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NEXT STOP, GREENWICH VILLAGE (Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95

                                                                                NEXT STOP, GREENWICH VILLAGE

(Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95 https://www.twilighttimemovies.com/next-stop-greenwich-village-blu-ray/ released May 22,2018 limited to 3,000 copies only.

 

While not as well known or as financially successful as AN UNMARRIED WOMAN (Fox,1978) or BOB &CAROL & TED & ALICE (Columbia ,1969), to me NEXT STOP GREENWICH VILLAGE is writer/producer/actor/director Paul Mazursky’s masterpiece that can be revisited again and again.

A semi-autobiographical work, N.S.G.V. perfectly captures the mood of a vibrant bohemian culture that defined the Village scene until the early 2000s, when the area grew too expensive and the quirky and energetic art, individualism, and yes, just plain fun crazy inhabitants were driven out, and the cozy brownstones and shops turned into expensive high-rises and expensive pretentious stores that lack any personality.

 

Much of the credit must go to the casting geniuses of Juliet Taylor and Sylvia Fay (background). Ms. Taylor and the late Ms. Fay (if you ever saw tv’s  FRIENDS(W.B.,1994-2004), actress June Gable obviously based her character of the chain-smoking Estelle on the late Sylvia Fay) were the unsung heroes of NY casting.

Unlike many casting directors today, they would attend Off -Off Broadway shows, seeking out new interesting faces and talent.

That is how Ms. Taylor came across actor Lenny Baker. The actor was busy working in Off Broadway shows, when she brought him to the attention of director Mazursky very close to the start of actual filming. The role fit the actor to a “t”, and he went on to win a Tony Award in 1977 for his role in the musical I LOVE MY WIFE. It is a major shame that illness took him from audiences too soon, dying from AIDS in 1982 at age 37.

   Ilene Graff as Cleo and Lenny Baker as Alvin in I Love My Wife

 

The film is also filled with a lot of New York stage actors who were still unknown at the time, including leading lady Ellen Greene (later most famous for her star turn both on stage and off as a blonde tressed Audrey in the musical LITTLE SHOPPE OF HORRORS) and a blink and you’ll miss him Bill Murray. This film and many New York lensed films of the 1970s truly did live up to the maxim, ‘They had faces then”.

 

Surrounding the talented newcomers were seasoned stars and supporting actors like Shelley Winters, Lou Jacobi, and Mike Kellin (whose last film role was as Mel in SLEEPAWAY CAMP, American Eagle, 1983).

 

• The Lapinskis are a nice if eccentric working class Jewish family living in Brooklyn ,1953 when son Lenny Lapinski (Baker) decides it’s time for him to move to Manhattan and pursue his dream of becoming an actor, much as the idea brings agita to his mother Fay (Winters) and his somewhat henpecked dad Ben (Kallin).

• Finding a flat in a Village brownstone, he is soon surrounded by loving bohemian friends who are artistically hungry, assured self-centered intellectuals, or creating lives and backgrounds for themselves that help them survive the real world. Among this idiosyncratic crew are Anita (Lois Smith), a high-strung friend who contemplates suicide, Robert (Christopher Walken) as the smug poet Robert, and Bernstein a black gay man who is full of fanciful stories of his life (Antonio Vargas, whom if you only know him as Huggy Bear from tv’s STARSKY & HUTCH, Spelling-Goldberg,1975-79, you will be astonished by his brilliant and touching turn here), hanger on Connie (Dori Bremmer).

The cast and director Mazursky

 

Lenny also a girlfriend, free spirit Sarah Roth (Greene). Their relationship is very sexual, in contrast to the normal conformity of the era. She enjoys their relationship but doesn’t want to be merely someone’s girlfriend. The problem is she isn’t sure exactly where she fits in the world.

 

That is not an issue with Lenny, who goes to acting classes, hoping like so many to be the next Brando, while working in an health food shop run by Herb (Lou Jacobi) and his wife (Helen Hanft, a fixture in Off -Off and Off-Broadway productions).

 

Along the way, we have many funny and tragic events happen along the way to Lenny’s journey to achieve stardom. Moments perfectly capture what feel honest and true of the period, including rent parties (a $1 a head, when a flat could be had for $50 a month!).

 

Among the names mentioned above, keep an eye out for Jeff Goldblum as a self-centered actor who studied at “The Studio” whose big mouth costs him from even being able to audition, Joe Spinnell as a cop who watches Lenny performing on a subway platform, and Rutanya Alda as an uncredited party guest.

 

The film was lensed by Arthur J. Ornitz (son of one of the Hollywood Ten ,Samuel Ornitz),who had been behind the camera for such films as THE BOYS IN THE BAND (National General,1970),SERPICO (Paramount,1973) and DEATH WISH (Paramount,1974) ,which all used a similar grainy look and brown palette in color, but he was also the cinematographer on HOUSE OF DARK SHADOWS (MGM,1970), so he was not limited in his color use or cinematic style .

 

Bill Conti was the composer, the same year that he wrote his score for ROCKY (U.A.,1976). For N.S.G.V., his score is a bluesy jazzy score that perfect evokes the era, often using pieces from the Dave Brubeck Quartet (the 1953 set film has Brubeck’s 1959 composition ‘Blue Rondo a la Turk”) or Charlie Parker.

 

 Don’t you hate when your parents walk in during sex?                                                                    

 

 

The film was mostly shot on location in NYC, though you would be hard pressed to find many of the locations nowadays. A shot looking toward the city from the subway platform clearly shows on the far-left buildings that were not there in the 1950s, but this, like the Brubeck note, are so nitpicky, that if you notice them while seeing the film then you aren’t paying attention to the brilliance of the storytelling.

 

You can still recognize the location on 7th Avenue South and Christopher Street (Village Cigar is still there) and you can still a nice meal at Café Reggio on 119 MacDougal Street, as well as Julius’s Bar at 159 W 10th Street, which is NYC’s oldest Gay Bar (it was also used in a scene for the film of THE BOYS IN THE BAND).

The commentary track by Mazursky (more on in a bit) mentions that Alan Ladd Jr, then head of 20th Century Fox, gave the director a lot of input on the film, up to and including the poster design by graphic designer Milton Glaser. Mazursky leaves it at that, but I was curious as to why he felt that was important to reference.

 

 

Though his imagery is well known even when his name is not (the original Broadway production of ANGELS IN AMERICA, for Bob Dylan, and the I LOVE NY logo, this is one of the illustrators few movie posters.

 

The more Norman Rockwell-ish design is by artist Birney Lettick, whose artwork graced movie posters for many a major American film across the genres..

 

The Blu Ray from Twilight Time is another winner from this company. An upgrade in picture quality from the previous DVD release from Fox, this is a 1080p High definition transfer in 1:85:1 ratio. The original grain and dark colors perfectly capture the look of the film when it played theatrically in 1976, to critical praise but small audiences in the U.S. It found a more appreciative audience for its European screenings, but slowly and surely it has been discovered by new audiences with each release. This stands as the one that fans will want to own.

