By Breanne Brennan
Brace yourselves…it's that time of year again--Oscar Death Race time! For those of you scratching your heads and wondering what I’m talking about, allow me to explain in 4 easy steps: 1.) Read the list of movies below. 2.) Watch all 53(!) movies from the list before Oscar night. 3.) Cross off movies that you watch and congratulate yourself for watching these award-winning cinematic achievements. 4.) Gloat about it and challenge your peers to follow suit. At the time of this post, my standing is at a mere 7/53. 20 Days in Mariupol ABCs of Book Banning, The* After, The* American Fiction American Symphony Anatomy of a Fall Barber of Little Rock, The* Barbie Bobi Wine: The People's President Boy and the Heron, The Color Purple, The Creator, The El Conde Elemental Eternal Memory, The Flamin' Hot Four Daughters Godzilla Minus One Golda Guardians of the Galaxy Vol. 3 Holdovers, The Indiana Jones and the Dial of Destiny Invincible* IO Capitano Island in Between* Killers of the Flower Moon Knight of Fortune* Last Repair Shop, The* Letter to a Pig* Maestro May December Mission: Impossible - Dead Reckoning, Part One NǎI NAI & WàI Pó* Napoleon Nimona Ninety-Five Senses* Nyad Oppenheimer Our Uniform* Pachyderme* Past Lives Perfect Days Poor Things Red, White, and Blue* Robot Dreams Rustin Society of the Snow Spider-man: Across the Spider-verse Teachers' Lounge, The To Kill a Tiger War is Over!* Wonderful Story of Henry Sugar, The* Zone of Interest, The *denotes short film
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By Brett Blake 2023 continued the wonderful streak of excellent physical media releases that collectors and enthusiasts have enjoyed for the last few years, with a host of long-requested titles finally making it to Blu-ray and/or 4K. Major studios and independent boutique labels alike have upped their games, delivering excellent work for fans. What follows is a selection of 10 releases that I think were among the best of the year (informed by my own desires and tastes, obviously -- you may well have 10 entirely different favorites of the year!). But even looking through a more objective lens, all of these releases are terrific, and any fans of these movies should consider adding them to their libraries if you haven’t. Honorable Mentions: - THE MAGNIFICENT SEVEN 4K (Shout! Factory) - THRILLERS FROM THE VAULT: 8 FILM COLLECTION (Mill Creek) - NATIONAL LAMPOON’S VACATION 4K (Warner Home Video) Top 10: IT CAME FROM OUTER SPACE 4K (Universal Pictures Home Entertainment) A boutique-quality release from one of the major studios is always something to celebrate. Featuring a new restoration of the science fiction classic (with both 3D and 2D options), a nice selection of bonus features, and premium packaging (with some fun swag, including a film cell and a booklet of vintage promotional material), this is the kind of treatment that should be the standard. YOUNG SHERLOCK HOLMES (Paramount Home Entertainment) A new-to-Blu debut. The picture quality is only decent, but this makes the list primarily because its absence on Blu-ray had been conspicuous; whatever one may think of the movie (I think it’s pretty fun), it’s an important milestone in the history of visual effects, as it features the first CGI character in a live action film. For that reason, it was essential that it make the leap from the DVD format, and, thankfully, it now has. AVATAR: THE WAY OF WATER (Walt Disney Home Entertainment) This release features an unusually extensive set of extras for a modern film, but the real reason it makes the list is because the picture quality and sound set a new bar for what modern and effects-heavy films can and should look like at home. The level of clarity achieved and the fidelity to the theatrical presentation are exceptional. MARATHON MAN 4K (Kino Lorber) From the cutting edge of 2020’s special effects, we jump back to the gritty 1970s... when movies looked like movies, with texture and grain in all the right ways. This is a classic thriller that has now been restored with modern techniques to faithfully recapture (perhaps even improve upon) what it was intended to look like. If you love thrillers from that decade, this release is an essential pick-up. SLEEPY HOLLOW 4K (Paramount Home Entertainment) Makes the list because it boasts the coolest packaging of the year! Housed within a glossy Steelbook case are not just the discs for the movie itself... but also a reprint of the original Washington Irving story! THE HAUNTING OF JULIA 4K (Scream Factory) A gem of a ghost story that seemed destined to remain consigned to VHS oblivion, the good folks at Scream Factory (in collaboration with several international boutique labels) lovingly restored this forgotten classic and achieved an exceptional level of quality that will hopefully allow the movie to be discovered by more people. THE BOUNTY (Imprint Films) Imprint, a label from Australia, continues their fine streak of box set releases (their incredible edition of THE WICKER MAN was my release of the year last year) with THE BOUNTY. With multiple feature-length documentaries and other supplements, it’s the kind of epic-sized release befitting the scope of the movie itself. DRAGONSLAYER (Paramount Home Entertainment) Another long-requested title finally arrived on Blu-ray and 4K. With a new, hour-long documentary and terrific picture and sound quality, this is an edition that should absolutely please fans of this underrated ‘80s fantasy adventure (co-produced by Paramount and Disney). THE MONSTER SQUAD (Kino Lorber) This is a movie that has already had an extensive history on home video, including multiple Blu-ray releases prior to this, but for various reasons, all the prior releases have been lacking in some way. Kino rectified that with a fairly definitive version, incorporating existing extras from older releases alongside new extras and a new 4K transfer of the film itself. WITNESS (Arrow Video) One of Harrison Ford’s greatest performances now has the premium release it deserves. Packed with nice supplementary features and other goodies (like a book of essays, lobby cards, and posters), it’s a worthy release of a wonderful film.
