Film Freak Central

Flashdance (1983) - 4K Ultra HD + Blu-ray

Note: all framegrabs were sourced from the 4K UHD disc

**½/**** Image A- Sound A Extras B-
starring Jennifer Beals, Michael Nouri, Belinda Bauer, Lilia Skala
screenplay by Tom Hedley and Joe Eszterhas
directed by Adrian Lyne

by Bill Chambers "FLASHDANCE." It's hardly a coincidence the Rocky movies started like this, with the title scrolling horizontally across the screen like a ring girl's sign for the upcoming round. Then we fade up on our heroine, mythologized via obscured features, cycling confidently through the city to the anthemic strains of the late Irene Cara's "Flashdance... What a Feeling"--a montage that riffs on the iconic opening titles of Saturday Night Fever. And that, in a nutshell, is Flashdance: Rocky meets Saturday Night Fever, albeit with a female lead and considerably less dramatic tension than either. It is perhaps more that referencing these pop-culture juggernauts at the outset establishes a vernacular, translating a movie for the masses that only half-heartedly yields to formula. Flashdance is weird with a beard. It's elliptical and largely free of plot, featuring a modern-day fairytale heroine navigating an urban jungle awash in mimes and breakdancers (but curiously few cars), which is captured voyeuristically with long lenses and natural light like cinéma vérité­­ on Mars.

Magic Mike's Last Dance (2023) - Blu-ray + DVD + Digital Code

*½/**** Image A Sound A Extras C+
starring Channing Tatum, Salma Hayek Pinault, Ayub Khan Din, Vicki Pepperdine
written by Reid Carolin
directed by Steven Soderbergh

by Bill Chambers Loosely based on star and co-scenarist Channing Tatum's exotic-dancer past, Steven Soderbergh's Magic Mike was a pleasant surprise for treating the world of male strippers seriously--if finally too seriously, as the buoyant first half gives way to a heavy-handed moralizing reminiscent of Soderbergh's Traffic in the second. Sex work in Magic Mike is something to transcend through drugs or a trade skill. Gregory Jacobs's terrific follow-up, Magic Mike XXL, washed away the Afterschool Special aftertaste of the original by taking shame out of the equation: A road movie that finds Mike and the remaining "Kings of Tampa" travelling to a stripping convention in Myrtle Beach, it's a celebration of a certain esprit de corps. Despite the instantly iconic scene of Joe Manganiello dancing to "I Want It That Way" for the amusement of a supermarket cashier, Magic Mike XXL wasn't zeitgeist-defining like its predecessor, but it nails the hangout-movie vibe Soderbergh was chasing in his Ocean's sequels, and will no doubt endure as the Godfather Part II/Empire Strikes Back of Magic Mike movies. And what will Magic Mike's Last Dance go down as? Something like the Breakin' 2: Electric Boogaloo of the trilogy is my best guess. I have no idea if Soderbergh's longtime AD Jacobs was merely a figurehead on Magic Mike XXL, which was made in that weird period of Soderbergh's "retirement" from feature filmmaking (though he still served as the picture's cinematographer), but in returning to the helm for Magic Mike's Last Dance, Soderbergh directs like someone who's been shown where the g-spot is and can't for the life of him remember, so he'll have to bluff his way through it.

The Texas Chain Saw Massacre (1974) [2-Disc Ultimate Edition] - DVD|4K Ultra HD

Note: all framegrabs were sourced from the 4K UHD disc

****/****
DVD - Image A Sound A Extras A+
4K UHD - Image A Sound A Extras A+
starring Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow
screenplay by Kim Henkel and Tobe Hooper
directed by Tobe Hooper

by Walter Chaw If we start from the position that Sally (Marilyn Burns) is burdened from the get-go by two misfit monsters, then we can look at Tobe Hooper's The Texas Chain Saw Massacre as not only a keen autopsy of a particular moment in our country's history (circa 1974), but also a profoundly sensitive look at social prejudices and the toll said prejudices take on the human social organism. More than the typical rise-of-the-bumpkins horror conceit, it is, along with John Boorman's Deliverance from two years earlier, the classic example of a film that isn't about what it's ostensibly about. Look at the assiduous reduction of wheelchair-bound outcast Franklin (Paul A. Partain), a character who remains for the efforts of Hooper and Partain (apparently so irritating in real life that his cohorts were relieved by his on-screen demise) one of the most unapologetically irritating and pathetic figures in film and find noteworthy not that a handicapped person is allowed to be a self-pitying asshole, but that we're not let off the hook (as it were) for our own prejudices. Franklin is an anchor--and we're glad that he's dead, too.

Dragonslayer (1981) - 4K Ultra HD + Digital Code

Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image B- Sound A+ Extras A+
starring Peter MacNicol, Caitlin Clarke, Ralph Richardson, Chloe Salaman
screenplay by Hal Barwood & Matthew Robbins
directed by Matthew Robbins

by Walter Chaw When I first reviewed Matthew Robbins's Dragonslayer upon its DVD release 20 years ago, I said the picture could be read as an allegory for the passing of the 1970s and, with it, the auteur-driven New American Cinema, which was losing favour to the blockbuster mentality that dominates Hollywood production to this day. The directors were the wizards, tied to their decrepit and pain-ridden dragons, and they were, in 1981, up against the reality of an administration perpetuated by a myth of American exceptionalism that would serve as a course correction from the predominantly downbeat, paranoid films of the previous decade. I don't know that I've gotten any smarter in the years following my initial assessment of a work that has been dear to me since I saw it as a terrified eight-year-old, cowering beneath my seat in the long-defunct and paved-over Lakeside Twin, but I do know I've gotten measurably more pessimistic about our prospects. I think you can know things are broken when you're young (and 29 didn't seem so young at the time, but it is) without knowing how irreparably broken they are. And you can feel hopeless without knowing just how hopeless. When I watch Dragonslayer in 2023, I see a work about the rise of Christofascism and the prosperity gospel, about governments we trust to protect us making deals with monsters to enrich and empower themselves at the expense of the people who rely on them, and about the steady eradication of belief that there are any heroes left with the will or the wherewithal to save us.

M3GAN (2023) [Unrated Edition] - Blu-ray + DVD + Digital Code

***/**** Image A+ Sound A Extras B-
starring Allison Williams, Violet McGraw, Amie Donald, Jenna Davis
screenplay by Akela Cooper
directed by Gerard Johnstone

by Walter Chaw That the Internet works the way it does and evolved as quickly as it did likely had everything to do with it being the finest distributor of pornography the world had ever seen. If a band of apes created something like the Internet, for instance, they would use it primarily to inflict violent dominance over others--and for sex, if possible. No "ifs" about it: we are, and we did. When an artificial intelligence was tasked with machine learning via the Internet, it became a misanthropic, misogynistic racist almost instantly. The Internet is also the single greatest anthropological bellwether ever created, diagnosing who we are when we're not obsessively adjusting our mask of civility; 100% pure id. I love Alex Garland's Ex Machina because it understands that if a robot that looked like Alicia Vikander were invented, men would try to fuck it, and no expense would be too great in that pursuit. It doesn't even have to resemble Alicia Vikander--it can just be a flashlight with a rubber hole in it. Which brings us to the question M3GAN refuses to confront. If you make a little blonde doll that looks like a 12-year-old Fiona Gubelmann, you're opening an entire hornet's nest of uncomfortable issues that would be fascinating to address. What happens when unfettered tech capitalism collides with pedophilia? I mean, the Replicants in Blade Runner are soldiers, teachers...and prostitutes. Even Spielberg's A.I. recognizes that great leaps in technology are historically tied to warfare and rutting.

Fantastic Beasts: The Secrets of Dumbledore (2022) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

½*/**** Image A Sound A+ Extras B
starring Eddie Redmayne, Jude Law, Ezra Miller, Mads Mikkelsen
screenplay by J.K. Rowling & Steve Kloves
directed by David Yates

by Walter Chaw I have watched and reviewed the first nine films in the Harry Potter franchise, skipping the first Fantastic Beasts sequel (though I think I saw it), and for my sins, here I am returning for the eleventh installment with nary a memory of any of them except that I liked the one directed by Alfonso Cuarón. And while I'm glad chief screenwriter Steve Kloves has secured his retirement a few hundred times over, I do lament that the writer-director of The Fabulous Baker Boys and Flesh and Bone didn't make more of those kinds of movies in his nearly 40-year career. Such is the suppurative contagion of the IP age that the best minds of my generation are destroyed by the madness, starving hysterical naked--as Ginsberg might describe them--as they drag themselves through bales of ignominious piffle during their prime creative years. Is this garbage really the best use of Kloves? Of Jude Law? Of Mads Mikkelsen, Katherine Waterston, or Eddie Redmayne? The only person who deserves this mess is Ezra Miller, let's be honest, though even Miller--if one can disregard the harm they inflict on seemingly every other human being in their orbit--is a gifted performer who's also and obviously too good for this. These movies aren't socially destructive in the sense that there's something offensive about them thematically--mainly because there's not a lot about them thematically. They're all second acts in competing Telenovelas: breathless melodramas in which one thing bleeds into the next like cells ravaged by Ebola. There's no hope for an end to the suffering so long as there's money to be squeezed thick from its black buboes: another amusement-park attraction, another opportunity to be relevant in an era where tentpoles are the only currency. Was a time a film with ten sequels was regarded as a cheap joke. That time is now.