The sound is available to listen to in DTS-HD MA 2.0 stereo as well as the original mono sound. I really didn’t notice any major difference, but since this is a dialogue driven score, it really doesn’t affect the overall enjoyment.

 

There are optional English SDH subtitles.

 

Other extras include

A very warm and informative commentary track recorded for the 2005 DVD release by director Mazursky and Ellen Greene. Though recorded separately, they are very nicely edited together for a commentary track that you may wish to listen to more often than other more technical but cold commentaries heard on bigger budgeted new releases. The joy that each have on recalling the film, and how it affected each one, is engrossing.

 

Another audio track allows you to hear the music track isolated in DTS-HD MA 2.0 stereo. This is a fun score to listen to while you are doing things, like perhaps writing a film review.

The Original Theatrical Trailer- this will give you an idea of how much the film elements have been cleaned, as well as idea of how the studio sold films at the time.

 

 

There is a reversible case sleeve as well as a nice booklet with liner notes by Julie Kirgo, ending with some more personal commentary than usual that shows the power of this film.

This is a must have addition to anyone who

-Loves Great Independent Style filmmaking (ironically, it was greenlit by Alan Ladd Jr, then head of 20th Century Fox)
-seeing famous actors in their early works
-Nostalgia
-Superlative Storytelling.

 

 

Heck, I think I am going to watch it again right now.

HIGHEST RECOMMENDATION!
Get it now- remember -only 3,000 pressing.

-Kevin G Shinnick-

If you enjoyed this film, may I also recommend MOSCOW ON THE HUDSON https://www.twilighttimemovies.com/moscow-on-the-hudson-blu-ray/
And
BOB & CAROL & TED & ALICE
https://www.twilighttimemovies.com/bob-carol-ted-alice-blu-ray/
, also directed by Paul Mazursky.

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WUTHERING HEIGHTS (1970) Twilight Time Blu Ray

Wuthering Heights ,1970 A.I.P ( Twilight Time Blu-ray – limited pressing of 3,000 only)
Region free. Color . 1 hr 44 mins List Price: $29.95
https://www.twilighttimemovies.com/wuthering-heights-blu-ray/

AMERICAN INTERNATIONAL PICTURES never won an Academy Award. It was too busy making money on low budget features. While the larger studios saw their profits dipping due to changing audience demographics and the lure of television, A.I.P was able to make films that would appeal to certain demographics, seeing trends and making films cheaply and quickly.

Teenage themed -movies, horror movies, and later rebel outsider films were popular with the younger crowds who were filling drive -ins.

Then Roger Corman threw off their formula. He made a horror film, yes but it was as expensive as two of their regular films, in color and wide screen.

It made money. Lots of it. Better, it got good reviews. AIP was getting respectability.
It was a heady experience to finally stop being the Rodney Dangerfield of studios.

Oh, they kept grinding out Beach blankets stuffed into a wild bikini on wheels two headed transplants, but they also would continue to do, for them, a prestige picture, usually with the name of Edgar Allan Poe attached.

The zenith of these films was MASQUE OF THE RED DEATH (AIP ,1964) which was incredibly stylish (thanks to the magnificent cinematography of Nicholas Roeg).

 czech poster WUTHERING HEIGHTS 1970

AIP kept grinding out films, doing quite well but reviews were of the nature of “good for its kind”.

In 1970, they took a chance again on some “prestige” pictures, picking up for distribution the independent produced feature JULIUS CAESAR (1970) starring Charlton Heston, Jason Robards, John Gielgud, Diana Rigg, and many others. It flopped both financially and critically.

However, Louis M.” Deke” Heyward, who oversaw A.I.P. productions lensed in the U.K. (and whose career included the tv animated series WINKY DINK & YOU ,1953)pushed for something more ambitious.

Franco Zeffirelli ‘s ROMEO & JULIET (Paramount,1968) had been a huge cross over hit with both young audiences as well as their parents, and Heyward felt that he had a classic romance that would appeal to a similar cross over crowd.  Also in 1970 , M.G.M. was going to release a big historical romance ,RYAN’s DAUGHTER, so A.I.P. probably felt that this would a trend worth taking part in.

With one of the largest budgets ever accorded an American International film (publicity bragged about 3 million dollars, equivalent to what United Artists spent on their 1971 prestige period film THE MUSIC LOVERS by Ken Russell. In comparison, another U.K. production from AIP in 1970, SCREAM & SCREAM AGAIN, cost about $350,000.).

Emily Bronte’s only novel, WUTHERING HEIGHTS, was published in 1847 with a pseudonym used for the author (“Ellis Belle”). Emily Bronte died the following year at age 30 from tuberculosis. Charlotte edited the novel and had the novel published again under her sister’s proper name in 1850. By then the name Bronte was known due to the other sister’s works, Anne’s AGNES GRAY (1847, under the pen name Acton Bell then under her own name in 1850) and Charlotte’s JANE EYRE (1947 under the name Currer Bell, then the following year in the United States by Charlotte Bronte)

The tragedy of Emily’s early death adds an air of tragic Romanticism that already permeates the novel. The work was received with mixed feelings, some due to its criticism of Victorian mores. It was, however, a big seller, and has become required reading in many college literature classes.

To me, revisiting the book recently, it seemed to me to be a story of a dysfunctional destructive relationship that would not be out of place in a 50 SHADES OF GRAY story! Her playing with his affections and his obsessiveness destroys them both, with events of mental and physical abuse that make a modern reader ponder, so one can imagine how readers of that more gentile time reacted.

 

Still ,the basic story stayed popular with readers ,and it’s basic structure served as a frame work for future popular novels as GONE WITH THE WIND by Margaret Mitchell (1936 ,MacMillan) REBECCA by Daphne Du Maurier(1938 ,Victor Golanz,U.K.) and DRAGONWYCK by Anya Seton (1944,Houghton Miffin ).Incidentally ,Twilight Time has just released a magnificent must have Blue Ray of the film of DRAGONWYCK https://www.twilighttimemovies.com/dragonwyck-blu-ray/

 

The first film version of WUTHERING HEIGHTS was a 1920 British silent, now sadly lost.

 

In 1939, often called the greatest year for movies, Samuel Goldwyn produced the version now best remembered telling of the tale, with director William Wyler guiding a superlative cast and crew through a stirring moving version of the tale. Laurence Olivier became a movie matinee idol (though he had starred in several films before as well as being a star of the stage in two countries) due to his brooding portrayal of Heathcliff. The director and star often clashed, but in the end, Olivier was glad that Wyler how to truly focus as a film actor. Merle Oberon embodied Cathy, David Niven the good but weak Edgar, Donald Crisp, Geraldine Fitzgerald, Flora Robson…. An embarrassment of acting riches. Add to that a literate screenplay by FRONT PAGE creators Charles MacArthur & Ben Hecht, a beautiful Alfred Newman score and cinematography by the magnificent Gregg Toland, it is little wonder that the film in 2007 was selected for preservation by the National Film Registry.

