March 3, 2017

Blu-Ray News: PATRIOTS DAY Arrives on Digital HD March 14 and Blu-Ray March 28


Witness the heroism behind one of the most sophisticated manhunts in law enforcement history in the critically acclaimed film Patriots Day, arriving on Digital HD March 14 and 4k Ultra HD Combo Pack (plus Blu-ray and Digital HD), Blu-ray Combo Pack (plus DVD and Digital HD), DVD, and On Demand March 28 from Lionsgate and CBS Films. The 4K Ultra HD, Blu-ray, and Digital HD releases have over 90 minutes of bonus material including five behind-the-scenes featurettes. 

Director Peter Berg (Lone Survivor, Deepwater Horizon) and Academy Award nominee Mark Wahlberg (Best Supporting Actor, The Departed, 2006) reunite in this intense and courageous story of a tragedy that shocked the nation. Patriots Day features an all-star cast including Golden Globe winner Kevin Bacon (Mystic River), Golden Globe winner John Goodman (Argo), Academy Award winner J.K. Simmons (Best Supporting Actor, Whiplash, 2014) and Golden Globe nominee Michelle Monaghan (TV’s “True Detective”). Story by Peter Berg & Matt Cook and Paul Tamasy & Eric Johnson. Screenplay by Peter Berg & Matt Cook and Joshua Zetumer.

VIEW THE TRAILER:

March 2, 2017

Blu-Ray Review: WE ARE THE FLESH

Starring Now Hernandez, Maria Evoli, Diego Gamaliel, Gabino Rodriguez. Directed by Emiliano Rocha Minter. (2016, 79 min).
ARROW FILMS 

You'll be happy to learn that, even after the apocalypse, there will still be a limitless supply of duct tape. 
 
Two sibling survivors, Fauna and Lucio (Maria Evoli & Diego Gamaliel), wander into an dilapidated warehouse where they meet a clearly psychotic vagrant named Mariano (Noe Hernandez), who feeds and shelters them for a price: They must help him convert the inside of the building into a womb-like cave. Eventually, they are also coursed to engage in incest, necrophilia, murder and cannibalism.

I had read & heard a lot about We Are the Flesh, both good and bad, prior to finally viewing it. Touted as surrealist art-horror by some, condemned as self-indulgent sleaze by others, there seems to be no middle ground. Regardless of which camp you'd plant your flag, I almost guarantee you haven't seen anything quite like it.

Maria spots her pants in a tree.
You'll also probably want to scrub-out your eyeballs afterwards. While not really a horror film, most of the imagery in We Are the Flesh is certainly horrific. It's loaded with grimy, semi-pornographic sex and (literally) in your face full-frontal nudity that's calculated to repulse more than titillate (if you are aroused, you've got issues, my friend). The film isn't particularly violent, save for one extremely graphic murder that goes on forever and is tough to endure in the context of why it's committed.

Little of it makes any actual narrative sense. Any "story" beyond the initial premise is nearly incomprehensible. Mariano rants and raves during the proceedings like the unholy offspring of Jim Morrison and Charles Manson, but none of his pseudo-philosophic ramblings render the movie any more coherent. Writer-director Emiliano Rocha Minter bombards us with gonzo grotesquery, then tacks on a twist ending that might impress anyone not completely baffled by the previous 75 minutes. But at-least that ending sort-of explains why all that duct tape is still available in abundance.

Only if viewed as some sort of twisted fever-dream does We Are the Flesh really work, and it's safe to say traditional horror fans will probably get more than they bargained for. The whole thing is also really pretentious, sometimes even tedious, including all the bizarre, perverse imagery Minter appears to enjoy rubbing our noses in long after it has dulled our senses. Some viewers may find it brilliant, and maybe there's something deeper here, but I sure as hell didn't find it. Perhaps someone should inform Minter that simply being uninhibited doesn't necessarily make you bold.

EXTRA KIBBLES
CAST AND CREW INTERVIEWS
VIDEO ESSAY BY VIRGINIE SALEVY - She's a strong advocate for the film, though her insight didn't render the thing any clearer.
"DENTRO" & "VIDEOHOME" - Two early shorts by the director.
BEHIND-THE-SCENES STILLS GALLERY
TRAILER
KITTY CONSENSUS:
WTF?

