While the cliffhanger serial formula Republic Pictures would be so well remembered for had already been extinct by the time they cranked out the aptly-titled ‒ and noticeably cheap ‒ A Strange Adventure in 1956, I think it's safe to say the spirit of the ol' chapterplay was still alive and kickin' in this production. Helmed by ace serial director William Witney (The Adventures of Captain Marvel), this lukewarm hard-boiled thriller from writer Houston Branch (Mr. Wong, Detective) opens with Ben Cooper (as one very grown-up teenager) getting hooked on Marla English (The She-Creature). Alas, Marla is one of them
Results tagged “Blu Ray”
Young Nick Adams highlights this entertainingly cheapo Republic Pictures crime flick, now available from Kino Lorber Studio Classics.
Burt Lancaster and Kirk Douglas go toe-to-toe for the very first time in this classic crime drama from Kino Lorber Studio Classics.
The first of what would ultimately tally up to be seven feature films starring the talents of Burt Lancaster and Kirk Douglas ‒ a collaboration that would span nearly four decades, concluding with Tough Guys in 1986 ‒ I Walk Alone takes us back to when the two iconic performers were still essentially strangers to one another. In the case of this fine, slow-burning film noir from first-time (solo) director Byron Haskin (Robinson Crusoe on Mars, September Storm), the separation between the two leads only helps to add fuel to the fire. Here, Mr. Lancaster plays Frankie Madison, a one-time
A slightly crude, but still chillingly effective TV classic about nuclear horror.
When it comes to nuclear annihilation, there have been many successful cinematic attempts to truly justify the horrifying reality of doomsday, such as Fail-Safe, Threads, The War Game, and On The Beach. However, in my opinion, director Nicholas Meyer's 1983 landmark, The Day After, is the outing that most people remember. It may have been a TV movie, but that didn't stop it from traumatizing an entire generation, telling a story of nuclear catastrophe experienced by everyday people. Set mostly in Kansas and Missouri, the film takes place before, during, and after the U.S. and Russia go to war with
Christopher George, Tippi Hedren, Charo, and a lot of wood paneling star in this odd little thriller from Kino Lorber Studio Classics.
Outwardly, there isn't much for the average contemporary moviegoer to get excited about over R.G. Springsteen's Tiger by the Tail. But before you go wandering off in search of something else to view, consider what this fairly tepid, tiny thriller has to offer internally. Shot in the late '60s, this, the final film from one of the most prolific B-western directors ever, centers on a slightly disgraced Vietnam veteran who gets caught up in a thoroughly predictable web of conspiracy after his racetrack-owner brother is murdered during a hold-up coordinated by one (or more) of his corrupt colleagues amid the
The American Genre Film Archive and Something Weird Video present something so delightfully awful, it'll leave you ecstatically screaming "Ewe!"
Even established connoisseurs of strange little motion pictures generally regarded as "bad" can occasionally step into something they are wholly unprepared for. And that can certainly apply to anyone who decides to leap off the beaten path only to set foot into the sulphuric pile of sheep dip that is Godmonster of Indian Flats. The fourth and final feature film from recently departed artist/filmmaker (and Cornell graduate also, I might add) Fredric C. Hobbs, this bizarre 1973 offering is truly difficult to categorize, as it appears to be an environmentally-conscious retrograde science fiction/horror hybrid about an eight-foot-tall mutant sheep housed
Kino Lorber Studio Classics blasts off into the crazy surreal cosmos of this sci-fi mini-series.
Despite the fact that it has been released on virtually every form of media since the dawn of home video itself, it wasn't until I sat down to review Kino Lorber's Blu-ray release of Michael (Logan's Run, Doc Savage: The Man of Bronze) Anderson's The Martian Chronicles that I witnessed the TV mini-series for the very first time. And what an interesting endeavor it proved to be. Boasting a rather enviable list of names with their own individual cult followings, this 1979 co-production between the UK and the U.S. has not aged very well over the years. In fact, it
Kino Lorber Studio Classics debuts the infamous Harryhausen knock-off in HD, complete with the incredulous musical variation as a bonus.