Eliminated from this version was the son that Heathcliff fathered nor Cathy’s daughter, both of whom are major characters at the end of the novel. However, the ending of this film retains a powerful gothic and supernatural finale that leaves people weeping.

The BBC over the years has done various versions for tv and American television produced various adaptations , such as this heavily abridged production for CBS in 1950, starring a very stiff Charlton Heston as Heathcliff https://www.youtube.com/watch?v=XbiaEgjgJX8 .

 

The 1970 version had a screenplay by Patrick Tilley, who seemed to have had a limited career. An episode of an obscure U.K. tv series starring Patrick Allen called CRANE (1963-5, A.R.T.), additional dialogue for a 1968 caper film called ONLY WHEN I LARF(Paramount)and then this. Later he went on to write for Amicus /AIP the film THE PEOPLE THAT TIME FORGOT (1977), the disappointing THE LEGACY (Universal,1978) and another supernatural obscurity, GUN OF THE BLACK SUN (2011).

Like many previous versions, the second half of the book is jettisoned to concentrate on the obsessive love/hate relationship of Heathcliff and Cathy.


Chosen to oversee this adaptation was former art director turned director Robert Fuest. Fuest had mostly done television, helming several episodes of THE AVENGERS (A.B.C.,1961-9). He changed his style for his directorial debut to a more subtle one in his superlative thriller AND SOON THE DARKNESS (1970, Associated British/EMI) before moving on to WUTHERING HEIGHTS. A.I.P must have liked what he did, as they let him go back to his flashier style in the brilliant ABOMINABLE DR PHIBES (1971) and its sequel.

Composer Michel Legrand gave the film an extra feeling of class, as he had worked on such major films as ICE STATION ZEBRA (MGM ,1968). Here, he writes a classical theme that underlines the tragedy and romance of the piece.

His choice of cinematographer John Coquillon had a wonderful feel for period, as he lensed AIP/Tigon’s WITCHFINDER GENERAL in 1968. The color and cinematography help create the sense of mood, of isolation and madness. Coquillon would go on to be a director of photography on several later Sam Peckinpah films, including STRAW DOGS (ABC/Cinerama ,1971).

The opening shot right away sets up the film. A close shot of a beautiful field and babbling brook, then the camera tilts up and, in the background, we see a funeral taking place. We observe the sad mourners as the body is lowered into the grave. One of the mourners looks up and the camera shows a lone horseman silhouetted against the gray barren sky. This is our introduction to Cathy (already dead) and Heathcliff (and aloof figure apart from the rest).
After the titles (by Maurice Binder, not what we expect from the dazzling eye of the designer of the magnificent James Bond openings), we flash back to a family awaiting the return of their father.

The children are awaiting gifts, and even the servant girl as been promised something special. However, when Mr. Earnshaw (the marvelous Harry Andrews) finally arrives, he has with him a small orphan boy, looking almost wildly feral, that he claims that he found in London. Mrs. Earnshaw (Rosalie Crutchley) is angry, feeling that the husband has in fact brought home the result of one of his affairs (adding a dark hint of incest to the rest of the tale, if true). Mr. Earnshaw says no, but that he has named the child Heathcliff, in memory of a son they had who died some time before.

Turkish poster

Their son Hindley takes an instant dislike to Heathcliff, as he sees that a gift that his father has brought him is broken, blaming his new “brother”. The mother implores her husband that he not forget Hindley in his inheritance, and not favor the cuckoo in their family nest. Their young daughter Cathy seems fascinated by the young man.

 

Years later (the film, like the original tale, is set during the mid-1700s), Hindley (now played by Julian Glover) is master and treats Heathcliff (now portrayed by Timothy Dalton) as little more than a servant.

The resentment between the pair is palpable, but the only thing that keeps Heathcliff there is his love for Cathy (Anna Calder-Marshall). Fuest’s first shot of the now adult young woman hints already at her unstable nature, which will see grow as the story goes on.

When Hindley’s wife dies in childbirth, his already sadistic nature comes out full force, sending all his pain and anger towards Heathcliff. Hindley’s drinking exacerbates the problem.

Catherine accepts the proposal of wealthy neighbor Edgar Linton (Ian Ogilvy) but confides to servant Nelly (Judy Cornwall) that she still loves Heathcliff. However, because of the social stigma, she cannot marry someone below her station.

This drives Heathcliff to his vow of revenge, which ends up in destruction for the main characters, with Heathcliff cursing his love to haunt him forever.

While the 1939 adaptation had a sense of heightened almost operatic passion, the 1970 version due to it’s location filming, has a feeling of being more grounded. Therefore, though the film was rated G, the brutality seems more violent. Bucking the trend of many films of the time, the sex is not shown onscreen but that the destructive passion between the two leads is quite palpable, with Heathcliff becoming a brutal Stanley Kowalski in ruffles dealing with his mad paramour.

 

This was Timothy Dalton’s first leading film role, after making his screen debut in THE LION IN WINTER (Avco Embassy,1968) as the scheming King Phillip of France. He also played the weak Prince in the big budget CROMWELL(Columbia,1970) and the next year the weak Henry, Lord Darnley in MARY, QUEEN OF SCOTS (Universal ,1971). Here, he is a brooding, barely contained wounded animal, who slowly comes undone due to his obsession. While Olivier in the 1939 version always seemed to be thinking, Dalton is almost animalistic, with his moments of passion turning quickly into wounded anger, lashing out at all.

Anna Calder-Marshall is fascinating in her portrayal of Cathy. As mentioned, she hints at the inner demons that are growing within her, so when we see her eyes when she reappears at the end to tempt Heathcliff to his death, her eyes (in close ups shot during reshoots to patch up studio cuts) have an evil madness that would fit in perfectly with any Roger Corman Poe villainess. Sadly, she did not do a lot of film and television (she was a marvelous Cordelia to Laurence Oliver’s Lear in the 1983 ITV tv adaptation), seemingly satisfied to be married to David Burke (one of Jeremy Brett’s two t.v. Dr Watsons) and mother to actor Tom Burke.

The film was the first A.I.P. motion picture to premiere at the RADIO CITY MUSIC HALL. Critical reviews were mixed, and though the film did decently at the box office, it was not enough for A.I.P., and so several planned classic story adaptations were dropped.

 


When the film was released on VHS, the color was muted, and the image seemed compressed. Later, when MGM took over the A.I.P library, they released a much cleaner version of the film to DVD (including one that was sold along with the cliff notes of the book!!).

TWILIGHT TIME, once again, has released what perhaps is the best version of this film that we will ever see. The color palette seems to be a proper gray, brown and gray tone, conveying the feelings of the rustic and lonely wild countryside. The film is presented in 1:85:1 widescreen in a 1080p transfer.


The sound is 1.0 DTS-HD, which is fine for the film. There never were any major audio effects, but the music and sound are all crisp.

There are optional English subtitles that follow the dialogue and action and are quite easy to read.