Based on what has already been announced and/or rumored, 2024 is shaping up to be a legendary year for physical media, so there should be plenty to discuss at this time next year! By Brett Blake As we get close to the end of each year, I like to look back on all the movies I watched over the last twelve months. I watched nearly 300 movies in 2023, with some being rewatches of favorites, but most being either new releases from 2023 or viewings of movies that are older, but that I’d never gotten around to before. It’s a bit of a tradition for me to single-out that last category for closer examination, so I’ve picked out 10 films that I saw for the first time in 2023 that I thought were quite good. The films span 80 years -- 1938 up to 2018 -- and the list features a pretty idiosyncratic mix of a bunch of genres. In no particular order, here we go! THE LONGEST DAY (1962) Very ambitious for its time, especially from a logistical standpoint. Staging sequences of this scale, with a cast this gigantic, must have been extremely difficult, and it pays-off. This unfolds with a docudrama-esque, almost dispassionate examination of the build-up to the Normandy invasion, from the perspective of both Allied and Nazi forces as the battle draws near. It does get a little vignette-y in the second half, as it seeks to give all its stars interesting beats, so the pacing dips a bit, but for the most part, this is pretty captivating war cinema. Particularly excellent sound design for the era, too. THE HIDDEN (1987) Want a buddy cop film? THE HIDDEN has it. Want a body-snatching alien movie? THE HIDDEN has it. Want some fun action sequences and creature effects? THE HIDDEN has those, too. It's a B-movie genre mash-up that is executed well enough that it rises above schlock (which can be entertaining in its own way) to become something legitimately good. Michael Nouri and Kyle MacLachlan are great as a classic mismatched pair, and also of particular note is the way in which the alien villain of the story is personified through bits of business that actually say quite a bit about it as an actual character; MacLachlan gets some similar touches to play, too, and he really sells them. Jack Sholder's action direction is efficient, the touches of humor almost always land, and there are even some nice gross-out moments, too. NEXT OF KIN (1982) Australia tries its hand at gothic-esque horror, and the result is both highly moody and a fresh take on the subgenre for its time. Right from the very first shot, you can tell that this has an energy all its own. It’s playing around with tropes that were probably already familiar by 1982, but it deploys them in interesting ways, with quirky extra touches, and it presents them via some very solid filmmaking (and particularly terrific camerawork). It’s a relatively slow burn, long on heavy and unsettling tones, but it builds to a properly unnerving, very cinematic third act that really works. JEZEBEL (1938) A pretty effective portrait of a very flawed, complicated, manipulative character, and as a showcase for Bette Davis, it’s an essential entry in her storied filmography. She perhaps never looked lovelier on screen than she does here, which only serves to make her character’s complexity even more striking. It’s a role that requires the performer to be equally contemptible and understandable (if not actually sympathetic), and Davis nails it. Henry Fonda may be the more notable name in the supporting cast, but it’s actually Donald Crisp, George Brent, and Richard Cromwell who leave the biggest impressions surrounding Davis. The finale, evocatively staged, does veer strongly into contrived and melodramatic territory, but in some ways that’s actually kind of fitting for this story. IN THE BEDROOM (2001) If you were to design a prototype for a prestige-y, awards bait-y, adult drama of the late 1990s/early 2000s, this is basically exactly what you'd come up with. That is not, however, to say that it's bad! In fact, it's quite good, and the performances are at a high level of quality. Sissy Spacek is basically never not great, so seeing her delivering an excellent performance is no surprise, but Tom Wilkinson is a subtle powerhouse here as a guy who constantly tries to downplay things and be affable, but who eventually cracks. There is a lengthy argument scene between the two of them that is a powerful, emotional masterclass. Another strong element of the movie is its presentation of a convincing community, populated by interesting faces and personalities. In tandem with the primary characters who feel like very believable human beings, this gives the film a feeling of great authenticity. WHITE HEAT (1949) A striking and powerful James Cagney performance and some pretty sharp writing filled with intrigue and engaging characters. The filmmaking is robust and uncompromising, with an unusually hard edge even for crime and noir films of this period. The supporting cast members are all very good, but particular credit to Edmond O’Brien for not just navigating one of the most complicated roles in the story, but for also selling it in a way that makes us invested in what could have just been a stock “type.” But it’s ultimately Cagney’s show, and this is an essential part of his body work, with this character being perhaps his most impactful member of the storied rogues gallery he created over his legendary career. ROUNDERS (1998) Close to being great, but has to settle for being pretty good. When you've got a cast that includes Matt Damon, Edward Norton, John Malkovich, John