriller.
It's an average day in sunny Los Angeles. Two men - you wouldn't immediately avoid them but they definitely possess an agenda - come out of the haze with crime on their mind. So begins Leslie Stevens' little seen noir, Private Property. The low-budget film, shot in ten days, recently premiered at the 2016 TCM Classic Film Festival, bringing to light a twisted, sexually charged noir that ties in to today's gender dynamics. Duke and Boots (Corey Allen and Warren Oates) are two small-time hoods. Boots is a virgin intent on proving his virility to Duke, and a random encounter
Grab some chocolate (and a bag of popcorn) and strap yourself in for this delightful movie playing once again on the big screen.
As any cinephile with children can tell you, it's a challenge deciding what movies are appropriate for them to watch. There is violence to consider, plus language, sex, moral lessons, and a whole host of things to ruminate over before letting your wee one’s little brain get bombarded with stimulating images. Honestly, I tend to lean towards letting my daughter watch just about anything she wants as I truly believe young minds are able to digest and work through a whole lot more than we give them credit for. I rarely put this to the test though, as she’s just
Enjoyable adaptation of the crime comedy that gives readers a new slant on the movie.
I know it may be difficult for some of you to understand, but there was a time when home entertainment wasn't on demand. When a movie left theaters, the only way you could watch something at home is when TV stations would air them. This would result in the film being edited for content or time. Think about it, there was no Internet so you couldn’t stream anything. There wasn’t even any DVDs, Blu-rays or VHS for that matter. The only way people were able to enjoy their favorite movies at their leisure was through novelizations. When done right, the
What do two film noirs, three westerns, one failed Charlton Heston adventure epic, and one of the worst giallo movies have in common? They've all seen the light of Blu-ray.
A timeless, tiresome proverb tells us it is darkest before the dawn, and we have all surely met that one idiot who is always more than happy to impose some form of such an idiom upon you whenever things aren't looking overly bright for you. Fortunately, there is no lack of lighting in this sextet of moving picture offerings from Twilight Time. In the instance of the two film noir titles included in this lot ‒ Where the Sidewalk Ends (1950) and a re-issue of The Big Heat (1953) ‒ the lighting is always perfect. When we're in the great
Not just an important television drama, but an essential component that should be used when teaching U.S. History.
Commemorating the 40th anniversary a year early, the landmark television miniseries Roots has been remastered and released on Blu-ray. Based on Alex Haley's Roots: The Saga of an American Family, which spent 22 weeks as #1 on The New York Times Best Seller List and won a Pulitzer Prize, it purports to tell the story of Haley's family traced back to the birth of his great-great-great-great grandfather Kunta Kinte. However, Haley was taken to the court and reached a settlement requiring a six-figure payout and his acknowledgment that portions of Roots were taken from Harold Courlander's 1967 novel The African.
T-Rex thrives in its moments of tranquility, which eerily and excitingly juxtapose the moments of explicit competition and internationally sanctioned brutality.
Drea Cooper and Zackary Canepari’s spacious and often tranquil sports documentary follows boxer Claressa “T-Rex” Shields before, during, and after her historic gold-medal victory at the 2012 Summer Olympic Games in London. Born, raised, and trained in Flint, Michigan - of water-crisis fame - T-Rex fought through the amateur ranks to become the first female boxer to take home the gold at the Olympics when she was seventeen years old. Ever on the precipice of history, Claressa’s story is bold, unbridled, and told in a way that highlights the essence of her character rather than a distorted or inflated image
Showgirls for Millennials.
I entered the theater with feelings of doubt prior to watching Nicolas Winding Refn's The Neon Demon. The one-two punch that was Bronson and Drive led to the utter train wreck of Refn's Ryan Gosling follow-up, Only God Forgives, so the director is 2-1 in my book, and critics division on Neon Demon is as wide as our current political party lines. Three critics walked out before the film was over and audience members were shouting at the screen. When the lights went up, I was left confused. Was this a prestige picture by a director touted as a "revolutionary,"
Confucius say: 'Last of previously unreleased titles from franchise finally find way to disc. Hell, yes.'