Training Day (2001) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

**½/****
DVD - Image A Sound A Extras B+
4K ULTRA HD - Image A+ Sound A- Extras B
starring Denzel Washington, Ethan Hawke, Scott Glenn, Eva Mendes née Mendez
screenplay by David Ayer
directed by Antoine Fuqua

by Walter Chaw In Antoine Fuqua and Dominic Sena's race to become David Fincher, Fuqua, with his colour-bleached urban noir Training Day, pulls slightly ahead. Essentially a feature-length version of the Fuqua-helmed video for Coolio's "Gangsta's Paradise," Training Day is dankly lit, grim, and edited with a veteran music-video director's need for speed (though there are considerably fewer cuts than those found in Fuqua's previous efforts Bait and The Replacement Killers). So smooth and accomplished is the harsh vérité look of the piece that the sun-drenched streets of Los Angeles are as much a player in the film as its leads. But the striking cinematography, sharp screenplay by David Ayer, and undeniable chemistry between Denzel Washington and Ethan Hawke aren't enough to disguise that Training Day is one bravura performance away from being the umpteenth rote grizzled vet/greenhorn rookie policier. (With a healthy dash of Casualties of War tossed in for that Captain Bligh/Mr. Christian dynamic.)

The Fabelmans (2022) - 4K Ultra HD + Blu-ray

Please note that all framegrabs are from the 1080p version

*½/**** Image B+ Sound A Extras A-
starring Michelle Williams, Paul Dano, Seth Rogan, Gabriel LaBelle
written by Steven Spielberg & Tony Kushner
directed by Steven Spielberg

by Walter Chaw Sammy (Gabriel LaBelle) loves making movies. He loves it so much there's a chance he'll destroy his family because of it--showing things that aren't for public consumption, mishandling the power of the medium, underestimating the magnitude of his gift. We know this because there's a scene where Sammy, while editing raw 8mm footage of a family camping trip, notices his mom, Mitzi (Michelle Williams), getting a little too friendly with family friend Benny (Seth Rogen). He cuts all the incriminating clips together into a mini-reel he projects for Mitzi against the wall of his closet as explanation of sorts for why he's sullen lately, and maybe as punishment for Mitzi, who has just struck him out of frustration. We know this, too, because his obviously insane grand-uncle, ex-lion tamer Boris (Judd Hirsch), has warned him, in a movie-stealing bit of scenery-chewing, that the tension between art and family always ends in tragedy. We know this, too...uh, too, because it's ventriloquized through the mouths of more than one character, including Sammy's bully, Chad (Sam Rechner). Word for tortured word. There are more monologues in Steven Spielberg's The Fabelmans than there are dialogues--more peaks than mountains, as it were. More waves than ocean. I don't know why everyone in this movie talks like either a greeting card or a diagnosis, though I think it probably has to do with Spielberg wanting to excavate his past and, in the exhumation, to find easy and uplifting bows in which to tie his various strings. We all want that. I feel for him.

Invaders from Mars (1953) - 4K Ultra HD

Please note that all framegrabs are from the 1080p version

***½/**** Image A Sound A Extras A-
starring Helena Carter, Arthur Franz, Jimmy Hunt, Leif Erickson
screenplay by Richard Blake
production designed and directed by William Cameron Menzies

by Bill Chambers Predating Jack Finney's novel The Body Snatchers by two years and Don Siegel's seminal film adaptation, Invasion of the Body Snatchers, by three, William Cameron Menzies's Invaders from Mars makes for an apt precursor in featuring a child protagonist and beginning at the dawn of an invasion instead of the usual in media res. When his alarm clock reminds him in the middle of the night to check out "Orion in its zenith," little David MacLean (Jimmy Hunt) accidentally rouses his father, George (Leif Erickson), who is careful not to discourage the curiosity of a fellow "scientist" while tucking his son back into bed. David is awakened again by a commotion outside, and from his bedroom window sees a flying saucer disappear below the horizon. Dad agrees to check it out, which is of course not the wisest idea, yet his respect for his son's intelligence is touching. While a twist ending recontextualizes this moment, suggesting it may have been wishful thinking on David's part, that's touching, too: Here's a movie where the child's fantasy of saving the world isn't about demonstrating feats of heroism beyond his years, but about adults giving him the benefit of the doubt.

National Lampoon's Christmas Vacation (1989) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

***/**** Image A Sound A- Commentary B
starring Chevy Chase, Beverly D'Angelo, Randy Quaid, Miriam Flynn
written by John Hughes
directed by Jeremiah Chechik

Updated to correct an embarrassing blunder on 12/28/2022.-Ed.

by Bill Chambers After turning in a subpar first draft of National Lampoon's European Vacation and ghosting the production thereafter, John Hughes made an unexpected return to the franchise by writing and producing National Lampoon's Christmas Vacation, loosely basing his screenplay, like that of the first ...Vacation, on one of his short stories for NATIONAL LAMPOON magazine. Both "Vacation '58" and "Christmas '59" are written as a childhood reminiscence and get their humour from the discordant pairing of morbid memories and misty-eyed prose. (Think Jean Shepherd in charge of the police blotter.) There is no Clark Griswold per se in these stories, only a hazy father figure coming unglued. As a result, Hughes butted heads with director Harold Ramis on the original, since Ramis was making a Chevy Chase vehicle, not a coming-of-age flick. By Christmas Vacation, Hughes was at a different place in his personal and professional lives, raising children and turning mogul, and the film finds him identifying with the patriarch almost to the exclusion of the kid characters. His screenplay, in fact, reclaims Clark from Amy Heckerling's aimless and conceptually fuzzy European Vacation, seizing on the pressure cooker of the holiday season as a poignant trigger for Clark's compulsive need to contrive Kodak, nay, Hallmark moments.

The Conjuring 3: The Devil Made Me Do It (2021) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

The Conjuring: The Devil Made Me Do It
*/**** Image A Sound A Extras C
starring Vera Farmiga, Patrick Wilson, Ruairi O'Connor, Sarah Catherine Hook
screenplay by David Leslie Johnson-McGoldrick
directed by Michael Chaves

by Walter Chaw I like the Conjuring movies--or, rather, I've come to appreciate them independent of their actual quality. I like them not because of their supernatural stuff or sometimes-expert jump scares, but because they're a popular mainstream film series--one that has suspiciously little to do with any conjuring--about a corny, middle-aged, 1960s married couple who are hot for each other. They own a small business together and respect the unique skill sets the other one brings to the table. Their marriage is as solid as American steel. Lorraine (Vera Farmiga) thinks Ed (Patrick Wilson) is the manliest man that ever manned; Ed thinks Lorraine is the most spiritual spiritualist to ever spiritual. In each other's eyes, they are the utmost. I bet the sex is incredible. Ed and Lorraine are based on real-life couple the Warrens, who earned a living as the kind of sideshow hucksters James Randi made it his holy mission to expose. Yet as immortalized in this flourishing billion-dollar franchise, they are golden and perfect. They are Ozzie & Harriet: Demonologist Exorcists, and these movies are vehicles for their vintage, good ol' middle-American can-do spirit. They're what Republicans used to be before devolving into domestic terrorists and Christo-fascist cultists, and so they carry with them a trace of nostalgia for a time before this country seemed irrevocably divided. In this cinematic universe, the threat isn't only from within.

Nope (2022) [Collector's Edition] - 4K Ultra HD + Blu-ray

Please note that all framegrabs are from the 1080p version.

**/**** Image A- Sound A Extras B+
starring Daniel Kaluuya, Keke Palmer, Steven Yeun, Michael Wincott
written and directed by Jordan Peele

by Walter Chaw I don't think you ever see the heroes getting hurt, but they limp around a lot, and I couldn't stop wondering why. Just because it's more dramatic to be out of breath and limpy? There's a rule about not looking something in the eye, but I don't know how the horses can obey it, or if horses look up and behind them when they run. I've never seen them do that, in any case. If there's a rule about eyes, is the plan, in the end, to put eyes on the hood of that hoodie, and if it isn't, why did he? I understand there's a point being made here about how Hollywood doesn't care about the people who work in it--especially minorities and child actors--once their usefulness has been used up, yet I worry if by equating their trauma with a television chimp who goes insane and starts eating faces that the analogy, assuming there is one, has gotten as out of control as the chimp. There's a reveal that's less a reveal of an important plot point than a reveal that the reveal of an important plot point was left out somewhere. There's a powerful opening scene where something happens involving a nickel that is very effective up until the moment it's explained, at which point it no longer makes sense; why did it do what it did and not what it does for the rest of the film? Is it attracted to movement? Noise? It seems like both--but if so, how are folks constantly escaping it by moving around and making noise? That picture she takes? It looks ridiculous and will be convincing to no one. Wouldn't the camera and the film the famous cinematographer is shooting still be in one piece, like a black box, when the thing happens with the balloon? How is that the first balloon it's ever seen or eaten? If I ate a balloon (and could, for instance, withstand multiple gravities of speed and possibly interstellar travel), would I explode?