Turturro, Martin Landau, Famke Janssen, and more, you'd have to almost intentionally screw that up. The dialogue is strong throughout, with an almost noir-ish cadence at times that is fun to listen to. Probably at its most interesting when it's depicting or observing the little details of this particular subculture; whether true to life or not, the habits, the rites, the slang, and the attitudes bring a layer of authenticity that is engaging. The drama of the picture doesn't fully cohere at the end the way it seems to want to, so that ultimately leaves the film more as an exercise in style and mood... but on that level, it's good stuff. These actors, given this dialogue, make the movie a very enjoyable watch. BLACK SABBATH (1963) Packed with striking imagery, this Mario Bava anthology delivers everything you could want from an anthology with an Italian horror flair. Three good (and quite different) stories, vivid and stylish visual elements, and a couple of moments that are legitimately bone-chilling. Bava's direction is strong, and he again shows himself to be an underrated technician in terms of placing the camera and the performers within a scene for maximum effect. And though it provides some jolts and shocks, it keeps things in the realm of the classy. DARK BLUE (2002) Hits a lot of the beats you’d expect in a “corruption in the L.A. police force” narrative, but the central performance is so good that it makes up for it. This is one of Kurt Russell’s greatest performances, and I think a case could be made that it should have gotten serious Oscar consideration at the time. He takes a pretty conventional character arc and brings so much nuance to it that it actually ends up feeling like something that is dramatically novel; a bit of that is on the page, but most of that is Russell selling a character’s internal life and growing conflict through his eyes and subtle body language. Even if the subject matter doesn’t immediately appeal to you, if you’re at all a fan of Russell, absolutely seek this one out, because you’ll find him at the top of his game. And you’ll even get some nice supporting work from Ving Rhames, Scott Speedman, and Brendan Gleeson as a bonus. BUTTERFLY KISSES (2018) A clever take on the found footage/mockumentary horror subgenre that does some surprisingly interesting things with format and structure. This is a movie that clearly understands both how found footage works (when it works) AND how it is often received and dissected from the outside. That allows for multiple layers of narrative to unfold, with parallel protagonists on their own obsessive journeys, and with a nice amount of ambiguity regarding whether or not the found footage at the heart of this is real or concocted (within the universe of the movie). There's clearly a debt owed to THE BLAIR WITCH PROJECT in terms of the subject matter, but the execution ends up feeling quite different; it constructs an interesting mystery for an initial hook, and then proceeds to sketch out a spooky urban legend/creepypasta-type backstory. This invented Peeping Tom is a simple and classic boogeyman sort of figure that is creepy with just a tiny touch of whimsy, and it functions as a nice backbone/anchor for the (even more intriguing, frankly) structural stuff. By Breanne Brennan
Brace yourselves…it's that time of year again: Oscar Death Race time! For those of you scratching your heads and wondering what I’m talking about, allow me to explain in 4 easy steps: 1.) Read the list of movies below. 2.) Watch all 54(!) movies from the list before Oscar night. 3.) Cross off movies that you watch and congratulate yourself for watching these award-winning cinematic achievements. 4.) Gloat about it and challenge your peers to follow suit. At the time of this post, my standing is at a mere 16/54. Aftersun All Quiet on the Western Front All that Breathes All the Beauty and the Bloodshed An Irish Goodbye* An Ostrich Told Me the World is Fake and I Think I Believe It* Argentina, 1985 Avatar: The Way of Water Babylon Banshees of Inisherin, The Bardo, False Chronicle of a Handful of Truths Batman, The Black Panther: Wakanda Forever Blonde Causeway Close Elephant Whisperers, The* Elvis Empire of Light Eo Everything Everywhere All at Once Fabelmans, The Fire of Love Flying Sailor, The* Glass Onion Guillermo Del Toro's Pinocchio Haulout* House Made of Splinters, A How Do You Measure a Year?* Ice Merchants* Ivalu* Le Pupille* Living Marcel the Shell With Shoes On Martha Mitchell Effect, The* Mrs. Harris Goes to Paris My Year of Dicks* Navalny Night Ride* Puss in Boots: The Last Wish Quiet Girl, The Red Suitcase, The* RRR Sea Beast, The Stranger at the Gate* Tar Tell it Like a Woman The Boy, The Mole, The Fox and the Horse* To Leslie Top Gun: Maverick Triangle of Sadness Turning Red Whale, The Women Talking *denotes a short film By Brett Blake At the end of each year, I make a point to look back at everything I watched over the last twelve months. This year, I watched nearly 300 films, some being rewatches of favorites, but most being either new releases from 2022 or viewings of movies that are older, but that I’d never seen before. It’s that last category that is often the most fun to dissect, so I’ve picked out 15 films that I saw for the first time in 2022 that I found to be particularly good. Spanning from 1936 all the way up to 2021, this list is a mix of both under-the-radar discoveries and some certifiable classics that, for one reason or another, had escaped me... until now! In no particular order, let’s get started.
