The first feature film from Property Is No Longer a Theft director Elio Petri, The Assassin (L'assassino) is an interesting, early test run for the filmmaker's later (and better known) 1970 hit Investigation of a Citizen Above Suspicion by way of Franz Kafka's The Trial. Albeit a very Elio Petri fashion, of course. Interestingly, some Italo movie aficionados around the globe see The Assassin as something of a proto-giallo, as many elements would later become staples in the gialli movement. It also, coincidentally enough, features a character similar to legendary TV detective Columbo, a year after the character first appeared
Results tagged “Comedy”
Elio Petri's forgotten, strange, and very dark satire makes a long-overdue debut in the US from the newly launched Arrow Academy.
Garagehouse Pictures digs up one of the goofiest ‒ and yet, strangely intriguing ‒ lost regional horror comedies ever.
Picture, if you can, what might have happened had a very bored Charles Addams sat down for a few hours one sunny afternoon to jot down the general outline for a lighthearted episode of The Twilight Zone. But rather than seeing his little side project achieve fruition via its intended nationally broadcast television medium, the story wound up in the hands of amateur filmmakers instead. Expanding his original story into something that would still pass for "feature-length" by cinematic standards in 1962, an indie filmmaker in Philadelphia subsequently gathered together a few friends, even fewer dollars, and said "What the
Twilight Time unveils the HD debuts of two distinctly different dramas featuring Mary Beth Hurt.
Interiors (1978) As anyone who has ever straddled a bicycle, slipped into something made out of lamé, or walked into a brothel full well knows, there's a first time for everything. In the case of Interiors, we witness comedian/filmmaker Woody Allen's first uncompromising move into the world of motion picture drama. Following his unparalleled triumph at the Academy Awards the following year with the Oscar-winning Annie Hall ‒ something die-hard Star Wars fans still haven't forgiven him for ‒ the Woodster decided it was time to tell a different kind of story: one that didn't have to rely on elements
The Warner Archive Collection unleashes 16 more lost novelty acts from the days of vaudeville and burlesque shows.
After nearly five years since the last installment in the intermittent series, the Warner Archive Collection has assembled another amazing assortment of forgotten, filmed novelty acts with Vitaphone Varieties, Volume Three: 1928-1929. Back in the mid 1920s, just a short few years before the various pioneers in the motion picture industry dreamt up a reliable way to record and print sound on to film, the folks at Warner Bros. and First National figured out a different method of providing sound to moving images: a mechanically synced-up record player. And though it may seem completely archaic and downright hipster today, the
The Warner Archive Collection brings us two remarkably different ‒ but nevertheless essential ‒ offerings from the inimitable Audrey Hepburn.
In case you missed it, 2017 is already a great year for Audrey Hepburn fans. Twilight Time recently unveiled a gorgeous transfer of Stanley Donen's Two for the Road, wherein cinema's most beloved beauty co-starred with Albert Finney. And now the Warner Archive Collection ‒ who have been unveiling more classic catalogue releases on Blu-ray for film lovers to cherish ‒ presents us with two more for the road in what I can only call an "Audrey Two-fer" (yes, Little Shop of Horrors fans, that may have been a reference). The first title being perhaps the most popular of the
The Warner Archive paroles a corny prison yarn featuring Shemp Howard and the voice of Jiminy Cricket as inmates.
Despite the slightly uplifting title, RKO's Millionaires in Prison is exactly the sort of thing you'd expect to happen today were the system ‒ which, as we all know, knows better ‒ to incarcerate a deserving fraudster or two: a lighthearted romp where no one gets hurt. This wouldn't necessarily a bad thing if the film was intended to be a comedy. Alas, Millionaires in Prison appears as if it is supposed to be taken seriously ‒ something which becomes all the more difficult to fathom when you stop to consider the film was directed by a man who mostly
Six globetrotting adventures and dramas make their HD home video debuts, including a Sonny Chiba disaster flick and that missing title from you Ray Harryhausen collection.
Although statistics and insurance companies tend to inform us most accidents occur within only a few miles of our own places of residence ‒ sometimes mostly within their very confines themselves ‒ storytellers and filmmaking industries prefer to place protagonists into plights far from home. And there is perhaps no greater assortment of variable cinematic journeys than this particular lot from Twilight Time, which range from being perfectly cordial to posing downright perilous situations for their passengers. You know, the very sort of tales that keep audiences glued to cinema seats ‒ be it from euphoric glee or sheer suspense.