"If they could do it, I can do it!" At some point in life or another, some of you have found yourselves saying something along those lines. You may also have also found yourselves coming to the realization shortly after that you could not do whatever it was the other person(s) succeeded in doing so well, usually due to pesky annoyances such as experience and training. Indeed, that was essentially the entire reason for producer Edward Small's 1962 fantasy flick Jack the Giant Killer ‒ which is now available on Blu-ray from Kino Lorber Studio Classics ‒ being summoned into
I definitely have to recommend this shocking and masterful film.
As a filmmaker, Abel Ferrara has always stepped outside of the mold to deliver highly provocative works of humanity going completely awry. Whether it's insanity (The Driller Killer), female revenge (Ms. 45), hip-hop culture (King of New York), or police corruption (Bad Lieutenant), you can always count on him to piss off critics and audiences everywhere. He is a director of amazing extremity and unapologetic cruelty, and his very underrated 1995 cerebral horror classic, The Addiction, represents both at its most low-key and uncomfortable stride. Shot in crisp black and white, the film stars the always amazing Lili Taylor as
The late Bruno Lawrence's stunning performance highlights this gritty story of separation and brutal masculinity.
Sometimes films about divorce and parental miscommunication are difficult to swallow, especially because of how terrible they can be for the children involved. There are American films like Kramer vs. Kramer, Shoot the Moon, and Hope Floats, which are good but a little sugary. However, director Roger Donaldson's stark 1981 classic, Smash Palace, defies convention and cliche with harsh truth and blunt authenticity that typically goes unnoticed in modern film. It also shows how the location (in this case, New Zealand) can bring out certain facets to a film's plot. Based on a newspaper article, the film centers on the
The Warner Archive Collection knots it up with this captivating western starring Gary Cooper, Maria Schell, Karl Malden, and first-timer George C. Scott.
Several years before a more somber wave of performers rode into town, Gary Cooper was ‒ as he had done so eloquently before ‒ pioneering a unique protagonist who would fit right at home in a '70s revisionist western. In Delmer Daves' The Hanging Tree, released two years before one of the genre's quintessential heroes passed away, we witness the stalwart High Noon icon delivering his final lead performance in a cowboy picture. This time, however, Cooper does not play a man haunted by what he must do. Rather, he's tormented over what he has done. Set in the tiny
John Landis' campy homage to classic monster movies surfaces in High-Definition for a limited time from Turbine Media Group.
The first feature film of cult filmmaker John Landis (An American Werewolf in London, Innocent Blood) Schlock serves as a exemplary reminder we all have to start somewhere. Shot over the course of 12 days on a measly $60,000 budget in one of the many suburbs of Los Angeles, Schlock is a campy homage to horror and science fiction movies of the past, as seen through the eyes of one very eager 21-year-old filmmaker. A small community is besieged by a wave of baffling, unsolved murders, committed by an entity whom authorities and the media alike have dubbed "The Banana
VCI keeps the memory of Bruceploitation alive and kicking by cloning a German Blu-ray release for this one.
Though contributions to what has since become known as the "Bruceploitation era" were numerous, those who dare consider themselves loyal to the less-than-esteemed subgenre of ripoff filmmaking generally tend to hold three particular titles high above all others. Amazingly managing to reach a zenith within a cataclysmic cinematic nadir such as this, Bruce Lee Fights Back from the Grave, The Clones of Bruce Lee, and Bruce's Deadly Fingers have become as holy to bad kung fu movie lovers as has Clint Eastwood's The Man with No Name Trilogy has with Spaghetti Western enthusiasts. Apart from the occasional music cue shamelessly
Twilight Time books a classic, slow burning cop drama starring George C. Scott and Stacy Keach.
Columbia Pictures' The New Centurions was filmed and released during a particularly interesting era: a time when the lives and actions of police officers was present in just about every form of media, be they negative, positive, or somewhere in-between. In the instance of this 1972 cop drama, we find ourselves planted directly in the epicenter of the two, where moments of lighthearted comedy can give way to heartbreaking tragedy at any moment. The film was adapted for the screen by the prolific Stirling Silliphant (Village of the Damned, The Killer Elite), as taken from former law enforcement officer and
Twilight Time proudly unleashes the intense, unofficial sequel to "The French Connection". And it's nothing short of awesome.