By Brett Blake The last several years have been a sort of new, mini “Golden Age” for physical media collectors, with many long-requested movie titles finally seeing the light of day on Blu-ray and 4K, and with some flawed or incomplete past releases finally getting better treatment. Both major studios and independent “boutique” home video companies continued with excellent work in 2022. What follows is my rundown of the best releases of the year. It’s informed by my own tastes and biases, of course (you will see a fair amount of horror on this list!), but even looking as objectively as possible, these are all excellent editions that any fans of the individual films should look to add to their libraries. Some honorable mentions: - THE OUT-OF-TOWNERS (Imprint Films) - MARY SHELLEY’S FRANKENSTEIN (Arrow Video) - EXTREME PREJUDICE (Vestron Video) - REAL GENIUS 4K (Sony Pictures) - KING KONG 1933 (Warner Archive) - THE COUNT YORGA COLLECTION (Arrow Video) And now, in no particular order, the Top 10: The Vampire 4K Steelbook Double Feature: FRIGHT NIGHT and BRAM STOKER’S DRACULA (Sony Pictures) Cheating right at the start! Yes, these are technically two separate releases, but they both came out on the same day from the same studio, both are packaged in deluxe Steelbooks, and both movies are about vampires. FRIGHT NIGHT, in particular, is packed full of hours (literally) of special features, and both films look tremendous with newly-restored picture quality. MURDER ON THE ORIENT EXPRESS (Paramount Home Video) The greatest of all Agatha Christie adaptations finally landed on Blu-ray, looking as good as it ever has since its theatrical release. Murder mystery/“whodunnit?” fans can now enjoy the film in a definitive visual presentation. DR. JEKYLL AND MR. HYDE (Warner Archive) It cannot be stressed enough what an incredible job Warner Archive did in restoring this film. It’s 90+ years old, yet it now looks absolutely pristine, with the gorgeous black-and-white cinematography and inventive transformation effects fully holding up to high-definition scrutiny. This is a classic horror gem. TOUCH OF EVIL (Kino Lorber) Orson Welles’ noir/crime masterpiece has been given the lavish treatment it deserves by Kino. Not only has the picture been lovingly restored, but Kino went the extra mile by including three separate cuts of the movie, providing an invaluable showcase for the film’s editorial evolution. ORDINARY PEOPLE (Paramount Presents) Another oft-requested film (and a Best Picture Oscar-winner, no less) made its debut on Blu in ’22, and while this is not the sort of movie to show off dynamic picture quality or an impressive sound mix, it’s an important (and very good, emotionally-affecting) film to finally have on the format. THE GHOST AND THE DARKNESS (Scream Factory) “Val Kilmer and Michael Douglas vs. killer lions.” If that pitch gets your attention, then you’ll understand why this made the list! This is a solid 1990s creature feature/adventure-thriller that looks great in its Blu-ray debut. WILD THINGS (Arrow Video) A steamy and completely absurd neo-noir thriller, WILD THINGS has been on Blu-ray before, but this time, Arrow Video supplied a prestige package for what is, essentially, the cinematic equivalent of junk food. But sometimes, there’s nothing wrong with a little junk food, especially if it’s this entertaining. THE NINTH CONFIGURATION (Scream Factory) Another film that has been on Blu before, THE NINTH CONFIGURATION returns with superior picture quality, making it well worth an upgrade. And for first-time viewers, this powerful and complex examination of faith balances humor and pathos expertly, and will leave you with much to think about. STAR TREK: THE MOTION PICTURE - THE DIRECTOR’S EDITION (Paramount Home Video) The definitive presentation of THE MOTION PICTURE. Not only has it never looked better (probably not even when it was theatrically released), but this cut of the film represents the most complete attempt to fulfill the filmmakers’ intentions (which were somewhat compromised upon theatrical release back in 1979). A must-own for TREK fans, especially those willing to rediscover this often-maligned — but, ultimately, compelling and ambitious — science fiction spectacle. THE WICKER MAN (Imprint Films) The physical media release of the year, by far. Multiple cuts, copious documentaries, commentaries, and even the original score… it’s all here, and all contained in beautiful packaging from Imprint. One of the great horror films of the 1970s finally has a physical media edition worthy of its reputation.