Poltergeist (1982) + The Lost Boys (1987) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

POLTERGEIST
****/**** Image A+ Sound A Extras B
starring JoBeth Williams, Craig T. Nelson, Beatrice Straight, Heather O'Rourke
screenplay by Steven Spielberg, Michael Grais & Mark Victor
directed by Tobe Hooper

THE LOST BOYS
***/**** Image A Sound B+ Extras C+
starring Corey Feldman, Jami Gertz, Corey Haim, Dianne Wiest
screenplay by Janice Fischer & James Jeremias and Jeffrey Boam
directed by Joel Schumacher

by Bill Chambers Although Walter Chaw's already written definitive reviews of Poltergeist and The Lost Boys for this site, so much time has passed since they were published that I feel obliged to say something original about these films before moving on to the Blu-ray portion of this review. Tobe Hooper's Poltergeist and Joel Schumacher's The Lost Boys, each celebrating milestone anniversaries this year (fortieth and thirty-fifth, respectively), have aged unusually gracefully. Partly this is due to the Star Wars-festooned bedroom of Poltergeist and the comics-store hub of The Lost Boys being evergreen--though what was once indicated by Robbie's C-3PO lightswitch cover (his middle-class privilege) and Sam's pedantic knowledge of Superman lore (his lack of social life) may not come across as clearly to a generation of viewers that has grown up with Jedis and superheroes as the inescapable sum of pop culture. Moreover, these are not naïve films that invite condescension, and any doubts about their sophistication (aesthetic and otherwise) are laid to rest by the instantly dated attempts to drag them into the 21^st century: Gil Kenan's remake of Poltergeist and the dtv sequel Lost Boys: The Tribe.

The Munsters (2022) - Blu-ray Disc

**½/**** Image A- Sound A Extras B+
starring Sheri Moon Zombie, Jeff Daniel Phillips, Daniel Roebuck, Richard Brake
written and directed by Rob Zombie

by Walter Chaw Rob Zombie only makes movies about families, and he does it with a wife he loves. It's the kind of relationship John Cassavetes and Gena Rowlands shared: the iconoclastic, combative director and his muse, living examples of a creative partnership built on mutual respect, come hell or high water. I call Rowlands Cassavetes's "muse," though I think closer to the truth is that their movies feel like watching great jazz musicians play off each other. Without exactly equating one of the greatest independent filmmakers of all time with Rob Zombie, I think Zombie and Sheri Moon Zombie go to some interesting places together they couldn't get to on their own. I can't claim Zombie's for everyone--hell, Cassavetes ain't for everyone, either--but he works on a specific wavelength where if you're hip to it, if you fall into his groove, for his part he never loses the beat. I didn't get it when I first saw House of 1000 Corpses, but from a second viewing of The Devil's Rejects on, I've been ride or die with Zombie. Unlike most, when it was announced he was tabbed to do a reboot of "The Munsters" (which has turned out to be a prequel to the TV series), I was not only not surprised, given his penchant for family stories--I was excited. I wish it were better.

12 Monkeys (1995) - Blu-ray Disc|4K Ultra HD

Please note that all framegrabs are from the 1080p version

Twelve Monkeys
***½/****
BD - Image A Sound A- Extras B
4K - Image A- Sound A- Extras B
starring Bruce Willis, Madeleine Stowe, Brad Pitt, Christopher Plummer
screenplay by David Webb Peoples & Janet Peoples, inspired by the film La Jetée written by Chris Marker
directed by Terry Gilliam

by Bryant Frazer Twelve Monkeys is a movie about a moment. Yes, sure, it's a decades-spanning science-fiction tale about time travel, the illusion of free will, and a romance at the end of the world. Yet its defining facet is its repeated, soulful depiction of a few terrible minutes in the life of a young boy who witnesses an event that's tragic in ways he can't comprehend. That's how the story starts and how it ends, the first thing we see and also the last--a child's eyes, open wide, as he is exposed to the spectacle of death, probably for the first time. Although Twelve Monkeys deals with the destruction of human civilization by a lethal contagion, and the plague's aftermath, less of the action centres on the plague itself than on this little boy. Mostly, it's concerned with a man named James Cole (Bruce Willis), who believes he's a time-travelling agent sent back from the 2030s, after a small number of survivors retreat to the safety of underground caves. Liberated from a prison cell for the mission to contemporary Philadelphia (ground zero for the virus release), Cole is trying to discover information about its origins that can be used, decades hence, to help make the earth's ruined surface safe for human habitation. Success means redemption, since Cole would return to his future world a hero. But in an ironic twist, Cole is almost immediately institutionalized; only psychiatrist Kathryn Railly (Madeleine Stowe), a specialist in "madness and apocalyptic visions," and fellow patient Jeffrey Goines (Brad Pitt), who may be a nascent environmental terrorist, suspect Cole's references to upcoming cataclysmic events may be more than just delusional.

The Unbearable Weight of Massive Talent (2022) - 4K Ultra HD + Blu-ray + Digital

Please note that all framegrabs are from the 1080p version

*/**** Image A- Sound A- Extras B+
starring Nicolas Cage, Pedro Pascal, Sharon Horgan, Tiffany Haddish
written by Tom Gormican & Kevin Etten
directed by Tom Gormican

by Bill Chambers There's a lot I don't understand about Tom Gormican's The Unbearable Weight of Massive Talent that has nothing to do with its alleged postmodernism. I don't understand why Nicolas Cage, David Gordon Green, and Demi Moore play "themselves" while Neil Patrick Harris, who plays himself in everything, does not. I don't understand the point of Green playing himself--that is to say, I don't understand the point of the director character being David Gordon Green, since a) he's just an avatar for clout one doesn't necessarily associate with Green, b) his prior relationship with Cage is never excavated or exploited (they made the not-uninteresting Joe together in 2013), and c) it's doubtful that enough viewers will know who Green is to justify the casting. I don't understand Green's reaction to Cage's impromptu audition, either, whether his awed "Jesus" is because he's blown away, appalled, or reacting to an actor--a star--of Cage's calibre grovelling to the director of The Sitter and Halloween Kills. I don't understand why the movie spells Nic Cage's name "Nick Cage": if it's to separate onscreen "Nick" from offscreen "Nic," then why has Nick appeared in all the same stuff as Nic? That "k," like The Unbearable Weight of Massive Talent itself, ersatzes Cage. This movie isn't meta or satire, it's the Dollar Store version of an American original.

The Trouble with Harry (1955) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

Alfred Hitchcock's The Trouble with Harry
****/**** Image A Sound A Extras B-
starring Edmund Gwenn, John Forsythe, Mildred Natwick, Shirley MacLaine
screenplay by John Michael Hayes, based on the novel by Jack Trevor Story
directed by Alfred Hitchcock

by Walter Chaw Once I realized the person I'm supposed to suture with in Alfred Hitchcock's The Trouble with Harry is the title character, the middle of Hitchcock's three dead protagonists (sandwiched between Rebecca's Rebecca de Winter and Psycho's Mother), the rest of the movie began to make sense to me. Not a literal sense where the characters' behaviour is reasonable, thus making the narrative intelligible in a rational way, but an absurdist, Lewis Carroll nightmare sense, where language is revealed to be meaningless and unstable enough to destabilize perceptions of time and space as well. The Trouble with Harry casts Vermont in fall as Wonderland aswarm with madness and violence, lodged in a time-loop and peopled by a gallery of hatters and dormice (and even an Alice, completely over-the-rainbow insane) preserved in an autumnal, solipsistic amber of their own deconstructionist, semantic derangement. The closest analogues in movies are Michelangelo Antonioni's Blowup and Michel Soavi's Dellamorte Dellamore: the former echoing The Trouble with Harry's thesis that if reality is defined by language, then reality is as subject to slippage as language; the latter harking back to this film's snow-globe meta-fiction, where life and death play out its meaningless permutations in a philosophical exercise inside an alien terrarium. The Trouble with Harry would play well in a double-feature with Scorsese's existentially terrifying After Hours. Godard's Alphaville, too--a noir about the prison of words where every room contains a "bible," which, in reality, is a dictionary with telltale words removed (like "poetry" and "love"), thereby eradicating them from the minds of a citizenry enslaved by a machine god.

Shadow of a Doubt (1943) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

****/**** Image A Sound A Extras B-
starring Teresa Wright, Joseph Cotten, Macdonald Carey, Henry Travers
screenplay by Thornton Wilder, Sally Benson, Alma Reville, from an original story by Gordon McDonell
directed by Alfred Hitchcock

by Walter Chaw Just by the fact of her, Charlie (Teresa Wright) is dangerous for her Uncle Charlie (Joseph Cotten), a violent rebuke of the caustic nihilism of his worldview. She's too pure, too loving, too good; her existence is proof there's something wrong with him. Very wrong. She's so rare a thing, the only way to protect her and, by extension, what he believes about our debased, postlapsarian state is to corrupt her. Really, he's doing her a favour. I think that Uncle Charlie knows he's running out of time, that the dragnet around him is tightening at the neck. I think he wants to spend whatever freedom he has left turning his namesake to his way of thinking. Visiting for the first time in too long, he brings gifts for everyone in his sister Emmy's (Patricia Collinge, her character named after Hitch's mother) family: his brother-in-law Joe (Henry Travers), his little niece Ann (Edna May Wonacott), his nephew Roger (Charles Bates), and of course Charlie. But she rejects even the notion of receiving a present from her beloved uncle. His presence is good enough, she says.

