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Monday, October 24, 2016

Underrated '66 - Joe Gibson

Joe is a tireless regular contributor here at RPS and he made countless list for this site over the years. He is a true RPS hero.
He can be found on Letterboxd (a highly recommended follow) here:
See his Underrated '96 and '86 lists here:
I sat out the 1976 list because I kept seeing all my favorites pop up on other people's lists - I don't think that's going to be as much of a problem with '66, a much less cool year for movies but populated with a lot of oddball stuff.

One of my dreams is to start a cable channel called Sergiomax, programmed exclusively with violent movies directed by guys named Sergio. This one would be one of the cornerstones of our programming block, particularly on Lee Van Cleef Day (which I think would have to come at least once a week for practical reasons).
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A decisive strike against the "needs a likeable hero" crowd, so much so that it almost seems downright antagonistic towards its audience. Kurosawa vet Tatsuya Nakadai plays the sneering protagonist to perfection, and it all leads up to a chaotic bloodbath that seems to predict the darker, more violent action movies that were in 1966 still in the future.
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The general line on Truffaut's sole Hollywood/English language production is that it's an interesting misfire, but the last time I watched it (admittedly a while ago) I was struck by how much Hitchcock there is in it. Check out the scene when Montag's wife overdoses and the camera follows him through his house, picking up an absurd amount of telephones.
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I've been watching (and reading - check out his children's books if you haven't!) a lot of Frank Tashlin stuff over the last couple years, and I can't claim this as one of the best. But you probably want to watch a 1966 Technicolor spy spoof starring Doris Day anyway, especially when it's got generous helpings of Tashlin's trademark gags. My favorite is a wordless cameo from a certain icon of 1960s spy TV (no, not Bill Cosby) that I'm not going to spoil.
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Goofy astro-corn is nevertheless a movie about a space vampire so automatically well worth your time. If it's not a patch on Lifeforce or Planet of the Vampires, well, how could it be? But take a look at this cast: John Saxon, Basil Rathbone, Dennis Hopper! And all of them powerless in sharing the screen with Florence Marly as the titular Queen of Blood.
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Another spy spoof, this one more in a conventionally satisfying adventure vein. Some amazing location shooting too, particularly an early set-piece on top of the Christ the Redeemer statue. One for the Terry-Thomas highlight reel.

This is a comedy-anthology film from Pierre Etaix, and even though it's not as great as Yoyo it's got some great stuff in it. My absolute favorite is the chapter entitled "Insomnia," which is a typically uncomfortable Etaix depiction of that particular ailment, with a haze of cigarette smoke and a juicy-looking vampire novel being two of the primary forces keeping Pierre awake at night. A good one to check out with Halloween coming up, if that interests you.
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Sunday, October 23, 2016