Here's to a 2023 that hopefully keeps this streak of great releases alive! By Brett Blake Though still not a “normal” movie year, 2021 certainly saw the return of a fairly broad selection of releases, from big (BIG!) blockbusters to small indies. Streaming offerings increased in prevalence, but so too did the theatrical experience (certainly compared to 2020, anyway!). Overall, I think the year was a solid -- if not great -- one. I’m not sure there will be many films we look back on as total masterpieces, but there were plenty of very good movies out there to entertain us. Here is my take on the best of what the year served up! Honorable Mentions: NOBODY, A QUIET PLACE PART II, NO SUDDEN MOVE, SHANG-CHI AND THE LEGEND OF THE TEN RINGS, THE VOYEURS, GHOSTBUSTERS: AFTERLIFE, CENSOR, GODZILLA VS. KONG 10. THE NIGHT HOUSE Rebecca Hall contributes an impressive portrait of the way grief can spiral out of control. Couple that with some effectively spooky moments and some strong direction, and you’ve got a terrific haunted house story. 09. BEING THE RICARDOS A pretty compelling combo of showing the inner workings of 1950s sitcom television and digging into the powerful and sharp personalities of Lucille Ball and Desi Arnaz, both of whom are played with ample nuance by Nicole Kidman and Javier Bardem. 08. PIG Potentially Nicolas Cage’s greatest performance. Not only is this a quirky look at the culinary world’s more odd corners, but it’s also a surprisingly, deceptively emotional story about a man finally coming to grips with the death of his wife after avoiding it for a long time. 07. THE LAST DUEL Ridley Scott does “period epic” as well as any director ever has, and while this does not join the ranks of his very best films, it is a handsomely-mounted and well-acted look at the ways in which three people can view a horrible incident through three different prisms. 06. WEST SIDE STORY Some questionable adaptation choices aside, this movie shows Steven Spielberg operating at full strength from a visual standpoint. Very few (if any) other filmmakers have such a confidence in terms of staging a sequence, and there are moments in this film that are as vibrant and energetic as we’ve seen from Spielberg in quite a while. 05. BROADCAST SIGNAL INTRUSION A noir/horror fusion that lingers long after it ends. In drawing from some real life unsolved incidents, the film takes “investigation story” tropes and focuses them around an idiosyncratic mystery that only becomes more sinister and ambiguous as it moves towards its resolution. It also features one of the best musical scores of the year. 04. LAST NIGHT IN SOHO Edgar Wright’s love letter to/deconstruction of 1960s British thrillers showcases his gift for using the camera and editing in engaging ways, and while some of the story turns might not fully satisfy, it’s a striking movie to look at and listen to. 03. THE GREEN KNIGHT The most singular, unique take on classic Arthurian legend since EXCALIBUR. Relentlessly moody and packed with (enjoyably) odd moments, the movie rests on the capable shoulders of its lead, Dev Patel, who really nails his character’s arc in a quite satisfying way. 02. SPIDER-MAN: NO WAY HOME Fan service done the right way. It’s not hyperbole to call NO WAY HOME a bit of a remarkable juggling act, not just because it manages to pay-off (in an unexpectedly meaningful way) the nostalgic investment of viewers stretching all the way back to 2002, but also because it tells a proper, wonderful Spider-Man story about Tom Holland’s Peter Parker learning that doing the right thing often requires personal sacrifice. 01. DUNE The most staggering and overwhelming cinematic experience of the year. Frank Herbert’s classic science fiction novel has been re-adapted for the big screen by Denis Villeneuve in a way that emphasizes the scale of Herbert’s worlds. Cinematography, production design, costume design, editing, score, and -- especially -- sound design combine to deliver a visual and auditory feast.
