Sam Peckinpah's second film, Ride the High Country, is a captivating Western about two old gunslingers who reunite for a dangerous job. With limited resources and futures, their relationship is tested, as is each man's character, along the journey. Former marshal Steven Judd (Joel McCrea) is hired by a bank to transport gold from the mining town of Coarse Gold. Six miners have been killed trying to make the trip, but he needs the work. Steve runs into his old deputy Gil Westrum (Randolph Scott), who is working as a hustler with a young man named Heck Longtree (Ron Starr),
Results tagged “Warner Archive”
The Blu-ray's video shines as bright as the film's two lead actors.
The Warner Archive Collection travels through time and space to bring us one of cinema's first ‒ and strangely optimistic ‒ views of a post-apocalyptic future.
While the notion of living in a world ravaged by nuclear war may be a regular staple in motion pictures today, it was just as much of a newfangled concept in the 1950s as was the very thought of a post-apocalyptic society itself. Of course, when it's an era where the basic "science" behind surviving an atomic blast suggested hiding under your school desk would do the trick, you have to expect a fair bit of silliness from the few movies that dared to tackle the subject. Certainly, Edward Bernds' World Without End ‒ a lavish Technicolor CinemaScope production from
One of the most amusingly bad drive-in monster movies ever conceived receives a beautiful new HD transfer from the Warner Archive Collection.
What can you say about a monster movie featuring a walking, stalking, murderous tree on a wooden rampage? In the instance of From Hell It Came, you can say a whole heck of a lot just by saying very little. In fact, the most commonly referenced review of the movie was a six-word piece which read nothing more than "And to Hell it can go!" But ne'er fear, kiddies ‒ From Hell It Came has managed to uproot itself and terrorize unsuspecting filmgoers once again. This time, however, bad movie aficionados 'round the world will be able to fully immerse
The Warner Archive Collection dusts off an odd comic rarity with Ida Lupino and an epic battle of dirty looks between Jack Oakie and Billy Gilbert.
If the Academy ever opted to include a category for the goofiest faces made on film, RKO's 1937 production of Fight for Your Lady would have to win one of the first posthumous awards. One of three movies director Benjamin Stoloff made with a young unknown actress by the name of Ida Lupino (a few years away from becoming the film noir femme fatale and pioneering producer/director she is best remembered for today), this charming little lighthearted ditty from yesteryear finds John Boles (the third wheel of James Whale's love triangle in 1931's Frankenstein) as a famous singer with a
A shockingly subdued Rod Steiger stars in this Italian-made WWI dramedy from Pasquale Festa Campanile.
From a screenwriting perspective, Pasquale Festa Campanile was a fairly active fellow. Beginning in the 1950s, Campanile would go on to pen nearly 60 motion pictures, including a heap of melodramas and sex comedies, most notably the Senta Berger guilty pleasure When Women Had Tails. During the early '60s, he would collaborate with both Elio Petri and Luchiano Visconti on The Assassin (1961) and The Leopard (1963). He was also the fellow responsible for writing and directing the gritty cult 1977 thriller Hitch-Hike with Franco Nero and the late David Hess, proving the late Italian filmmaker knew how to choose
Ken Russell's hallucinogenic homage to Busby Berkeley is just that ‒ and the Warner Archive has made it even trippier via a beautiful (and uncut) restoration.
While musicals aren't my prefered form of motion picture entertainment, I did, in fact, see many a song-and-dance flick during my youth. That said, with the exception of the glamourous Fred Astaire and Ginger Rogers classics of the 1930s (all of those movies which just happened to feature a musical number don't qualify in my less-than-established but nevertheless somewhat experienced opinion), most of my interaction with musicals tended to be of a decidedly off-kilter variety. In fact, I can't even count how many times I have seen Phantom of the Paradise, The Rocky Horror Picture Show, Pink Floyd: The Wall,
The Warner Archive raises the curtains on a movie that would be both Francis Ford Coppola's first studio film and Fred Astaire's last complete musical.