Shout Factory Select - NIGHTHAWKS on Blu-ray

NIGHTHAWKS (1981; Bruce Malmuth)
Ahh scummy New York City - why am I less disturbed and more nostalgic when i see you portrayed in older movies? NIGHTHAWKS wastes zero time with said portrayal either by the way as it starts right off with a woman (or seemingly a woman) being cornered and attacked by muggers on a dark and lonely New York street. I've spoken about this before, but my impressions of the dangers of urban life in the 1980s came a lot from watching the gritty New York crime films of that decade and the decade prior. It just terrified me that I could be out walking some evening and had the potential to be accosted by low-lifes. It was perhaps a much less warranted fear than I portrayed it to be considering I was living in mostly rural Wisconsin as a kid. Not to say that Wisconsin cities (especially Milwaukee) weren't dangerous late at night, but it wasn't like New York. In New York (according to the movies anyway), the crooks were much more aggressive and lurked in nearly every alleyway. So NIGHTHAWKS kicks off with a couple cops (Sylvester Stallone and Billy Dee Williams) running down some scumbags and setting the stage for what could be a standard procedural type thing. This sequence reminded me ever so slightly of the foot chases in THE FRENCH CONNECTION for some reason. Interestingly, the script for NIGHTHAWKS was originally intended to be THE FRENCH CONNECTION III, but when Gene Hackman passed, it was reworked by writer David Shaber. So it looks like a regular old police flick from the outset, but what hasn't been introduced yet though is the bad guy. He goes by "Wulfgar" and he is played perfectly by Rutger Hauer. Wulfgar is an unscrupulous terrorist and he's decided to move his operation from Europe to New York just in time for our two hero cops to be assigned to a new Anti-Terrorist task force. The task force is known as "ATAC" (Anti-terrorist Action Command), which feels like something out of G.I. JOE. So naturally, ATAC has to go head to head with Wulfgar and he proves to be a surprisingly evil and formidable force to be reckoned with. A couple things that stand out about this movie - first off is the terrorism and how it is handled. While terrorism is certainly as relevant now as it ever was, it feels like some filmmakers and studios would be more likely to shy away from depicting some of the terrorist acts (bombings etc) we see on screen in NIGHTHAWKS. Secondly is the presence of Rutger Hauer and the malevolence that he is able to carry off like few actors today would be able to.  NIGHTHAWKS was his American film debut I believe so he must have really caught people's attention at the time. Hauer has always been a favorite actor of mine and much of that affection comes from my appreciation of his ability to play depravity in a bigger than life, but oddly grounded way. When I think of his turn in THE HITCHER, it still creeps me out. Similarly his performance in BLADE RUNNER is one for the ages. It really all comes down to one of my more obvious theories which is that a movie is only as good as its primary villain. If the bad guy seems weak or ridiculous, all the dramatic tension goes out the window for me as I realize how easily the baddie will be vanquished and that our heroes have nothing to fear whatsoever. Not so with Wulfgar though. He is iniquity incarnate and not to be underestimated. The other thing about Rutger Hauer is that he is a very charismatic and commanding presence, so he is even more compelling and can really drive a film forward by being involved. Another interesting and somewhat antiquated thing about the film is the stunt work and how Stallone did many of his own stunts - even the very dangerous ones. There's quite a bit of tense action overall and several enjoyable set pieces throughout. The supporting cast is excellent as well and includes actors like Lindsay Wagner, Nigel Davenport, Persis Khambatta, Joe Spinell and even a small part for Catherine Mary Stewart.
Also notable with regards to NIGHTHAWKS is the score (which I have a copy of on vinyl). It was composed and performed by Keith Emerson on Emerson, Lake and Palmer and it is quite dynamic and enjoyable. A lot of it has to do with Emerson's instrumentation which focuses on synth and horns and is quite jazzy and propelling. The synths occasionally remind me slightly of Wendy Carlos' TRON score at times. Sample the main title theme below:

One thing that amuses me about the film is that it was something of a joke movie for a while because of Stallone's cross dressing scenes. On more than one occasion, I feel like I saw Stallone interviewed on some night time talk show and when they were supposed to cut to the clip of whatever movie he was promoting, they cut to a clip of him from NIGHTHAWKS, dressed in drag. It's been nice to see the movie come around as something of a fan favorite and finally get a decent Blu-ray release.

Bonus Features:
We're still early on with Shout and their Shout Select Line, but I've been digging what they've done with these releases so far. Though they will likely never be as popular as the Scream Factory titles, I find it exciting to see so many great non-horror films getting a bit of the Special Edition treatment. This disc includes some solid supplements:
-NEW Lights, Camera, Action! – An Audio Interview With Producer Herb Nanas
-NEW Nighthawks: The First Draft – An Interview With Writer Paul Sylbert
-NEW We Gotta Shoot This! – An Interview With Director Of Photography James A. Contner
-NEW A Sign Of The Times – An Interview With Actress Lindsay Wagner
-NEW Not The Other Girls – An Interview With Actress Catherine Mary Stewart
-NEW It Was Hell – An Interview With Technical Adviser Randy Jurgensen
-Theatrical Trailer
-Radio Spots

Buy the NIGHTHAWKS Collectors Edition here:
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Saturday, October 22, 2016

