A quick look at our recent history will show plenty of animosity towards the wealthy, the upper classes, and high society. From the Occupy Wall Street movement to Bernie Sanders-style socialism, thousands of people are lining up to protest with cries of “Eat the Rich!” But what if the rich weren't just greedy bastards taking from the poor to make themselves unfathomably more wealthy? What if they truly were evil. What if the rich ate us? Director Brian Yuzna’s 1989 film Society has something to say about that. Young, pretty Bill (Billy Warlock) comes from a wealthy, elite family but
Results tagged “Arrow Video”
No matter what they paid "Screaming" Mad George for the practical horror effects, they got their money's worth.
Arrow Video revives John Frankenheimer's criminally neglected late '90s gritty crime thriller via a beautiful, all-new 4K scan.
At one point or another amidst whatever we may have selected (or been selected) for our respective careers, we will fall from grace. Even if you're a great filmmaker like John Frankenheimer. In his heyday, the late director (who passed from this world in 2002, shortly after his final contribution to cinema ‒ an HBO docu-drama ‒ premiered) had crafted several groundbreaking films, from the highly fictionalized (but nevertheless well-made) biopic Birdman of Alcatraz, the must-see WWII locomotive heist classic The Train, as well as one of my personal favorites, the 1962 paranoiac conspiracy Cold War thriller, The Manchurian Candidate.
Mike Figgis' impressive feature film debut ‒ also starring Melanie Griffith and Tommy Lee Jones ‒ returns to razzle, dazzle, and jazzle thanks to Arrow Video.
Years before he found himself Leaving Las Vegas, the one man showmanship of Britain's own Mike Figgis paved the way for the influx of jazzy, sex-fueled neo-noir titles that all-but dominated the film industry in the early '90s with 1988's Stormy Monday. Inspired by the many magnificent gritty crime dramas that emerged from Europe in the '60s and '70s (and filmed his Figgis' hometown of Newcastle-upon-Tyne, where Michael Caine's Get Carter was shot), Figgis' self-described "romantic thriller" finds young Sean Bean as a fellow who is desperate enough to do just about anything for work. Fortunately for him, he couldn't
Japanese horror doesn't so much scare, but fills you with unnamed dread.
Horror in the 1980s was all about the slasher - mindless monsters mutilating teenagers in desolate places. With Scream, released in 1996, director Wes Craven and screenwriter Kevin Williamson stabbed the slasher in its cold, dead heart. Scream (and its numerous sequels and countless inspired-bys) satirized slasher films with a self-aware sarcastic mocking. Around this same time, Americans first began discovering (and then remaking) Asian horror in general and Japanese horror in specific. These films neither relied on blood-filled violence (though certainly Japan has its fair share of gore maestros - the films of Takashi Miike come immediately to mind)
Arrow pulls out all the stops for an all-time horror classic.
The horror genre tends to get a really bad rap. Yes, I know that some movies of this rather reviled film category are cheesy, campy, over and under-acted. They may not cater to everyone, or match their movie tastes. However, this genre is one of the most influential in film history. Horror movies are not just blood and guts, they can go beyond that to reflect on how insane our society has become. They also deal with people who dare to play God and go against the nature of death. And director Stuart Gordon's incredible and legendary 1985 adaptation of
Arrow Video unleashes a truly mind-blowing 1970s exploitation action-comedy equivalent to fusion cuisine starring the larger-than-life Shin'ichi Chiba.
An unconventional policeman from the boonies travels to the big city to help out on a case, complete with a pet pig in tow. No, it's not the beginning of another Italian cop comedy starring Terence Hill. Rather, this particular picture marked both the beginning and the end of two distinctively different eras in Japanese cinema. After maybe overdoing the yakuza genre just a tad throughout the '70s, the film industry in Japan started to explore different options. And if there is one good word which may be employed in a noble effort to accurately describe all of the sights
Arrow Video throws us a bone in the form of a shapeshifting werewolf feller like no other.