March 1, 2017

Zombie News: THE GIRL WITH ALL THE GIFTS Arrives April 25

The post-apocalyptic zombie thriller, THE GIRL WITH ALL THE GIFTS, arrives on Blu-ray Combo Pack (plus DVD and Digital HD), DVD and Digital HD April 25 from Lionsgate Home Entertainment. The film is currently available On Demand.

Step into a future dystopia when the post-apocalyptic zombie thriller, The Girl with All the Gifts, arrives on Blu-ray Combo Pack (plus DVD and Digital HD), DVD and Digital HD April 25 from Lionsgate. The film is currently available On Demand. Six-time Academy Award® nominee* Glenn Close stars alongside Gemma Arterton and Paddy Considine in this story of society’s breakdown after the outbreak of an unprecedented plague. Hailed as “an effective, scary, and emotional zombie movie” by ComingSoon.net, it was shown during Midnight Madness at the 2016 Toronto International Film Festival. Based on the critically acclaimed, Edgar Award-winning short story, "Iphigenia in Aulis“ by M.R. Carey, The Girl with All the Gifts Blu-ray Combo Pack and DVD will be available for the suggested retail price of $24.99 and $19.98, respectively.

Humanity has been all but destroyed by a fungal disease that eradicates free will and turns its victims into flesh eating “hungries.” Only a small group of children seems immune to its effects.  At an army base in rural England, these unique children are being studied and subjected to cruel experiments.  When the base falls, one little girl escapes and must discover what she is, ultimately deciding both her own future and that of the human race.

OFFICIAL TRAILER:
 

February 28, 2017

Blu-Ray Review: ALLIED

Starring Brad Pitt, Marion Cotillard, Jared Harris, Lizzy Caplan, Matthew Goode, Anton Lesser, August Diehl. Directed by Robert Zemeckis. (2016, 124 min).

Remember 80s and 90s when Robert Zemeckis was nearly synonymous with conceptually ambitious "event" pictures? Some were groundbreaking technical achievements for their time, others simply had massive audience appeal. A few, like Who Framed Roger Rabbit and Forrest Gump, were blessed with both. Regardless of the film, Zemeckis had a Spielbergian knack for marrying astounding visuals with terrific characters and compelling narratives.

That was a long time ago. It looks now like Zemeckis is more interested in adult-oriented drama than blockbusters. While he's more-than-earned that right, he's experiencing some growing pains, much like Spielberg during his Empire of the Sun and Always days. Case-in-point, Allied is, as one would expect, technically brilliant, and Zemeckis manages to capture many potentially-mundane scenes in a way we haven't seen before (certainly one of his trademarks). But sometimes his sensibilities aren't what a film like this needs.

Best first date ever.
Brad Pitt plays Max Vatan, a Canadian spy working for British Intelligence during World War II, who teams up with a member of the French Resistance, Marianne Beausejour (Marion Cotillard), to assassinate a German ambassador in Casablanca. While undercover as husband and wife, they fall in love for real. After their mission is complete, the two return to England to marry and raise a family.

Fast-forward a year; Max now serves the British from behind a desk while Marianne looks after their daughter, Anna. Aside from the occasional German air-raids, things are idyllic until Max is informed by his commanding officers that Marianne is suspected of being a German spy. They plan on baiting her with false intelligence (a 'blue dye' operation), and if what they suspect turns out to be true, Max is ordered to kill her himself. Max refuses to believe it and sets out to prove Marianne is who she says she is, which includes going back into German-occupied territory.

"Honey...someone made boom-boom."
Touted as a romantic thriller, Allied is sometimes quite thrilling indeed, particularly the initial assassination mission. Later, as the story begins to unfold, the film does a good job making the audience wonder whether or not Marianne is in cahoots with the enemy. As for the romance...Pitt & Cotillard are certainly an attractive couple and deliver earnest performances, but they go from zero to madly in love with very little transition. Afterwards, their relationship doesn't really gel like, say, Rick and Ilsa's in Casablanca (an obvious inspiration), no matter how often they hop between the sheets. This threatens to dampen any emotional payoff the viewer is expecting.

Then again, emotional resonance was never really Zemeckis' strongest suit. Allied works best when he's clearly in his element, meaning the film is visually arresting, with a few jaw-dropping sequences (such as a German bomber crash in the center of London). And the story itself is actually pretty interesting, which Zemeckis punctuates with some expertly executed (and violent) action scenes.