Criterion Collection - PAN'S LABYRINTH on Blu-ray

PAN'S LABYRINTH (2006; Guillermo del Toro)
"Innocence has a power evil cannot imagine."
I must admit that while I was certainly aware of Guillermo del Toro and his films before it, PAN'S LABYRINTH was a true "whoa" moment for me (very much in the Ted Theodore Logan sense of the word). I had seen all his films except THE DEVIL'S BACKBONE to that point so I must have stupidly seen him as just a talented studio filmmaker and nothing more. PAN'S LABYRINTH made me reconsider that position in a big way. After seeing it, I even went back to del Toro's other films to re-absorb his genius on display in them. He had suddenly become a figure of Terry Gilliam-esque brilliance to me. I know saw him as the visionary that we all know him as today. Within his mind clearly existed a dark and fantastic endless universe of mournful fairy tales just waiting to be realized for the big screen. Being a heavy consumer of movies as I am can be a tricky thing in that it tends to flatten out all the borderline mediocre films and perhaps causes me to round down to the middle with many of the movies I see in a given year. What's nice though is that when something truly special crops up, it pulls me out of the drab sameness of a lot of films and reminds me how unique and wondrous cinema can be. It's like being served a constant diet of bland crackers and then suddenly being given a remarkable five-course meal. It is overwhelming and intoxicating. It leaves such an impression that the more you dwell on it, the more you realize how amazing those stand out films are. Guillermo del Toro is one of our great directors and one need look no further than PAN'S LABYRINTH to discover this. He continues to do amazing work and I airways look forward to his next movie, but I could be more pleased that he was able to 
realize something like PAN'S (despite many difficulties in doing so). So many filmmakers go through their careers and are never able to achieve the remarkable stories they may have saved up in the recesses of their minds. What's interesting about del Toro is that not only do his vision find influence from other films and filmmakers, but more often from artists and artwork. I feel like one big problem with big budget efforts of the present day is that not enough original thought seems to go into the design of monsters and creatures that we see presented in theaters. This can make a much bigger difference than filmmakers might think in the intended effect that said creatures have in the way of effect on an audience. Guillermo del Toro clearly takes so much time and care in collaborating with the special effects people and technicians on his films that it becomes a much more impactful thing to see the beasts and critters that inhabit his movies. While Guillermo himself is clearly not lacking in a solid sense of humor, it is his tonal balance of tenebrosity and fantasy that truly makes a big difference in the final product he is creating. While Gilliam (another brilliant stylist) employs much more comedy within his universes, del Toro is a bit more somber and yet compassionate. He shows a great deal of interest in the innocence of his core characters and his take on the world in PAN'S, though brutal in parts, is ultimately a hopeful one. He is one of those artists that lovingly crafts his own microcosms, but understands that they will not appeal to everyone. Those that can find their way in and accompany him as he spins his remarkable tales will be ultimately rewarded in miraculous ways.
Special Features:
As Guillermo del Toro himself has obviously been a fan of extra features on DVDs and Blu-rays, it is then no surprise that the discs for his own films are often quite packed with supplements. Having already worked with the Criterion Collection in the past to help put together lovely editions of both CRONOS and THE DEVIL'S BACKBONE, it is delightful to see another great special edition for one of his movies from them. Like Wes Anderson and a few others, he has aligned himself with the company and I hope to see more joint efforts between the two. Though some of the bonus content here has been ported over from the previous Blu-ray, there are additional things added here (including a newly minted transfer) 
that will make this an essential purchase for fans:

-Newly graded 2K digital master, supervised by director Guillermo del Toro, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray.
-Alternate 7.1 surround DTS-HD Master Audio soundtrack on the Blu-ray.
-Audio commentary by Guillermo del Toro from 2007.
-New interview with del Toro by novelist Cornelia Funke about fairy tales, fantasy, and Pan’s Labyrinth (40 mins).
-New interview with actor Doug Jones
-Four 2007 making-of documentaries examining the characters, special effects, themes, and music of the film.
-Interactive director’s notebook.
-Footage of actor Ivana Baquero’s audition for the film.
-Animated comics featuring prequel stories for the film’s menagerie of creatures.
-Programs comparing selected production storyboards and del Toro’s thumbnail sketches with the final film; visual effects work for the Green Fairy; and elements of the film’s score.
-Trailers and TV spots.
-English subtitle translation approved by del Toro.
-PLUS: An essay by film critic Michael Atkinson.