Much like vampirism, the subject of lycanthropy is generally reserved for horror films. Or perhaps a comedy horror film. There have even been action horror comedies pertaining to the subject of werewolves and shapeshifters. But there are very few movies like Wolf Guy floating about. In fact, I think Kazuhiko Yamaguchi's Wolf Guy may be a real one-of-a-kind filmic outing; a gory, over-the-top Japanese action thriller which has very little to do with the common folklore western civilization seems to be better familiar with. But then, I can't even say Wolf Guy's peculiarity is purely attributable to a foreign culture
Entertaining cop movie despite a wildly fluctuating tone, a departure from director Fukasaku's harder-edged Yakuza material.
Kinji Fukasaku, of Battles Without Honor or Humanity fame, is best known as the director of hard-edged, cynical material with an almost documentary edge to it (that is, before he directed his final film Battle Royale, 20 years after his career heyday). When he was tapped to direct a manga adaptation, it was an odd pairing. Manga, or more specifically, gegika, which is manga that takes itself seriously, still tends toward over-heated material, with one foot in reality and on foot in comic book exaggeration. The book Fukasaku was tasked with adapting, Doberman Cop, is about a Harley-riding tough who
Dario Argento's first feature film is given a lovely 4k transfer, and the set is filled with an incredible amount of extras.
Dario Argento has been referred to as the “Italian Hitchcock,” and when you see his debut feature, The Bird with the Crystal Plumage, you’ll understand why people called him that. Argento’s first film is a stylishly edited slasher flick that dishes out the blood in such a unique way that’s not overly grotesque. Those of you who have seen other Argento films, but have not seen this one, are probably chuckling at that last comment, but it’s true. The Bird with the Crystal Plumage contains some rather disturbing moments, but Argento doesn’t show the knife going into the person’s body,
Arrow Video's recently discharged slasher flick is so lazy, its composer ripped-off his own work.
Perhaps one of the most alluring features to be observed within the boundaries of Italian exploitation movies was the industry's tendency to rip-off anyone's work, including their own. Sometimes, the references are quite obvious, such as when they make sequels to other people's movies. Other times, the connections are much more subtle (by Italian filmmaking standards, that is). In the instance of Madhouse, however, we're served a little bit of both: its various parallels to other works are undoubtedly noticeable, but none of them can hold a birthday candle to the fact that the legendary, late great composer Riz Ortolani
Frank Henenlotter's rude, crude, cult horror-comedy classic receives a fresh fix from Arrow Video in this must-have release.
While it has been something of a long time since he brought us a new feature film, it's still safe to say no one can make a horror movie like Frank Henenlotter. Sure, a countless many may have tried, but no one has ever truly succeeded in emulating Mr. Henenlotter's bizarre form. From that glorious moment in 1982 when his first feature film, Basket Case ‒ the story of a man (as played by the great Kevin Van Hentenryck) who keeps his deformed killer Siamese twin in a wicker basket, letting the little rubber bugger out as they track down
Fun, fast paced, and unexpectedly grisly for a late '50s movie, cult favorite Caltiki gets a lavish Blu-ray treatment.
Every era gets the horror monsters it deserves, I think. In the '30s and '40s old literary monsters were brought to cinema in the form of the Universal classics: Dracula, Frankenstein, and movies beyond, with one foot in the present and one in the past. The time periods of the movies were always vague - main characters dressed relatively contemporaneously, but somehow lived in ambiguously ethnic European villages. The lord of the manor may wear a modern suit, but the peasants next door had lederhosen, torches, and pitchforks always at the ready. Modern horror revolves around zombies or haunted houses
This Arrow Video set is the Blu-ray with excellent packaging.
While walking down the street late one night, Sam (Tony Musante), an American freelance writer living in Rome, spies a man and a woman struggling inside a modern art gallery. The woman is stabbed and the man, dressed in a black trench coat, black hat, and black leather gloves slips out the back. Sam rushes in to help her but is trapped between two automated sliding doors and is thus forced to watch helplessly as the woman, bloody and dying, screams for help. A passerby calls the police and they are able to resuscitate the woman before she dies. Sam
The very '80s horror/fantasy movie series gets a lavish box-set Blu-ray release.