It's usually easy to say exactly where a film franchise begins. Universal Studios' Jaws (1975) movies officially started with Steven Spielberg's Jaws (though we can see early traces of the film's formula on display in Spielberg's Duel) and came to a hilariously anticlimactic conclusion in Jaws: The Revenge (1987). However, numerous foreign-made "sequels" and outright ripoffs have managed to confuse people who evidently find it difficult to differentiate the real deal from a school of blue fish. In the case of another film franchise ‒ that of the Charlie Chan legacy ‒ it truly is difficult to pinpoint what began
A second volume of movies from Nikkatsu's '60s heyday branches out from just crime movies, with occasionally baffling results.
Japanese cinema is samurai showdowns, tough gangster pictures, or calm, quietly devastating domestic dramas. Kurosawa, Ozu, Mizoguchi. Oh, and Godzilla. Maybe a few decades of nothing for a while, then long-haired ghosts and incredibly violent weird movies by Takashi Miike. That’s what the industry and art form looked like to even an interested observer not too long ago. There were a few other movies that came in through the cracks (Afterlife in the late '90s, Kitano’s fireworks before that) but the vision of Japanese cinema, internationally, was fairly stable for a long of film enthusiasts. With their Nikkatsu releases in
Nicloux writes and directs this strange and lovely odyssey through Death Valley.
Guillaume Nicloux writes and directs the considerate Valley of Love, which kind of has one foot in Maurice Pialat’s 1980 film Loulou and the other in a spectral inversion of reality. It positions its two glorious stars - Isabelle Huppert and Gérard Depardieu - nearly as themselves and dumps them in Death Valley. Valley of Love was France’s 2015 Cannes entry and it resonates as a classical road movie, putting two screen icons on a path to elusive elements like self-discovery, resolution, and peace. Nothing comes easy and Christophe Offenstein’s exceptional tracking shots ensure the audience is along for every
"It all comes together so seamlessly, to offer one surprise after another, keeping this show fresh and interesting." - Kim
In which Shawn and Kim discuss Preacher continuing to be accessible and not predictable. Shawn: This series started at 100 mph. And now at episode four I feel like it's slowing down with each episode. We started driving crazy through a corn field at seemingly faster than reality allows and airplanes falling out of the sky. This week we slowly fell into a hole and built an episode around pooping and peeing and raffling off a TV. I'm still in love with this show more than any other on the air right now. I have a few thoughts about what
It’s just not funny.
I have long since theorized that if Kevin Hart and Melissa McCarthy ever made a buddy film together, it would signify the beginning of the end of life as we know it. They have made enough terrible films on their own to start a club. To escape the record-setting heat (not meant to be a reference to McCarthy’s The Heat, a record-setting film in terms of how bad I thought it sucked) this past weekend, I headed for the local theatre and the new release Central Intelligence starring Mr. Hart and Dwayne “The Rock” Johnson. After struggling through the majority
Caniff has a good sense of drama, suspense, and humor that keeps the reader seeking the next strip.
Since January 2012, the Library of American Comics, by way of IDW Publishing, has been releasing collections of Milton Caniff's Steve Canyon comic strips, which had an impressive run of 41 years. I was first introduced to U.S. Air Force Lieutenant Colonel Canyon in Volume 4 where I read about his international exploits. He was a character of his era. A man with nothing but good, noble traits, who left a trail of broken hearts because nearly every woman he encountered wanted him for her own. That includes Poteet Canyon, Steve's teenage ward, who was introduced in 1956. I missed
An infinite number of stars. Six movies. Positively no refunds.
Whether you attended only one week of high school or an entire day in the food and beverage industry, you're more than highly likely to be aware of something called "drama." Generally, it's a toxic element of life, which many of us tend to ignore (or at least pretend to when you really, matter-of-factly thrive on it). But when it comes to the moving pictures, the drama has a tendency to be much more fulfilling. Not because it's healthier (though technically, it is, since we don't actually have to live it), but because there's a darn fine chance it has
Opioid addiction and one doctor's questionable practices are brought to light.
The first rule of the Hippocratic oath can be recited by those without a medical degree: First, do no harm. But in a world where nearly all problems can be fixed, or at least sated, with the help of a pill, questions crop up as to whether the cure is as bad as the disease. The recent death of Prince through opioid overdose only makes Eve Marson's documentary, Dr. Feelgood, tragically timelier. Dr. Feelgood tells the tale of Virginia doctor William Hurwitz, accused of overprescribing opioid medications to his patients who see him as an angel of mercy. Audiences first
Disney's latest animated adventure focuses on an odd couple of buddies tasked with setting aside their differences for the greater good.