Saboteur (1942) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

*/**** Image A Sound B Extras C
starring Priscilla Lane, Robert Cummings, Norman Lloyd, Otto Kruger
screenplay by Peter Viertel, Joan Harrison, Dorothy Parker
directed by Alfred Hitchcock

by Walter Chaw When I think of Saboteur, which isn't often, it's as the first American project Hitchcock developed largely without his beloved assistant Joan Harrison, who left after co-writing the first draft (seeing in the opportunity to produce The Phantom Lady her chance to wriggle out from under Hitch's shadow), and, maybe more significantly, without his most essential collaborator, wife Alma Reville, then away in New York with their daughter Pat, who had just won the lead role in a play. They left creative absences Hitch tried to fill--disastrously, I think--with Algonquin Roundtable alumni Peter Viertel and Dorothy Parker. (If there's a case to be made about the importance of Alma to Hitchcock's career, it may be useful to examine those films where we know she was absent.) I also think of Saboteur, when I do, as an attempt at an "all-American" film of the kind Hitchcock, fearing he'd left Britain trailing with him too much of the old country, was desperate to make. The desire to embrace his adopted culture is so conspicuous it becomes uncomfortably obvious in multiple instances (stops at the Statue of Liberty, Rockefeller Center, and even the Hoover Dam) that setting has fatally superseded narrative. His follow-up, the Thornton Wilder-penned Shadow of a Doubt, is the all-American Hitchcock that works, locating the country's heart in the introduction of a human stain into a small town and a wholesome family.

Scream (2022) - Blu-ray + Digital Code

***½/**** Image A- Sound A Extras B
starring Melissa Berrera, Mason Gooding, Jenna Ortega, Neve Campbell
written by James Vanderbilt & Guy Busick
directed by Matt Bettinelli-Olpin & Tyler Gillett

by Walter Chaw Kevin Williamson and Wes Craven's Scream cycle, in terms of its influence on modern film, constitutes the most important metatext of the last 25 years in that it's not only self-referential, it's curious about how self-reference can be an essential ontological tool as opposed to a mere existential exercise. They're better movies, in this respect, than The Matrix and its sequels, and, at least in terms of their popularity, they're more important than even Charlie Kaufman's extraordinary but limited-appeal body of work. The Scream saga, for lack of a better word, matters. Not for nothing does Scream 3, despite being the weakest installment of the original four and the only one of those that didn't involve Williamson in any significant way, take place mainly on a simulacrum of hero Sidney's childhood home and neighbourhood, recreated inside a soundstage like the to-scale streets of Kaufman's Synecdoche, New York. If the first film is a watershed, the second is perhaps the series' masterpiece: a phenomenal bit of pop philosophy that sees Sidney (Neve Campbell) as a Cassandra figure, literally forced onto the stage with a pack of masked murderers to re-enact her trauma from and into eternity. It's her role in these Passion Plays to be preyed upon--and through her suffering, the "rules" of engagement between women coming of sexual age and men wanting to possess and punish them for that are forged. She has become an archetype, a thing that is representative of a fundamental truth, and the movies understand that. When she makes her entrance in the new Scream (hereafter Scream 5), standing up in a hospital waiting area to greet a young woman initiated into the abattoir, it is framed and shot as though we are all in the presence of a divine visitation.

Dexter: New Blood (2021-2022) - Blu-ray Disc

Image A- Sound A Extras C+
"Cold Snap," "Storm of Fuck," "Smoke Signals," "H is for Hero," "Runaway," "Too Many Tuna Sandwiches," "Skin of Her Teeth," "Unfair Game," "The Family Business," "Sins of the Father"

by Bill Chambers SPOILER WARNING IN EFFECT. It begins with a white buck. Dexter is tracking it through the woods, a regular Natty Bumppo. Though he has a clear shot, something stops him from pulling the trigger, and he falls to his knees in a parody of biblical defeat. A second attempt the following day is foiled when a sharp noise from elsewhere causes the wildlife to scatter, while a third and final try sees him lowering his rifle and surrendering to the beauty of the beast. Dexter and the white buck are kindred spirits--outliers of their species, yet built to blend into their surroundings. Trophies, ultimately, for their rarity. The premiere episode of "Dexter: New Blood", "Cold Snap," might be my favourite of the character's entire television run, because it allows him this brief state of grace. There was a season of "Dexter" where he went searching for signs of a higher power, but it's here that he finds one, and what makes this so different from our serial-killer Pinocchio's previous real-boy epiphanies is that, for once, there's no noise in his head. In fact, this most compulsive of narrators only starts talking to us again after the tranquillity of the moment is shattered, which is a surprisingly understated gambit for "Dexter". It's a crowd-pleasing thing, I suppose, when he finally pipes up (it's Clark Kent ducking into a phone booth, or Popeye squeezing a can of spinach), but it plays to me as bitter commentary on how short-lived inner peace is these days for anyone with a moral compass--even one as faulty as Dexter's.

The Matrix Resurrections (2021) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

½*/**** Image A+ Sound A Extras A-
starring Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Neil Patrick Harris
screenplay by Lana Wachowski & David Mitchell & Aleksandar Hemon
directed by Lana Wachowski

by Walter Chaw I guess I wouldn't mind that The Matrix: Resurrections (hereafter Matrix 4) is so stupid if it didn't spend so much of its bloat trying to explain itself. Just let it go. If you're riding with the same plot as Space Jam: A New Legacy, own it--run with it, for fuck's sake. Exposition is always a delicate if necessary evil, but here it's particularly undignified. It's Glen from Raising Arizona explaining his Polack jokes. The plot of Matrix 4 is essentially that conversation with the guy who's way too stoned who has this great idea for a Matrix sequel. "Okay, okay, see, Neo is--haha--NEO is Mr. Anderson again and--haha, check it--he's like this programmer dude, real boring piece of shit, and he made a game back in 1999 called 'The Matrix', and yo, yo, yo, wait, wait... What if Trinity was The One, too?" You've heard of the concept of "raising all boats"? Well, an hour of deadening exposition devoted to explaining a plot this contrived, this smug and half-cocked, this simultaneously convoluted and simplistic, sinks the boat--sinks all fucking boats. Good poker players have confidence and chill; not only does Lana Wachowski have a real bad tell, she gives speeches about what she's holding. "Hi, I'm Lana, creator of The Matrix, and I'm drawing on an inside straight." Small wonder Lilly refused to participate in this boondoggle, leaving Lana to recruit their Cloud Atlas partner-in-crime David Mitchell as one of her co-writers. That either of these people kept their names on this is evidence of an almost majestic, feline confidence.

The King's Man (2021) [Ultimate Collector's Edition] - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

*/**** Image A Sound A Extras A-
starring Ralph Fiennes, Gemma Arterton, Rhys Ifans, Charles Dance
screenplay by Matthew Vaughn & Karl Gajdusek
directed by Matthew Vaughn

by Bill Chambers Make no mistake, 2014's Kingsman: The Secret Service is reactionary horseshit, but I got a kick out of its shock tactics and couldn't deny that this new chapter in producer-turned-director Matthew Vaughn's career held some unlikely appeal as an alternative if not an antidote to the antiseptic Marvel and faux-gritty DC cinematic universes. The film was tacit confirmation that Vaughn, after courting controversy with Kick-Ass, had embraced his inner Droog: he would now revel in the violence and latent fascism of his favoured crime and superhero fiction--albeit drolly, like a more cartoonish S. Craig Zahler. In retrospect, however, it's probably more accurate to say that Vaughn let muse Mark Millar, who wrote the graphic novels Kingsman and Kick-Ass were based on, Pied Piper him into a brick wall, i.e., the dead-end that is The King's Man, the third chapter in a trilogy that had nowhere to go and so goes backwards to tell an origin story--complete with the dulled edges that tend to happen to adult-skewing franchises as kids become their prevailing consumer. Unlike RoboCop 3 or Police Academy III: Back in Training, The King's Man retains the R rating of its predecessors, though here it feels like the MPA is primarily trying to protect children from boredom.

The Lover (1992) [Collector's Edition] - 4K Ultra HD + Blu-ray

Please note that all framegrabs are from the 1080p version

**/**** Image A- Sound A- Extras A-
starring Jane March, Tony Leung, Frederique Meininger, Arnaud Giovaninetti
adapted by Gerard Brach, Jean-Jacques Annaud, based on the novel by Marguerite Duras
directed by Jean-Jacques Annaud

By Bill Chambers

"What must have happened is: I try it on just for fun, look at myself in the shopkeeper's glass, and see that there, beneath the man's hat, the thin awkward shape, the inadequacy of childhood, has turned into something else. Has ceased to be a harsh, inescapable imposition of nature. Has become, on the contrary, a provoking choice of nature, a choice of the mind. Suddenly it's deliberate. Suddenly I see myself as another, as another would be seen, outside myself, available to all, available to all eyes, in circulation for cities, journeys, desire. I take the hat, and am never parted from it. Having got it, this hat that all by itself makes me whole, I wear it all the time."

That's author Marguerite Duras in the opening pages of her best-selling 1984 memoir L'Amant, describing the "brownish-pink fedora with a broad black ribbon" she wore as a girl of 15-and-a-half. If you remember anything about Jean-Jacques Annaud's eponymous 1992 feature-film adaptation The Lover (apart from its prurient reputation, that is), chances are it's that hat, which actually captures some of the mythic quality Duras is getting at in the above-quoted passage. Watching the recent Holler, I realized that when I think back on it, I will likely remember it not as a movie about scrappers living in poverty but as the one with the girl in the Steve Zissou-esque red-knit beanie. Hats are incredibly cinematic, bestowing story and subtext on an actor's face. Yet while the hat that 19-year-old newcomer and former teen cover girl Jane March wears in The Lover may strike the right note of self-assurance, the pigtails sticking out from under it combine to give her an Anne of Green Gables look that hardly contradicts "the inadequacy of childhood," and I think that's deliberate. From the get-go, she's not just exotic fruit, she's forbidden fruit. The Lover takes a short, discursive book without dialogue typical of the Hiroshima mon amour screenwriter and almost miraculously extrapolates a linear, if episodic, framework from it, but it leans into the sordid details that Duras almost glosses over.

