Press release: After nine years of successful operations in which 380 motion pictures from the 1930s to the 2010s have been released on DVD and Blu-ray disc, the home video label Twilight Time founded by veteran Hollywood studio executives and filmmakers Brian Jamieson and the late, dearly celebrated Nick Redman, will not release any further titles and we will be winding down operations this summer. A changing market, the rising costs of title acquisitions and the passing of longtime partner and company spokesman Nick Redman, are key reasons for the closure. As part of our winding down process, there will
Results tagged “Twilight Time”
A "Goodbye" and "Gratitude" sale for their incredible supporters commences Monday May 11th.
Starring Marlon Brando and Yul Brenner, Morituri is a great spy thriller beautifully shot aboard a real German frigate.
The cliché is, they don't make them like they used to. But, damn it, movies like Morituri don't get made anymore. It's a suspense thriller with a complex technical background with several moving parts, both in the setting and the character interaction. It was made in a time where special effects were difficult to impossible to achieve, so the amazing things you see aren't done with computers, but with some underpaid idiot risking his life to get a shot. And there was an inkling in the filmmaker's mind that an adult might be in the audience, so the level of
Richard Dreyfuss is Moses Wine, a former-hippy detective whose latest case takes him back to his radical roots.
Despite being such a sunny city, Los Angeles is the home of noir. All those sun bleached streets are hiding the deepest shadows. Many of the best literary mystery writers set their stories. Ray Chandler's Philip Marlowe and Ross MacDonald's Lew Archer hit the mean streets of Los Angeles, as does Harry Bosch and the various morally-conflicted cops of James Ellroy's various pitch black noirs. Unique among this varied crowd of detectives is Moses Wine. Philip Marlowe was a white knight of the streets. Lew Archer was WWII vet and amateur psychologist who found social ills at the foundation of
Even a saucy Dame Helen Mirren can't save this clunker.
If there was a template for the movie genre where a nice boy falls for a hooker and complications ensue then Hussy would have followed it to a “T”. If there isn’t and you needed to write one, then you’d need to look no further than this film. Its story is so average, so full of everything you've seen in similar films, you'll wonder if you haven't seen it before. Follow along with me: boy falls for the hooker, boy gets jealous of hooker for sleeping with other people, hooker’s abusive ex enters the scene, boy hatches a shady scheme
Gregory Peck and J. Lee Thompson team up for a third and final time in this dullard of a spy flick.
For their third and final collaboration director J. Lee Thompson and Gregory Peck made The Chairman, a spy thriller about an anti-violence academic sent to Communist China to steal a plant enzyme. It is just exactly as exciting as that sounds. Peck plays John Hathaway, a Nobel Prize-winning professor who used to do a little espionage on the side. He gave that and violence up altogether when his wife died in a car crash that caused him to realize all life is precious. But when the President calls asking him to go to China because they’ve developed a secret enzyme
The Snake Pit Blu-ray Review: One of the First and Best Motion Pictures to Bring Mental Illness to Life
A controversial, watershed classic that taps into a relatable topic that afflicts many of us.
The topic of mental illness today is still a really prickly issue that may people refuse to discuss with others. Either they are dealing with it and don't want anyone else to know, or that they may have someone in their family that's suffering from it. However, there are modern films, such as One Flew Over a Cuckoo's Nest (1975), A Beautiful Mind (2001), and Melancholia (2011) that depict in their own way, the confusion and misunderstandings that comes with mental illness. Way before all of those films, the 1948 classic The Snake Pit, directed by Anatole Litvak, was one
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.
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 and Twilight Time give us some old song and dance routines, available in High-Definition (and in one case, widescreen) for the first time.
You know the feeling. You're sitting there, minding your own business, enjoying the sights and sounds of a classic motion picture. Suddenly, the gears seem to shift: orchestral accompaniment appears out of nowhere as characters begin to step in pace with one another, speaking in lyrical rhymes before breaking out in full-out song and dance routines. "Oh God, they're singing!," you cry out, realizing you have been sucked in once more by a movie musical. But don't worry, I won't judge ye. In fact, after witnessing all of the toe-tapping antics found in these three titles ‒ all of which
All is fair (great, in fact!) in love, war, and on the road in this trio of classics from Twilight Time.
American and Japanese. Remakes and originals. Love and war. Though they may all appear to be starkly different on the outside, this trio of Twilight Time releases from (or at least filmed in) Japan evinces we're only human on the inside. The Emperor in August (2015, Shochiku Company) Remaking a classic historical war film is never an easy task. Especially when the story focuses on internal political strife as opposed to the always bankable sight of what SCTV's Farm Film Report would likely refer to as "stuff gettin' blowed up real good." It's an ever harder chore to pull off
Twilight Time unsheathes an enjoyable Hammer Films outing with ex-Sinbad Kerwin Mathews and a smoothly sinister Christopher Lee.
Your friends might argue a pirate movie won't float without water. Or an actual pirate ship. Heck, even an award-winning 2005 pornographic cash-in of Disney's Pirates of the Carribean had a boat, for porn's sake! But then again, so did Renny Harlin's Cutthroat Island and Roman Polanski's Pirates ‒ a pair of box office failures regularly cited as two of the worst pirate films ever made today. And, while forcing your friends to watch those two flicks may provide an easy win to such a foreseeable argument. Ultimately, however, the best way to succeed in winning a disagreement over whether