So while Allied isn't quite the emotionally-charged epic it wants to be, it's an entertaining enough thriller to maintain interest for two hours. It doesn't rank among Zemeckis' crowning achievements, though compared with his more recent adult-oriented fare, this film is much better than the inexplicably overpraised Flight. Bottom line...Allied is worth a watch for spy thriller fans, less so for those seeking sweeping romance.

EXTRA KIBBLES:
FEATURETTES (all titles are pretty self-explanatory): "The Story of Allied"; "From Stages to Sahara: The Production Design of Allied"; "Through the Lens: Directing with Robert Zemeckis"; "A Stitch in Time: The Costumes of Allied"; "'Till Death Do Us Part: Max and Marianne"; "Guys and Gals: The Ensemble Cast"; "Light, Pixels, Action! The Visual Effects of Allied"; "Behind the Wheel: The Vehicles of Allied"; "Locked and Loaded: The Weapons of Allied"; "The Swingin' Sound: The Music of Allied"
DIGITAL COPY
KITTY CONSENSUS:
NOT BAD...LIKE CAT CHOW

February 25, 2017

Blu-Ray Review: DOCTOR STRANGE

Starring Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Mads Mikkelsen, Tilda Swinton, Benjamin Bratt, Scott Adkins. Directed by Scott Derrickson. (2016, 115 min).

I couldn't care less about the Marvel Cinematic Universe. Most of the movies are enjoyable enough, but the best ones are less immediately-concerned about their characters' place in the MCU than providing a good, solid stand-alone story. For example, the first two Captain America movies worked so well because they focused primarily on its title character and his ongoing battle with Hydra. However, Captain America: Civil War was top-heavy with superheroes and spent so much time setting up the MCU's future that it forgot to be a Captain America sequel. And, no, I don't care if that's how things played out in the comic books. The overall narrative success of one film should not hinge on the viewer having seen a half-dozen others.

For those who may not be up-to-speed on who's feuding with who, Doctor Strange is a breath of fresh air. Like Guardians of the Galaxy, Marvel adapts a relatively obscure comic into an entertaining and amusing action film that doesn't depend on knowledge of a pre-existing universe or the myriad heroes defending it (the title character may be even more obscure to general audiences than Ant-Man). It's unmistakably a Marvel film, so of course the fate of the world is at stake. And yeah, it's loaded with some overly-ambitious CGI spectacle that, while elaborate, distract more than enhance (not-to-mention being highly reminiscent of Inception). Obligatory character origins are a necessary evil, I suppose, meaning the first forty minutes or so tread awfully familiar ground (and bare more than a casual resemblance to Neo's Matrix training).

Benedict and Chiwetel participate in the annual Run Like Tom Cruise Marathon.
However, like Guardians (as well as the original Iron Man), amid all the whiz-bang fireworks are interesting characters, a cast of truly great actors and a clever script to work with. Benedict Cumberbatch embodies the title character as effectively as Robert Downey Jr. once did, meaning his newly-acquired abilities haven't completely stripped him of his personality (or his ego). One criticism often leveled at Marvel movies is their weak villains, but as Kaecilius, the great Mads Mikkelson is suitably menacing, even empathetic & funny sometimes. And personally, I didn't even have a problem with The Ancient One being gender-swapped. While I certainly understand the criticism over whitewashing a traditionally Tibetan character, any decision to stick Tilda Swinton in your movie is ultimately a good one.

"Damn...where the hell is Waldo?"
Once the film takes care of the preliminaries and introductions to focus on the story proper, Doctor Strange gains momentum like a runaway boulder, building to a climax that includes a surprising amount of intentional humor along with all the sensory overload. Though hardcore fans might be disappointed, references to the MCU are largely (and wisely) kept on the down-low, with no real baring on the story itself. One of the standard post-credit sequences does suggest Marvel has big plans for some of these characters in the MCU, but Doctor Strange works nicely enough on its own merits. Call me silly, but that should be priority-one with any movie.