Other extras include the isolated music score by Michel Legrand. Originally released on vinyl (on AIP’s short-lived AIR RECORDS, A-1039) and later a limited-edition CD from LA LA LAND, LLLCD 1087), you can now enjoy his beautiful score seeing how much it supports the imagery of the film.

 

The original theatrical trailer is also presented, where we are “introduced” to Timothy Dalton, and told Timothy Dalton is Heathcliff, Heathcliff is Timothy Dalton and Anna Calder-Marshall is Cathy while Cathy is Anna Calder-Marshall. Got that?

 


The greatest extra is the information packed running commentary by film historian Justin Humphreys (Interviews Too Shocking to Print, Bear Manor, 2016). While he gives some interesting background on the film’s history (including that director Curtis Harrington was originally developing the story before AIP moved him to WHOEVER SLEW AUNTIE ROO? (1971) and that Bryan Forbes of EMI recommended Fuest for the project, and that Ian Ogilvy and Hillary Dwyer are reunited after working on WITCHFINDER GENERAL), what is most fascinating is how he discusses the original cut of the film that seems no longer to exist.

Having a copy of the original screenplay, we are informed of sequences that makes us wonder why they were cut, while others we can understand their loss for clarity and running time. Sam Arkoff’s son does not think that a complete print exists, and that the original negative was cut to produce the version that stands. Humphreys also explains what is now missing, and that the voice overs were meant to patch over missing and reshot sequences.


Finally, once again Twilight Time provides us with a lovely booklet with an essay about the film by the always informative Julie Kirgo.

The disc is region free, and like most releases from the company, are a limited edition pressing of only 3,000.
Highly recommended for fans of classic Gothic Dramas.

Kevin G Shinnick

 

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ATTACK OF THE KILLER TOMATOES/D.O.A.-A RIGHT OF PASSAGE special editions Blu Rays from MVD REWIND

ATTACK OF THE KILLER TOMATOES (1978) (MVD Rewind) 2-disc special edition Blu Ray/DVD combo. 87 minutes color.

https://www.amazon.com/Attack-Killer-Tomatoes-Special-Blu-ray/dp/B075MYG9XC

Back in the 1970s and 80s, it was possible for independent films to get theatrical releases. A lot of these films would play their one week run and then disappear, unless they would end up as second features later for another film, or, perhaps a sale to television.

 

With the advent of the home video market, people were able to program their own films, whenever they wanted to view a film. Magnetic Video was one of the first companies to license titles (most were from major studios) and offer them for sale to consumers. The high mark up (many were $100) meant that people were more likely to rent than purchase, thus giving rise to video rental stores.

The offerings available on Beta (then VHS) were limited, due to studios wishing to prevent bootlegging of their titles. Smaller companies lept into fill the void for demanding renters (as well as the adult video market, which drove a lot of business for the video marketplace, but that is a different part of the story).

Suddenly, older public domain titles were appearing on store shelves, along with many independent films that had pretty much vanished after their original run. One of those indie labels was Media Home Entertainment, started in 1978 by filmmaker Charles Band. In 1981, one of the titles the company released was ATTACK OF THE KILLER TOMATOES (Four Square Productions).

ATTACK OF THE KILLER TOMATOES, unlike a lot of independent films, had a bit of name recognition. Johnny Carson, then at the height of his popularity as the star of THE TONIGHT SHOW, had mentioned the film on the program, and interviewed star Jack Riley (who at the time was known for his role in tv’s THE BOB NEWHART SHOW, MTM Productions) who survived an accidental helicopter crash that ended up in the final cut of the film.

 

It was one of the first films that I ever owned on video, and thus it has fond memories for me.

Who would have thought that the film would spawn three sequels (so far), a video game, comics, a novel, and an animated television series?

For the five people who have never heard of the film, the film is a spoof inspired by the bad horror films that the filmmakers grew up loving.

A series of mysterious killings (including one that spoofs JAWS ,Universal,1975) baffle everyone, until it is discovered that Tomatoes have become sentient and are murdering people in various ways. At one point, one knocks a helicopter down, causing it to crash. They say tomatoes can’t fly and the response is well tomatoes cannot kill people either!

Finally, it is discovered that an obnoxious teen song “Puberty Love” causes the members of the nightshade family to flee in horror. People size their chance and smash and mash them, until they are vanquished. However, just at the end, we see that the carrots are now preparing to arise….

The film is like the big budget spoof THE BIG BUS (Paramount,1976), which exaggerates and satirizes their respective genres (THE BIG BUS spoofs the popular “disaster films” of the 1970s) and were the forerunners of the everything AND the kitchen sink humor of AIRPLANE (Paramount,1980).

A.O.T.K.T. was inspired by a short film that the filmmakers had done years earlier and raised the funds to expand on the simple premise into a full-length feature. That they were able to raise between $90,000 -$100,000 is an amazing feat.

At times, though, the film feels a bit padded to fill it’s running time. Indeed, some of the best scenes are recreations of those that appeared in the original Super 8 short (plus the astounding helicopter accident of course). Also, a major drag is the use of many non-professionals in featured roles. Working with people like Jack Riley shows how uneven the performances are.

That said, the film hits the mark more often than misses, which is more than many bigger budgeted films can claim (I’m looking at you, VAMPIRE ACADEMY (Weinstein,2014, $30 million budget). Indeed, some of their throwaway jokes may be missed by the non-genre fan, but truly tickle the horror aficionado. My personal favorite is the dubbed Japanese scientist, which no one in the scene notices or comments upon!

The film’s fame even extends to being referenced in a foodie festival! 

 

Now, MVD/REWIND has given the film the deluxe treatment, giving it the kind of extras one would expect and find on the DUNKIRK (WB,2017) blu ray release.

First off, MVD REWIND has given the film a 4k remastering, with a hi-def (1080p) Blu-Ray as well as a standard definition of the film for DVD. The aspect ratio is 1.85.1.

Pulling out an old vhs copy shows how much the film has been given a facelift. Gone is the heavy grain that made me always think that it had been shot on 16mm and blown up to 35mm.

Now you can see the sharpness of the original 35mm photography, which is impressive for an independent production. HALLOWEEN (Compass,1978) also was shot in 35mm (as well as Panavision), which also elevated it from many indie films of the period.

Grain remains in some of the effects sequences, but that is from the original negative.

The sound is presented in LPCM 2.0 mono that is clean of pops and hisses. Some of the dialogue is low, but that is due to the original recording rather than any loss in the mix. The music does not drown out any of the dialogue or effects, which is a good or bad thing, depending upon how much of a fan that you are of the film.

We have a tomato basket full of extras for this release though I am unsure of how many of these are ported over from the long out of print Rhino 25th Anniversary .

There is a running audio commentary from the original team of John DeBello, Steve Peace, and Costa Dillon. The team recall their long friendship their original friendship that endures, and the process of putting together this cult feature. some 38 years ago.

There are three scenes that were deleted and while it is interesting to see these (which are in rougher form than the rest of the release), they would have added nothing to the film and in fact might have slowed the picture down.

