New Arrow Blu-Ray Releases in February; The Gruesome Twosome, Clouzot's Inferno, Seijun Suzuki: The Early Years Vol. 1 and Orchestra Rehearsal

The Gruesome Twosome (2/6/2018)

Herschell Gordon Lewis returned to the genre he helped create with the delightfully depraved The Gruseome Twosome! The young women of a small town American college have more than just split-ends to worry about. Down at the Little Wig Shop, the batty Mrs. Pringle and her socially-inept son Rodney are procuring only the finest heads of hair.....by scalping the local co-eds!

H.G. Lewis was an insanely busy man during this time, directing anywhere from 2-5 films a year. Though he would help kickstart the genre with the excellently trashy Blood Feast in 1963, it was 4 long years and 13 films later before he would deliver another genre-defining horror/trash classic with The Gruesome Twosome.

While short on logic and actual plot, the film (thankfully) delivers on the real reason why we come to his horror schlock films, and that's for the gore - and The Gruesome Twosome does not disappoint. Arrow does an outstanding job bringing the technicolor palatte to life in all it's pink blood-drenched glory. And just like with their excellent Blood Feast release, they offer a healthy dose of extras, including the H.G. Lewis vampire classic A Taste of Blood (1967).

• High Definition Blu-ray (1080p) presentation
• English subtitles for the deaf and hard of hearing
• Bonus Feature! 1967’s A Taste of Blood
• Introductions to the films by HG Lewis
• Archive audio commentaries for both films by HG Lewis
• Peaches Christ Flips Her Wig! – San Francisco performer Peaches Christ on The Gruesome Twosome
• It Came from Florida – filmmaker Fred Olen Ray (Scalps, The Alien Dead) on Florida Filmmaking
• HG Lewis vs. the Censors – HG Lewis discusses some of the pitfalls of the blood-and-guts business including local censorship and angry moviegoers
• Trailers and radio spot
• Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

Arrow's Region-Free Blu-Ray releases on February 6th and you can order directly from their official website HERE or from any number of online retailers. 
_________________________________________________________________________________

Henri -Georges Clouzot's Inferno (2/6/2018)

Henri-Georges Clouzot's unfinished masterpiece, Inferno (1964), is reconstructed in this film which is part drama and part documentary. 

In 1964, Henri-Georges Clouzot, the acclaimed director of thriller masterpieces Les Diaboliques and Wages of Fear, began work on his most ambitious film yet. 

Set in a beautiful lake side resort in the Auvergne region of France, L’Enfer (Inferno) was to be a sun scorched elucidation on the dark depths of jealousy starring Romy Schneider as the harassed wife of a controlling hotel manager (Serge Reggiani). However, despite huge expectations, major studio backing and an unlimited budget, after three weeks the production collapsed under the weight of arguments, technical complications and illness. 

In this compelling, award-winning documentary Serge Bromberg and Ruxandra Medrea present Inferno’s incredible expressionistic original rushes, screen tests, and on-location footage, whilst also reconstructing Clouzot’s original vision, and shedding light on the ill-fated endeavour through interviews, dramatisations of unfilmed scenes, and Clouzot’s own notes. 

This fascinating and compelling documentary reconstructs the troubled and doomed production of a film that very well would have become legendary from one of cinema's most gifted New Wave French directors. Just the few images he was able to produce alone before the film was shut down are captivatingly stunning. In fact, this documentary is every bit as good as the film would "possibly" have been. Arrow does another fine job on the transfer of the limited existing footage created, and includes a number of extra features to dig into.

• High Definition Blu-ray (1080p) presentation
• Original 5.1 DTS-HD Master Audio
• Optional English subtitles
• Lucy Mazdon on Henri-Georges Clouzot, the French cinema expert and academic talks at length about the films of Clouzot and the troubled production of Inferno
• They Saw Inferno, a featurette including unseen material, providing further insight into the production of Inferno
• Filmed Introduction by Serge Bromberg
• Interview with Serge Bromberg
• Stills gallery
• Original trailer
• Reversible sleeve featuring original and newly commissioned artwork by Twins of Evil 

Arrow will release this stunning docu-drama of Clouzot's Inferno on February 6th in a Region-Free Blu-Ray available through online retailers worldwide and directly from their official online webstore HERE. 
_________________________________________________________________________________

Seijun Suzuki: The Early Years Vol. 1 

Cult Japanese director Seijun Suzuki, who sadly just recently passed away this past year at the age of 93, directed a total of 54 films, but was most prolific in the 60's. His biggest and most well-known classic would easily be Tokyo Drifter, but Suzuki delivered a number of notable solid films in his entire 5-decades-long career, making him one of the most important and influential filmmakers to come out of Japan. 

Making their home-video debuts outside Japan, this diverse selection of Nikkatsu youth movies (seishun eiga) charts the evolving style of the B-movie maverick best known for the cult classics Tokyo Drifter (1966) and Branded to Kill (1967).

The Boy Who Came Back (1958) marks the first appearances of “Nikkatsu Diamond Guys” and regular Suzuki collaborators Akira Kobayashi and Jo Shishido, with Kobayashi cast as the hot-headed hoodlum fresh out of reform school who struggles to make a clean break with his tearaway past. 

The Wind-of-Youth Group Crosses the Mountain Pass (1961) is a carnivalesque tale of a young student who hooks up with a down-at-heels travelling circus troupe. Teenage Yakuza (1962) stars Tamio Kawaji as the high-school vigilante protecting his community from the extortions of mobsters from a neighbouring city. 

The Incorrigible (1963) and Born Under Crossed Stars (1965), both based on Toko Kon’s novels about young love, represent Suzuki’s first films set in the 1920s era later celebrated in his critically-regarded Taisho Trilogy.

Each film comes packed in a stunning new box set complete with a brand new 1080p HD presentation with optional English subtitles and a chance for fans of Suzuki's to dig into some of his early work in their best presentations possible.