John Carpenter's Escape from L.A. (1996) - Blu-ray Disc|4K Ultra HD + Digital Code

Please note that these screencaps are from an alternate source and do not necessarily reflect either of the discs covered herein.

**/****
BD - Image A- Sound B+
4K - Image A- Sound A-
starring Kurt Russell, Stacy Keach, Steve Buscemi, Cliff Robertson
screenplay by John Carpenter & Debra Hill & Kurt Russell
directed by John Carpenter

by Bryant Frazer The 1990s were unkind to John Carpenter: The stock market was booming, there was a Democrat in the White House, and the American horror film was at a low ebb. That was the decade when Carpenter--arguably the best B-movie auteur in the world during the 1980s and certainly the most audacious--lost his mojo. Exhausted from the experience of making two genre classics (They Live and Prince of Darkness) back to back, Carpenter took a couple of years off from filmmaking. When he was ready to work again, he considered making The Exorcist III but eventually settled on an ill-fated Chevy Chase vehicle, the $40 million sci-fi adaptation Memoirs of an Invisible Man, that torpedoed his attempted return to big-budget filmmaking. Carpenter tore through three more projects in the next three years--the Showtime horror anthology Body Bags, the Lovecraft riff In the Mouth of Madness, and a Village of the Damned remake--before deciding to pillage his own back catalogue with a sequel to the dystopian Escape from New York.

Dune (2021) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

Dune Part One
****/**** Image A Sound A+ Extras B
starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem
screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth, based on the novel by Frank Herbert
directed by Denis Villeneuve

by Walter Chaw I couldn't get through the Lord of the Rings trilogy when I was a kid, but I devoured Frank Herbert's Dune in a fever and read it again immediately. I have a tactile memory of it. Mostly, I was haunted by the frequent use of passages from the diaries, histories, and philosophies of one Princess Irulan, inserted throughout the text to give the book's story a sense of lost time, immense. I wouldn't experience this feeling reading something again until years later when I finally got into Proust, this thing where you read it in the present, but the text is irretrievably past. You've arrived at the dock, but the ferry, impossibly beautiful and decked out with incomprehensible pleasures and mysteries, has left, and it's not coming back. Princess Irulan opens the book by warning us not to be deceived by its hero, Paul, having spent the first fourteen years of his life on a planet called "Caladan"--that his story is inextricable from the fate of a place called "Arrakis." It reminds me of the many epitaphs for T.E. Lawrence. Herbert told his son that he left multiple threads unresolved in Dune so its readers would want to revisit it--return obsessively to it to follow different paths, suggestions, prophecies. I think it's why I've read four or five of the subsequent Dune novels only once and retained so little of the stories they tell and the answers they provide. It's like Arthur C. Clarke's sequels to his 2001: A Space Odyssey novelization: I don't actually want to know what's inside the Monolith.

Editor's Choice: The Year in Blu-ray (2021)

by Bill Chambers It was a pretty strong year for Blu-ray and another bad one for civilization, which is probably why an unusually high number of discs (Donnie Darko 4K, The Road Warrior, and Criterion's Citizen Kane, to name a few) fell victim to human error in 2021. I'm not dissuaded by this, I'm touched by the format's resilience in the face of adversity. One thing is for certain: the pandemic has not been kind to the hoarder of physical media--this hoarder, at least. It's led to short-stocked titles, import levies, fewer offers of review copies, and me not making one of these lists in 2020 because there was so much I missed. I don't think I expected to be back in the same boat 12 months later--or maybe, to paraphrase the world's greatest detective, I knew I would be, but I hoped I wouldn't be. I'm ignoring any pangs of FOMO this time around, though, because I did see at least 10 titles worth singling out, even if collectively they don't tell the whole story of the year in home video. Besides, any excuse to proselytize for physical media as the oil slick of streaming continues to submerge preexisting content delivery systems.

The Wolf of Wall Street (2013) - 4K Ultra HD + Digital Code

Please note that all framegrabs are from the 1080p version

***½/****
BD - Image A+ Sound A Extras C-
4K UHD - Image C+ Sound A Extras C+
starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin
screenplay by Terence Winter, based on the book by Jordan Belfort
directed by Martin Scorsese

by Angelo Muredda "For us, to live any other way was nuts," Ray Liotta's schnook turned gangster Henry Hill explains early on in Martin Scorsese's Goodfellas. With that, spoken over a montage of permed Italian men in tailored suits gorging themselves at an upscale restaurant, Hill at once launched a wave of lesser, faux-conflicted pictures about the swanky perks and ethical compromises of organized crime, and raised the fundamental moral question of Scorsese's latest, The Wolf of Wall Street. An unashamedly indulgent, ribald, and formally troubled biopic of Jordan Belfort, this unofficial Goodfellas follow-up likewise revolves around the kind of work that makes living like a pig in shit possible. His kinship to Hill aside, Belfort has had an unusually clear-sailing trajectory to garner the interest of a filmmaker who tends to be drawn to Catholic tales of excess followed by redemptive suffering. Belfort is still a born stockbroker and swindler, despite his working-class origins and federal inquiries and stints in rehab; the fact that he debuted on Wall Street the day of the crash and remains in demand as a guru well after the financial crisis of 2008 seems to give Scorsese and screenwriter Terence Winter pause, as well the astonishing survival rate of cockroaches should. What better way to make a film about such a man, Scorsese and Winter appear to have concluded, than to structure his story as a Roman orgy?

Malignant (2021) - Blu-ray + Digital Code

***½/**** Image A Sound A Extras C
starring Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
screenplay by Akela Cooper
directed by James Wan

by Walter Chaw James Wan's Malignant is spectacularly, unabashedly fucking nuts. Not nuts in a random way, nuts in the way Oliver Stone's The Hand is--or, more to the point, Brian De Palma's Sisters. It's what the Dario Argento The Phantom of the Opera should have been: not entirely giallo, not without elements of high opera; a classic "madwoman" picture as well as a possession movie. Also, that voice on the phone from Black Christmas, and also a loving homage to Stuart Gordon, and also... Malignant is a joyful mishmash that plays like a NOW That's What I Call Music compilation for horror fans. It's the North by Northwest of delirious genre fare: Bava if you want it, the most gothic Hammer if it pleases you, complete with a Universal Monsters monster I kind of can't believe someone hasn't done before. I'm not giving anything away by saying the cosplay is going to be lit.

My Fair Lady (1964) - 4K Ultra HD + Digital (Bryant Frazer's last review)

Note: all framegrabs were sourced from the 4K UHD disc.

This is the final review Bryant Frazer wrote for FILM FREAK CENTRAL before he passed away. It's technically a work-in-progress, but I don't think its publication is anything to be embarrassed about. For what it's worth, Bryant neglected to provide a star rating or grades for the audio, video, and extra features, so I've left them off rather than attempt to second-guess him. As our own Walter Chaw poetically put it to me, "His last act was not an act of judgment."-Ed.

starring Audrey Hepburn, Rex Harrison, Stanley Holloway, Theodore Bikel
screenplay by Alan Jay Lerner, based upon the musical play as produced on the stage by Herman Levin, with book and lyrics by Alan Jay Lerner and Frederick Loewe, from a play by Bernard Shaw
directed by George Cukor

by Bryant Frazer My Fair Lady opens, provocatively enough, at a performance of Gounod's operatic adaptation of Faust, that ageless drama of unforeseen consequences. As in the George Bernard Shaw play Pygmalion, on which My Fair Lady is based, the role of the Devil is filled by Dr. Henry Higgins (Rex Harrison), a linguist who loudly (and rudely) laments the Cockney patois spoken by the lower classes. Drawing his attention is a wary flower girl named Eliza Doolittle (Audrey Hepburn), a London-born-and-bred Faust who's intrigued by Higgins's boast that, through speech training alone, he can elevate her from working-poor status into a new position as society maven. The drama pivots around that transformation: Hepburn moves into Higgins's spacious home for the duration of her schooling, with an upcoming embassy ball--where Higgins hopes to debut his newly cultured creation--imposing a deadline on his project. Surrounding them are a variety of colourful characters, such as Higgins's sponsor, Colonel Pickering (Wilfrid Hyde-White), Hungarian language scholar Zoltan Karpathy (Theodore Bikel), and Eliza's father, Alfred (Stanley Holloway), whose big pre-wedding number, which includes the immortal turn of phrase "Girls come and kiss me / Show how you'll miss me / But get me to the church on time," is a highlight of the film's otherwise logy second act.

Super 8 (2011) - Blu-ray + DVD + Digital Copy|Super 8 - 4K Ultra HD + Digital

Please note that all framegrabs are from the 1080p version

***/****
BD - Image A+ Sound A+ Extras A-
4K UHD - Image B Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw J.J. Abrams's Spielberg shrine Super 8 mines the birth-of-the-blockbuster nostalgia vein so doggedly that you actually wish it was better than it is. Still, what works about it works really well, the best result of it being that it offers a vehicle for young Elle Fanning that should catapult her to the real superstardom Somewhere would have had anyone seen it. She's stunning; every second she's on screen, no matter whether she's sharing the frame with a two-storey monster, it's impossible to look away from her. She's the natural lens-flare Abrams offsets with his trademark visual tick. Fanning's Alice, the daughter of town drunk Louis (Ron Eldard), is enlisted by a pack of Goonies-stratified youngsters to be the female lead in their kitchen-sink zombie flick. The erstwhile director is the Stand By Me chubby one Charles (Riley Griffiths), and along for the ride are the one who pukes (Gabriel Basso) and the one who likes to blow shit up (Ryan Lee). And, yes, there's that scene where the kids throw their stuff over a fence, gather up their bikes, and recreate an entire sequence from the Amblin Entertainment logo that opens the picture.

