From its opening frame, Solace leaves one with an immediate impression similar to what you might experience were you to take a swig of discounted milk from a bargain market without checking its expiration date first. It feels old. It seems slightly off. The sour taste of Solace only grows worse as all of the the markings of incompetence are repeatedly stamped over it, much like the proverbial image of well-traveled early 20th century Rockefeller's well-worn luggage would sport numerous luggage labels from different parts of the world. Alas, Solace never gets off of the runway, as its director is
Results tagged “Thriller”
Anthony Hopkins stars in a four-year-old dud based off of a decades-old, rejected sequel to 'Se7en,' ineffectively re-written to rip-off the recently revoked 'Hannibal.'
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,
Chan-wook Park's sumptuous period piece is masterfully mounted, compelling, erotic, but is more compelling than involving.
Movies that depend on plot twists have a number of complications forced on them, in order to be good and not just "twisty". The first problem is that the twists have to be big enough that they change the audience's perception of what has gone before, but not so wild that they discount everything that has happened. You want to twist the audience's head from one side to the other, but not clean off. And since most twists occur in order to bring characters into a new light, it's important that the audience has a firm grasp on character before
Imagine a seven-and-a-half-hour compilation of nothing but horror movie previews from the '80s. Then go one step further.
Before the days of easily comprised playlists, which can be effortlessly constructed via an MP3 player synced up to something resembling iTunes, we adults had to deal with the complexities of assembling party mixes with using archaic technology such as analog cassette tapes. If you were lucky, you had a dual-cassette boombox with high-speed dubbing capabilities, but that hardly made editing a breeze: you either knew when and where to release the pause on Deck One as you hit the 'record' button on Deck Two or you didn't. And that was just for audio mixes, kids ‒ compiling a video
Susan Hayward, Anthony Perkins, Tony Curtis, and Shelley Winters commit killer performances in this assortment of murderous movies.
As it has been stated time and time again, the only two things we can be certain of in life are death and taxes. Onscreen, however, within the magical realms of cinematic art (where applicable), the subject of taxation ‒ with the notable exception of various legends hailing from Loxley and perhaps a song by The Beatles ‒ is one of the dullest subjects to spend your money on. Death, on the other hand, is a timeless and bankable topic. Few people would take note of a newspaper headline reading "Taxes Paid" (unless it's a politician or religious leader), but
The Warner Archive Collection brings us both a legendary man and a man of legend in these two High-Def offerings.
Some things simply go well together, hands down. Things like chocolate and peanut butter, Burt and Loni, and ‒ of course ‒ the fine art of combining totally true stories with complete and utter bullshit. And apart from politics and people on social media who should not be permitted to access the Internet, there is no great force behind blending fact with fiction than Hollywood. And for those of you who can't handle a little truth without a bit of falsehoods being thrown into the fray, these two "true stories" ‒ recently released to Blu-ray from the Warner Archive Collection
Runaway locomotives, trainspotting hoboes, rail-hopping escapees, and deep-rooted Deep South prides and prejudices highlight this delivery of Blu-ray goods.
Generally, my attempts at finding a common link between Twilight Time's monthly releases leaves me a lot of room to improvise. In the instance of the label's October 2016 releases, however, I didn't have to delve in too terribly far beneath the surface, especially with titles like Runaway Train, The Train, and Boxcar Bertha staring me right in the face. Combine that with the fact there is an awful lot of Southern drama involved in a large portion of the mix ‒ specifically in The Chase and Hush… Hush, Sweet Charlotte ‒ and, well, I'm sure you get the idea
From classic tear-jerkers to vintage knee-slappers, these goodies are sure to warm the hearts and tickle the funnybones of movie buffs.
It's that time of the year once again, videophiles. And with all of the crazy mixed-up offerings 2016 has been pulling on us from the very beginning, there is some considerable comfort to be found in what Universal Studios Home Entertainment has put together for the holiday season. First and foremost is the prospect of you and yours spending a very Marxist Christmas (or perhaps Hanukkah would be more appropriate) with one of the most eagerly awaited Blu-ray box sets for classic comedy lovers everywhere. I speak, of course, of The Marx Brothers Silver Screen Collection: a three-disc High-Def item
The groundbreaking madness of John Carpenter. The murderous manifestations of Dario Argento. The deranged imagination of Frank Henenlotter. On boy, here we go!
While none of the titles covered in this article are necessarily new to the world of home video by any means, it is with a certain amount of pride I announce these four offerings have received what could very well be their definitive editions. And that's not an accomplishment which is easily accomplished, given the various histories of each flick. John Carpenter's The Thing ‒ now considered one of the finest science fiction/horror hybrids ever made ‒ was initially met with a great amount of disdain upon its debut in 1982, when timid audiences would have much rather consumed the
Duccio Tessari's bizarre giallo/poliziotteschi/krimi hybrid hatches once again thanks to the diligent efforts of Arrow Video.
It hasn't even been a year-and-a-half since the UK-based Arrow Video label first expanded into the U.S. market, but in that short amount of time, they have managed to conquer many a blackened heart, releasing a number of significant cult classics from all over the world very few folks ever thought they would even see on DVD, let alone Blu-ray. With a venerable selection of trippy Italian thrillers already under their belt, Arrow continues to broaden the horizons of giallo lovers who, up to this point, though that they had seen everything when it comes to movies centering on anonymous
From bitter one-armed, one-legged, one-eyed veteran vigilantes in Santa Barbara to faithful female Jewish writers smuggling money into Nazi Germany, this lot of features proves all is indeed fair in love and war.