• Limited Edition Dual Format Collection [1500 copies]
• High Definition Blu-ray (1080p) and Standard Definition DVD presentation
• Optional English Subtitles
• New introduction to the films by critic Tony Rayns
• 60-page illustrated collector's book featuring new writing by critic and author Jasper Sharp

Seijun Suzuki: The Early Years Vol. 1 will be released on February 13th from Arrow Video and will retail for $69.95. You can pre-order directly from Arrow Video HERE or from your favorite online retailers.
_________________________________________________________________________________

Orchestra Rehearsal (2/13/2018)

8 1/2 (1963) writer/director Federico Fellini delivers a highly amusing and insanely entertaining mockumentary before This Is Spinal Tap would do it a full 6 years later. Despite not being largely considered a classic, it's gained momentum as a certified cult classic largely due to Fellini's razorsharp script and clever dialogue with some tongue-in-cheek flavor that really sets it apart from any other film in his filmography. 

Made in 1978 for Italian television, Orchestra Rehearsal is possibly Fellini’s most satirical and overtly political film. 

An allegorical pseudo-documentary, the film depicts an Italian television crew’s visit to a dilapidated auditorium (a converted 13th-century church) to meet an orchestra assembling to rehearse under the instruction of a tyrannical conductor. The TV crew interviews the various musicians who each speak lovingly about their chosen instruments. However, as petty squabbles break out amid the different factions of the ensemble, and the conductor berates his musicians, the meeting descends into anarchy and vandalism. A destructive crescendo ensues before the musicians regroup and play together once more in perfect harmony. 

Abounding with its director’s trademark rich imagery and expressive style, Orchestra Rehearsal marks the last collaboration between Fellini and the legendary composer Nino Rota (due to the latter’s death in 1979) who provides one of his most beautiful themes in the film’s conclusion. 

• Brand new 2K restoration from original film elements, produced by Arrow Films exclusively for this release
• High Definition Blu-ray (1080p) presentation
• Original 1.0 mono sound
• Optional English subtitles
• Richard Dyer on Nino Rota and Orchestra Rehearsal, the film scholar talks about the great composer and his last collaboration with Fellini
• Orchestrating Discord, a visual essay on the film by Fellini biographer John Baxter
• Gallery featuring rare poster and press material on the film from the Felliniana collection of Don Young
• Reversible sleeve featuring two original artwork options 

Arrow does an excellent job on not only the stunning new 2K restoration, but also in one of the film's other most important elements, the sound, which plays a huge role in the film. Though short on special features, the film is a landmark in the mockumentary genre and has never looked or sounded so good. If you're a fan of this film, you owe it to yourself to grab this release.

This new 2K transfer from Arrow will be available on February 13th and will retail for $34.95.
_________________________________________________________________________________

80's Action Attack!: Platoon Leader

Another 'Namsploitation win for Cannon

by Jason Elizondo

As big a fan as I am of all things Cannon Films, I never quite got into their 'Namsploitation flicks; not even the Chuck Norris starring Missing in Action flicks, which I only barely started watching for the very first time. Somehow they just never appealed to me before. But as I dig deep into the Cannon filmography of films I never got around to before (I was all about Cobra, Invasion USA, Masters of the Universe and The Delta Force growing up), largely with the help of Hulu Plus, which recently began throwing a number of Cannon classics on their streaming site. So I decided what better time than now? Let's dig in.

I'm surprised that this never gets mentioned as one of the better films in the Cannon roster, which is probably why I never got around to watching it until now. The fact that it starred the American Ninja himself wasn't enough to persuade me either. But here I am, finally getting down to business on this one and I gotta say, it was pretty badass and not at all the dull, tired mess I was expecting. So let's dig in.

When a young fresh out of graduation Lieutenant (Michael Dudikoff) is sent to take command of a post in Vietnam, his take charge approach is met with scrutiny and cinicism by those under his command. When it comes time to engage in battle, they soon discover what he's really made of.

Based on the book by James R. McDonough, the film plays on familiar themes associated within the 'Namsploitation genre. And I have to admit, the first half was nothing if not stale and typical. So I was a bit underwhelmed and reserved.......initially. I'm glad I stuck it through though, because the film only got better and more intense as it moved along, with the second half kicking some serious "Exploding Huts" ass with a number of impressively staged and executed battle sequences that was sure to make Cannon proud. And I'm being totally serious here. The battle sequences, especially the nighttime sneak attack, easily goes toe-to-toe with any big budget film. And you can quote me on that!

Dudikoff does an excellent job as the freshly minted Lieutenant who can't seem to earn the respect of his men, who feel he's far too young to command an army and a little wet behind the ears. Ultimately, despite a few initial setbacks and embarrassment, he proves his worth and ability to lead and their respect.

Dudikoff was riding high atop the Cannon wave during this time, having released the cult classics American Ninja 2: The Confrontation (The best in the series!) the year before, and followed this up with River of Death in '89. He really was Cannon's hot new action poster boy back in the 80's, and would continue to work frequently, with a quiet 11 year hiatus/break from 2002-2013, before heading back into TV and film where he continues to work today.

While the film didn't have the benefit of a killer bit of casting like Steve James in P.O.W.: The Escape, the ensemble cast her is still good, with the standout being Robert F. Lyons, whom I loved recently in the excellent low-budget Commando ripoff American Eagle, here as the Sargent under Lt. Knight (Dudikoff). Why is he not more well known? He has such a commanding presence and he's just so damn good. I can't be the only one who thinks this. Right?

Chuck Norris' brother Arron Norris directed this the same year he directed Missing in Action III (his directorial debut), and I have to say, while I've never been a fan of his work behind the camera in general, he surprisingly does an outstanding job here. I was mightily impressed and if anything, it makes me finally want to dig into Missing in Action III for the very first time. Fun Fact: This is the only film he directed that didn't star his brother.