PAN'S LABYRINTH can be purchased on Blu-ray here:
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Friday, October 21, 2016

Underrated '66 - Everett Jones

Everett is an avid movie watcher and user of Letterboxd like myself - follow him there: - I've gotten many good film recs this way.

See his Underrated '96, '86 & '76 lists here:

Ronald Neame tends to be an underrated director in general--except, clearly, by the Criterion Collection, which has seen fit to release three films of his (not including this one.) In set-up and casting, this is a fairly standard ‘60s caper film, starring Michael Caine as a suave con artist, Shirley MacLaine as a Hong Kong nightclub dancer, and Herbert Lom as the Arab Sheikh whose dead wife MacLaine is a dead ringer for. It’s also a typically penny-pinching Universal production of the era, rarely moving too far off the studio backlot despite the globe-trotting storyline, which seems to fit the visually straightforward Neame just fine. It’s where the screenplay, co-written by the celebrated Alvin Sargent, takes this basic setup in the story’s second act that makes GAMBIT much more than just a vintage genre artifact. It upends the expectations one has of a mid-sixties PINK PANTHER/TOPKAPI imitation in a way that’s ingenious and even unexpectedly moving.

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Like probably many cinephiles, I find that recreating past historical periods is one of the most enjoyable things the movies can do, even while I almost never find these recreations exactly convincing. This Polish epic of ancient Egypt isn’t exactly convincing either--there are far too many Polish actors running around in brownface and tunics for that--but it does capture a sense of the alienness of past times in a way that Hollywood movies are naturally incapable of. The opening is unforgettable: a shot from high above the desert, which then turns out to be very close it, as two scarab beetles come into view, fighting over a ball of dung. A wider shot reveals an Egyptian messenger, running back through thousands of troops to tell the pharaoh that the army’s march has to be diverted to avoid bothering the sacred insects. This is a far cry from THE TEN COMMANDMENTS (1956), and well worth seeking out, whether in the restored version included on the recent MASTERPIECES OF POLISH CINEMA set, if you’re lucky enough to be able to afford it, or the pretty good versions currently streaming on YouTube.

Is Paris Burning?
Though I was already a fan of director Rene Clement, it took Spike Lee picking this for a “100 greatest films” list for me to me to watch his depiction of occupied Paris. I’d actually known of it for a long time; it just had a lousy reputation with the critics and paperback movie guides I grew up reading. This sprawling epic has its flaws, moreso than Clement’s first film about the Resistance, and first film altogether, the spare THE BATTLE OF THE RAILS, made soon after Liberation (and . PARIS took flak for its uneven storyline, scripted by the unlikely pair of Francis Ford Coppola and Gore Vidal, and sometimes distractingly star-crammed cast (including Kirk Douglas as the least ever convincing General Patton.) But it also has its share of stunning sequences, particularly a joyous final montage of the liberation. Clement was unfairly written off by critics for a long time for having moved from serious arthouse fare like FORBIDDEN GAMES (1952) to glossy thrillers like PURPLE NOON (1960), but he was a filmmaker of underrated skill, evident in the confident scope of this movie, in which no character is as important as Paris itself.