House II is one of the few movies I can remember seeing ads for on TV when I was watching cartoons in the afternoon. The ad would come on again and again, and it looked like everything I could want in a movie - monsters, human sacrifice, John Ratzenberger. However, it was also a horror movie (kind of) so no one in my family would take me to see it in the theater. When I eventually got to see it on VHS it didn't become a favorite, but there was so much strange content in there, so many weird little
Still looking for that beaver-rape scene.
Similar to the Hays Code in the United States but officially state-sponsored, Sweden created a censorship board in 1911. Designed to keep anything offensive from perverting the young minds of moviegoers, it banned movies as diverse as Battleship Potemkin, Nosferatu, The Texas Chainsaw Massacre, and Mad Max from being played in Swedish theaters. With the rise of home video, an influx of illegal bootleg VHS tapes began finding its way to film fans across the country. By the 1990s, a growing number of filmmakers and movie lovers began protesting this censorship by demanding that the law be thrown out. Writer
Arrow Video busts Kinji Fukasaku's gritty, offbeat crime drama out of the Toei vaults.
A full quarter of a century before he would stun filmgoers around the world with Battle Royale in 2000, the late Kinji Fukasaku was already blowing his own established cinematic perimeters out of alignment with violent and gritty crime dramas. Certainly, 1975's Kenkei tai soshiki bōryoku ‒ which shall be known henceforth by its international English moniker, Cops vs Thugs ‒ is no exception. It is, however, quite a bit different than the many similarly-themed yakuza flicks of the time, inasmuch as its main protagonist is a cop this time around; one who has learned an effective (though highly questionable)
A vintage Yakuza story by Fukasaku in his prime about the corrupt links between cops and gangs.
Of the spate of Japanese movies that infiltrated the American consciousness at the beginning of the 21st century, when the industry was in a sadly short-lived renaissance, most, like The Ring and The Grudge were by relatively young filmmakers. One, however, was the surprise swan song of a septuagenarian who had been making movies all his life: Battle Royale, directed by Kinji Fukasaku. That's the movie where naughty schoolkids are sent to an island to do televised battle to the death. It was also the last film that Fukasaku would make (he died in the middle of directing the sequel,
A bizarre genre mashup gives plenty of '70s exploitation awesomeness, but very little werewolf.
I’ve said it before, and I’ll say it on a continuous loop until it stops being true: we live in a golden age of home-video releases - a veritable utopia for film nerds and collectors. It seems like every other week a new company pops up willing to release high-class editions of seemingly every film in every genre imaginable. Here at Cinema Sentries, our hearts just gush at the amazing bounty made available every Tuesday. Let us turn our thoughts over to one of our very favorite production companies - Arrow Video. They consistently do top-shelf releases of some of
Cheerfully sleazy exploitation movie about a singing brain parasite is charmingly repellent.
There's a certain genius to Brain Damage (1989). Thousands of horror movies are made which simply copy the last popular one, doing the bare minimum to get a (in the past) theatrical release or (more recently) a DVD distributor. These movies feel like somebody is filling out a checklist. "Creative" kills, check. Some nudity, okay. Jump scares, gore shots, blah blah blah. Brain Damage is no less puerile, in a sense, but it is knowingly puerile. It isn't copying somebody else's bad ideas, it has a sackful of its own (and some good ones, to boot.) Brain Damage tells the
An all-growed-up Joe Dallesandro stars in this nifty (and violent) little Italian crime drama, recently rescued from obscurity by Arrow Video.
Fresh from appearing in several collaborations for Paul Morrissey and the legendary Andy Warhol ‒ a union which culminated with two of the most notorious horror-comedies ever made, Flesh for Frankenstein and Blood for Dracula ‒ model-turned-actor Joe Dallesandro found himself alone in Europe. Much to his surprise, his underground popularity as a Warhol factory superstar in the US was synonymous with that of "famous" abroad. And it wasn't long before he was being asked (or conned) into making a handful of motion pictures in the continent. One such film was Pasquale (I Am the Law) Squitieri's L'ambizioso, aka The