All in all it's a fairly by-the-numbers routine that doesn't bring anything new to the genre, but does it in such a remarkably professional way that you just can't help but enjoy the hell out of it if you're into these types of films. As far as 'Namsploitation goes, this is a severely overlooked gem and one absolutely worth seeking out.

How to see it:

Platoon Leader is available on VHS, Laserdisc and DVD fairly cheap. If you're all about streaming, you can rent it in HD on Amazon and it's also currently streaming in HD on Hulu Plus, which is where I saw it, with Hulu bringing in more and more Cannon titles every month.

Kino Lorber recently released this as part of a 2-Pk along with another Dudikoff war film Soldier Boyz (which I have not seen yet) in December of this past year for roughly about $20. As far as I'm aware, this new Blu Ray release from Kino would be the only way to see it in widescreen.

I've said it before and I'll say it again, Kino has really been stepping up their game with new releases of obscure and undiscovered gems, and I continue to look forward to their new releases.
_________________________________________________________________________________

The Joys of Giallo: The Suspicious Death of a Minor Blu-Ray Review (Arrow Video)

by Jason Elizondo

This mid 70's Italian Giallo comes courtesy of Sergio Martino, who's probably best known for Torso (1973) or 2019: After the Fall of New York (1983), but who also happens to have directed my second favorite Post Apocalyptic film of all time, the uber classic and bonkers Over the Top and Terminator mashup/ripoff Hands of Steel (1986). Martino has dipped his hand into nearly every single genre from comedy, crime thrillers, science fiction and action, to horror, documentaries post nuke and with this film, the murder/mystery/thriller/whodunit. With The Suspicious Death of a Minor, Martino puts his own little spin on the standard genre tropes, giving us an odd, yet highly intriguing take on the Italian Giallo. Let's dig in.

Soon after Germi (Claudio Cassinelli) meets a beautiful young woman during a dance, she's brutally murdered. He then sets out on a quest to uncover the truth and who's responsible at any cost. He soon discovers that her murder has deep ties to an underage prostitution ring and very powerful people.

I rather enjoyed this film for a number of reasons. While it is a bit....different than your typical Giallo, it played on all the standard themes relatively well and despite your taste for his very specific little comedic touches, they don't deter from the fact that this is still very much a serious detective thriller. Martino shoots the film with a clear vision, and does a damn fine job giving the film a slick visual aesthetic. And if I were to be completely honest, this is probably one of his most stylish films I've ever seen from him.

Doing some research before heading in, I was surprised to learn that a lot of people were either turned off or confused by the film's comedic tones. But really, they come and go in such brief moments that you quickly forget about them. Sure, they're a bit jarring at first, but I did notice that they were long gone by the time we get to the second half, so that should ease some newcomers minds going in.

Claudio Cassinelli, who plays Germi, the films protagonist, gives a strong performance as a man desperate to take whatever measures necessary to find the answers he needs to solve her murder. Oftentimes this involves putting himself in many situations that result in other people's deaths, and he does it with a brutality that leads you to believe he may not be what you think. The truth is that he's very familiar with this world of violence, and there's a very good reason for it and for his obsession, which you soon discover.

One of the films biggest strengths is that it keeps you guessing for much of the running time. You never really know who to trust, or what's really going on, most notably with Germi's obsession with uncovering the truth. In the beginning you see his meeting the unfortunate victim at a dance as a chance encounter, yet when he discovers she's been murdered, his journey to solve her murder becomes a brutal and unflinching obsession. And we don't know why at first. The film throws enough twists and turns to make your head spin, and it's only after we discover Germi's true motive that we finally begin to get a clear picture of what's really happening. 

A bit uneven because of the minor comedic elements, the film succeeds regardless as a fresh Italian Giallo for many different reasons. Sergio Martino does an excellent job directing it with a slick visual style, and Luciano Michelini's score is hands-down one of the best I've heard in years. Very much reminiscent of Goblin's best work. In fact, I would have sworn it was them until I discovered otherwise. I would love to own the soundtrack, if it ever becomes available. The performances are strong across the board, and the film never loses it's ability to keep you invested, making it a solid entry in the Giallo genre.

JUST THE DISC

As per usual, Arrow has done a phenomenal job on this print. The colors are vivid, bold and strong, with the original mono English and Italian audio matching in quality.

• Brand new 2K restoration of the film from the original camera negative produced by Arrow Video exclusively for this release
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original mono Italian and English soundtracks (lossless on the Blu-ray Disc)
• English subtitles for the Italian soundtrack
• Optional English subtitles for the deaf and hard of hearing for the English soundtrack
• New audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films
• New interview with co-writer/director Sergio Martino
•  Reversible sleeve featuring original and newly commissioned artwork by Chris Malbon

While the film doesn't have a lot of extra content, the new interview with writer/director Sergio Martino is worth checking out. I swear, the guy looks like he's in his 50's, but in reality he's pushing 80, which just blows my mind. Here he discusses the genesis for the story, who was responsible for bringing each of the elements into play, and his decision to infuse some comedy. He also touches on the title, which wasn't his choice.

Easily one of the best murder/mysteries I've seen to come out of 70's Italian Cinema, and one of the best made in my opinion, The Suspicious Death of a Minor deserves to be seen. It's gone shockingly overlooked for decades, especially in the 70's when others like Dario Argento were finding more mainstream success, yet it's every bit as good as any of the more popular entries in the genre.

The Suspicious Death of a Minor was released in September of last year, and you can purchase this from any number of online retailers or directly through Arrow HERE. 
_________________________________________________________________________________

80's Thriller Throwback: The Quiet Earth

In the world of science fiction, sometimes less is more

by Jason Elizondo 

I have to be honest. I'm surprised that this film has never popped up on my radar until now. While I'm sure I've seen that cover or heard that title before, it's always been in passing and never recommended from a trusted source, which kind of blows my mind because in retrospect, it's quite the hidden gem.