Judy Hopps is a bunny. Nick Wilde is a fox. In the peaceful animal world of Zootopia, that doesn’t automatically make them enemies, since predators and prey exist in perfect harmony. When a few predators mysteriously start disappearing and reverting to their primal ferocity, they threaten to destroy the urban utopia unless rookie Officer Hopps and her devious acquaintance Nick can crack the case. Although it’s a cartoon, Zootopia isn’t just for kids. Its recurring theme of bigotry blatantly uses the different animal classes in place of race relations, while elsewhere amusing riffs on The Godfather and Breaking Bad make
Criterion does a masterful job of bringing an early sound picture to live.
Life has not gone well for Maurice Legrand (Michel Simon). He works as a cashier for a hosiery company and is generally despised by his colleagues. In an opening scene, they openly mock and scorn him for being a wet blanket and for having to run home to his wife instead of going out on the town with them. The wife, too, rather deplores Maurice and spends nearly every moment of her time on screen berating him. The only pleasure the poor fellow gets from life is painting and even that is spat upon by his wife who declares he
"It all felt different this week and I can't put my finger on the problem." - Shawn
In which Kim and Shawn keep waiting for the next big thing. Kim: I have to tell you, I’m more in love with this show every single time I watch it. I also have to tell you that I’m having a hard time saying anything new or original about it. Dominic Cooper - still hot Ruth Negga - still gorgeous So, what else does one say about a show that seems to be doling out one or two clues at a time regarding what’s happening everywhere? I don’t feel like this gives me much to write about, but… I am
Sometimes the behind-the-scenes stories are more interesting than the actual films.
Roger Corman’s name is synonymous with low-budget, independently financed b-pictures. He’s produced over 400 films in his career, most of which come with titles like Sharktopus vs. Pteracuda or Voyage to the Planet of Prehistoric Women. They almost always made money because he knows the basics of filmmaking and he has his finger on the pulse of what's going to sell. He also gave a great many A-list directors and actors their start in the business including folks like James Cameron, Francis Ford Coppola, Martin Scorsese, and Jack Nicholson. A famous bit of spurious trivia says that he filmed Little
Who you gonna call?
From the moment it was announced that they were remaking Ghostbusters with women as the leads, the Internet lost its collective minds. Thousands of people have gone insane with hatred towards a movie they’ve not yet seen. As with any passionate internet wave, the backlash was as intense as it was inevitable. Cries of sexism came fast and furious as if anyone who wasn’t completely in love with the idea of this reboot hated all women. Now of course, if you spend any amount of time on the various internet boards in which this film is discussed, you’ll find a
It's also for the moms and dads who want to watch their children enjoy this bit of fantasy come to life.
The year was 1999. I watched my then-boyfriend play this fantasy/strategy game on an old Windows computer and I thought to myself, “Hey, I like planning! I’ll give this a try!” That game was the Battle.net edition of Warcraft II and I played it for hours on end. I liked the sound of the little guy who proudly announced, “Job done!” when he was done building a house or chopping down trees. I planned my villages and managed my time, always waiting for something to come in and distract me from my work. When it happened, I’d panic every time,
A new generation is set to inherit our mistakes, but we still have a choice...
A decade has passed since Al Gore reported to us about climate change, and won an Academy Award, with An Inconvenient Truth. Since then cars have become more gas efficient (or entirely electric) and not a day goes by that articles about food consumption or drought pop up to remind us of the real effects of climate change. Documentarian Charles Ferguson's Time to Choose espouses the same rhetoric as the Gore doc, but with added scrutiny towards individual pollutants destroying our world. Opening by documenting Earth's majesty, those who enjoyed the BBC's Planet Earth series might experience some deja vu.
This middle-period entry from the Italian master hints at what's to come, but stands on its own as an interesting work.
It’s tempting to label Michelangelo Antonioni’s fourth feature film Le Amiche a transitional work, as it shuns Neorealism and embraces melodrama like some of his earlier work, but also moves toward the aggressively modernist sensibilities that would define subsequent masterpieces like L’Avventura, La Notte and Red Desert. While it’s true that Le Amiche only obliquely studies interpersonal alienation, it’s also more than just a bellwether for the more experimental work to come. With its long, meandering takes and restrained performances, it acts like a melodrama that’s had the passion slowly drained out of it, and stands on its own as