LEGACY OF A LEGEND -is a collection of interviews with the team who created the original, as well as John Astin (who would star in the three sequels as well as provide his voice to the animated series), film critic Kevin Thomas and fan Bruce Vilanch, among others.

CRASH AND BURN is a brief discussion of the accidental helicopter crash, how the secondary camera kept rolling while the first shut off as the crash began, and how the actors came up with a way to work the incident into the plot, and work in one of the funniest lines about flying tomatoes.


FAMOUS FOUL– the San Diego Chicken reminiscences how he ended up in the film.


KILLER TOMATOMANIA – a man on the street interview with people walking along to see what they know of the film.

WHERE ARE THEY NOW– This was to me quite interesting. Many returned to their regular jobs ,but Steve Pearce went on to be a Democratic Senator in California (not to be confused with the New Mexico G.O.P. Congressman, who as far as I know, has never met a killer tomato , that the film had the first appearance of Dana Ashbrook , now best known for playing Bobby Briggs in the various incarnations of TWIN PEAKS, made his debut as an uncredited boy in boat ,and that the teenage vocalist of “Puberty Lovehttps://www.youtube.com/watch?v=jViBFzytVXo is drummer Matt Cameron (Soundgarden ,The Smashing Pumpkins, Pearl Jam https://www.youtube.com/watch?v=yO2FzVvA3TQ )!

WE TOLD YOU SO– a spoof investigation into killer tomato conspiracies.

    An actual NY POST cover also referenced the film for a salmonella scare!

SLATED FOR SUCCESS -a short bit about the original film’s slate woman.

ATTACK OF THE KILLER TOMATOES” – the original super 8mm short film. Running about 18 minutes, it begins with the scene of the tomato coming out of the sink and killing the woman, and several other major scenes that were later recreated in the feature. There is even the model tank sequence with miniature houses, and the surprise ending. There is also a commentary track by the original team.


GONE WITH THE BABUSULAND– another super 8mm short by the team. This one is over 32 minutes long but seems more self-indulgent. Having done my own super 8mm shorts, sometimes improv would bring out unexpected brilliance, and other times, well, editing comes in handy. A silent film made for a Kodak Film Festival  (which yours truly also submitted films) this also comes with commentary by the original team.

The original theatrical trailer.

Production Design Photo Gallery -six images.


Radio spots– these play over images from the film.

Vintage Retro Video Store Style Slipcover /O -Card (first pressing only). -For those old enough to remember the joy of discovering films lined along the video shelves, this was a nice touch.

Collectible Poster– to replace your long-tattered poster that you got when the video store was done with it.

In a press release, MVD Entertainment Group’s Eric D. Wilkinson , in charge of the MVD Rewind Collection , explains, “I’m a dedicated collector of movies on disc, with over 8,000 plus discs in my collection and I want collectors to know that the MVD Rewind Collection Blu-ray + DVD sets are being overseen by a collector and I will do my best to create the kind of releases you will look forward to adding to your collection every month.”

The other inaugural release from MVD REWIND is

D.O.A.: A Right of Passage Special Edition, 2-Disc Special Edition
https://www.amazon.com/D-Passage-2-Disc-Special-Blu-ray/dp/B075DSLWFS

D.O.A.: A RITE OF PASSAGE is a raw gritty Super 8 documentary about the 1978 Sex Pistols tour of the U.S. that ended with the group breaking up, practically all captured on camera as it happened. Mixed into the mix is footage of other bands like The Dead Boys, The Rich Kids, and others, plus some The Clash and Iggy Pop music tossed into the mix.

This title has long been unavailable, so for fans of Punk Music, this is a must have.

The film has been cleaned up as much as possible, but its graininess also feels right for the subject matter. It is a great time capsule of the period, though seeing Sid Vicious and girlfriend Nancy Spungen sends a chill down the spine (Spungen died in 1978 from a stab wound to the stomach. Sid was charged with the crime but died from a drug overdose before he could be tried. The Hotel Chelsea, where it happened, has been closed since 2011, but is scheduled to re-open this year).

Besides the feature (on separate Blu Ray and DVD discs), they have also added a feature length documentary on the making of the feature, with new interviews with people who were involved with the original production, as well as Sex Pistol Historian Mick O’Shea, and Ultravox lead singer Midge Ure.

A 12-page booklet by John Holmstrom, founding editor of PUNK magazine.

A photo Gallery

Reversible Cover Artwork

A collectible two-sided poster (I am going to need more wall space)

The original Theatrical Trailer.

 

In a press release, MVD Entertainment Group’s Eric D. Wilkinson , in charge of the MVD Rewind Collection , explains, “I’m a dedicated collector of movies on disc, with over 8,000 plus discs in my collection and I want collectors to know that the MVD Rewind Collection Blu-ray + DVD sets are being overseen by a collector and I will do my best to create the kind of releases you will look forward to adding to your collection every month.”

Should MVD REWIND  can continue the quality of these two-disc sets, the company  will be the Criterion of B Movies and Obscure Titles to watch out for.

Recommended.

Kevin G Shinnick

For more tomatoes merchandising go to
https://killertomatoes.com/

 

The Master of Disguise from ATTACK OF THE KILLER TOMATOES  .

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ENGLAND IS MINE (2017) Blu Ray

ENGLAND IS MINE – (Cleopatra Blu Ray) 2017. color.94 mins. Region A. $29.95- https://www.amazon.com/England-Mine-Blu-ray-Jack-Lowden/dp/B074R49SZX/ref=sr_1_2?ie=UTF8&qid=1513794098&sr=8-2&keywords=ENGLAND+IS+MINE

 

Indie icon Morrissey continues to stir controversy. His first album in three years, LOW IN HIGH SCHOOL, was released on a new label that he created after he felt his last release was mishandled.

 

He claimed that HMV was refusing to carry the album due to it’s anti -monarchy cover art as well as throwing his support behind an anti-Muslim politician in the U.K. (who was trounced) rather than throwing his arms around Paris. After seemingly defending Kevin Spacey and other serial abusers (“When you are in somebody’s bedroom, you have to be aware of where that can lead to. That’s why it does not sound very credible to me. It seems to me that Spacey has been attacked unnecessarily”), he has sworn off any future print interviews, saying that he was misquoted.

 

Plus, he has cancelled a recent spate of performances for a variety of reasons (one because the venue was “too cold”), so he has been front and center in the public’s eye, and not for his music. Even today as I write this, an hour ago he claimed that he was interviewed by the Secret Service after a flip comment about Donald Trump.

 

ENGLAND IS MINE is a film that seeks to explore what turned shy socially awkward intellectual became the darling of the alt rock scene as well as a dissent magnet.

 

 

Steven Patrick Morrissey (born 22 May 1959) to Irish Catholics who immigrated to Manchester, a poor working-class area. The film opens with Morrissey (marvelously embodied by Olivier Award winner Jack Lowden, also in the epic DUNKIRK( W.B,2017 )and to portray Lord Darnley in the upcoming MARY, QUEEN OF SCOTS (Focus,2018) deep in thought about his place in life observing churning waters that seem to reflect his own inner turmoils.