Directed by Geoff Murphy (Freejack, Young Guns II, Under Siege II), one of my favorite underrated directors in the 80's and 90's, The Quiet Earth is an Australian "last man on Earth" style thriller that has gained a huge cult following ever since it's initial 1985 release. While it never registered on my radar until now, it seems most people "have" in fact seen this and love it. Why hasn't anybody recommended this to me yet?? I feel so left out of the party.

When Zac (Bruno Lawrence) wakes up one morning and prepares to go to work, something immediately feel's off. Once he sets out on his drive to work, he discovers that there are no more people left. Upon further investigating, he learns the shocking truth, and it's much more terrifying than he could have imagined.

The Quiet Earth is that very rare and special gem that only comes around every so often. It's a methodically and meticulously constructed slice of science fiction cinema done in such a way that you rarely ever see anymore. It's a visual feast for the eyes, yet there are no special effects. It's science fiction stripped down to it's core, instead choosing to realize the effects of science in the real world circa 1985. And it's because of this approach that The Quiet Earth takes a large step outside of the standard sci-fi genre tropes. While not necessarily all that new of an idea, it's in the way it's accomplished that makes it so special.

Most of the first half of the film has very little dialogue, as our protagonist, Zac, deals with the shocking realization that he may very well be the last human being on Planet Earth. He soon realizes that he may not actually be alone, but when he discovers the truth about "the event" in which something wiped out the entire planet's population, he must come to grips with the sad reality that he may have had a hand in it.

The Quiet Earth is a film that chooses to take it's own path in the sci-fi genre. It's a much simpler tale, yet never any less entertaining or intriguing. Most of this is due to director Geoff Murphy's incredible work behind the camera, but a good chunk of it also falls on the shoulders of the films main protagonist, here played by Bruno Lawrence, giving one helluva performance. His moments of pain, confusion, anger, love, happiness, jealousy and redemption are all beautifully captured in an emotionally raw performance. What I loved about him is that he's very much an "everyman". He's not good looking, athletic or muscular. He looks like anyone's uncle or father, and because of this, you feel much more inclined to connect with him on a human level.

The final 5 minutes of the film are a mindfuck in a way few films dare to be, especially back in 1985. There are no clear answers to what that last sequence means, and I love that about this. It gives the audience license to connect the dots and attempt to come up with their own interpretation. Some may find it aggravating, while others, like myself, find it stimulating. If you love slowburn sci-fi and you've never seen this, The Quiet Earth might just be the best undiscovered gem you've ever come across.

Geoff Murphy is such an underrated director. While I haven't loved everything he's ever done (The Last Outlaw felt like a missed opportunity to me), the films he does well are so great in their respective genre's. Freejack is far better than it has any right being, where Murphy demonstrates once again just what he can do visually with a somewhat simple premise, yet pushes the material so much further by how he shoots it. While some may not connect with the material, it's worth watching just because of how slick it is. The same thing goes for Young Guns II, a star-studded western that is far more entertaining than it should be, especially when you consider the first one isn't all that great to begin with. Young Guns II is hands-down one of the best, coolest and most stylish westerns ever made, and that's all thanks to Murphy's work behind the camera. He elevates the material tenfold, in a way few directors would be able to do. And the same can be said about his work in here, where the film is just as much of a visual marvel as it is a compelling slice of smart sci-fi cinema.

Most people don't bother to take the time to value the visual aspect of a director's work, especially today when most new directors have zero style or substance, instead choosing to shoot freestyle, fast and loose, which is sadly the norm these days. So when I come across a director like Geoff Murphy, who puts just as much time in his camera setups as he does with the written material, there's cause to notice.

How to see it:
The Quiet Earth has been issued a number of times on DVD through Anchor Bay (now OOP), The Cult Classic Film Series, Umbrella Entertainment and more, with most recently on Blu-Ray in 2016. Really, just take your pick. They're all in good quality and moderately priced. It's worth having in your collection.
_________________________________________________________________________________

New Suspiria Blu-Ray Release and Unearthed & Untold: The Making of Pet Sematary Coming Soon From Synapse Films

by Jason Elizondo

Synapse films just announced 2 new titles as part of their upcoming Blu Ray releases in March. First up is Suspiria, this time in a standard 2-Disc edition. As you know, Synapse recently released the much publicised Suspiria for the very first time on Blu-Ray in the U.S. in a gorgeous and highly impressive Steelbook Edition, complete with Goblins incredible score. Not surprisingly, the set sold out and flippers are having a field day with it on the secondhand market. But we all knew it was only a matter of time before Synapse would announce a "Non-Steelbook" edition that was a little more wallet-friendly to those of us on a budget. Well that time has come, and while this new release isn't exactly cheap, it's a little cheaper than what the Steelbook was going for.

Just looking at the specs, this release looks to have all of the exact same technical details as well as all of the Special Features imported over from their previous Steelbook, just without the score and in a standard Blu-Ray case.

SYNAPSE FILMS BRINGS THEIR 4K RESTORATION OF DARIO ARGENTO’S UNDISPUTED PSYCHEDELIC MASTERPIECE SUSPIRIA TO BLU-RAY!

Fresh off an historic theatrical tour and following a sold-out run of limited edition Steelbooks, Synapse Films is finally bringing the widely celebrated 4K restoration of Dario Argento’s beloved and extremely influential SUSPIRIA to the masses.  This highly anticipated genre release boasts a host of new special features in addition to the eye-popping new transfer of the film that will allow fans to truly see the film the way it was always intended.

Jessica Harper (PHANTOM OF THE PARADISE, PENNIES FROM HEAVEN) stars in this horrific tale of a young student who uncovers dark and horrific secrets within the walls of a famous German dance academy. What spirals out from that simple premise is one of the most powerful and hallucinatory nightmares ever captured on celluloid! Dario Argento’s SUSPIRIA comes to home video from Synapse Films in an exclusive new 4K restoration from the original uncut, uncensored 35mm Italian camera negative with the original 4.0 English surround sound mix, for the first time EVER! Painstakingly restored over the past three years, Synapse Films has created the ultimate special edition of this horror classic with the supervision and approval of the film’s Director of Photography, Luciano Tovoli.