Here's to a great 2022! By Brett Blake I’ve watched over 300 movies (and counting) so far in 2021. Some were new releases, others were films I revisited, and most were films from prior years that I saw for the first time. That third group is the subject of this list, which is comprised of the ten best/favorite/most intriguing older movies that I saw for the first time this past year! It’s an eclectic collection, including the action, comedy, horror, adventure, and science fiction genres, and it also features a couple of fairly big “blind spots” for me that were finally filled-in. To be considered for inclusion, it had to be a film released in the United States any time prior to 2021. Having said that, there are two movies I briefly want to mention -- THE KID DETECTIVE and THE EMPTY MAN -- that technically meet that standard, but which didn’t really get any traction until 2021, effectively making them just a bit too on-the-edge to make the cut. That said, they are both very good films that people should check out! Consider them honorable mentions. With all that said, let’s take a look! In no particular order... RONIN (1998) Impressive, exciting filmmaking from director John Frankenheimer, whose style here is visceral and clever, but never overly flashy just to be flashy. The story is pretty classic “heist action thriller” stuff, with eclectic characters tossed into tense situations and forced to work together (or not!) in pursuit of a valuable MacGuffin. Casting is on point, with a great assortment of personalities bouncing off each other, which is always one of the big draws of this type of yarn. The big car chases in here are some of the very finest of their type, truly thrilling setpieces that would probably overwhelm any other movie that wasn’t as well-constructed, top to bottom, as this one is. It’s virtuoso stuff. There’s also great dialogue (courtesy of David Mamet) that perfectly walks the line between being memorable without being too cute for its own good. All in all, this is great action cinema. THE MAN WHO WOULD BE KING (1975) A lavish production, well-mounted by John Huston, marrying classic adventure formula with top-notch craft and technical execution. Oswald Morris’ photography vividly brings the landscapes and locales to life, Edith Head’s costumes are a convincing departure from her usual glamorous style, and Maurice Jarre’s score enhances the story’s sense of humor and its emotional backbone. But what is most surprising is the way in which the film ultimately functions as an ode to friendship. Sean Connery and Michael Caine are a flat-out incredible leading duo here; both turn in performances that are extremely entertaining, but also ones that are gradually revealed to have more depth than one might initially think. They’re a hoot together, but there are darker layers, particularly as we get deeper into the story. And more than anything else, it is these two who are the reason that this is a very, very good film. CROSSROADS (1986) Mixing coming-of-age and road trip tropes, a healthy serving of blues, and a dash of whimsy, CROSSROADS is a completely unexpected delight of a film. It weaves together several stands that you wouldn’t think should work together, and it does it extremely effectively. Ralph Macchio, as he did in THE KARATE KID, again plays a youth who has to learn from an elderly master, but it doesn’t feel like he just recycling that performance; he’s also decently convincing with a guitar. The real star here, though, is Joe Seneca, who contributes a performance so authentic and so compelling that he should have been Oscar-nominated for it. It’s a truly wonderful turn. Good music, good performances, and good, idiosyncratic writing all make for a thoroughly entertaining ride. Why has this movie fallen through the cracks over the decades? F/X (1986) A super fun, unique concept for a thriller, and one that is executed quite well. It’s -- at least partially -- a love letter to practical special effects, makeup, and stunts, made even more interesting viewing these days since so much of that work has shifted over into the digital realm. Bryan Brown’s a really solid leading man (is there a reason he didn’t have a bigger career as a lead?), and the entire supporting ensemble backing him is filled with entertaining turns (especially Brian Dennehy). The character writing is particularly good, giving almost all of the parts at least some amount of personality, and that adds a level of charm which elevates the vibe of the entire project. Good score from Bill Conti, too, which sounds quite unlike his other scores from this general period. MIDNIGHT RUN (1988) Comfortably in the pantheon of the best “buddy” movies of the 1980s. Robert De Niro and Charles Grodin, as a duo, are essentially perfection here, tackling roles that might have been caricatures in other hands, but are instead executed at an extremely high level by two gifted performers who understand nuance. They’re been handed some wonderful dialogue (ditto for everyone in the cast, really), and the arc of their relationship is one of the more satisfying things I’ve seen in any movie recently. There’s also a super fun supporting cast, including Yaphet Kotto, John Ashton, Dennis Farina, and Joe Pantoliano, all