He and his friend and confidante Anji (Katherine Pearce, recently in MY COUSIN RACHEL, Fox,2017) go to local clubs wherein he writes blistering letters to N.M.E.(New Musical Express). She says he should stop complaining about others and start his own band. To this end, she contacts another musician, who shows up at the appointed place, but Morrissey’s shyness has him run away before even chatting.

 

Meanwhile, all is not good at home, as his father abandons the family at Christmas, forcing the young man to take a dead-end job at the Inland Revenue Service. His outlook is bleak until he meets free spirited artist Linder (Jessica Brown Findlay, so good in VICTOR FRANKENSTEIN, Fox,2015). She exemplifies what he would like to be, and so he finally joins a band.

 

There first gig is so well received that an agent gives them his card. Morrissey quits his dead-end job, thinking that stardom is now his but finds that the agent only wanted their guitarist.

 

Morrissey plunges into a massive depression, made worse by Linder leaving for London due to her art.

 

The film ends just as Morrissey joins up with Johnny Marr (Laurie Kynaston, THEY FOUND HELL, Cinetel ,2015) to form The Smiths.

 

Lowden & Kynaston as Morrissey and Marr

 

Sadly, since this was not an authorized biography, the movie was not allowed to use any of Morrissey’s music. Instead, music that he loved and inspired him is used as a soundtrack to events happening. One would have liked music by the composer to be used, especially with The Smiths (The title ENGLAND IS MINE comes from “Still Ill”, a Smiths song (“England is mine, and it owes me a living”). The film began production as “Stevie”).

The real Marr & Morrissey

 

However, since this is set just prior to their formation, one could be forgiven that absence if more New York Dolls and Sex Pistols had been used. Instead, we are treated to Martha Reeves & The Vandellas, Diana Dors, The Shangri-Las, and The Marvelettes pops up. Mostly, it is not even used as ironic counterpoint. It might have been wiser to have had a completely original score.

 

Heaven Knows, I’m Miserable Now” (another Smiths hit) may have been a more appropriate title for the film, as this kitchen sink drama gets caught up in the depressive side of the singer composer’s life.

 

First time director Mark Gill (who co-wrote the screenplay with William Thacker) get the air of depressiveness that overwhelmed England during the time of Margaret Thatcher, but makes his lead a most unlikeable smug egomaniac (accurate perhaps, but not one with whom you wish to spend 90 minutes of cinema time).

 

It is odd that one of the producers of ENGLAND MADE ME was involved with CONTROL (Weinstein, 2007) which dealt with the life and early death of Ian Curtis ,the lead singer of Joy Division, at age 23. That film got it so right.

Another rock star biopic by a first-time director that works was NOWHERE BOY(Weinstein,2009), about young John Lennon.

The filmmakers make a lot of assumptions that the audience for this are die hard Smiths fans alone, and so no explanation is given for example of the fixation for the Moor Murders by the characters. For those who do not know, The Moors murders were of 5 children sexually assaulted and murdered between 1963 and 1965 around Manchester. Ian Brady and Myra Hindley were both convicted for the killings, Brady dying in prison in 2002, and Hindley just this past May,2017.

The Blu Ray disc from Cleopatra accurately reproduces the dark drab grays and blues of cinematographer Nicholas D. Knowland (The Quay Brothers’ INSTITUTE BENJAMENTA, Image 1995). It is presented in a widescreen ratio of 2.35:1

The 5.1 Dolby Digital 5.1 is serviceable, but nothing memorably outstanding.

The extras include:
SMOKE & MIRRORS: an onset chat with cinematographer Nicholas D Knowland .

Audio Commentary: Actor Jack Lowden and director Mark Gill discuss the making of the film. Both have a great deal of respect about each other’s work. Stand out moment to me was when Lowden said the most difficult thing for him to learn was to use a record player (! I’m old).

SAD FACTS WIDELY KNOWN: Some behind the scenes footage. It is without commentary, so it is best to check this out after watching the film to see what is going on.

Optional English subtitles: this may come in very handy for those not accustomed to English accents, and it follows the action quite well.

Original theatrical trailer. https://www.youtube.com/watch?v=4DHJa10Sa8A

The film will be of interest to

Fans of Morrissey (of course) who may say “Please, Please, Please, Let Me Get What I Want”.

British Drama.

  –  Kevin G Shinnick

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DE LIFT/THE LIFT and DOWN(THE SHAFT) Blu Ray/DVD Combo packs from Blue Underground

THE LIFT/DE LIFT 1983(Ltd Ed Blu Ray/DVD combo)Blue Underground $39.98 region 0
Color / 99 min. Dutch /English

https://www.amazon.com/Lift-Limited-Combo-Blu-ray-Stapel/dp/B074BNZP7G/

DOWN -2001 (Ltd Edition Blu Ray /DVD combo ) Blue Underground $39.98 region 0
Color /111 minutes English
https://www.amazon.com/Down-Shaft-Limited-Combo-Blu-ray/dp/B074BNB14B/

Back in 1982, ‘Twilight Zone” by Golden Earring was a music video in constant rotation on the new channel MTV. The catchy tune  referenced the
popular TV.series as a suspected spy is caught and interrogated . Several music video directors went on to make popular fantasy films ,such as David Fincher ,Russell Mulcahy, and Alex Proyas.

Also among them was Dutch director,writer,producer, and musician Dick Maas. Since then he has given us many Dutch thrillers and horror films like AMSTERDAMNED(1988,also available from BLUE UNDERGROUND https://www.amazon.com/Amsterdamned-Limited-Combo-Blu-ray-Stapel/dp/B071GW2L2Z/ ), SINT (SAINT) 2010,up to 2016’s PROII (PREY). His films are marked by their style as well as dark humor that permeates them.

His first film that drew him to international attention was DE LIFT . In a modern apartment building in Amsterdam, strange things are happening ,most of which seem to involve the bank of elevators . The company who are responsible for the maintenance of the three conveyers (or lift of the title ) send Felix Adelaar (Huub Stapel ,later to star in MaasAMSTERDAMNED )to check out the systems.

While working, he runs into reporter Mieke de Boer (Willeke van Ammelrooy, star of the art house hit and Oscar winning ANTONIA’s LINE ,1996)who is investigating the strange events.

Among the occurrences are two drunken couples who are trapped in an elevator while the heat increases to dangerous levels , a blind man who falls into an empty shaft (and which the building owners declare is a suicide) ,and the gruesome decapitation of a security guard .

The more the Felix & Mieke investigate, the more strange things become. Is the company RISING SUN,who provides microprocessors for the system ,somehow involved with the strange things?

 

Their detection leads to Adelaar’s wife leaving him and taking the children, thinking that he is having an affair with the journalist. His boss also suspends him. Felix has nothing to lose as he goes to building one final time to find out what is happening and confront the evil within.