Features:

• A new 4K restoration of the original uncut, uncensored Italian 35mm camera negative exclusively done by Synapse Films, with color correction supervised and approved by SUSPIRIA Director of Photography, Luciano Tovoli
• Original 4.0 1977 English language LCRS sound mix not heard since the theatrical release in 1977, presented in high-resolution DTS-HD MA 96kHz/24-bit audio, with newly-translated removable English SDH subtitles
• Italian 5.1 surround mix, with removable English subtitle translation
• Two audio commentaries by authors and Argento scholars, Derek Botelho, David Del Valle and Troy Howarth
• Do You Know Anything About Witches? - 30 minute SUSPIRIA visual essay written, edited and narrated by Michael Mackenzie
• Suzy in Nazi Germany – Featurette on the German locations from SUSPIRIA
• A Sigh from the Depths: 40 Years of SUSPIRIA – All-new anniversary retrospective on the making of the film and its influence on cinema
• Olga’s Story – Interview with star Barbara Magnolfi
• Original theatrical trailers, TV spots and radio spots
• “International Classics” English “Breathing Letters” opening credit sequence from U.S. release
• Alternate All-English opening and closing credits sequences, playable via seamless branching
• Reversible Cover Art created by Joel Robinson

Definitely be sure to snag this one because having grabbed the Steelbook myself before they sold out, the transfer is absolutely stunning in a way you would never have expected. Not sure if this will ultimately sell out as well, but it's definitely worth the price in my opinion.

Suspiria retails for $43.95

Next up is the excellent documentary Unearthed & Untold: The Path to Pet Sematary. I recently had the pleasure of catching this on Amazon a few months back and I can say that it was every bit as entertaining and informative as I hoped it would be. Writer and directors John Campopiano and Justin White have meticulously put together an exhaustive compilation of information that is all things Pet Sematary, from the books inception to it's transition to the big screen and it's production. No stone has been left unturned and Campopiano and White have done a killer job on this documentary. If you love the book, the film, the actors or are just a casual Stephen King fan in general, this is a MUST WATCH.

Synopsis

SYNAPSE FILMS AND TERROR FILMS TEAM UP TO RELEASE THE STORY BEHIND STEPHEN KING’S TERRIFYING “PET SEMATARY”!

In 1989, director Mary Lambert collaborated with King of Horror Stephen King to bring his best-selling book PET SEMATARY to the screen. The shocking true story behind the film that scarred a generation of impressionable young genre fans gets the royal treatment in UNEARTHED AND UNTOLD: THE PATH TO PET SEMATARY. Aficionados of this undead classic can dive behind the scenes in HD glory, with a graverobber’s bounty of bonus features!

It’s true that sometimes dead is better, but for two New England filmmakers, the story of Stephen King’s PET SEMATARY was far too alluring to leave buried. That’s why John Campopiano and Justin White spent nearly five years seeking to uncover the story – from book, to film, to cult status – amounting to the most comprehensive look at the horror classic ever produced. UNEARTHED AND UNTOLD: THE PATH TO PET SEMATARY is both an in-depth independent documentary and celebration of King’s classic tale of terror, told through the voices of cast and crew from the 1989 hit film, as well as locals in Maine – the place where it all started.

In addition to first time ever interviews, tours of the many iconic locations used in the film and never-before-seen photographs and home video from the set, this film explores the impact PET SEMATARYhas not only on horror fans, but scholars of Stephen King’s work. Featuring interviews with director Mary Lambert, stars Denise Crosby, Dale Midkiff, Miko Hughes, Brad Greenquist, Andrew Hubatsek, Susan Blommaert, the Berdahl twins, Michael Lombard and MANY MORE!

Features

• Audio Commentary with Creators John Campopiano & Justin White
• Podcast Commentary with Creators John Campopiano & Justin White
• Edited / Alternate Scenes
• Video Interview with Creators John Campopiano & Justin White
• “PET TALES – From the Cutting Room Floor” Featurette
• PET SEMATARY Location Photo Compilation
• Documentary Poster Art Concepts
• Rare On-Set Video Footage from Rhonda Carter
• Documentary Sizzle Reel
• Promotional Trailer
• Reversible Art Design by Alexandros Pyromallis
• All-Region 
• 1080p HD (1.78:1)

Unearthed & Untold will retail for $24.95

Suspiria and Unearth & Untold: The Path to Pet Sematary are set for a March 13, 2018 release. 

You can pre-order either of these titles directly from the Synapse Films official website, or any of your preferred online retailers. 
_________________________________________________________________________________

Blu-Ray Review: Howard the Duck (Universal): A Hot Mess Like No Other

Few films carry the distinction that George Lucas' Howard the Duck carries; the big budget box office trainwreck that never connected with it's audience initially, despite it's roster of incredible talent behind the scenes. It's usually films like this that are often misunderstood, or drastically mis-marketed in such a way that it was doomed right from the beginning through no fault of it's own. These are the types of films that generally bomb during it's initial run, yet find a loving and long-lasting cult status as the years and decades go by, much like this film. Typically these films require time for the average moviegoer to appreciate what it was trying to do in the first place, an aspect lost to most of us when it's so far out of left field and different. Most of these films go on to legendary cult status as a misunderstood masterpiece. This is not one of those films.

