It is sometimes interesting - well, to me, that is - how many of the articles I request or wind up for review can often be "connected" to one another like a really outrageous game of Six Degrees of Separation. Not too terribly far back, I found myself diving into the Warner Archive Collection re-releases of the Dean Martin & Jerry Lewis Collections. Just last week, I was viewing Twilight Time's new Blu-ray issue of Roger Corman's neglected Prohibition Era gangster picture, The St. Valentine's Day Massacre. Believe it or not, there's more than one common denominator at play between
Recently in Blu-ray
The ultra-violent cult classic from a very ambitious cabaret entertainer returns to entertain and shock once more.
While there are some laughs, it suffers like many sequels do from not being as good as the original and covering similar ground.
It's no surprise that the directing team of Bobby and Peter Farrelly would write, produce, and direct The Three Stooges, the 2012 modern-day update with new actors playing Moe, Larry, and Curly. The Stooges' brand of dim-witted lunacy and aggressive slapstick is seen throughout the Farrelly Brothers' work, including their feature-film debut, Dumb and Dumber. Starring Jim Carrey and Jeff Daniels as Lloyd Christmas and Harry Dunne, who are perfectly described by the film's title, Dumb and Dumber was a smash hit, turning a $17 million budget into $247 million at the box office. It led to an animated series
The Woody Allen film that even Woody Allen likes gets the High-Def treatment.
Though some people out there would just assume never hear his name ever again, there is ultimately no denying the contributions Woody Allen has made to the worlds of both comedy and cinema alike since he first starting writing gags for television in the late 1950s. Since then, he has directed 50 (count 'em, fifty) projects in addition to writing, producing, and/or starring in several dozen others. Heck, some of the classic comedians who would become the filmmaker's inspirations growing up did not have such a filmic output (even when combined in some instances). But it wasn't just the witty
The movie that almost put gangsters films back on the map returns for another round (of ammunition).
While movies like Sam Peckinpah's The Wild Bunch and Arthur Penn's Bonnie and Clyde generally get the most credit for being the movies that really introduced gritty onscreen violence into the movies (the former was released just months after the MPAA rating system was introduced in 1968), they weren't the first to do so. Not by a long shot. In fact, copious amounts of blood were being spilled by Herschell Gordon Lewis in his outrageous horror movies that made a real killing at drive-ins for jaded teen and rural audiences during the early '60s. The occasional big-budget Cinemascope war film
Yasujiro Ozu left us with one final masterpiece in An Autumn Afternoon, a culmination of many of his favorite themes.
Before he died of cancer on his 60th birthday in 1963, Yasujiro Ozu left us with one final masterpiece in An Autumn Afternoon, a culmination of many of his favorite themes. The twilight work of many filmmakers often lends itself better to footnotes than introductions, but the remarkably consistent Ozu has a career filled with potential jumping-off points, and his last film is also an excellent first one for Ozu neophytes. I should know — An Autumn Afternoon was my gateway into Ozu’s exquisite cinematic worlds. Frequent collaborator Chishu Ryu stars as Shuhei Hirayama, a widower who comes to accept
Yes, it's "Still a better love story than Twilight" time.
If someone would have told me three years ago that I would be repeating myself, well, I probably would have believed them. Indeed, when I initially sat down to work on a review for Twilight Time's 30th Anniversary Edition of the 1985 vampire horror classic, Fright Night, I nearly found myself writing the exact same words I had jotted down for my original article for the company's initial release of the film. Not wanting to repeat myself - and with little else to say on the title, I must sadly confess - I figured, since I greedily ignored my editor's
As big a tearjerker as I have ever seen, but my tears are from having spent four hours of my life watching it.
One thing is certain, Nicholas Sparks is the king of romance. Guys, if you are rolling your eyes, you should be. Sparks writes the most manipulative and frankly ludicrous plots I have ever seen. And to continue my crass generalizations, chicks eat this stuff up like candy. The author of such weepers as Message in a Bottle (1999) and The Notebook (2004) is back with The Best of Me (2014). With the new Blu-ray “Tears of Joy” edition, we actually get two movies for the price of one. The disc includes both the theatrical version (1:57) and the "Tears of
Hot Tub Time Machine (Unrated) Blu-ray Review: Round up Your Friends and Your Favorite Adult Beverages
Sure to become a cult classic among the “let’s get wasted and laugh our asses off” set.