DE LIFT seemed to have done well in Europe, but it was not as well received in the United States.

Released to a limited number of theaters in July ,1985 , critics were indifferent to the foreign title ( “Mr. Maas leaves the elevator’s potential fiendishness largely unexploited.”-NY Times,July 4,1985)and 6 year old distributor Island Alive folded shortly after .)

Luckily ,video stores were booming and Media Home Entertainment released it on VHS in 1986 in a dubbed version, and in 1988 through their foreign film division Cinematheque Collection in a Dutch language subtitled print.

Maas continued to create wonderfully off kilter films through his First Floor Features .He creates three popular Dutch comedies and a T.V. series (FLODDER)as well as the marvelous already mentioned AMSTERDAMNED (1988) and even an episode of the THE YOUNG INDIANA JONES CHRONICLES (‘Transylvania Transmission”).

It seems that for years people kept after Maas to do a sequel or a remake to DE LIFT. Finally in 2000, Maas raised sufficient funds (fifteen million Euros) for a larger version that expands on several of the ideas from the original film, and hires American actors as the leads as well as several marvelous character roles.

While set in New York City , the majority of the film was shot in Holland on some of the biggest sets ever built for a Dutch film .Some street scenes and aerial photography were the bulk of the American footage. The blending is for the most part flawless, and even the Dutch actors blend in convincingly in this English language film.

In DOWN (also known as THE SHAFT ,which makes one expect it to be a film about Richard Roundtree ), the setting is in a modern NYC skyscraper. In the Millennium Building, one of the elevators malfunctions and traps a group of pregnant women ,overheating the air and several of them give birth !

The building managers call in the Meteor company that maintains the elevators, who send Jeff (Eric Thal ,Sam Nevins in Buena Vista’s adaptation of Robert Heinlein’s THE PUPPET MASTERS,1994 ) and his new young assistant Mark Newman (James Marshall ,who is best known for portraying James Hurley in the original and revival of TWIN PEAKS )to check them out. Newman wants to do a more in depth review of the systems ,but his partner feels that will be too much of an inconvenience to the building, and expensive. Mr Milligan (Edward Herrmann, LOST BOYS ,W.B. 1987),the building owner, agrees.

Not long after that , a blind man and his seeing eye dog fall (literally) victim to the killer machines. One of the security guards who finds the corpses hanging in the shaft gets his head caught in the door and decapitated when the elevator descends .

Reporter Jennifer Evans (Naomi Watts, later to star in Peter Jackson’s epic KING KONG ,Universal,2005) starts to investigate, and she interviews Newman ,quoting him in her article as saying “ 9 out of 10 people make it out of an elevator alive.”

Newman is chewed out by his boss ,Mitchell (the always wonderful Ron Perlman, HELLBOY,Columbia,2004). Shortly thereafter, another bizarre death happens ,when a skateboarder is pulled supernaturally into an elevator and within seconds hurled up to the 86th floor, and then flung out violently ,through a glass partition and off to the ground below .

A press conference is held by Milligan and Police Lt McBain (Dan Hedaya,THE USUAL SUSPECTS, MGM,1996). The official statement is that the skateboarder committed suicide, and that it had nothing to with the previous accidents .

Evans does not believe it ,and she visits Newman’s home .She has gotten several surveillance tapes, and it shows the skater’s death. Most mysterious, the elevator trip, which should take at least 40 seconds, is accomplished in less than two!

Jeff refuses to believe them ,and so they go to Evan’s newspaper office . Their research keeps bringing up the name of a researcher named Gunther Steinberg (Michael Ironside, forever typecast as a villain thanks to his brilliant work in SCANNERS,Avco Embassy ,1981). Gunther ,who had worked with the army on mixing dolphin brain mass with electronic circuits ,was hired by the elevator company to develop microchips .

The next morning Milligan is horrified when he has the body of Jeff drop through the ceiling of the elevator he was occupying. Jeff had probably been checking the elevators but Milligan and company use his death as a means of scapegoating. At the conference, they call Jeff deranged and say that he had been responsible for all the events, and probably died trying to set up another incident.

The story is believed and the building conducts business as usual. That is ,however, until one elevator speeds upward, the bottom dropping out and passengers, including a small child, fly helplessly downward to their doom . Those who hang on are not safe, as the container hurls at extreme speed through the roof ,stopping with a crushing Impact.

The President of The United States holds a White House press conference ,where he announces he feels that the events are due to terrorists and a terrorist team is sent to protect and prevent any further incidents.

Evans and Mitchell continue to investigate the bizarre history of the building, and the experiments of Steinberg .

Since the Army let him go, it seems that he has continued,only now their may be human DNA ,and the chips have become sentient, and evil.

Can they get in the building, pass the militia and Steinberg to stop the evil ? The film ends like a supernatural DIE HARD (Fox,1988)

DOWN was given a token release by Buena Vista International on May 20,2001. It seems to have come and gone quickly ,and the home video rights were acquired by Artisan . It seemed to have also made little impact on the dwindling video store market ,and with fandom .

Now BLUE UNDERGROUND has done stellar work on finding the best material possible on these two films, and put them on Blu Ray.

THE LIFT is a 1080p HD resolution print 2 K restoration from the original negative , presented in 1:66:1 wide-screen.The film is available in it’s original Dutch Language (5.1 DTS-HD or 2.0 DTS-HD) or English (2.0 DTS-HD). The sound is very clean and clear, with sound effects and original music jumping out at certain points.

Dick Maas also composed the score , and it is one of those now dated sounding synth scores as well as electronic whooshes and sounds .

The English track uses terms like “lift” (a direct translation of the title)rather the more common American usage.

The subtitles seem to be based upon a direct translation of the Dutch dialogue ,as it does not always match the English language dialogue. They are clear and easy to read. There are also English SDH and Spanish subtitles as well.

Other extras are :

-A running commentary by director Dick Maas and editor Hans van Dongen who talk about the difficulties of making this film on a 350,000 Euros budget.

-”Going Up” an interview with star Huub Stapel

-”Long Distance”-a short 4 minute short that has the feel of a Twilight Zone episode ,wherein a father who has had a car accident, calls his home and speaks to his daughter . Beautifully filmed and acted.

-Trailers from the U.S. and Holland

-A poster and still gallery .

-a nice newly written essay booklet by by writer /filmmaker Chris Alexander . He nicely covers the film ,plus discusses the more relaxed mores of European filmmakers about sex and nudity as well as comparisons to Stephen King works about machines gone wrong. He prefers the original film to the 2001 remake.

For DOWN , the film is also a brand new 2K restoration from the original negative, 1080p HD Resolution , presented in a 2.35.1 wide-screen all region print .

The audio is available in the original English as well as French in both 5.1 DTS-HD or Dolby Digital Stereo .

The sound is more mixed for multi speaker presentation (due no doubt to it’s larger budget ),with sounds being very crisp and clean.

The Yellow Subtitles are easy to read, though whomever wrote them , they need to learn the difference between “Your “ and “You’re” .