In a previously penned piece, I published my admiration of Michael Winner's Chato's Land (1972), which saw a recent Blu-ray debut via Twilight Time. It was just one of six titles from the label released in April of 2016, along with five more motion pictures, each sporting their own similar feelings towards not only love and war, but the rules we break in order to win one or the other. In Chato's Land ‒ an allegory to the Vietnam War ‒ Charles Bronson's halfbreed huntsman only takes to killing once his adversaries take their little cat and mouse game off
Karyn Kusama's creepy little thriller finds it scares in strained manners and social tension rather than loud noises.
Writing about a movie like The Invitation is a delicate business, because much of its effectiveness depends on the surprise twists in the narrative. Even mentioning that there are surprise twists in effect telegraphs what they can be. From any story premise, there are only so many possibilities that can happen. In a story about a man who thinks people are out to get him, he either needs to be vindicated, or shown definitively to be paranoid. A middle road essentially means there's no story. It's a testament to the craftsmanship that went into The Invitation that, even though the
Five films from both film and real life history alike make their High-Definition debuts.
From the rise and fall of great lands to the genesis of new ones, and a few odd points in-between, Twilight Time has all bases of great storytelling covered in this assortment of features from their March 2016 lineup. Here, we pay our respects to filmic adaptations of true historical accounts of the lives (and sometimes deaths) of the grandiose, the humble, and the downright dangerous. We being in a time and place far removed from contemporary society (though the political situation hasn't changed all that much, when you think about it), with a tale of some minor footnote of
The Warner Archive Collection uncovers a fun little flick about reeling in one big Commie plot.
There are many ways a film can become outdated. Our increasingly advancing world of technological wonders has made countless science fiction films archaic. Obsessions with keeping fit have resulted in reanimated individuals with rigor mortis able to run in zombie movies. Shifting political and economic winds have turned allies into enemies in stories of war. But of all the things which date a motion picture, none has the ability to alienate quite as much as employing a current trend or popular saying in a feature. Mullets may have been "in" at one fashionably challenged point in time (see: hipsters) ‒
Samuel Goldwyn's one and only film noir is also the bleakest irreligious religious movies in history.
Prolific filmmaker Samuel Goldwyn left this world in 1974 to start issuing malapropisms in the world beyond, he had personally produced no less than 139 films, to say nothing of the motion pictures he had distributed, presented, or even lent his assistance to for other filmmakers around the world. And yet, with titles such as Wuthering Heights, The Best Years of Our Lives, and These Three under his belt, Mr. Goldwyn only ever made one film noir. And just like many of his other successes, the seldom-seen 1950 noir Edge of Doom, has the distinction of being one of the
Arrow Video places two more (partly) forgotten gialli on the map in a box set that some folks will kill for.
Following in on the high, blood-stained heels of their previously-released gialli box set, Death Walks Twice: Two Films by Luciano Ercoli, Arrow Video has once again assembled a mini ensemble to two dissimilarly similar titles from a somewhat forgotten Italian genre filmmaker. This time, we are allotted the opportunity to discern (and maybe even dissect) two unique thrillers from the realm of movies fueled by sex, violence, funky fashions, even funkier music, and J&B Scotch aplenty, both of which were helmed and brought to fruition by one Emilio P. Miraglia. Much like Ercoli ‒ whose films were made and distributed
Larry Cohen's comical, horrifying look at rampant commercialism, American gluttony, and corporate greed gets another chance to creep around thanks to Arrow Video.
As a screenplay artist, Larry Cohen has many a unique offering under his literary belt. The New York-born auteur first started writing mysteries for television when he was only in his early twenties, and his god (told me to) given knack for penning thrillers soon found him cranking out teleplays for cult airwave favorites such as Branded, The Invaders, and Columbo during the '60s and '70s. Then, during the early '70s, Mr. Cohen was permitted to expand his filmmaking résumé with a directorial debut in the realm of a present subgenre phenomenon: blaxploitation movies. As a result, Larry was also
From deadly strolls about in High Heels to casual executions committed at Midnight, this two-fer from Arrow Video USA is sure to make a killing among fans of classic Italian thrillers.
Though born in the early '60s, only a few short years before various forms of psychedelic and sexual revolutions began to spin a seemingly stuck planet in circles far too fast for even God to fathom, the giallo film truly started to roll about freely once the 1970s came to pass. The titles were unabashedly long and lurid; the storylines both baffling and beguiling; the murders downright bloody, yet immeasurably inventive. These were the thrillers ripped straight from Italy's sleazy pulp fiction crime novels boasting distinctive yellow (or, "giallo," if you will) jackets which kept moviegoing audiences glued to their
A stylish thriller that combines both Let The Right One In and Carrie.
Bullying is one of those issues the media and the public have been ranting about in the last few years. Now that’s not to say there should not be any discussion on the subject. I just think this whole thing gets very little results. Not everyone is going to like you and no group meet-ups or tweet outs is going to change that. When you are faced with a bully, there are a few options. You can either stand up to them or you can run away. Another choice is to do what our main character does and just let
The 4k restoration will have its world premiere at the 7th Annual TCM Classic Film Festival.
Press release: Cinelicious Pics has announced that it will re-release in theaters and on VOD and Blu-ray this Summer its new 4k digital restoration of director Leslie Stevens' long-missing 1960 thriller PRIVATE PROPERTY, starring iconic American character actor Warren Oates (TWO-LANE BLACKTOP, THE WILD BUNCH) in his first significant screen role. A major rediscovery for noir and crime fans, PRIVATE PROPERTY has long been considered a lost feature until UCLA Film & Television Archive recently located and preserved the only known film elements. Director Stevens, who died in 1998, was a protégé of Orson Welles, and went on to create