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10:30 P.M. Summer
I haven’t seen it yet, but the reviews I’ve read and the ads I’ve watched for last year’s BY THE SEA, Angelina Jolie’s little-seen art film, remind me of this Jules Dassin film. It’s pretentious, but in an enjoyable and even admirable way. Coming off a string of successful commercial films like RIFIFI, TOPKAPI, and NEVER ON SUNDAY, Dassin clearly entered the project with a mind to joining the then-cutting edge in European arthouse filmmaking: the New Wave, Bergman, Resnais, and especially Antonioni. The script, by former Resnais writer (HIROSHIMA, MON AMOUR) and future director (LA CAMION) Marguerite Duras, from her own novella, involves married couple (Peter Finch and Melina Mercouri, Dassin’s wife), their young daughter, and a slinky friend of theirs (Romy Schneider) on vacation in a remote corner of Spain. This being an Art Film, a vacation will necessarily involve two obligatory ingredients, infidelity and death (for a more recent example, see this year’s A BIGGER SPLASH). Sure enough, Finch and Schneider’s characters are soon circling each other, while the alcoholic Mercouri, left to her own devices, takes more interest in a recent murder in the area, and in the young suspect now on the run. Just to be certain the bourgeoisie are properly shocked, there’s a little bisexual frisson between Mercouri and Schneider as well (though not as exploited as it would’ve been in the following decade of CABARET and LAST TANGO IN PARIS.) Dassin creates an air of heady claustrophobia that might have drifted over from the sets of Bergman’s THE SILENCE or Antonioni’s L’ECLISSE, but he’s too much the Hollywood showman to be satisfied with their modernist visuals. The look here is more Gothic, like horror maestro Mario Bava with a budget. It’s a gorgeous-looking movie, very deserving of rediscovery by repertory theater audiences and a Blu-ray release by a good home video company (Criterion might be too much to hope for, but either Kino Lorber or Twilight Time would be ideal.)

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How to Steal a Million
William Wyler rarely catches a break from reviewers and biographers for directing this piece of fluff instead of a prestigious award-winner. To me, it seems a well-deserved and enjoyable, for him and us, rest after a career crammed with classics (THE LITTLE FOXES, THE LETTER) and worthy tries at classics (THE BIG COUNTRY, THE CHILDREN’S HOUR.) It’s a caper film that unlike, say, GAMBIT, doesn’t introduce any innovations to what by the mid’-60s had become a very well-worn formula--this is decidedly toward the lighter end of the scale, more TOPKAPI than RIFIFI--but it’s one of the best-crafted. Wyler doesn’t condescend to the genre, creating the same sense of tangibly real characters and places as he does in his classics. Working again with Audrey Hepburn, his “discovery” of sorts from ROMAN HOLIDAY, and for the first time with Peter O’Toole, he doesn’t call on them to do anything new with their own well-established personas. It’s still a pleasure to spend two hours in their company (the movie admittedly is a little long, like many of its time), and with them in company with each other--Hepburn for once has a leading man older than her by a few years, instead of a few decades. I also really enjoy seeing O’Toole here, in an unpretentiously assured piece of entertainment, as it feels like one of his few true star-vehicle roles--his ‘60s career after the breakout of LAWRENCE OF ARABIA is a bit of a letdown, and his movie career after the ‘60s became a very strange and infrequently spotted beast. And of course, Eli Wallach is always a pleasure--as Hepburn’s gentleman suitor, he’s maybe the only person here striking out into unfamiliar territory, and all the better for it.
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Thursday, October 20, 2016