Hot Tub Time Machine is rated R for sexual content, nudity, drug use, and pervasive language, which are pluses in the right company when done right, and director Steve Pink and his team most certainly do it right. While certainly not a movie for everyone to be sure, HTTM is wildly over-the-top, filled with so much raunchy silliness (or silly raunchiness) it is sure to become a cult classic among the “let’s get wasted and laugh our asses off” set. After Lou (Rob Corddry) ends up in the hospital, he is reunited with former friends Nick (Craig Robinson) and Adam
A great edition in the series, with lots of the usual fun that Ian McShane's Lovejoy brings.
In the second season of Lovejoy, the last time we saw the irascible but ever-charming antiques dealer played by Ian McShane, he was swindling (for a good cause, naturally) crooked antiques dealer Harry Catapodis (Brian Blessed) in order to help out a Japanese businessman (Mako) and a lovely widow Victoria (Joanna Lumley) who had both been cheated by Harry. Lovejoy Series 3, recently released on DVD by Acorn Media, picks up a year later, after Lovejoy has been taking a holiday in Spain, where he has enjoyed (and spent) all the proceeds from that last big deal. He returns home
Twilight Time gives the controversial Phoolan Devi biography an upgrade. But is that really a good thing?
As sad as this may sound to you, my earliest memories of childhood revolve around watching movies. My parents, for whatever reason, decided to take my three-year-old self to a showing of Alien when it was making its initial rounds in theaters back in '79. Eddie Parker's sorry-looking monster in Abbott and Costello Meet the Mummy stands out prominently in my singular image visual databank due to a very early encounter with late night television. I had carte blanche from my guardians to rent virtually anything I wanted to at the local video stores (barring X-rated films, of course, which
Alexander and the Terrible, Horrible, No Good, Very Bad Day Blu-Ray Review: Embraces Optimism over Snarky Fantasy
Beloved children's classic from the 1970s finally gets its turn on the big screen.
Where have all the family films gone? Movies that cross genres and give every generation of kinfolk a little bit of the film-going experience they’re asking for. I’m talking action and adventure coupled with romance and fart jokes and out-dated references sailing clear over kids' heads and into the deep, nostalgic recesses of parental minds dragged yet again to the theatre for something dull and overexposed. What passes for family fare these days are often dark and brooding films, like Into the Woods, or crass excursions into the juvenile, think Sponge-Bob Square Pants, movies whose adult elements are laced with
Disney at its best.
Disney's 101 Dalmatians is narrated by Pongo (Rod Taylor), an adult male Dalmatian, and starts cleverly with him introducing us to his human pet, Roger. Both are bachelors and Pongo is trying to find them suitable mates. He spots a lovely female Dalmatian, Perdita (Cate Bauer), and her pet, Anita, walking in the park. He manages to orchestrate a meeting and both couples are married soon after. Fast-forward several months and Perdita is now about to give birth to puppies. This brings Cruella De Vil (voiced fabulously by Betty Lou Gerson), a long-time friend of Anita’s, into the picture. One
Universal's unofficially official entry to their forthcoming monster series reboot actually has a bit of bite to it.
Since that fateful day back in the late 1890s when Bram Stoker first introduced the world to Count Dracula, the vampiric vessel of villainy has grown to become one of filmdom's most frequently filmed (or even referenced) characters. In fact, he has been around for so long, that it's hard to imagine a world without him! And despite the fact that he has been killed off time and time again, he has always managed to return in usually unrelated films or franchises. In some instances, he re-emerged under a new name, such as Nosferatu, Alucard, Leighos, Drake, or Orlok (the
Aging author/playwright Israel Horovitz finally makes his feature film directorial debut. But is he too late in doing so?
In this great big muddled world of ours, we seem to be divided into large groups of individuals. On the one side, you have picky people who will dispiritingly say that you cannot teach an old dog a brand new trick. And then there are those seemingly rare factions of folks who will encouragingly state that it is never too late to learn. My Old Lady, the indie feature from 2014 starring Kevin Kline, Kristin Scott Thomas, and Maggie Smith, seems to fall somewhere in the middle of that. For here, author/playwright Israel Horovitz (creator of both Author! Author! and
François Truffaut's homage to Hitchcock makes a stunning Blu-ray debut from Twilight Time.