Groucho's last leading role ‒ now available from the Warner Archive ‒ isn't something you'd bet your life on, but warrants a viewing from devoted Marxists just the same.
The wisdom and wit of Groucho Marx may be as timeless as comedy itself, but it can be a little hard to perceive underneath some of the late legend's latter-day contributions to cinema. And a prime example of just how hard even the mightiest of comics can struggle is no more apparent than in the 1952 RKO ditty, A Girl in Every Port. When he was given the chance to simply be himself and say whatever popped into his head (censors permitting, of course), Groucho was nothing short of dynamic. Here, however, in what would be his final leading role
Elio Petri's forgotten, strange, and very dark satire makes a long-overdue debut in the US from the newly launched Arrow Academy.
The final entry of a surrealistic motion picture trio ‒ known to fans as the "Trilogy of Neurosis" ‒ Elio Petri's strange little 1973 comedy Property Is No Longer a Theft (La proprietà non è più un furto) makes a very late US debut via the newly launched North American wing of Arrow Academy, the much more artsy side of Arrow Video. One of several titles inaugurating the Academy (which also includes the celebrated Cinema Paradiso, and offerings from Luchino Visconti and Walerian Borowczyk), Property Is No Longer a Theft is, in one word, "bizarre." But of course, that's what
The best B horror movie Universal Studios never made receives a beautiful makeover from the UCLA Film & Television Archive and The Film Detective.
Sometimes, being in the right place at the right time is all it takes. And when it comes to fairly forgotten B horror pictures from Poverty Row during the 1930s, Frank R. Strayer's underrated gem The Vampire Bat essentially flew down from the skies and into motion picture history just for its impeccable timing alone. Filmed at night on leftover sets from earlier big studio productions and rounding up a fine cast from various other recent horror hits ‒ independent or otherwise ‒ this 1933 chiller from mystery/thriller writer Edward T. Lowe Jr. has all of the heart, humor, and
Yes, it's a dog's world, but that doesn't mean you have to live in it.
When is a dog movie strictly for the dogs? When it's Won Ton Ton, the Dog Who Saved Hollywood, that's when! Unleashed upon an unsuspecting public in-between the two movies that actually would save Hollywood ‒ Jaws and Star Wars ‒ this 1976 stinker probably started off with better intentions. Intended to spoof the enormous and, by today's standards, inexplicably bizarre popularity of canine motion-picture performer Rin Tin Tin during Tinseltown's Silent Era, this equally strange byproduct of the movie-making machine ‒ manufactured during a time when animal movies had made their anomalous return to screens ‒ was, incredibly, made
Pedro Almodóvar's career-defining, groundbreaking dark screwball comedy gets the Criterion treatment ‒ and is just as awesome as you'd expect it to be.
There are few films which can combine failed romances, hysteria, spiked gazpacho, the fine art of voiceover acting, and get fully away with it. And, truly, Pedro Almodóvar is only one filmmaker in the world who could pull such a feat off, which he does flawlessly in his breakout hit, Mujeres al borde de un ataque de nervios. Effectively managing to mix the classic Hollywood screwball comedy with the esoteric humanity of Jean Cocteau and the artistic stylings of Alfred Hitchcock, Almodóvar's acclaimed, award-winning tour de farce returns to delight once more as part of the Criterion Collection ‒ and
Robin Williams turns in an exceptionally fine dramatic performance in this must-see classic from Paul Mazursky, now available in High-Definition from Twilight Time.
Immigration. Russians. No, it has nothing to do with current (controversial) topics, kids ‒ rather, said subjects are at the very heart of Paul Mazursky's Moscow on the Hudson. In fact, the word "heart" could not be any more appropriate in this particular instance, as the 1984 classic from Columbia Pictures ‒ recently added to the Twilight Time catalogue ‒ sets out to prove a point which many naysayers today seem to have missed: namely, the perfectly sound notion that them there foreigners are human beings, too. Here, the late great Robin Williams portrays Vladimir Ivanoff ‒ a circus saxophonist
The Warner Archive Collection proudly presents something anyone can sing and dance to: a Cynical Musical from the otherwise sunny 1950s.