EXTRA KIBBLES
FEATURETTES:
"Team Thor Part 2" - Another amusing little reality TV-style spoof featuring Thor and his roommate;
"A Strange Transformation" - Making of featurette with plenty of behind-the-scenes footage;
"Across Time and Space" - Featurette focusing on visual effects and fight cherography;
"The Fabric of Reality" - Costume & set design;
"Marvel Studios Phase 3" - For those of you keeping score, a look at upcoming films in the MCU;
"Strange Company" - Interviews with the cast & crew;
"The Scorce-cerer Supreme" - Interview with composer Michael Giacchino;
AUDIO COMMENTARY BY DIRECTOR SCOTT DERRICKSON
DELETED/EXTENDED SCENES
OPTIONAL INTRO BY DIRECTOR SCOTT DERRICKSON
GAG REEL
DVD & DIGITAL COPIES
KITTY CONSENSUS:
PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS

February 22, 2017

Blu-Ray News: ROGUE ONE: A STAR WARS STORY on Digital HD March 24 and Blu-Ray April 4

Announced today on The Star Wars Show and StarWars.com, “Rogue One: A Star Wars Story” will be coming home on Digital HD on March 24th and Blu-ray on April 4th.  This news comes on the heels of the start of production announcement of the untitled Han Solo Star Wars Story.  “Rogue One” has established its place within the Star Warsuniverse and the hearts of moviegoers, becoming the seventh highest-grossing film of all time in the U.S. 

Arriving early on Digital HD and Disney Movies Anywhere on March 24, and on Blu-ray™ Combo Pack, DVD and On-Demand on April 4, the release includes never-before-seen “Rogue One” bonus material that will take fans behind the scenes with the movie’s diverse, dynamic cast and inspired team of filmmakers. An intimate collection of stories reveals how the film came to life, as well as hidden Easter Eggs and film facts that audiences may have missed in the theater.

View the all-new trailer:
 

February 21, 2017

Blu-Ray Review: KING SOLOMON'S MINES (1985)

Starring Richard Chamberlain, Sharon Stone, Herbert Lom, John Rhys-Davies. Directed by J. Lee Thompson. (1985, 100 min).

Mention Cannon Films to movie lovers of a certain age and you might see a big, dumb grin spread across their face. Prolific purveyors of pictures from any genre proven profitable, no studio is as synonymous with the trend-driven 80s as Cannon. While they did manage to squeeze out a respectable film here and there, the studio's specialty was budget-friendly action, usually featuring tough guys who probably couldn't get much big-screen work anywhere else. If you kept your expectations in check, a lot of them provided some disreputable fun.

In some ways, King Solomon's Mines is the quintessential Cannon film. It optimistically (and shamelessly) rips-off Raiders of the Lost Ark & Romancing the Stone while attempting to sell Richard Chamberlain (!) as an action hero similar to Indiana Jones. It fails, of course, because Chamberlain is no Harrison Ford (or even Michael Douglas), but you knew that already. A pre-Basic Instinct Sharon Stone channels her inner Kate Capshaw (and manages to be even more annoying). Even Raiders' John Rhys-Davies shows up to collect a paycheck. But really...is this the only work Herbet Lom could get? 

"You were in The Thorn Birds? My mom has the biggest crush on you."
House-director J. Lee Thompson, far-removed from the days of The Guns of Navarone & Cape Fear, takes a break from keeping Charles Bronson's career afloat to guide his cast through a silly story that bares only a passing resemblance to Haggard's original novel (hey, brand name recognition went a long way even in the 80s). The action is silly, the dialogue is inane and most attempts at humor are utterly eye-rolling (the nadir of all three being a scene that sees Chamberlain & Stone as the potential main ingredient for cannibal stew).

"When we get back, we should fire our agents."
To say King Solomon's Mines hasn't aged well isn't an accurate assessment, since it wasn't that good in the first place. Besides, greatness was never Cannon's modus operandi. Revisiting the film today, one can't help but marvel how efficiently they struck while the iron was hot and ingeniously marketed the thing into a minor box office hit before anyone really caught on. Moviegoers weren't fooled twice though; the sequel, Allan Quatermain and the Lost City of Gold, completely tanked.

But like many other silly slabs of kitschy Cannon fodder from the 80s, such as Cobra, Breakin' and American Ninja, it's hard to pile too much hate on King Solomon's Mines. The film is so emblematic of the studio's glory years that there's something almost retroactively charming about it's earnest attempt to jump on the Indiana Jones bandwagon. Even back then, we suspected as much when ponying-up at the box office, or more likely, leaving the video store with an indiscriminately-selected stack of similar titles. Watching it today is apt to put a nostalgic, shit-eating grin across your face.

EXTRA KIBBLES
None
KITTY CONSENSUS:
NOT BAD...IT HAS SOME NOSTALGIC VALUE

Blu-Ray News: New Restoration of 1933 Disaster Film DELUGE Now Available on Blu-ray and DVD

ONE OF THE VERY FIRST DISASTER FILMS...

