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
Results tagged “Bluray”
I definitely have to recommend this shocking and masterful film.
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
AIP's only Gothic romance is just as weird as you'd expect, and can now be seen in High-Definition thanks to Twilight Time.
Even if you don't include the many television adaptations, the number of times Emily Brontë's one and only novel has been transformed into a movie for the big screen alone is not only staggering, it's Wuthering. And since there are so many superior versions of Wuthering Heights ranging from the likes of Samuel Goldwyn to Luis Buñuel flying high within those ne'erending winds above us, there's bound to be the occasional oddity plummeting down to the frozen English tundra below. In this case, a strange account of the timeless tale has fallen into our laps thanks to the folks at
Twilight Time brings us the maligned crime caper comedy with James Caan, Elliott Gould, Michael Caine, and Diane Keaton.
On December 5, 1872, the Mary Celeste was discovered adrift off of the Azores Islands, berift of its captain and crew, but still loaded with personal possessions and cargo. Not a single soul from the voyage was ever seen or heard from again, and no explanation has ever been discovered behind the mysterious, mass disappearance. But it wasn't until Columbia Pictures' Harry and Walter Go to New York debuted in American cinemas nearly 104 years later that those who dared board it had the misfortune of discovering what it was truly like being onboard a ghost ship lost at sea.
The obscured (if slightly controversial now) coming-of-age hit returns to home video courtesy the Warner Archive Collection.
An unexpected box office sensation upon its 1971 debut, Robert Mulligan's adaptation of Herman Raucher's Summer of '42 has since become as distant to audiences as has the element of romance to the average Tinder user. Indeed, the advent of modern technology has far-removed the timeless coming-of-age motif from that of younger generations, who will more than likely find the film's characters ‒ to say nothing of their particular plights here ‒ weird, if not completely unsettling. A personal favorite of iconic rogue filmmaker Stanley Kubrick (it's the only live-action film featured in The Shining, I believe), Summer of '42
Fritz Lang's final two American films ‒ both starring Dana Andrews ‒ get the much-deserved Warner Archive Collection treatment.
Metropolis. M. The Dr. Mabuse series. There are so many reasons to love Fritz Lang's early, German-language films, all of which helped define the German Expressionist movement. Following Lang's fleeing of Nazi Germany in the early '30s, the Austrian-German-born filmmaker put his expertise use of light and shadows to become a pioneer in the world of film noir ‒ helming such classics as Ministry of Fear and Scarlet Street, as well as the iconic 1953 masterpiece, The Big Heat. Even as his 20-year-plus Hollywood career began to wrap up in the late '50s, Lang's filmic contributions were as marvelously dark
From screwball spoofs to serious dramas, this quintet of features from the one and only comedian/filmmaker offers a variety of stylings.
Whether you are a collector, purist, enthusiast, or just someone who is trying to get through the work day, there is nothing as gratifying as being able to mark something off of a checklist. And every time Twilight Time issues a classic Woody Allen film on Blu-ray, it gives his fans a chance to experience something just as gratifying. Fortunately for all parties involved, Allen's extensive (and still-expanding, as he has rarely skipped a year without making a movie since 1965) library can come that much closer to being "complete" thanks to Twilight Time's regular releases of the filmmaker's work,
The Warner Archive Collection clears the runway for this neglected Rankin-Bass animated fantasy.
Even to contemporary animation fans caught up in the neverending sea of anime, the Rankin-Bass brand is both familiar and holy. Best-known to the majority of the masses as the company which produced two of the most iconic perennial holiday treats ever made ‒ Rudolph, the Red-Nosed Reindeer and Frosty the Snowman ‒ Jules Bass and Arthur Rankin, Jr.'s love for family-friendly fantasies stretched beyond the borders of commercialized Christmases. In fact, they were the fellers responsible for the original animated versions of J.R.R. Tolkien's The Hobbit and Return of the King in the late '70s and early '80s ‒
The Warner Archive Collection revs up the gas for Jeff Burr's controversial buzzer.
Bridging the gap between pure psychological horror with a touch of humor and gore into something polarly opposite isn't an easy task. And there is no better example of that in the realm of scary movies than New Line Cinema's maligned 1990 slasher sequel, Leatherface: The Texas Chainsaw Massacre III. Though technically an '80s flick, Jeff Burr's 1990 contribution to the famous film franchise ‒ which still exists today via an occasional, unnecessary reboot every couple of years ‒ became an instant target for fans and foes alike. Several years before, the Cannon Group released Tobe Hooper's The Texas Chainsaw