Almost Famous (2000) - 4K Ultra HD + Digital

Note: all framegrabs were sourced from the 4K UHD disc. Click any image to enlarge.

Almost Famous **½/****
Untitled ***/****
Image A- Sound A- Extras A-
starring Patrick Fugit, Billy Crudup, Frances McDormand, Kate Hudson
written and directed by Cameron Crowe

by Bryant Frazer Almost Famous, Cameron Crowe's fondly remembered period piece about a bygone era of rock stars and the various satellites in their orbit, is a bit of a relic these days. Even on its release in 2000, when it was almost 30 years removed from its subject matter, Almost Famous was a notably uncritical celebration of a moment in 20^th-century music history. Another 20 years on, having centred the phallic sexual and creative powers of a white guy with a guitar, Almost Famous is increasingly disconnected from the prevailing pop and hip-hop zeitgeist, and the film feels even more like cultural hagiography. On the other hand, it is a hell of a story. The fundamentals are autobiographical: Cameron Crowe really was a 15-year-old whiz kid who earned early graduation from high school; he really did seek career advice from legendary rock-and-roll critic Lester Bangs; and he really landed a ROLLING STONE assignment to hit the road with a group of next-big-thing cock-rockers. The story, as Crowe retells it here, has intrepid young journo William Miller (a fresh-faced Patrick Fugit) on assignment with the fictional rock group Stillwater--dealing with celebrity egos, yearning for the teenaged groupies who sprinkle their figurative fairy dust around a series of interchangeable ballrooms, basketball arenas, and hotel suites, and checking in with a protective mother (Frances McDormand) who can only peer helplessly into her son's wonderland from her world outside the circus tent. Finally, William meets with his editors back at HQ to bang out a chunk of blistering reportage that will lay bare the raw emotional state of a band on tour and cement his status as a rock journalist. What could go wrong?

Howard the Duck (1986) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

**½/**** Image B- Sound A- Extras B
starring Lea Thompson, Jeffrey Jones, Tim Robbins, Ed Gale
written by Willard Huyck & Gloria Katz, based on the Marvel Comics character created by Steve Gerber
directed by Willard Huyck

by Bill Chambers If you'll indulge me, as I recall it was at my local Sunrise Records that I first laid eyes on the egg with the hatched beak chomping on a cigar, which became as emblematic of Howard the Duck, albeit not as iconic or enduring, as the gleaming bat symbol would become of Batman three summers later. It was on the cover of a 12" EP of the movie's title track, performed by Dolby's Cube featuring Cherry Bomb, a fictitious band consisting of actresses Lea Thompson, Liz Sagal, Holly Robinson, and Dominique Davalos, who did all their own singing. (Thomas "She Blinded Me with Science" Dolby wrote and produced their songs.) When I flipped the jacket, I encountered a photo spread of Thompson in rock-'n'-roll leathers and big, crimped hair, and I reacted how any 11-year-old boy hot for Marty McFly's mom would: I begged my dad to buy it for me.

Siberia (2020) - Blu-ray + Digital

****/**** Image A Sound A
starring Willem Dafoe, Dounia Sichov, Simon McBurney, Christina Chiriac
screenplay by Abel Ferrara and Christ Zois
directed by Abel Ferrara

by Walter Chaw I had a dream when I was very young. A fever dream, while tangled in my parents' bed sheets, delirious and afraid, soaked and burning. I bore horrified witness to a line of bald monks stretching into an impossible black, all awaiting their execution by beheading and various other cranial offenses. I couldn't make out the executioner. I wondered why my parents couldn't see what I was seeing, and in my confusion, I didn't know if they were angry with me or lying to me. Abel Ferrara's Siberia has somehow manifested this fever dream of mine in a sequence where its ex-pat protagonist, the Jack London-ian Clint (Willem Dafoe), rides a dog team through the arctic on his way to a cave carved into the side of a jagged rockface. He passes a village in the midst of some sort of violent cleansing where gunmen force a group of men, naked and bald, into the cold to be executed, one after the other. When I had my hallucination as a child, I couldn't have been more than five or six. I had never, at that point in my life, actually seen a monk. When I finally did, some years later, I felt as though I'd already borne witness to their martyrdom. When you first read Carl Jung's Memories, Dreams, Reflections, you're confronted with two beginnings--two approaches to what is one of the most profound works of self-examination in the history of Western thought. The first is in the prologue, the next in the first chapter (called "First Years"). In the prologue, Jung writes:

Godzilla vs. Kong (2021) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

½*/**** Image A+ Sound A Extras C+
starring Godzilla, King Kong, Alexander Skarsgård, Demián Bichir
screenplay by Eric Pearson and Max Borenstein
directed by Adam Wingard

by Walter Chaw Godzilla is a reaction to America's attack on two civilian targets with nuclear weapons in the same way the current American superhero cycle is a reaction to 9/11. King Kong is an offshoot of Edgar Wallace's sledgehammer racist "Sanders of the River" tales, which he parlayed into early drafts of the screenplay that eventually became 1933's King Kong. Though it's possible to make a Godzilla or a King Kong movie without these ghosts of American war crimes, colonialism, and racism haunting it, Adam Wingard's Godzilla vs. Kong (hereafter GvK) ain't it. Not when these two giant metaphors for the poison of American exceptionalism destroy Hong Kong, a Chinese city the British only recently returned to the Chinese, before banding together to fight a Mexican-American's Japanese-piloted robot dinosaur. The film is a mess, an ideological jumble and a disaster of narrative that reduces its able cast to half exposition dump, half glazed reaction shots. It doesn't have anything to say and even in the worst of its predecessors, this was never the case. GvK isn't interested in ecology, in arms proliferation, in sociopolitical struggles--and failing all the big things it's not about, it's also free of parental issues, a romantic subplot, a compelling villain, or, indeed, a compelling hero. It's a giant nothing-burger. And that's without mentioning this new craze of writing a perfect minority child to teach the growed-ups how to get in touch with their better natures.

Full Metal Jacket (1987) - 4K Ultra HD + Blu-ray + Digital Code

Note: all framegrabs were sourced from the 4K UHD disc. Click any image to enlarge.

****/**** Image A- Sound B Extras B-
starring Matthew Modine, Adam Baldwin, Vincent D'Onofrio, Lee Ermey
screenplay by Stanley Kubrick, Michael Herr, Gustav Hasford, based on Hasford's novel The Short-Timers
directed by Stanley Kubrick

by Bryant Frazer It's obvious from the beginning that Stanley Kubrick loves R. Lee Ermey. Loves him. Though Ermey is only the fourth-billed actor in Full Metal Jacket, Gunnery Sergeant Hartman may as well be the star of the show. He's described in Gustav Hasford's source novel as "an obscene little ogre in immaculate khaki." His barked insults and obscenities dominate the first section of the film--a tour de force showing how Hartman wears down (and, supposedly, toughens up) a barracksful of U.S. Marine draftees, blasting away at their natural aversion to aggression and reprogramming them as soldiers. Kubrick was lucky to find him; a Vietnam War vet and former Marine Corps drill instructor, Ermey brings an irresistible combination of outrageousness and authenticity to the part. Hartman could have come across as an unlikely caricature but for Ermey's ferociousness.

Indiana Jones: 4-Movie Collection - 4K Ultra HD + Digital

Note: all framegrabs were sourced from the 4K UHD discs. Click any image to enlarge.

RAIDERS OF THE LOST ARK (1981)
****/**** Image A- Sound A
starring Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey
screenplay by Lawrence Kasdan
directed by Steven Spielberg

INDIANA JONES AND THE TEMPLE OF DOOM (1984)
***½/**** Image A+ Sound A
starring Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri
screenplay by Willard Huyck & Gloria Katz
directed by Steven Spielberg

INDIANA JONES AND THE LAST CRUSADE (1989)
**½/**** Image A Sound A
starring Harrison Ford, Sean Connery, Denholm Elliot, Alison Doody
screenplay by Jeffrey Boam
directed by Steven Spielberg

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)
**½/**** Image A+ Sound A
starring Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf
screenplay by David Koepp
directed by Steven Spielberg

by Bryant Frazer Paramount has reissued the first four Indiana Jones films on 4K UHD disc in a box set with vouchers for digital copies of the tetralogy. (For a detailed review of the movies proper as well as their 2012 Blu-ray counterparts, our own Walter Chaw has you covered. (The star ratings above are his, the letter grades are mine.)) The new 4K scans capture the camera negatives in all their Panavision glory. Grain is quite present and the image sometimes goes a wee bit soft, especially in shots that were optically printed (i.e., titles, dissolves, wipes, and the like), but it's never inappropriate or distracting, and I didn't notice any obvious compression-induced flaws. Many of the special-effects shots look better than ever, as the original elements have been recomposited digitally to fix thick matte lines, imprecise rotoscopes, and similar technical holdovers from the analog domain.