Spanish subtitles are also available.

Other extras include :

A running audio commentary with Maas and stunt coordinator Willem de Beukelaer . Maas at times seems to have forgotten how certain scenes were done ,but is reminded by de Beukelaer (an example is the opening shot that moves from C.G.I.  and model shots to the live action.On the extras ,we see how the shot was accomplished.More on that later.). It is fascinating to hear the two say how they have worked together since AMSTERDAMMED ,and the difficulties of doing a film like this. The recreations of New York interiors is perfect ,and it seems the diner was actual functional (too bad they didn’t move it to an actual building.I am sure it would have been a hit with tourists to have an American diner in Amsterdam!).

The same director of photography (Marc Felperlaan )worked on both films ,and they recreate some shots ,while using a little C.G.I. to blend between the real actors and effects(such as the beheading in the elevator).

The director seemed to have had disagreement with Marshall on the exact tone of the film, but it does not come across in the finished production.

Director Maas mentions that the film opened the weekend before 9/11, but he is referring to the European opening. It seems it opened well, but after the events, the film did no business.

It is easy to see why. A New York Skyscraper ,people falling to their death, the President referring to terrorists (dialogue was actually copied from President Bill Clinton referencing the Feb 26,1993 bomb attack on the Twin Towers). It is quite creepy ,and not in the way the film intended. Needless the film ended up being a financial failure.

The use of Aerosmith’s “Love In An Elevator” was a big expense but is a nice button to the film.

Other extras are

The Making of Down : a behind the scene look at the making of the film, including the construction of the huge sets, and the mix of CGI and live action,as well as the various stunts.

The Blu Ray exclusive is a more detailed behind the scenes documentary.

-There is also the American teaser and theatrical trailers.

-A poster and still Gallery

– A Collectible booklet with a new essay by Michael Gingold.

 

Both films have much to recommend them . The original has a nice gritty quality to it , though oddly, I lean more to the slicker American remake. It is probably because of the expanded story-line plus the dark humor comes more to the fore . The remake does seem to fluctuate as to whether there is a supernatural element or is it a sci fi A.I. story (or both) , but it doesn’t take away from the film.

Maas handles possessed machinery better than Stephen King film adaptations like MAXIMUM OVERDRIVE (1986,D.E.P.). It also predated supernatural skyscraper films like the little seen  DARK TOWER (Sandy Howard, 1987 ;directed by Freddie Francis (as Ken Barnett), Ken Wiederhorn  (as Ken Barnett)(!!) starring Jenny Agutter and Michael Moriarty) and elevator terror films like DEVIL (Universal,2010) or ELEVATOR ( Inception ,2011) .

 

I would definitely recommend both films ,especially if you wish to see an example where a foreign director remakes his film in English and doesn’t mess it up (a la THE VANISHING (Argos Films,1988  and  Fox,1993).

Both Recommended.
.
-Kevin G Shinnick

Feel free to share our reviews.

 

 

Make sure you follow us on  https://scarletthefilmmagazine.wordpress.com

or /and like and follow us on Facebook : https://www.facebook.com/SCARLETreviews/

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2017, Action Adventure, Adventure, Art house, Blu Ray, crime drama, cult, Drama, Foreign, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

THE PRISON (blu ray) contest from WELL GO USA (update: CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017

Win one of 4 blu rays of WELL GO USA ENTERTAINMENT‘s HE PRISON.

After a fatal accident, Yu-gon, a former police inspector, is sentenced to hard time in a prison he once helped fill. Once inside, he discovers the entire penitentiary is no longer controlled by the guards, but by a vicious crime syndicate that breaks out at night, using their prison sentences as the perfect alibi to commit intricate heists. Looking for revenge against the system that placed him inside, Yu-gon joins the syndicate… but with every man out for himself, how long can the perfect crime last?

Director: Na Hyun Producer:Lee Sung-Hun
Cast:
Choi Sung-Won, Joo-Wan Han, Han Suk-Kyu
Genre: Action & Adventure, Foreign
Run Time:125 mins.
Korean with English subtitles

See the trailer here :
https://www.youtube.com/watch?v=WFoLR2ARyBY

“The Prison is a ferociously effective genre film from Korea that feels like the kind of movie Hollywood will remake in its own image. But adding star power and the English language won t necessarily improve things, as The Prison is brutally entertaining just the way it is.” –Fort Worth Star-Telegram

To enter, merely like and follow both

https://www.facebook.com/SCARLETreviews/

and

https://www.facebook.com/WellGoUSA/ ,

then send an email with the heading

Take Me to THE PRISON
to

scarletthefilmmag@yahoo.com

Include your name and mailing address in the body of the letter.

Deadline is September 19th,2017.

Four winners will be drawn at random .

THE PRISON will be released on BLU RAY from WELL GO USA ENTERTAINMENT on September 19th.

$29.95 value

 

 Thanks to WELL GO USA ENTERTAINMENT for sponsoring this contest .

(update : CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

 

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FEED- review by Sean Fallon

FEED- Sony Pictures- Now Playing Theatrically

Troian Bellisario’s new movie FEED provides a fascinating insider look at eating disorders, while simultaneously giving fans of thrillers an entertaining story. While those who suffer from eating disorders are the primary target audience, outsiders to that type of sickness still get to experience a captivating story, even if our takeaway is vastly different from what Troian Bellisario intended when she wrote the script.

Bellisario plays the central protagonist, Olivia, a high school senior on pace to become valedictorian. She has a twin brother named Matt (Tom Fenton), with whom she is very close. As Matt is driving Olivia home from a party they attended together, they get into an argument, leading to a crash that is fatal for Matt, and emotionally devastating for Olivia.

Olivia still interacts with “Matt,” after the crash. In my instant video reaction at bit.ly/sfffeedv I speak about how “Matt,” could either be perceived as a haunting from Matt’s ghost, a demon impersonating Matt, or as a manifestation of trauma-induced insanity in Olivia’s head. After researching “Matt’s” actual meaning, however, all three of those scenarios, although plausible and loaded with high entertainment value, are not consistent with the intent of Troian Bellisario. “Matt,” actually is supposed to be a personification of the destructive voices that some people with eating disorders hear inside their heads, a concept that makes clear sense to insiders who have had that experience.

The sharp contrast between my list of possible perceptions and the writer’s vision is actually quite eye opening, in that it further shows how we process what we see through the lens of what makes sense to us, which can often blind us to what is truly going on inside other people’s minds and hearts. While Bellisario’s goal was to help provide hope and inspiration for people with eating disorders, an endeavor that was largely successful, she also helped provide outsiders to those illnesses with a greater awareness and understanding of the need to be sensitive to people who display behaviors that we have a difficult time processing or understanding. Thus, in addition to being highly entertained, viewing the movie the way I saw it at the time I saw it, I feel as if God used this movie, and my post-viewing research on its true meaning to help make me a better person. I highly recommend this movie to mature audiences, particularly those who have experienced eating disorders.

Sean Fallon

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