portraying efficiently-sketched and colorful characters; you hardly ever get an assortment of memorable players like this in movies anymore. Very catchy Danny Elfman score, too. This is a film that is just constantly entertaining all the way through. THE FINAL COUNTDOWN (1980) A great science fiction premise with an excellent central dilemma. There’s a great deal of enjoyment to be found in intelligent characters trying to work their way through an absolutely baffling situation. A good cast of veterans perform their parts with credibility, which makes the outlandishness of the plot’s main conceit believable enough to overcome potential audience resistance. Splendid aerial photography and some trippy effects courtesy of James Bond main title designer Maurice Binder round things out nicely. There’s also a terrific score courtesy of John Scott, at times evocative, mysterious, and even kind of haunting, and at others unabashedly heroic. This is very good genre entertainment. THE KISS OF THE VAMPIRE (1963) As expected with Hammer, this is more-than-competent gothic horror with no shortage of enjoyable atmosphere. Clifford Evans, so good in CURSE OF THE WEREWOLF, is also great here as a gruff, drunk professor who must rise to the occasion. Beyond that, the blood is oversaturated, the photography is good (from future 007 and RETURN OF THE JEDI cinematographer Alan Hume), and the vampire shenanigans do some different things with the concept than Hammer’s usual, Dracula-adjacent take on the subject; in this film, they’re depicted as being a cultish secret society, which is a nice change of pace, and they’re defeated via occult rites (rather than conventional anti-vampire means) in a memorable finale. This wouldn’t make it into the very top tier of Hammer’s horror output, but it’s right in that next level. LAURA (1944) Often referred to as a classic, and I now see that it’s totally justifiable! The storytelling here is just extremely engaging, handing out information and revelations in ways that continuously keep us on the hook; it’s really a wonderfully-constructed screenplay in that regard, and it also features consistently sharp dialogue. Gene Tierney, as the titular Laura, is strikingly beautiful, but beyond that, her performance is quite excellent; her turn here is calculated for maximum effect, making it very easy to understand why three very different men would be captivated by her. Laura is described at one point as having “authentic magnetism,” and that a very fitting phrase for Tierney’s performance. Dana Andrews, Clifton Webb, and Vincent Price get to play three distinctive, memorable personalities, and Webb, in particular, is a real delight, truly savoring the witty barbs given to his character in the writing. Otto Preminger’s direction is excellent throughout, using the camera in interesting ways to heighten the dramatic intent of each moment. HELL HOUSE LLC (2015) Yes, really! A quite above-average found footage yarn that offers several effectively creepy moments, as well as a solid hook. The movie spends time hinting at the lore and mystery it’s going to be playing around with, which nicely serves to build anticipation. A few of the performances sometimes betray the attempted “reality” of the format’s conceit, but for the most part, things are convincing enough to allow a viewer to buy in. And there are certainly a handful of beats that are genuinely unsettling, which is more than can be said for plenty of found footage horror films. 52 PICK-UP (1986) A mid-‘80s crime thriller from Cannon Films. Should be (possibly fun) sleazy junk, right? In actuality, this is a wonderful neo-noirish tale, with the old-school trio of director John Frankenheimer (with his second film on this list), writer Elmore Leonard, and star Roy Scheider elevating this thing way above what it otherwise might have been. Scheider’s terrific in this as a guy whose mistakes threaten to derail his life, but who won’t go down easily. Leonard obviously knows how to craft a compelling tale, so the plotting here is tight (the second half, where Scheider starts turning the tables, is highly entertaining), and Frankenheimer’s no-nonsense -- but assured -- direction is a perfect fit for the material. There is a bit of the Cannon sleaze, but in this case, it actually serves to enhance the seedy world of the crooks in this story. Toss in the fun supporting cast -- which includes the likes of Ann-Margret, John Glover (simultaneously funny and intimidating), Clarence Williams III, Kelly Preston, and Vanity -- and you’ve got something of a lost gem. By Brett Blake Despite much doom and gloom about the slow death of physical media, 2021 was actually a fantastic year for movie buffs on that front. Not only did the major studios continue to present their new films with (in many cases) pristine 4K disc releases, but many of the studios also delved deep into their back catalogs to bring quite a few oft-requested titles to the market, or to provide updated versions of previously-lackluster Blu-ray editions (either through their own home video arms or by licensing titles out to boutique labels). What follows is my take on the best releases of the year. True, this is EXTREMELY subjective, and my personal affection for many of these