While it is frequently reiterated that we are unable to take it with us, it should be noted that we do manage to take some of it along into the next life. No, I'm not attempting to wax some fruity spiritualism on you here (that's a job for those weird people handing out pamphlets in parking lots to tackle), I'm actually referring to things such as fashion and entertainment. As each craze fades out, it carries a little bit with it over into the new (usually worse) fad. In the world of music, we witnessed punk music (the real kind,
This adaptation of Lawrence Block's alcoholic detective series is true to the character, maybe to a fault.
Looking at the trailer for A Walk Among The Tombstones, one would be forgiven for assuming it is a Liam Neeson movie. That is, about man with a particular set of skills. Terrorists (or just murderers, here) being killed. Action mayhem, a hero who will stop at nothing. But this movie, an adaptation of Lawrence Block's novel, the tenth in his series featuring recovering alcoholic and recovering police detective Matt Scudder, is by no means an action movie. It involves no revenge (at least not for the main character). It involves no obession. Central to Scudder's character in his work
Producer John Aglialoro completes his quixotic quest to adapt Ayn Rand's epic novel to the screen.
The final act of this unlikely trilogy spotlights a strong-willed individual who ignores public opinion and forges ahead with his own vision. That’s John Galt, the messianic character of the work, but also John Aglialoro, the financier behind the entire endeavor. Operating far outside of the studio system and critical approval, Aglialoro here completes the daunting task of bringing author Ayn Rand’s magnum opus to the screen. That in itself is a measure of success, albeit the only success the film is likely to experience. If you’ve been following along with the prior installments (Part I and Part II), it
Quite possibly the only movie in history to partly focus on cycling and not suck in the process.
Following the near collapse of the American film industry somewhere between the end of the '60s and the beginning of the '70s - a semi-catastrophe brought on (mostly) thanks to lavishly over-budget and egotistical studio productions, a war in Vietnam, and something the history books refer to as the "Hippie Movement" - the few folks who were still going to the picture show seemed to demand more realism. That, or the once lavish budgets that used to be handed out to filmmakers at the drop of a hat, and which were now being frequently slashed by some now very nervous
Twilight Time continues its legacy of giving a damn about Woody Allen's classic, truly good movies.
As a reasonably mature adult male who has been involved in an unending war with depression and mood swings since he was but a wee lad, I know how easy it is to seek solace from the cinema. To find a sense of purpose within the imaginary realms as designed by far-greater dreamers. I have danced the same steps as timeless American icons Fred Astaire and Gene Kelly. I have romantically wooed the jaw-dropping charms of international B movie actresses like Barbara Bouchet and Margaret Lee. Espionage? Exploration? Elimination? I've done it all just by becoming immersed in a movie,
Blake Edwards and Peter Sellers team up for a subversive, slightly racist classic.
We open on a desert film set, the high-strung director—played with ‘look at me, Ma’ gusto by eternal character actor Herb Ellis—appears over budget and out of time in constructing his latest, Gunga-Din style epic. There’s elaborate sets and high priced explosives, an expanse of extras to coordinate and Hrundi V. Bakshi, a bumbling Indian character actor hot off the Bollywood Express. He’s here to goof it all up, infuriating the extras until they turn their guns on him on like a prop armored firing squad. Bakshi manages to make it through the shoot, pun intended, until the last day
Thoroughly mindless entertainment. Minus the whole "entertainment" part.
A few years ago, I had the misfortune of seeing the last movie in Universal's Scorpion King legacy (which was itself a secondary subsidiary to the studio's ongoing attempt at burying Stephen Sommers' career, and was something that officially started immediately after he made his debut film with 1989's Catch Me If You Can). Fortunately, I don't remember a single solitary frame of the previous entry. In fact, I had to look up an old review of mine (published elsewhere) just to make sure that I actually did see it; it was that memorable. Well, once more, the powers that
German director David Wnendt's misguided and NSFW tale of filthy femininity finds its on to Blu-ray.
I’ve seen plenty of repugnant films, the kind that shock for the sake of shocking. I’m not just talking Death the Ultimate Horror either, an hour-long collage of real-life murders, mishaps, and violent pratfalls set to the unrelenting pummel of speed metal. They bore a morbid fascination for me at seventeen, the same sick and twisted attraction driving teenagers into the arms of GG Allin or to the midnight cinema for Spike & Mike’s. No, I’m thinking more of Catherine Breillat’s stark explorations on female sexuality, or a certain coming-of-age pie-screwer, or Jackass, or Harmony Korine’s Gummo—easily one of the
A movie about people who are lost made by people who couldn't find their asses with both hands and flashlights.