Scream Factory - CHILD'S PLAY on Blu-ray

CHILD'S PLAY (1988; Tom Holland)
In terms of horror "icons", I feel like the 80s was an incredibly fertile period. True, our icons don't necessarily live up to the classic monsters that Universal pictures created way back when, but they certainly had personality. They also had some serious staying power, which is part of the reason we are still talking about them today. I mean, if you add up the number of Freddy Krueger, Jason Voorhees and Michael Myers films that came out in the 1980s - you are talking about a whole lotta stuff. Chucky was certainly part of that group too. I feel like times have changed so much that it's hard to have bad guys like those as much anymore. Though there are certainly lots of campy and self-aware horror films sill being made, I feel like overall - a lot of horror films these days take themselves fairly seriously and that seems to be what people want to see. So alas, there is no room for new icons really and that's a little bit of a shame. That's what makes a nice collector's edition like this new one from Scream Factory a very enjoyable thing for me. It allows me to reflect on one of those old icons I grew up with that scared the crap out of me as a kid.
Now the "killer doll" idea was far from brand new in 1988. You can go back to 1945 and the British horror anthology DEAD OF NIGHT for an early example of a deadly doll (though there are earlier examples than that). You have movies like MAGIC and TRILOGY OF TERROR in the 1970s that frightened kids for years afterwards. And the 1980s was littered with tons of dangerous dolls in various horror movies. Perhaps it has something to do with the remarkable Cabbage Patch Kids trend that blew up like crazy in the early to mid 80s. CHILD'S PLAY is certainly a response to that and I kind of love that about it. But dolls have always been a source of terror in that they are at once incredibly comforting and often quite creepy at the same time. Dolls can be the prized possession of a child. They will take them everywhere and sleep with them so the idea that they might become dangerous is terrifying on an almost primal level. They are already so close to children that if they could magically come to life they would be the last thing you'd suspect could harm your kids. From the point of view of a child they are a security blanket of sorts and thus if they somehow shifted it would be so so terrible. 
So Tom Holland made this movie and he had already proved himself to be a self-aware horror filmmaker with scripts for movies like PSYCHO II and CLOAK & DAGGER even before he made FRIGHT NIGHT - which is still one of the better vampire films ever in my opinion. Like CHILD'S PLAY, it is a movie that is certainly of its time, but it is still an enjoyable and well made and structured to jab at and play with the viewer's expectations. Holland is certainly a director who has taken a lesson or two from Hitchcock in terms of manipulating his audience and taking pleasure in making them cringe or jump in fright. There is something about this movie in particular this movie and the Chucky character that is annoyingly engaging. One one hand, the viewer watching could be frustrated by the fact that a little toy doll is causing so much carnage and asking themselves why don't people just rip him to pieces, but Chucky isn't easily stoppable (like a small Terminator) like that. His size also makes it easy for him to hide and jump out of places to attack people so there are many inherent jump scares built in that keep you on edge. It's one of those kinda silly 80s horror premises that once you give yourself over to it is a fun little ride though.

Special Features:
Hats off yet again to Scream Factory for continuing to put out solid Collector's Editions and 
this one is right in line with their best stuff. The disc sports a good-looking new
 2K scan of the interpositive and a lot of bonus material:

-NEW Audio Commentary with director Tom Holland.
-Audio Commentary with Alex Vincent, Catherine Hicks and "Chucky" designer Kevin Yagher.
-Audio Commentary with Producer David Kirschner and Screenwriter Don Mancini
Select Scene Chucky Commentaries.

-NEW Behind-the-Scenes Special Effects footage from Howard Berger (60 minutes),
-NEW Howard Berger: Your Special Effects Friend ‘Til The End - interview with special effect artist Howard Berger (40 minutes).
-NEW Life Behind the Mask: Being Chucky – an interview with actor Ed Gale (40 minutes).
-Evil Comes in Small Packages featuring interviews with Don Mancini, David Kirschner, John Lafia, Chris Sarandon, Brad Dourif, Catherine Hicks, Alex Vincent, Kevin Yagher (24 minutes)
-Chucky: Building a Nightmare featuring Kevin Yagher (10 minutes)
-A Monster Convention featuring Catherine Hicks, Alex Vincent and Chris Sarandon (5 minutes).
-Introducing Chucky: The Making of Child's Play Vintage Featurette (6 minutes).
-Original Theatrical Trailer
-Still Photo Gallery

You can purchase CHILD'S PLAY on Blu-ray here:
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Wednesday, October 19, 2016