Howard the Duck is just an odd duck to put it quite frankly. A truly bad film that struggles to find the right balance between tongue-in-cheek humor, entertainment and the sci-fi elements at the heart of it's mythology. Yet, at the same time it's oddly entertaining in a way that you just can't look away. It's because of all it's faults and downright confusing decisions that it makes it a uniquely satisfying experience. We all automatically say that we love it, as do I. But why do we love it? I've been wrestling with that thought ever since I revisited it when I found the Blu-Ray cheap a few weeks back. I think my only real response is that it's just a hot mess. An unintentionally bad film that entertains in a way that no other film has before, or maybe even after for that matter. It's surprisingly bold in it's attempt at creating somewhat of an antihero character out of a duck the size of a small person who, despite being an adult, acts and reacts like a spoiled child. And truthfully, he's incredibly annoying.

But it's not for everybody, and generally regarded as a terrible film, even by those who actually love it. I already know I could never show this to my wife, who's never seen it before. I already know she won't know what to make of it's bizarre sensibilities and absurd nature. And I think that would probably speak for most people today. It's completely different though for those of us who watched this for the very first time as a kid in the 80's, and continued to revisit it often because it always seemed to be playing on HBO or Cinemax. I don't know if those experiencing this for the very first time today could appreciate it's bonkers 

When you consider George Lucas was responsible for producing this, right after his original Star Wars trilogy mega blockbusters, you just automatically think it's going to be another great big expensive sci-fi film. I'm sure most people thought that too. Yet, despite the Lucas brand name all over it, and despite it's massive budget in the tune of 35 million dollars (a lot back in 1986), Howard the Duck crashed and burned. Unlike other big budget films that would eventually recoup it's fee's overseas or through video sales, there was no salvation to be had for this one and continues to be the very definition of a big budget flop.

Yet it's retained it's cult status ever since it's release, and continues to grow even to this day. It's a film that, despite all of it's cards stacked against it, is still entertaining in a trainwreck sort of way. I can say that revisiting this recently, I thoroughly enjoyed it. I loved the mid 80's practical effects; I loved the Thomas Dolby songs; I loved the unintentionally cheesy bizarro world it's created circa 1986, and I love the design and execution of the Howard suit. My only real gripe is that I found the character to be annoying in general, whining and complaining about everything and making impulsive emotionally driven decisions like a moody teenager rather than a level-headed adult. Jeffrey Jones ultimate transformation into the films primary villain also makes this worth the watch. Personally speaking, Jones' performance ultimately became the highlight of this film for me.

The film comes in a stunningly sharp 1080p HD widescreen presentation and an HD master audio 5.1 for an impressive sound. Subtitles in English, Spanish and French are also included. While the technical elements are impressive, it's the Special Features that make this worth purchasing.

The Special Features:
- A look back at Howard the Duck
- Releasing the duck
- Vintage News Featurette
- The stunts of Howard the Duck
- The Special Effects of Howard the Duck
- The Music of Howard the Duck
- Teaser Trailers

That's a lot of extra content, and while some of them are quite short, the main one to dig into would be "A Look Back at Howard the Duck", which runs the longest of all the features. Here we hear from the writers and director about what they had attempted to do, their experiences making this, and their feelings about it's reception. You also hear from the main actors such as Lea Thompson and Jeffrey Jones, and even one of the 8 people who donned the Duck suit, but ultimately did most of the work and got the biggest credit. Sadly, there's no sit-down with George Lucas here....understandably.

You can purchase this Blu-Ray for an incredibly cheap price, which goes for anywhere from $5-$10. That's a steal! And well worth the investment, even if it's just purely for nostalgia purposes.
_________________________________________________________________________________

Cult TV Corner: The Making of Captain Power

by Jason Elizondo

If you're anywhere near my age (early 40's), then you've certainly heard of Captain Power and the Soldiers of the Future. If you haven't, then I feel sorry for you (*kidding). Captain Power was a kids television show that ran for a single season from 1987-1988. It was, for all intents and purposes, the new "big thing" for kids in way of a toyline and accompanying television show, much in the way that He-Man and the Masters of the Universe had done. Speaking of which, Mattel was the company responsible for He-Man, and by this time the show had been off the air for 2 years and they were in desperate need of a new hit. Captain Power looked to be their new "hot item", and as luck would have it, before being approached by the shows creator, Mattel was already working on a new technology that would incorporate an interactive element. When the show's creator Gary Goddard (director of Cannon's live action Masters of the Universe film that same year) approached them about possibly producing the tv show and toy line, Mattel felt they found the perfect vehicle to incorporate their new technology into the mainstream in a way that had never been done before.

Fresh off his stint directing the live action Masters of the Universe film for Mattel and Cannon Films, Gary Goddard set out to create his own live action sci-fi series. First he came up with a name, and once he realized Captain Power hadn't already been taken, he immediately trademarked it, and built the idea and concept around it. After realizing the complete title (which sounds eerily similar to Mattel's other successful toy brand), Goddard then came up with an outline of the show, characters, backstories and designs. He wanted to create something new and different; a brand that would change the face of television and toys forever.

With the television show, Captain Power was going to me markedly different than anything done before....or since. For starters, it was going to be for kids, but live-action, and would also incorporate CGI for the very first time in a tv show. Rememeber, CGI was still in it's infancy, and with the exception of The Last Starfighter, hadn't really been used this way before. It was also going to be interactive for the kids. By using the specific weapons/toys that Mattel would sell, you could fire at specific targets by pointing these gun devices at your tv screen and the targets would go down. Cool right?!

Captain Power and the Soldiers of the Future released to generally positive buzz and did fairly well in both viewership and toy sales initially, but wasn't quite the home run they were hoping for. Once the novelty of the idea wore off, toy sales and viewership began to taper off. The problem was that so much of this was new for everyone involved, especially in the production of the show, which took place in Canada, and it was a bit rocky from the start with a lot of the crew behind the scenes having never worked in this sort of genre before, let alone using never-before-seen computer graphics. The result was a show that missed it's mark for a number of episodes, delivering a hit or miss quality that turned off kids for some episodes, and adults for others.

One of the things that worked both for and against it was the fact that they were attempting to tackle many adult themes that wouldn't resonate very well for kids, but would hope to attract an older audience as well. Some episodes it worked, and some it didn't.