As the end of the 1960s rolled around, bringing with them the many changes some people are still having a difficult time wrapping their ideologies around, the timeless tradition of the standard movie musical began to make a much-needed alteration as well. One such example was 1968's Finian's Rainbow. Directed by a young novice named Francis Ford Coppola, this big-screen version of E.Y. Harburg and Fred Saidy's stage success features many of the elements the '60s are so well remembered for ‒ namely, civil rights and stinkin' hippies. It's pretty hip to the times, even if it is slightly bewildering
The kooky, slightly kinky '70s sci-fi horror hybrid featuring the talents of the late Fritz Weaver and Robert Vaughn receives a beautiful makeover from the Warner Archive.
Released just a few months before Star Wars and Close Encounters of the Third Kind would become science fiction movies to end all science fiction movies, Donald Cammell's 1977 horror hybrid Demon Seed really isn't the easiest movie in the world to fathom. Not without some combination of drugs or alcohol, at least. Based on an early story by Dean Koontz, the tale finds Fritz Weaver ‒ no stranger to either genre ‒ as a computer genius who builds the supercomputer to end all supercomputers. Little does he know, however, that his latest, greatest invention may actually turn out to
Two classic features from the one and only Joan Crawford return to DVD thanks to the Warner Archive Collection.
While previously released to DVD by Warner Bros. Home Entertainment, a number of Joan Crawford classics had fallen into that unfavorable "Out of Print" status movie collectors so hate to see. Fortunately, a total of six Crawford vehicles ‒ Dancing Lady, Sadie McKee, Strange Cargo, A Woman's Face, Flamingo Road, and Torch Song (the latter five of which comprised the bulk of The Joan Crawford Collection, Vol. 2 from 2008) ‒ have re-emerged from moratorium thanks to the Warner Archive Collection, two of which are reviewed here. In A Woman's Face, a 1941 thriller from director George Cukor, we not
Like a trusty katana, the Warner Archive Collection whips out this neglected, gritty, emotional '70s cult classic with much grace and dignity.
What can you say about a Japanese-American co-production from the director of Three Days of the Condor as written by the beautifully dark minds who penned Chinatown, Taxi Driver, and Kiss of the Spider Woman? Well, if said film also happens to star the great Robert Mitchum alongside Japanese icon Ken Takakura, and features an eclectic funky score by Dave Grusin, then the one and only official answer to that query is a heartfelt "Plenty!" ‒ as Sidney Pollack's 1974 cult classic The Yakuza should prove to even the most jaded classic movie buff beyond a shadow of a doubt.
The irreplaceable Judy Holliday teams with the one and only Dean Martin for a musical extravaganza which has received a dynamic makeover from the Warner Archive.
The history of the American musical is indeed a fascinating one, particularly once the genre was introduced to the ever-changing world of the 1960s. Far removed from filmed vaudeville acts and Broadway show adaptations from the dawn of the Sound Era in the late '20s, the once-harmless naïvety of the movie musical of yesteryear was about to be shown the door by an increasingly cynical society which would soon be surrounded by great shifts in both cultural and political trends. And the beginning of those changes are quite noticeable in the classic 1960 musical Bells Are Ringing, which is now
The Warner Archive Collection shows off two showcases of animators Ray Harryhausen and Jim Danforth in these splendid catalog releases.
Decades before civilized man would figure out new and inventive ways to suck the life out of that good ol' fashioned movie magic previous generations grew up looking up to, a species of gifted animators roamed the great halls of special effects studios near and far. Out of all the long-leggedy beasties, none were as revered and respected as the Hausenusharrius Rayus ‒ better known as Ray Harryhausen to us laymen ‒ whose magnificence and might effectively crowned him King of the Stop-Motion Animators. And it is with one of his tales that we begin this peek at two recent
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
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
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 Warner Archive Collection brings us the groundbreaking precursor to the revenge film genre in what is easily one of the most beautiful transfers of the year.
A stranger arrives in a small town, only to discover he isn't wanted. While such a premise may have been quintessential in the storyline of every other classic oater western made in the '30s and '40s ‒ to say nothing of many a hicksploitation thriller that graced grimy screen throughout the '60s and '70s ‒ said diegesis has never been more at home than in John Sturges' 1955 Bad Day at Black Rock. Here, in a performance that would earn him a Best Actor award at the Cannes Film Festival that same year, the one and only Spencer Tracy portrays
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