Lisa (1990) - Blu-ray Disc

****/**** Image A- Sound B+ Extras B+
starring Cheryl Ladd, D.W. Moffet, Staci Keanan, Tanya Fenmore
written by Gary Sherman & Karen Clark
directed by Gary Sherman

by Bill Chambers SPOILER WARNING IN EFFECT. It's cheesy, right? He stakes out beautiful women, breaks into their apartment while they're out, and decorates their place with enough candles for a Meat Loaf video. When they return home and check their messages, they hear one from him: "Hi, this is Richard. I'm in your apartment. I'm going to kill you." Then he pounces, doing exactly what he promised to do. I went to see Gary Sherman's Lisa with a friend on opening weekend in May of 1990; we had planned on going to Ernest Goes to Jail but were late for the matinee. We were late for everything, in fact, except Lisa, and the only competition for a seat was the tumbleweeds--a reflection of the skeletal marketing budget and maybe Siskel & Ebert's downcast thumbs. Anyway, my buddy and me, both 15 at the time, were snorting derisively at Richard's M.O.--the media has christened him, ooh, the Candlelight Killer--as Lisa got underway, mainly because it involved the type of aesthetic jive we put up with for a flash of nipple on late-night cable. (Did I mention the saxophone music?) Then came the introduction of the title character, a 14-year-old girl who lives with her florist mother Katherine in a cozy little womb of a loft, and any residual laughter took on a nervous edge. Safe to say that Scooby-Doo-ish frisson of siccing a sociopath on the territory of Apple Paperbacks worked like a charm: We were on tenterhooks for the next 90 minutes or so, like air-traffic controllers monitoring the progress of Lisa and Richard's inevitable, inexorable collision.

Judas and the Black Messiah (2021) - Blu-ray + Digital Code

**½/**** Image B+ Sound A Extras C
starring Daniel Kaluuya, LaKeith Stanfield, Jesse Plemons, Martin Sheen
screenplay by Will Berson & Shaka King
directed by Shaka King

by Walter Chaw Shaka King's Judas and the Black Messiah is a fantastic Vietnam War movie that is not simultaneously a fantastic biopic of Black Panther leader Fred Hampton. It reminded me a lot, and directly, of Brian De Palma's moral opera Casualties of War, which first challenged me to reckon with the American military not as a source of global good but as the perpetrators of atrocity at the whim of an inexorable capitalist, expansionist empire hiding behind the cowl of religion and white supremacy. In that film, '80s emblem of white, "compassionate" conservatism Michael J. Fox plays a green soldier who turns whistleblower as the witness to the misdeeds of his rapacious, brutal company commander, (Sean Penn). Based, like Judas and the Black Messiah, on true events, Casualties of War, again like King's film, sees white America as engaged in war crimes against minority populations. Alas, like De Palma's indisputably powerful piece, King's film is a better cultural self-excoriation than it is an examination of whatever's embedded in the American character that sees the flaying of Black (and Asian) bodies as both inevitable and isolated throughout our short history. In each film, there is the implication that justice of a sort has been served: in the one with trial and imprisonment for the malefactors, in the other (Judas and the Black Messiah) with the reported real-life suicide of the rat in Fred Hampton's cupboard. Neither movie really reckons with the growing silence of minority voices in our discourse.

The Ten Commandments (1956) - 4K Ultra HD + Blu-ray + Digital

Please note that all framegrabs are from the 1080p version

***½/**** Image A Sound A- Extras B+
starring Charlton Heston, Yul Brynner, Anne Baxter, Edward G Robinson
screenplay by Æneas MacKenzie, Jesse L. Lasky, Jr., Jack Gariss, Fredric M. Frank, in accordance with the ancient texts of Philo, Josephus, Eusebius, the Midrash, and the Holy Scriptures
directed by Cecil B. De Mille

by Bill Chambers A harbinger of the pageantry to come, Cecil B. De Mille's 1956 The Ten Commandments begins with a pair of ornate drapes. De Mille himself emerges from behind them and steps up to a microphone. Back then, this would've had an uncanny effect on filmgoers, who were used to seeing curtains shield the silver screen from view until the lights went down. (To my recollection, curtains went the way of the dodo in the late-'80s, when they were deemed impractical by the new cookie-cutter multiplexes that would drive the traditional movie palace to extinction.) De Mille, then a name synonymous with "director" to the American public, proceeds to all but invent William Castle as he introduces The Gimmick: What you are about to see will fill in all the gaps in the biblical account of Moses, thanks to an investigative technique seldom used in Hollywood known as research. Well, not all of the gaps: kid Moses and teen Moses, who was surely elected Prom King in De Mille's imagination, still get the short-shrift.

Some Kind of Wonderful (1987) [John Hughes: 5-Movie Collection] - Blu-ray Disc

***½/**** Image A- Sound B+ Extras A-
starring Eric Stoltz, Mary Stuart Masterson, Craig Sheffer, Lea Thompson
written by John Hughes
directed by Howard Deutch

by Bill Chambers "Cinema is the most beautiful fraud in the world. In order to criticize a movie, you have to make another movie." John Hughes may have had this famous Jean-Luc Godard quote in mind when he embarked on the screenplay for Some Kind of Wonderful, a gender-swapped version of his heavily-compromised Pretty in Pink that came out less than a year later. But Some Kind of Wonderful did not start out like it ended up: The script that director Howard Deutch originally signed on to direct was about a citywide first date between a social pariah and the prettiest girl in school that notoriously called for the Blue Angels flight demonstration squadron to put on a private show for the couple. A broad comedy, it opened with its hero masturbating into a pillow. If you've seen Some Kind of Wonderful, this will all sound pretty incongruous.

Wonder Woman 1984 (2020) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

WW84
½*/**** Image A Sound A Extras B
starring Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal
screenplay by Patty Jenkins & Geoff Johns & Dave Callaham
directed by Patty Jenkins

by Walter Chaw At some point, someone in some boardroom should have pushed away from the table and asked whether it was a good idea to have a subplot in their new Wonder Woman movie about a person in the Middle East wishing that colonizers would be expelled from occupied territories. (The granting of said wish subsequently leading somehow to nuclear holocaust.) I mean, with or without an Israeli actress in the lead role. Not to say it's not geometrically worse with an Israeli actress in the lead role, because it is. Look, the real wonder of WW84 is that this maybe isn't the worst thing about it. Neither is how flat it looks, or how it starts with 45 minutes of poorly-timed slapstick before shifting into absolutely deadening action sequences, a weird body-possession intrigue, and a horrifying message about how you should never wish for things because everything has consequences attached to it. With so much riding on its shoulders, the burden to be all things to all people has resulted in a vivisected monstrosity of plastic inauthenticity. WW84 additionally has one of the most beautiful people in the world--who's playing an immortal superhero--tearfully proclaim that she wants something to go right for her for once in her life. What I'm saying is, WW84 is a very particular, very limited kind of fantasy gratification that also happens to have fantasy gratification as its needlessly magical plot.

She's Having a Baby (1988) [John Hughes: 5-Movie Collection] - Blu-ray Disc

*½/**** Image C Sound A Extras B-
starring Kevin Bacon, Elizabeth McGovern, Alec Baldwin, James Ray
written and directed by John Hughes

by Bill Chambers I rented She's Having a Baby the moment it hit video out of brand loyalty to John Hughes, whose teen movies had had an epic and indoctrinating influence on my peers and me. And I was largely indifferent to it up until the closing-credits montage of celebrities tossing out names for the titular baby, at which point my lack of enthusiasm gave way to dismay.^* At the time, I assumed the film's subject matter was too adult for 13-year-old me (and it was), but 18 years later I didn't like it any better, and after revisiting it with another 15 years' distance--which brings us to 2021--I've decided that when it comes to She's Having a Baby, "it's not me, it's you" suffices. Even though the travails of one Jefferson "Jake" Briggs remain as hypothetical to me as they were when I was a kid, movies, as Roger Ebert was fond of saying, are empathy machines; the cinema would never have flourished if films demanded a 1:1 relationship with the viewer's experiences. (Granted, this is also how they've gotten away with being so lily-white for so long.) Definitive proof of She's Having a Baby's mediocrity came for me when I saw Tamara Jenkins's Private Life, in which a cultured New York couple struggles with infertility as their biological clocks wind down. It was, next to First Reformed, my favourite film of 2018. I've never been on that side of the family equation and I'm not a churchgoer, either.

Possessor (2020) + Freaky (2020); Freaky (2020) [Killer Switch Edition] - Blu-ray + DVD + Digital Code

Possessor Uncut
****/****
starring Christopher Abbott, Andrea Riseborough, Rossif Sutherland, Jennifer Jason Leigh
written and directed by Brandon Cronenberg

FREAKY
**½/**** Image A- Sound A+ Extras B-
starring Vince Vaughn, Kathryn Newton, Katie Finneran, Alan Ruck
written by Michael Kennedy & Christopher Landon
directed by Christopher Landon

by Walter Chaw "You've gone strange on me," Ava (Tuppence Middleton) says to her boyfriend Colin (Christopher Abbott) one morning when he, frisky in the kitchen, reacts to her rejection of his advances with an expression that's impossible to read. Colin has gone strange. He really isn't himself. Ava is the daughter of a wealthy and powerful man, John Parse (Sean Bean), who has earned wealthy and powerful enemies, and though he's surrounded himself with all of the things wealth can buy, including a reasonable level of separation from the rabble, he's vulnerable to the mistakes he's made as the bad father he knows himself to be. I appreciate that his name derives from a word meaning "parts" or, colloquially, a deconstruction of a whole into the small, individual components of which it is composed. Brandon Cronenberg's Possessor has both nothing and everything to do with Ava and John and Colin; it is a multitude I haven't been able to shake for days, and so I watched Possessor a second time to try to exorcise it from me. I don't think it worked. Time will tell. Possessor is a science-fiction film the way Eternal Sunshine of the Spotless Mind is a science-fiction film, and a horror movie the way Philip Kaufman's Invasion of the Body Snatchers is a horror movie, but what it most resembles is Kathryn Bigelow's nightmare chimera of the two, Strange Days. All of these movies make you sick (heartsick, soulsick, sick-sick), but Possessor has about it the massive, impersonal nihilism of Philip K. Dick. We are cogs in a machine, and the machine is broken. But also it never worked in the first place. The picture is a true fable of our deconstruction.