Despite it's notoriety, or rather it's lack of, one thing needs to be understood about this show, and that is that despite it's reputation and only lasting one single season, Captain Power was way ahead of it's time. Nothing like it had ever been done before, or since, and it was, for all intents and purposes, a cult classic in the making. If you could look past some of it's flaws, and uneven quality, you will find a show that was just as heavy on the action as it was on the dramatic elements. For a show that was primarily aimed at kids, it paved the way for other sci-fi shows that were to come after, like Star Trek: The Next Generation and Babylon 5. 

And today I have some fantastic news. There is a feature length documentary titled Out of the Ashes; The Making of Captain Power that runs an hour and a half that digs deep into the entire Captain Power franchise from it's inception, to the production of the state-of-the-art television show, toy line, it's cult status and lasting legacy. You hear first hand from the series creator Gary Goddard and many of those involved with the show's production, as well as those that worked on the toy line and the actors who appeared as the titular characters. Really, if you were a fan of either the show or the toys, you owe it to yourself to give this a watch. While not the most fun or engaging, instead choosing to take a more straightforward approach, it's in the abundance of information that makes it fascinating and entertaining, especially if you were or still are a toy collector.

This documentary was included in the 2011 DVD set, but can be found in it's entirety here on YouTube. ENJOY!!

_________________________________________________________________________________

A Second Look: Waterworld

The truth is that Waterworld, despite it's reputation and many flaws, isn't a bad film at all. In fact, it's quite incredible and damn near a masterpiece of sci-fi action

by Jason Elizondo

We all know the story of Waterworld right? Plagued with production problems right from the start, the film would ultimately go onto box office infamy as being one of the costliest box office bombs ever, right up there with Cutthroat Island and Dune. At the time of it's release, it was the most expensive film ever made, with Costner investing 22 million of his own money into it. It's widely been panned by critics and often referred to as a mega-flop, even before the film was released. Only, when you look at the real data, it's actually not a flop at all, despite all the negative press and reports. In fact, while it would never be considered a hit, it did in fact turn a small profit after video sales. So unlike other mega-budget epics that actually failed to turn a profit, Waterworld is not one of them. Yet even to this day, despite decades of correct information at our fingertips, it's mostly dismissed and labeled a disaster.

1995 was a tough year for cinema. Though the 90's was an awesome decade for film in general, that era wasn't devoid of it's own number of big budget flops, with the biggest headline makers being Stallone's Judge Dredd and Renny Harlin's Cutthroat Island (2 films that I absolutely LOVE ). So maybe because of the bad publicity of these 2 sinking ships, or maybe because of the early word of mouth that the film (already with such an inflated budget that there was no way it could possibly make that back through ticket sales stateside) was already labeled a disaster in the making, Waterworld was in a sense, predestined and doomed for failure. It doesn't help that the behind the scenes turmoil between star Kevin Costner and his longtime friend/director Kevin Reynolds was making headlines....again (same thing happened with Robin Hood in '91), with Reynolds, again, leaving the project before it's completion, leaving Costner to finish with editing duties himself...again. What's surprising to me though, and I'm sure to most others, is that despite their tumultuous relationship, Reynolds and Costner (the two Kevins as I like to call them) would work together a total of 4 times, most recently on the Hatfields & McCoy's Mini-Series in 2012.

Knowing all of this already, I was excited to head back into the world of Waterworld, because 1), I hadn't seen it since it came out and remember almost nothing about it, and 2), if Cutthroat Island taught me anything, it's that I shouldn't believe the negative hype and just enjoy it for what it is, and that's pure epic popcorn entertainment. Let's dig in.

Waterworld, despite it's negative reputation before, during and since it's release, is hands down one of cinema's biggest spectacles for a number of reasons. It's epic filmmaking on a grande scale done in a way that hadn't been done before, or since. It's massive budget is evident on nearly every single frame of film and it's a glorious masterpiece of post apocalyptic cinema. Here, instead of utilizing the desert wasteland as was so often the case before, they instead to choose the ocean, with the idea that because of the polar ice caps melting, the entire planet has been submerged in water. To survive, the last remaining inhabitants of the planet have been forced to build structures above the water utilizing any last bit of remaining hardware and supplies they can find. In doing so, this creates a sort of Mad Max on water aesthetic that is a true sight to behold. The fact that real sets were built for everything you see is such a gargantuan task, yet, despite all of it's troubles, they pulled it off in a way that will blow your mind. Simply from a set technical and design standpoint, Waterworld will blow your mind.

The action sequences take center stage here for a number of insanely large sequences that utilitize precision  stunt choreography to pull of some of the most mammoth action sequences you've ever seen, and on water to boot, making it all the more impressive. Are they the best action scenes I've ever seen? Certainly not. But they're impressive, no matter what way you look at it. The amount of technical savvy put on display that utilizes death-defying stunts, explosions, jet ski's, planes, boats, guns, fire and a whole lot of water (sometimes all at once!) is hands-down legendary, making this one of the best examples of post apocalyptic sci-fi action ever to grace the screen in the last 50 years. While I would never consider Kevin Reynolds to be a stylish director, he gets the job done in a professional way, often with a large budget, who's proven himself to be reliable behind the camera when he's not walking off set and away from a project after a fight with Costner. Which reminds me, I need to revisit Robin Hood.

If there was anything I would complain about, it would be that the film drags a little too long in the human elements, where the Mariner (Costner) and his two companions are getting to know each other, where the Mariner pretty much acts as a mean-spirited and bullish brute. Still, despite these moments, and despite the fact that some would consider Dennis Hopper's hammy performance a bit too much, the film, while quite long, delivers a large bang for your buck in the entertainment department. Once it begins to feel as if it's overstaying it's welcome, another incredible action set piece kicks your ass and melts your corneas and you forget all about it.