Lionsgate/Vestron Video - WAXWORK/WAXWORK II: LOST IN TIME on Blu-ray

WAXWORK (1988; Anthony Hickox)
Continuing with their incredibly intriguing and nostalgia filled Vestron Video line - Lionsgate brings forth another couple VHS-era favorites with not one but two WAXWORK films. The first has reached veritable classic status in the HORROR community since its 1988 release. It's basically an enjoyable spin on the horror anthology featuring a bunch of 80s youths finding themselves invited to an odd private exhibition at a creepy wax museum that has oddly sprung up out of nowhere in their affluent suburban neighborhood. This ain't your average waxwork though. Instead of offering guests a macabre wax examples of horrific scenes, this particular place (run by David Warner) has a unique gimmick. As each person finds themselves engaged by a particular display, they are compelled to step into it and, in doing so, they become active participants in scenes themselves via a cool-looking 80s portal effect (which reminds me of XANADU for some reason). As you might imagine, things often go poorly for our "heroes" after they find enter into one of these scenarios. Once dead, the people who enter the scenes then become part of them - forever frozen in wax. So the movie, though set in the present of 1988, offers a sampling of werewolves, vampires, mummies, zombies and other horrors via the waxwork. Being that the movie is blood soaked and the main characters (played by Zach Galligan, Deborah Foreman, Michelle Johnson & Dana Ashbrook) are all sarcastic, wisecracking college kids, it's easy to see how this appealed to the video store generation for sure. It has cute gals (one of them straight out of VALLEY GIRL), lots of gore and the guy from GREMLINS. What more could a teenager prowling the horror section for an interesting VHS cover be looking for? All in all - a delightfully perverse and more gore-filled 80s update on the classic HOUSE OF WAX idea (with a climax to rival the ending of that movie). Also - props to any movie that can have a man on fire within the first minute of screen time. Bonus points for having John Rhys-Davies as werewolf.
WAXWORK II: LOST IN TIME is an interesting follow-up (made four years after the first) in that it sees director Anthony Hickox and star Zach Galligan return (but notably not Deborah Foreman). On top of that, it is one of those sequels that reprises the closing moments of the previous film and picks up directly where it left off. This movie sees actress Monika Schnarre replace Foreman in the role of Sarah and we are treated to a nice cameo by Buck Flower as her stepdad. Other colorful bit parts are filled with the likes of Bruce Campbell, David Carradine, Marina Sirtis & John Ireland among others.
More of a time travel movie (as the tittle indicates), this one pulls in the Frankenstein story, Jack the Ripper, King Arthur, THE HAUNTING and even ALIEN as plot elements for the various time travel stories. It also goes with a much more comedy slant from flying brains and slapstick to self-aware dialogue and other over the top gags. Not deviating from the first film in other ways, Hickox keeps copious amounts of blood flowing here. Bruce Campbell's role in the black and white ghost story is a highlight. Some very humorous Ash-esque moments there.
Special Features:
-Audio Commentary with director Anthony Hickok & actor Zach Gallian.
-Isolated score & audio commentary with composer Roger Bellon.
-The WAXWORK Chronicles featurette (parts 1-6).
-The Making of WAXWORK featurette.

-Audio Commentary with Anthony Hickox and Zach Galligan.
-Isolated score & commentary by composer Steve Schiff.

You can purchase the WAXWORK Double Feature here:
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Tuesday, October 18, 2016

New Release Roundup - October 18th, 2016

THE MARX BROTHERS SILVER SCREEN COLLECTION (Restored Editon) on Blu-ray (Universal)
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NIGHTHAWKS on Blu-ray (Shout Factory)
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TROUBLE MAN on Blu-ray (Kino Lorber Studio Classics)
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THE LAUGHING POLICEMAN on Blu-ray (Kino Lorber Studio Classics)
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FUZZ on Blu-ray (Kino Lorber Studio Classics)
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THE PIT on Blu-ray (Kino Lorber Studio Classics)
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BODY SNATCHERS on Blu-ray (Warner Archive)
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CHILD'S PLAY on Blu-ray (Scream Factory)
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WAXWORK/WAXWORK : LOST IN TIME on Blu-ray (Lionsgate)
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PAN'S LABYRINTH on Blu-ray (Criterion)
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SHORT CUTS on Blu-ray (Criterion)
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SPECIAL EFFECTS on Blu-ray (Olive Films)
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THE RETURN OF DRACULA on Blu-ray (Olive Films)
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GAS-S-S-S on Blu-ray (Olive Films)
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LITTLE FAUSS AND BIG HALSY on Blu-ray (Olive Films)
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STRATEGIC AIR COMMAND on Blu-ray (Olive Films)
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VILLA RIDES on Blu-ray (Olive Films)
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HAMBURGER HILL on Blu-ray (Lionsgate)
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CAFE SOCIETY on Blu-ray (Lionsgate)
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CAT'S EYE on Blu-ray (Warner Bros)
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SALEM'S LOT on Blu-ray (Warner Bros)
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STEPHEN KING'S IT on Blu-ray (Warner Bros)
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