Even if you're the type of person who generally loathes (or at least has trouble sitting through) musicals, you might actually find something to like about MGM's 1955 flop It's Always Fair Weather. For starters, It's Always Fair Weather marked the end of that strange era where larger-than-life movie musicals roamed the nation, thereby sparing many a poor sap (or sapette) any further misfortune of being dragged into an auditorium to see people sing and dance their blues away. But whereas that was the remedy in other (successful) musicals, It's Always Fair Weather proudly stood out from other song-and-dance titles
Neil Simon's Oscar-winning precursor to the contemporary rom-com receives a warm welcome from the Warner Archive Collection.
If nothing else, Neil Simon's award-winning 1977 precursor to the contemporary rom-com, The Goodbye Girl is of a certain cinematically historical significance, inasmuch as it was one of a few films written by Neil Simon that didn't start out as a Broadway play. Granted, in the years since this multiple-Oscar winner first premiered, however, The Goodbye Girl has not only garnered a musical Broadway makeover, but it has also received the dubious honor of getting its own lackluster TV remake ‒ something that, sadly, has happened far too many times with Neil Simon tales (just ask anyone who had the
The original classic receives a makeover to die for thanks to the Warner Archive Collection.
Let's take a brief gander at marriage, folks. While many of us are keen to issue a timeless, fool proof slice of advice when it comes to matrimony ‒ that of "Don't do it, it's not worth it" ‒ the fact is those darn kids never listen to us. Just ask Spencer Tracy's Stanley T. Banks in the three-time Oscar-nominated, AFI-approved 1950 classic, Father of the Bride. Though the trendsetting favorite is one of the few instances where a Steve Martin remake garnered critical praise (yes, we're still upset over that Pink Panther reboot), the original film possesses its own
The Warner Archive Collection dusts off one of the sappiest, nerve-wracking, Depression-era family melodramas ever made. Enjoy.
While I am always eager to point out how wretched contemporary filmmaking seems to have become, I can never dismiss the notion that bad movies have been getting cranked out by Hollywood since the beginning. In fact, as the type of feller who appreciates that certain kind of maligned movie manufacturing (see: just about any of my articles), I don't mind discovering a previously unseen Tinseltown atrocity from yesteryear in the least bit. That is, until I stumble across something as wretched as When a Feller Needs a Friend, of course. That's when I feel like gnawing my own arm
From forgotten comedy duos to early travelogues to matinee cowboy pictures, the WAC has just a bit of everything for classic film collectors.
In this time where people will often sit and binge-watch an entire television series, half of the population gleefully engages in such sittings regularly, while the other half will sit and wonder why the term "binge-watch" was added to the dictionary, especially since there was already a perfectly good word selected for marathon viewings in the first place: "marathon." But no matter what side of the vernacular you're on, there truly is nothing quite like being able to sit down and get a good proper feel for a particular performer or series. Thankfully, even film history's lesser-remembered talents continue to
Olive Films releases one of Bob Hope's legendary flops, which is almost bad enough to be funny.
If there's one thing film historians and aficionados alike can agree on, it's that you can't make a good movie with a bad script. Even a comedic titan such as the late, great Bob Hope would discover he was not immune to this theory as both he and his career entered the 1960s, wherein the legendary star of stage, screen, and radio ‒ who was now fully able to make a few dumb sex jokes for an hour-and-a-half thanks to changing times ‒ found himself with nothing more to do than make a few dumb sex jokes for an hour-and-a-half.
Debbie Reynolds, Doris Day, and Julie Andrews highlight a trio of amazing rom-coms from more enjoyable, innocent times.
Romantic comedies may have been a dime a dozen back in the '50s, but ‒ as any good numismatist knows ‒ a mint condition dime from the 1950s is worth much more than a pretty penny today. And the Warner Archive has been quite busy of late bringing a venerable assortment of shiny motion pictures classics to Blu-ray for future generations to marvel over, including a grand musical from the '50s, an amazing throwback to the musical from the '80s, and another '50s flick starring one of the era's most beloved musical starlets. In the latter instance, I speak of