The Godfather, Coda: The Death of Michael Corleone (1990/2020) - Blu-ray Disc

Mario Puzo's The Godfather, Coda: The Death of Michael Corleone
*½/**** Image A Sound A+ Extras D
starring Al Pacino, Diane Keaton, Talia Shire, Andy Garcia
written by Mario Puzo & Francis Ford Coppola
directed by Francis Ford Coppola

by Bill Chambers I wasn't a fan of 2019's Apocalypse Now: Final Cut, but I'm OK with it existing because Apocalypse Now is Francis Ford Coppola's Great American Novel, and I don't think he'll ever truly finish writing it. I don't care that he recut The Cotton Club, either, especially since his intentions with that one were to give the movie back to its Black performers, who got marginalized in the theatrical version of a film designed to celebrate the Roaring Twenties from inside the Harlem jazz scene. And I enjoyed the bloat of The Outsiders: The Complete Novel, though I'm bummed it knocked the original cut out of circulation--the real scourge of these variant editions. Alas, The Godfather, Coda: The Death of Michael Corleone (hereafter Coda), Coppola's shortened remix of the famously flawed conclusion to the Godfather trilogy, finally tested my patience for his compulsive tinkering. The Godfather Part III's problems were always foundational, the result of a studio's impatience and parsimony and a filmmaker's baffling interpolation of his own dynasty into the fictional one he helped create, and these are bells that can't be un-rung. To believe that a new edit was the magic bullet is to blame the heroic Walter Murch--who discovered the movie hiding in The Conversation's hot mess of footage back in the day--for the picture's shortcomings. (Patently absurd, in other words.) It's interesting to me that in 1991, The Godfather Part III was upgraded to a so-called "Final Director's Cut" in which Coppola and Murch tried to solve the issue of too much Sofia Coppola by adding more of her, reinstating most notably a rooftop heart-to-heart between Michael (Al Pacino) and Mary Corleone (Sofia) that resurfaces in an abridged form in Coda. (Sadly, the 170-minute Final Director's Cut permanently resigned the 162-minute theatrical cut to the dustbin of history.) Sans Murch, Coppola sentimentally snips a few of Sofia's more girlish line readings, as if it's not too late to spare her from ridicule--as if those weren't the endearing parts of her uncomfortable performance.

Tenet (2020) - 4K Ultra HD + Blu-ray + Digital Code

Please note that all framegrabs are from the 1080p version

**½/**** Image A- Sound A+ Extras B
starring John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh
written and directed by Christopher Nolan

by Walter Chaw The misbegotten love child of Christopher Nolan's own Memento and Michael Lehmann's Hudson Hawk, Nolan's Tenet is chonky Looper, a bloated, high-concept actioner that, alas, lacks Rian Johnson's light touch and deftness with moments of genuine wonder and delight. It's not the Titanic, it's the iceberg; not a towering example of man's hubris, but the ironic, frozen engine of its spectacular undoing. Freud liked to talk about how the unconscious was like an iceberg: only the very tip is visible, while the bulk of its mass is subsumed beneath. Freed from metaphor and employed instead as a simile, the hidden depths of an iceberg are more ice, just wetter. Tenet is like the first two Back to the Future movies but longer, not as good, and, uh, wetter.

Coming to America (1988) - 4K Ultra HD + Digital

Please note that all framegrabs are from the 1080p version

***/**** Image A Sound A Extras B+
starring Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos
screenplay by David Sheffield & Barry W. Blaustein
directed by John Landis

by Bill Chambers When I interviewed the great documentarian Steve James of Hoop Dreams fame, he asked me if I'd ever seen Coming to America, and I didn't know quite how to answer him. There was a time, during my adolescence in the mid-to-late '80s, when not seeing the latest Eddie Murphy movie would've put a serious crimp in my social life--when the extremely homophobic routines of Eddie Murphy "Delirious" (a.k.a. Eddie Murphy: Comedian, which my friend Joel gave to me on vinyl for my 12^th birthday) constituted the lingua franca of my peers, for worse or for worse. This was also the age of PayTV and home video, when it was not uncommon to watch a film you liked over and over again until you practically fused with it; I liked Coming to America. I liked it, and lots of kids my age liked it, I suspect, because it made us feel like adults with its titties and swears but basically coddled us with a plot out of Disney and a laid-back vibe to match. I'd soured on it in the years since, partly out of fear it was a low-key minstrel show. I'm still not sure that it isn't, but anyway, in answer to James's question, I said "yep."

Total Recall (1990) - 4K Ultra HD + Blu-ray + Digital

Note: all framegrabs were sourced from the 4K UHD disc

***/**** Image B+ Sound B+ Extras B+
starring Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Ronny Cox
screenplay by Ronald Shusett & Dan O'Bannon and Gary Goldman, based on the short story "We Can Remember It for You Wholesale" by Philip K. Dick
directed by Paul Verhoeven

by Bryant Frazer Before watching Studiocanal's new restoration of the 30-year-old science-fiction adventure Total Recall, I had only vague memories of seeing it on opening night. I mean, I remembered that I hated it, but I wasn't sure why. I was already a Paul Verhoeven fan based on RoboCop, though I didn't know anything else about his work. I know I was put off by the scene where Arnold Schwarzenegger puts a bullet in a woman's head and then yuks it up with one of his trademark murder jokes. Sure, the screenplay has taken pains to establish the character's unforgivable duplicity, but that's the problem: She's disposable, and she's a punchline. (No wonder Sharon Stone jumped at the chance to play a serial murderer of men in Verhoeven's next film.) And I recall that I was annoyed beyond reason by the film's climax, which involves a very sudden change to the environment on Mars. The science behind it struck me as insultingly preposterous. Still, I think what I really objected to, what actually offended me, was the light tone. After RoboCop, which struck me as an appropriately sick joke about fascist tendencies in American law enforcement (still in the news!), I guess I expected Verhoeven to treat Philip K. Dick's epochal ruminations on human consciousness, thought, and identity with some gravity (cf. the similarly Dick-inspired Blade Runner) instead of turning them into a wildly overblown comic-book complete with an absurdly-ripped muscleman as the self-doubting superhero at the centre of the action. That's on me; Looking back on Total Recall after three decades, I can see it more clearly. For Verhoeven, the cartoonishness is the point.

Requiem for a Dream (2000) [Director's Cut] - 4K Ultra HD + Blu-ray + Digital

Note: all framegrabs were sourced from the 4K UHD disc

***/**** Image A Sound A Extras B
starring Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans
screenplay by Hubert Selby Jr. and Darren Aronofsky, based upon the book by Selby Jr.
directed by Darren Aronofsky

by Bryant Frazer Few films are anywhere near as well made--as fierce and committed--as Requiem for a Dream, which stands as a 20-year-old landmark in an especially fertile era of New York indie filmmaking and one of the most expertly executed feel-bad narratives in the history of popular culture. Darren Aronofsky is a hell of a director, but he's always been a little, well, intense for my taste. He's got vision and passion to spare, and he clearly inspires dedication and devotion from his actors, yet I always feel there's something critical missing from the films themselves. If π is David Lynch without an angle on the truly bizarre and Black Swan is David Cronenberg without the painful psychological acuity, then Requiem for a Dream is John Waters without the sense of humour. I know Waters is friendly with Aronofsky, but imagining him watching this in a dark theatre and positively cackling at its most painfully outré gambits is what helps get me through its pitiless final act.

The Goonies (1985) + Beetlejuice (1988) - 4K Ultra HD + Blu-ray + Digital

Please note that all framegrabs are from the 1080p versions

THE GOONIES
*/**** Image A- Sound A
starring Sean Astin, Josh Brolin, Corey Feldman, Kerri Green
screenplay by Chris Columbus
directed by Richard Donner

Beetle Juice
**½/**** Image A+ Sound A-
starring Alec Baldwin, Geena Davis, Jeffrey Jones, Michael Keaton
screenplay by Michael McDowell and Warren Skaaren
directed by Tim Burton

by Bill Chambers Although Walter Chaw and Alex Jackson already covered The Goonies and Beetlejuice (hereafter Beetle Juice), respectively, for our humble little website, I feel obliged to say something about these films before moving on to the technical portion of this review. Firstly, I don't think I'd seen The Goonies from beginning to end since the '80s, and it took me a week to get through it this time. I summed up the experience on Letterboxd as "like being buried alive in the ball pit at Chuck E. Cheese," which was equally true no matter where I started from; The Goonies is just so screamy. To a certain extent, that's verisimilitude--this is, after all, a movie about a gaggle of teens and preteens on a treasure hunt, hopped up on sugar, hormones, and the fantasy of instant wealth. But it isn't merely that they're rambunctious--they're also mean.