One of the civilized world's first heartthrobs and cultural icons returns in two of his most famous works, now available on Blu-ray for the first time from the folks at Kino Lorber. Although the sands [terribly pun possibly intentional] of time may have obliterated the name of Rudolph Valentino from the limited lexicons of today's youth (especially his full name at birth: Rodolfo Alfonso Raffaello Pierre Filibert Guglielmi di Valentina d'Antonguella!), the impression the Silent Era film legend left behind ‒ as well as the universal vogue his raw sex appeal launched ‒ are the sort of things which shall
Results tagged “Drama”
Kino Lorber unleashes two of the greatest works from legendary Silent Film heartthrob Rudolph Valentino.
Twilight Time brings us two remarkable, unforgettable, trend-setting thrillers from yesteryear in two equally beautifully transfers.
Kiss of Death (1947) One of the most quintessential titles to ever emerge from the annals of film noir, Henry Hathaway's Kiss of Death still packs quite a punch today, long after a bastardized 1995 remake from the same studio left many with a foul aftertaste. Here, however, the flavor from the fatal lips administering the eponymous smooch is both robust and plentiful. This is particularly true whenever the movie's most famous character ‒ a giggling psychopathic killer sporting the time-honored moniker of Tommy Udo, as played in a groundbreaking debut by a young Richard Widmark ‒ livens up the
Love it or hate it, Arrow Academy has unveiled an undeniably beautiful box set for one of Luchino Visconti's final films.
I would only be slightly remiss were I to openly admit history was never my strongest subject in school. Truth be told, when I wasn't having assorted slurs shouted at me in the hallways or eluding those who wanted to stuff me in a locker, I was safe in my room at home watching movies most people had forgotten about. And the truly beautiful part about those otherwise terrible years was my ability to sit through even the longest, most boring film known to man and still be able to focus on it. Sadly, enduring great strides of monotony is
Elio Petri's forgotten, strange, and very dark satire makes a long-overdue debut in the US from the newly launched Arrow Academy.
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
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
Vindictive villains, stereoscopic Stooges, speculative spouses, heroic horsemen, and illiterate inventors highlight this quartet of New-to-Blu releases.
At one point or another, every one of us falls under the jurisdiction of being that which they once called the "odd man out." Maybe you're that unathletic movie nerd who finds himself amidst a group of people talking about sports. Or you're the jock who can't seem to communicate with all of the people talking about a popular television series you've never heard of. I'm sure you get the idea ‒ as do the various protagonists of this batch of Blu-ray releases from Twilight Time, which features a wide array of odd men who are a bit out of
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.
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 Warner Archive Collection unveils a marvelous, meticulously restored look this WWII classic.
Initially advertised to the public as "The First Great Picture of the Second World War!", William A. Wellman's 1949 epic Battleground certainly lives up to its own hype ‒ something very few films can truly lay claim to. Sporting an all-star cast that was trained by twenty veterans from the actual events the film's story is based on ‒ a heroic assembly the history books dubbed "The Battered Bastards of Bastogne" ‒ the two-time Oscar winner from writer Robert Pirosh (who won a total of three awards for this work) lives to fight another day thanks to another spectacular catalogue
The single-location thriller goes international with the simplistic Mine.
The single-person drama is a genre Hollywood hasn't unlocked yet. The ultimate in high-concept storytelling, the single-person story requires high stakes and a seamless integration of character development that allows us to care about the character's success or failure for the established runtime. Mine is the latest in to try to make one person in a high-risk situation compelling and it works on paper. With a sufficiently stressful situation with real-world counterpoints and an intense performance for its lead, Mine settles onto the shakiest ground when it tries to bridge the gap from the professional to the personal. After a
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
A forgotten, completely forgettable underwater treasure-hunting flick receives more love than it probably deserves in this fully restored, fully loaded 3D release from Kino Lorber.
While perhaps best known for writing classic crime novels such as Little Caesar and The Asphalt Jungle ‒ to say nothing of the classic motion picture versions of his own celebrated work ‒ W.R. Burnett also managed to adapt a few titles from other authors for the silver screen. One such title, a modest little 3D production from 1960 entitled September Storm, fell through the slats of the proverbial pier many moons ago, only to recently reemerge from the deep thanks to some very devoted Kickstarter followers. In fact, were it not for the people behind this restoration, this September
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
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 Warner Archive Collection shows us its dark side with two more gems from the fabulous world of film noir.
While history's greatest philosophers wise men may have brought forth many a pertinent question as to the purpose and situation of the human race, it was a total wise-ass the history books have unapologetically miscredited as a guy named Murphy who really seemed to hit the nail on the head with the phrase "Anything that can go wrong, will." In fact, Murphy's Law is one of the few philosophies which can be applied into storytelling without fear of alienating an audience, because if there's one thing any adult who has ever had to work for a living can tell you,
The motion picture that single-handedly brought about the fall of the Hays Code receives a fearless restoration from the Warner Archive Collection.
Sixteen years after Elizabeth Taylor transcended from child actress into a full-fledged "adult" in Father of the Bride ‒ wherein, it should be noted, she entered her first of eight failed marriages ‒ the still-famous actress showed us just how big of a girl she could be. In every respect. For here, in 1966's motion picture landmark, Who's Afraid of Virginia Woolf?, we see a 32-year-old Liz donning more than a little stage padding as she stars alongside her most "popular" husband, Richard Burton, as Martha: an obnoxious, alcoholic, middle-aged shrew whose outward vulgarity is only complimented by the infinite
Kenneth Lonergan crafts a near-perfect, and superb tale of humanity through the darkness.
Last year, 2016, was actually a great time for thought-provoking cinema. You had a modern musical; a story of a young man's coming-of-age; a scifi tale of alien contact; a tale of revenge, among others; and acclaimed director Kenneth Lonergan's Manchester By The Sea, a tale of redemption/courage/compassion through unbearable tragedy was a perfect reason why. It's a film or experience of a family's journey of hope through pain; community through extreme loss, and connection through personal struggle that everyone can relate to. Casey Affleck stars as Lee Chandler, a Boston janitor, who suddenly becomes the sole guardian of his
The Warner Archive Collection presents the home video debut of this legendary box office failure featuring a young Ian McKellen.
Sprawling epics were all the rage in the 1950s, with fantastical biblical yarns and timeless tales of undefeatable conquerors popping up in theaters near and far, usually presented to eager audiences via the modern miracle of of CinemaScope and stereo sound. And yet, long after American filmgoers had had their fill of wildly inaccurate and often preposterous cinematic blockbusters which damn near bankrupted Hollywood's biggest studios, the Brits decided it was their turn to rewrite history and produce a large-scale saga which people would avoid in droves. Thus, Alfred the Great ‒ the UK's 1969 throwback to the great epics
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