Off the record, there were two sequels to William Friedkin's 1971 action-packed Oscar-winning cop thriller The French Connection. Officially, only John Frankenheimer's 1975 follow-up French Connection II ‒ a film which has always failed to live up to its predecessor in my opinion ‒ falls into that category. From a decidedly less official point of view, however, Philip D'Antoni's 1973 action classic The Seven-Ups is a motion picture that many feel is entirely more deserving of the honor. Though neither film shares the same director, the late Mr. D'Antoni was nevertheless one of the most significant denominators (or, "connections", if
Twilight Time releases the forgotten, award-winning "kitchen sink" drama from Bryan Forbes, which all fans of Morrissey and The Smiths should probably see.
Long before Hollywood tried to appeal to everyone by adding various "token" characters from all walks of life, postwar British filmmakers were trying something much more subtle and less transparent. One stellar example is the 1962 domestic drama The L-Shaped Room from director Bryan Forbes (The Stepford Wives). Adapted for the screen by Forbes from the best-selling novel by Lynne Reid Banks (The Indian in the Cupboard), this solid little "kitchen sink" drama finds former musical icon Leslie Caron (An American in Paris, Gigi, Lili) as one of many tenants in a boarding house full of characters who would be
By hook or crook, Linda Darnell climbs her way to the top in the once-controversial drama, now available from Twilight Time.
A full decade before its hugely successful Peyton Place managed to poke a few holes in the brick walls of alleged decency, 20th Century Fox was already turning a controversial bestseller into a major ‒ however sanitized ‒ motion picture. Previously in history, Kathleen Winsor's 1944 novel Forever Amber had been condemned by the Hays Office, but that hardly stopped top Fox man Darryl F. Zanuck from securing the movie rights for the book immediately after its publication and turning something racy into a big-budgeted epic. Three years later, Fox's Forever Amber premiered. It would prove to be the biggest
Twilight Time releases the odd real-time film noir cult classic starring Richard Widmark, Marilyn Monroe, and Anne Bancroft.
Though modest in budget and undoubtedly filmed in a relatively short period of time, 20th Century Fox's Don't Bother to Knock from 1952 is the sort of movie which just about any variety of film aficionado should take a look at. Based on Mischief from the previous year by mystery novelist Charlotte Armstrong, this cult film noir piece from Julian Blaustein (The Day the Earth Stood Still, Khartoum), Don't Bother to Knock features many significant firsts in the fabulous history of film. The first American movie by famed British director Roy Ward Baker (A Night to Remember), the production also
There's a killer on the loose and someone has to foot the bill in this obscured, Oscar-winning satire now available from Twilight Time.
What happens when you combine the talents of actors George C. Scott (Patton, Hardcore), and Diana Rigg (The Avengers, Theatre of Blood) with director Arthur Hiller (The In-Laws) and writer Paddy Chayefsky (Network)? Well, from a historical perspective, 1971's The Hospital resulted in an Oscar win in 1972 for Best Original Screenplay. Alas ‒ as is frequently the case with most Academy Award winners ‒ the film quickly faded from the general public's memory, despite the still-relevant social commentary hidden immediately below the surface of Chayefsky's extremely cynical and darkly comical story. Set in bustling Manhattan, The Hospital takes place
Twilight Time unholsters Walter Hill's wildly uneven western starring Jeff Bridges as the iconic gunman.
Although it was never a title I saw when it was initially released, Walter (The Warriors) Hill's Wild Bill has always lingered in the back of my mind for an utterly absurd reason. Following an extremely limited release in cinemas (spoiler alert: it bombed), the film hit the shelves of a video rental outlet I was managing at the time. It was a decidedly rural area, where just about anything western was considered a keeper by the locals, the majority of whom were about as "hick" as could be. One memorable afternoon, a middle-aged gentleman came in to return the
Twilight Time raises Caine ‒ Michael Caine, that is ‒ with this forgotten anti-war flick from 007 producer Harry Saltzman.
No doubt inspired by the success of 1967's trendsetter The Dirty Dozen ‒ the film that all-but brought us the suicide mission subgenre of war movies ‒ André de Toth's Play Dirty is, unsurprisingly enough, a similarly themed picture. Released in the midst of the Vietnam War, this (purely) British production from James Bond producer Harry Saltzman ‒ inspired by real life events experienced by British Army units stationed in North Africa during World War II ‒ takes a decidedly fatalistic tone. And while presenting an outside commentary towards the then-current war abroad was their prerogative, it certainly didn't help