Reaching out to a target audience with a speciality motion picture is never an easy task, particularly when said target audience is intelligent or - at the very least - has expectations that scale only slightly above "public access TV production values." First, let's turn back the clock a bit to the original filmic adaptation of Left Behind (subtitled The Movie, in case its target audience was unable to distinguish the difference between a paperback book and a videocassette - which certainly wasn't insulting to their intelligence in any way) from 2000 starring former teen heartthrob-turned-evangelist Kirk Cameron. Based on
With season five, Archer continued to be one of the funniest shows going.
As the season-five premiere, "White Elephant," opens, show creator Adam Reed creates a perfect visual metaphor. Life for the ISIS team is comfortable and serene, like many TV shows entering their fifth season. But Reed is not going to coast and continue to give viewers the same old show, evidenced by the ISIS offices getting blown up before the episode's opening credits. Turns out Malory (Jessica Walters) never got sanctioned by the U.S. government to conduct espionage operations, making the adventures of the past four seasons even funnier without altering them, and they get hauled in by the FBI. She
A woman's disappearance creates a terrible bond between the man who took her, and the one who lost her.
The missing person is the greatest motif of the mystery story. Even if the murder story is more common (and perhaps the majority of missing-person stories become murder stories in the fullness of time) the missing-person story contains more questions: not just who did it, but what did they do? What really happened? Is the missing person dead, captured, tortured, or did they even just leave of their own accord? The relationship between the missing and those looking for them can be complicated and fascinating. In one line of The Vanishing, Rex Hofman, after years of looking for the long-missing
From Streisand to Stone, controversies to conniving, this sextet offers it all.
Since the dawn of mankind itself, there have been notable examples of individuals willing to break any rules that have been established, question whatever authority may be in command, and just try to have a good time in general - especially when it's all-but forbidden to do so. And that motif of rebellious folk is in fine form in the latest collection of movies from Twilight Time. Released in late December, this batch of six films ranges from highly acclaimed classics to somewhat forgotten features from yesteryear, as directed by the likes of Stanley Kramer, Oliver Stone, Mike Nichols, and
With so much work invested into a weird little gimmick flick starring Denholm Elliott and Peter Lorre, what's there not to love?
Three-dimensional television sets with Ultra High-Definition 4K resolution. A kajllion-and-one useless apps for our increasingly useless smartphones. A vast array of challenging social networks that only go to make people vastly socially-challenged. With some new revolutionary thing we allegedly cannot live without coming 'round the bend every other week, it's easy to not fully realize we live in a world that is literally littered with nothing more than a shitload of gimmicks. More than half a century ago, studios and distributors alike were also worried the public might soon stoop so low as to pick up a book and learn
Batman: The Brave and the Bold: The Complete Second Season Blu-ray Review: Great Teamwork on and off Screen
Highly recommended for comic book fans.
Warner Archive continues its release of Cartoon Network's Batman: The Brave and the Bold on Blu-ray with The Complete Second Season. The 26 episodes are presented on two discs, making them easier to find than when they debuted over 18 months between November 20, 2009 to April 8, 2011. For those unfamiliar with this series, let me quote my review of The Complete First Season: Created between The WB's The Batman and Cartoon Network's Beware the Batman, The Brave and the Bold teams Batman (Diedrich Bader) with different heroes, just like the DC Comics book series of the same name
The real reason to see Horns, of course, is for Daniel Radcliffe, who is quite good as Ig, American accent, horns, and all.
Ig Perrish (Daniel Radcliffe) met the love of his life, Merrin Williams (Juno Temple), when they were just children, and the two fell in love and shared everything together. Their romance seems idyllic, until one night when Merrin is found dead, the victim of a brutal rape and murder. Ig finds himself the prime suspect, his town, friends, and even most of his family shunning him. The heartbroken Ig maintains his innocence, to deaf ears. And then, as the opening line of the novel by Joe Hill states, after he "spent the night drunk and doing terrible things," Ig wakes
Twins are reunited after ten years of estrangement and begin down a road that changes them both forever.
The Skeleton Twins stars Kristen Wiig and Bill Hader as twin siblings, Milo and Maggie, who have not spoken to one another in 10 years. The two are reunited after Milo attempts suicide and the phone call from the hospital interrupts Maggie's own attempt. She flies from New York to Los Angeles to be by his bedside, but he asks her to return home and tries to downplay the attempt. Sensing that Milo is not being honest with himself or with her, Maggie stays and convinces him to come to New York to stay with her and her husband Lance