It's a shame that this film could never shake the stigma of being a bomb, when the data proves that in reality, it was not. It didn't make a large profit, but it was able to make back it's budget and marketing, which would suggest that despite the bad press, it was technically in the black, not the red.

Having finally revisited it after so many years, I was floored by the amount of talent and production that went into this. I'm so glad it was made in the 90's, because I'd hate to see this had it been made today. You can bet your ass most of the film would be CGI, much like the Pirates of the Carribean films are now, and it just wouldn't look or feel as special as it does here. Or real for that matter. This is epic filmmaking at it's best and most purest form, without the ease of computer effects and all done practically in the most impressive form. Here's to hoping that Waterworld will continue to grow in it's cult status as one of the finest examples sci-fi action on an epic scale. The 90's were the best.
_________________________________________________________________________________

Blu-Ray Review: Busting (Kino Lorber)

For as long as I can remember, Peter Hyams has been one of my all-time favorite writer and directors. Though you've certainly heard of many of his films, and more than likely seen and loved them, most people don't know the name of the man responsible for making them as good as they are. And most are unaware that the guy also wrote those films himself. For a guy who's given the world such classics such as Outland, 2010, Running Scared, Stay Tuned, Narrow Margin, Timecop, Sudden Death and even smaller films like The Presidio and The Relic, it's a travesty that his name isn't already in our consciousness and considered one of the best filmmakers on the planet. But alas, that's where we're at and it's such a shame.

But before he would deliver some truly amazing classics, Hyams got his start directing in the early 70's with TV films, before transitioning to the big screen with this action/comedy/thriller from 1974, which he also wrote, making this his first solo writing and directing gig for a feature film.

Robert Blake and Elliott Gould star as two L.A. undercover cops who routinely bust prostitutes and their Johns. When one of their busts ties back to a local drug kingpin, they get in way over their heads, despite repeated orders from their superiors to back off. 

This was right before Blake would hit it big in his most famous role, that of Det. Tony Baretta in the hit series Baretta from 1075-1978. But then of course, we all know why he became ultra famous after that. But that's another story. Gould was busy this year, having made a total of 4 different films. The guy has acted in almost 200 different roles, but he'll always be Ross and Monica Geller's father on Friends to me. But here they play the roles of the cop/buddy effectively well in a way that foreshadows the formula that writer Shane Black perfected with films like Lethal Weapon, The Last Boy Scout and even The Nice Guys. That formula has always been around, but it wasn't until Black's Lethal Weapon that it was perfected in a way we hadn't seen before. But you can see a lot of that here in this film. In fact, it's so evident that there's no doubt in my mind that Shane Black has seen this film. It reminds me a lot of his what he did with The Nice Guys, and even some of his earlier films.

Hyams would perfect this formula himself personally with his 80's action/comedy/thriller classic Running Scared in 1986, a film that continues to be one of the best and most shining examples of this type of film, and a highlight in writer/director Peter Hyams filmography.

As far as Busting goes, I enjoyed it a lot, but I didn't love it. This could be because it feels like he's still trying to find his "style", and it sometimes struggles to find it's rhythm. The film looks great, and you see moments where he's coming into his own here, but not quite hitting the mark 100%. As a result, the pace and structure also become a bit uneven. The film never feels like it's moving towards a big climax, rather it shifts in tone throughout, sometimes feeling like it takes a few steps back instead of forward.

Despite it's pacing issues, the film packs a visual punch. The grittiness of early 70's LA is on full display in such a glorious way, with Kino Lorber's stunning new transfer bringing it all to exquisite life. There were so many moments that reminded me why I love how films of the 70's were made. Like for example in the night sequences where our hero cops are running through the city chasing a bad guy and that very specific way a street light used to be captured through a camera, illuminating the screen with a large soft white halo around each light source. I remember it vividly in Superman: The Movie (1978) and that very same effect is perfectly captured here in stunning clarity.

Hyams was also perfecting his directing skills here. While not quite up there with his best work in later years, you can clearly see his talent here. No doubt. For the first time in any of his films, he utilizes a whole lot of tracking shots, some in such a unique way that I hadn't ever seen before, or since. And still, his direction here is leaps and bounds better than most films of this period, and most importantly, this genre. He's one of the best directors on the planet, and this film, if anything, serves as an early reminder of that. He wouldn't go on to become his own cinematographer until 1984's Outland, which as you know is a huge rarity in the field when the director also serves as his own Director of Photography. Hyams was the best in more ways than most people will ever know or be aware of.

The performances are strong throughout, with Robert Blake sort of coasting through here in a very understated performance, while Elliott Gould does a far more memorable turn as a schlubby, messy cop who doesn't seem to care for his own personal appearance, but does a helluva job as a cop who doesn't hide from his personal convictions. We also get a few memorable supporting bit parts from Rob Zombie mainstay Sid Haig (here as a bouncer/bodyguard), the legendary Antonio Fargas (I'm Gonna Git You Sucka!), Allen Garfield (Beverly Hills Cop II) and Michael Lerner (Maniac Cop 2).

The Specs:
- 1080p HD presentation
- 1.85:1 widescreen
- Audio Commentary with writer/director Peter Hyams
- Audio Commentary with star Elliott Gould and film critic Kim Morgan
- Trailers for Busting, The Long Goodbye and Running Scared

Despite a lack of subtitle options and any real special features, the commentary is worth a listen. Hyams is informative, while Gould and Morgan keep it lively and fresh. And I can't stress enough how impressive the transfer is on this. Combining the vibrant colors of the 70's with this HD presentation is gorgeous in a stunning color palette of greens, oranges, yellows and red's.

Kino Lorber has been steadily making a name for themselves in the Blu-Ray market, oftentimes getting their hands on rare titles before other, more popular, releasing companies. And it's because of companies like Kino that I have hope for some of my all-time favorite undiscovered and under the radar gems (some of which have never even gotten a DVD release before) getting the official Blu-Ray treatment for the first time. One can only hope.
_________________________________________________________________________________