movies themselves likely biases me to some degree, but that can’t be helped! Some honorable mentions: - THE TEN COMMANDMENTS: 4K (Paramount Home Video) - SPACEBALLS: 4K (Kino Lorber) - SPEED: 4K (Walt Disney Home Video) - SCREAM (Paramount Home Video) - ZACK SNYDER’S JUSTICE LEAGUE (Warner Home Video) - TALES OF THE UNCANNY (Severin Films) And now, the Top Ten in no particular order... DOCTOR X (Warner Archive) Filmed in a unique, early color process (circa 1932) that has been hard to truly replicate on home video up to this point, DOCTOR X has been lavishly restored with stunning picture quality that makes it a must-see for fans of early ‘30s horror. TWISTER (Turbine) The good folks at Germany’s Turbine licensed this movie for its 25th anniversary, and the result features one of the most spectacular sound mixes I’ve ever heard in the home environment. This is a disc that could truly blow the roof off the place, and in the best way. EXPLORERS (Shout! Factory) A quintessential “kids on an adventure” movie from the 1980s, EXPLORERS has long been seen as something of a compromised vision due to behind-the-scenes issues, and the special features on this release -- with full participation of director Joe Dante and several studio executives -- finally bring to light the problems during production with unusual candidness, which only makes the finished film more worthy of appreciation. “Dark Disney” Triple Feature: THE BLACK CAULDRON / SOMETHING WICKED THIS WAY COMES / THE WATCHER IN THE WOODS (Disney Movie Club) Yes, I’m technically cheating by including three releases as one, but they’re kindred spirits, being examples of the type of risks Walt Disney Pictures was willing to take in the early-mid 1980s on darker, spookier material. Though light on extras, these discs feature good picture quality, but more than anything else, Disney’s willingness to embrace these interesting films (even through their exclusive “Movie Club” service, which limits their reach a bit) is worth celebrating. THE FRESHMAN (Mill Creek) A bare-bones release from budget-friendly Mill Creek label, nobody could make the case that this edition of THE FRESHMAN features an otherworldly-great transfer, or anything like that. It certainly looks better than it has since its theatrical release, but the real win here is that we got any Blu-ray release of THE FRESHMAN at all; it’s too good a comedy (with too good a Marlon Brando performance) to have remained in DVD-only obscurity. LAKE MUNGO (Second Sight) A haunting and chilling ghost story with a growing fanbase, LAKE MUNGO has finally gotten the exhaustive home video treatment it deserves. With beautiful packaging and engaging supplements, it truly does justice to what is -- in my view -- one of the more underrated genre films of this century so far. SOME KIND OF WONDERFUL (Paramount Home Video) John Hughes’ pseudo-remake of his own PRETTY IN PINK has finally joined that film on the Blu-ray format, and in handsome Steelbook packaging, to boot. This movie’s often lost in the shuffle of Hughes’ other 1980s high school films, but it’s one of his best. BREAKDOWN (Imprint Films) Australia’s Imprint Films finally brought one of the 1990s' best thrillers to Blu-ray in 2021 with a nice assortment of extras, high-quality packaging, and a great transfer on the disc. BREAKDOWN’s fallen by the wayside a bit in the “Great Thrillers” conversation, but hopefully some are prompted by this release to check it out, because it’s terrific. KING KONG (Scream Factory) Boasting an extraordinarily frank audio commentary from Rick Baker (who designed and performed in the suit for the titular monster), this release of the often-derided 1976 version of the KONG story truly represents the movie getting the love it deserves. In addition to the worth-the-price-by-itself commentary, it also features the long-requested three-hour television cut of the movie for the hardcore fans. LEGEND (Arrow Video) Very close to a definitive release, this edition of LEGEND allows the film’s visual lushness to truly sing. Copious extras (new and carried over from past home video releases) round out the package, but the star here is the transfer, which looks absolutely stunning. LEGEND is a movie with several problems, but as a visual experience, it is unimpeachable.
By Breanne Brennan Hey, 2020 wasn't all that bad--there were actually some great scores released last year! Tantalize your earbuds by listening to my compilation of notable cues here and check out my picks for the top 10 scores of the year below... Highly Commended -THE BANKER (H. Scott Salinas) I’m Not Effing Your Wife -ENOLA HOLMES (Daniel Pemberton) Fields of London -HILLBILLY ELEGY (Hans Zimmer and David Fleming) Rust -KAJILLIONAIRE (Emile Mosseri) Love Theme -LET HIM GO (Michael Giacchino) – extra points as always for his clever track titles Let Him Goverture -THE MIDNIGHT SKY (Alexandre Desplat) Aether Spaceship -THE QUEEN’S GAMBIT (Carlos Rafael Rivera) Main Title -SOUL (Score: Trent Reznor and Atticus Ross; Jazz Compositions & Arrangements: Jon Batiste) Portal/The Hall of Everything The Epic Conversationalist/Born to Play -WENDY (Dan Romer and Benh Zeitlin) Never Grow Up The Top 10 Film Scores of 2020
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