Kino Lorber announces the release of Felix E. Feist's extraordinary 1933 disaster film DELUGE, in a new restoration from the original 35mm film elements by Lobster Films, now available on Blu-ray and DVD. Special features include an audio commentary by film historian Richard Harland Smith, and a special bonus film, the complete 1934 film Back Page, starring Peggy Shannon (the star of DELUGE).

DELUGE is a tour-de-force of astonishing special effects that rank alongside those of other such classics of the decade as King Kong and San Francisco. Triggered by a series of earthquakes on the West Coast of the United States, a massive tidal wave circles the globe and -- in a prolonged and spectacular special effects sequence -- wipes out New York City. Sidney Blackmer stars as a man who, separated from his family, must begin to rebuild civilization in the wake of the catastrophe. 

For decades, DELUGE was a lost film of almost mythical status, until horror/sci-fi archivist Forrest J. Ackerman discovered an Italian-dubbed print in 1981. Viewing this poor-quality print was an arduous experience and was only a dim substitute for the original film. But all this changed in 2016 when Lobster Films unearthed a 35mm nitrate negative with the original English soundtrack.

Film preservationist (and Lobster Films CEO) Serge Bromberg says, "Thanks to film archivist George Willeman (Library of Congress), we located the nitrate dupe negative in the archives of the Centre national du cinéma et de l'image animée in France. Although this element was partly decomposed, the latest digital technologies allowed us to restore the image to its original sharpness. Our sound department, LE Diapason, performed extensive sound restoration to both the French and English soundtracks."

February 20, 2017

Blu-Ray Review: THE KLANSMAN

Starring Lee Marvin, Richard Burton, Cameron Mitchell, O.J. Simpson, Lola Falana, David Huddleston, Linda Evans, Luciana Paluzzi. Directed by Terence Young. (1974, 112 min).
OLIVE FILMS

In order to appreciate some older films, it helps to keep-in-mind the era in which they were made. Of course a film like Gone with the Wind is going to appear racist and sexist to millennials looking for reasons to be offended. 1939 was a different era, and since we can't go back in time to set those backwards primates straight, we can still appreciate the film for its timeless narrative, iconic characters and visual splendor.

Then there are bottom feeders like 1974's The Klansman, which would be repugnant in any decade. Were not for the fact that it's narratively and technically inept, one could be really insulted by the film's attempt to wrap racially-charged, exploitative sleaze in a shroud of social awareness and self-importance. Like the equally reprehensible Mandingo, it's just a notch or two above a grindhouse film, only with a fairly respected director and two legendary actors apparently committed to tarnishing their legacies. That's one likely reason it has become a minor cult classic over the years.

Burton & co-star.
Another reason is the well-documented turmoil behind the film. Lee Marvin and Richard Burton spent most of the shoot in a drunken stupor. I suppose it's a credit to Marvin's inherent talent that it doesn't really show. As a small-town southern sheriff trying to keep the peace while racial tensions develop between the black community and the local Ku Klux Klan (after the rape of a white woman), he gives the film's best performance by simply being the badass Lee Marvin we're accustomed to. Burton, however, must be seen to be believed. As a liberal landowner sympathetic to the black movement's cause, his southern accept comes and goes from scene to scene. There are ample moments when he is obviously shitfaced and barely able to get through a scene, sometimes unintelligibly slurring his lines.

O.J. Simpson...in the backseat of an SUV...with a gun. Where have we seen this before?
The awful dialogue would actually be funny it weren't loaded with an overabundance of nasty racial slurs and epithets. Some such language is obviously necessary, but the film wallows in the depravity of the Klan's words & actions to an almost voyeuristic level, long after the viewer has gotten the point. This is best (or worst) exemplified by what might be the most prolonged and disturbing rape scene of any film released in the 70s. But that's not to say there aren't some laughs to be had; Burton's slap-fight with Cameron Mitchell is unintentional comedy gold, as is an early scene where two cars burst into flames after a mere fender-bender.

The Klansman is unquestionably bad, but there's an overall trainwreck quality to this film that renders it morbidly fascinating. Connoisseurs of 70's-era sleaze or Hollywood-gone-wrong might be pleased, especially since it's being released uncut on Blu-Ray for the first time. For everyone else, don't say you weren't warned.

EXTRA KIBBLES:
None
KITTY CONSENSUS:
 WTF?