Rupert Pupkin Speaks: March 2016 ""

Thursday, March 31, 2016

Underrated '96 - 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:
'96 in the Mix! 1996 was a huge year for me personally, cinema-wise, as it's among the first years that I remember going to the movies a fair amount, usually with my dad. But before you go squawking about nostalgia or rose-colored glasses or anything like that, know this: Everything on this list is objectively great, on an aesthetic and thematic level.Report this list

MARS ATTACKS (1996; Tim Burton)
A lot of my cinephile peers have completely turned on Tim Burton, but I never could if for no reason than this, a massive sentimental favorite but a triumph of craft and humor as well. Too many stars to name, but I'm just gonna mention one: Martin Short as a George Stephanopoulos-like womanizer on the president's staff. Definitive Short, in my opinion. I also really like the trading cards, if anyone cares.
THE LONG KISS GOODNIGHT (1996; Renny Harlin)
One of my favorite excursions into Shane Black Land, even though it's my understanding that his original script was quite different from the finished product. 1996 is pretty far from the era of the Big Screen Private Eye, so perhaps I'm biased towards any decent example of the form, but to me this is almost-perfect bottled fun. I did not see this with my dad when I was 9, by the way.

SPY HARD (1996; Rick Friedberg)
This movie I absolutely did see with my dad when I was 9, an inevitability given his admiration for the comedic stylings of Leslie Nielsen, gleefully passed down to me starting with this. For years I assumed this was actually terrible and unfunny a la 2001 A Space Travesty but I caught a few minutes on cable a while back and found that a lot of the jokes still land, and casting Andy Griffith as a maniacal supervillain will (hopefully) never not be funny. On yet another personal note, this was also my first exposure to the work of "Weird Al" Yankovic, who delivers one of the most memorable parts of the movie with his Thunderball-aping title sequence.
THE PHANTOM (1996; Simon Wincer)
I admit I might be scraping the barrel here, but this actually isn't a bad watered-down Indiana Jones style adventure throwback movie, with Treat Williams as the least intimidating screen villain of all time. Come on Treat, we all know you're decent to the core!
BLACK MASK (1996; Daniel Lee)
My heart actually belongs to this movie's sequel, the insane Black Mask 2: City of Masks, but since I imagine we're a long way off from celebrating the underrated film offerings of 2002 I'll go ahead and place this here. In today's superhero-saturated movie world, it might be hard to believe that it was once a novelty to tell such a straight-foward masked hero yarn as this, but trust me, it was. Watch for a cameo from my beloved video game console, the Sega Saturn.
OMEGA DOOM (1996; Albert Pyun)
You guys knew I had to give it up for Mr. Albert Pyun, even though this is not among my favorites of his. It's essentially a cyborg-inflected riff on Yojimbo (or Red Harvest, if you prefer), starring Rutger Hauer as the titular robot warrior. One possible claim to fame for this one is that there's a sizeable contingency of people out there who believe the Wachowskis ripped off a couple elements of it to make The Matrix. I will leave the viewer to make a ruling on that.
UNCLE SAM (1996; William Lustig)
Heyooooo William Lustig and Larry Cohen, together again after the Maniac Cop trilogy (IMDb lists this as a 96 release, Letterboxd has it as 97)! The mid to late 90s were a curious time to we in the present, as mainstream filmmakers were allowed to be crazily irreverent towards the military and patriotism in a way that seems retroactively transgressive even now (see also, Mars Attacks) but also like a breath of fresh air. This may be the only 90s movie I ever saw at the Drafthouse's Terror Tuesday, a telling distinction that speaks to its entertainment value.

Wednesday, March 30, 2016

Underrated '96 - Todd Cauley

Todd does a ton of writing for the Gentlemen's Guide to Midnite Cinema Blog, (
He also appears on this episode of the GGTMC podcast talking about their favorite first-time watches of 2015:
The Phantom
I think it’s fair to say that Simon Wincer rarely, if ever, made anybody’s list of favorite directors (excluding, possibly, those of his friends and family).  That isn’t meant as a slight, because I think the man has a highly skilled eye for visuals (just think of how often imitated “that shot” from Free Willy is, if you doubt).  The thing is, he was attached to this adaptation of Lee Falk’s classic comic strip character, and I believe that it, too, is equally underappreciated.  The film hews closely to being an Indiana Jones film with a protagonist in tights, but unlike the pure, ridiculous cartoon aspects of something like, say, Joel Schumacher’s Batman and Robin, Wincer and company keep this affair light and fun; emphasis on fun, as opposed to simply camp, which can go either way.  Treat Williams and Billy Zane are perfectly cast as the unctuous villain and stalwart hero, respectively, and Kristy Swanson plays it well as the tomboy-ish love interest (okay, she’s much more damsel in distress, but, hey, it’s Kristy Swanson).

The Frighteners
Before he became something of a technocrat (willingly or not), Peter Jackson was one of my favorite emerging directors of the late Eighties.  Here was the type of filmmaker who would sit in a grocery cart with a camera just to get a tracking shot.  And he loved gore and weird shit.  Co-founding Weta Workshop, he began to branch out into using digital tools to tell his stories, and with The Frighteners, he got the chance to strut his stuff with a lot more financial backing, thanks, in part, to Robert Zemeckis.  While some of the computer generated effects in the film haven’t aged well and looked a bit janky even in 1996, and some of the humor goes over like the proverbial lead balloon, the film still bears the earmarks of that hungry director who filmed himself eating some poor slob’s brains out with a spoon only nine years before; much of it still feels handmade.  Another major attraction of this film for me is Michael J. Fox, an actor whom I’ve always admired, and here he was, finally in a film with a subject that was right up my alley (Teen Wolf aside).  And let’s not forget Jeffrey Combs’ untethered performance as the government agent who’s seen just a bit too much.

Beautiful Girls
Let’s face it, the late Ted Demme will forever be overshadowed by his older brother John, and while I can’t necessarily argue with that assessment, I maintain that the younger Demme brother certainly had talent to burn.  Take Beautiful Girls, for example.  Here’s a film that actually enabled me to stomach Rosie O’Donnell for the duration of her screentime.  It’s the half-comedic, half-melodramatic story of men in arrested development (mostly), and its lead, Timothy Hutton (another actor for whom I can’t understand all the disdain), does a great job of being likeable while still being something of a jerk.  The relationship he has with Natalie Portman’s character is a bit odd (but then, this was at a time when Portman was no stranger to odd onscreen relationships with older men), but it still manages to be charming enough and innocent enough to work.  And for anyone who has ever had to endure large groups of people singing along to Neil Diamond’s Sweet Caroline, there’s a scene here that will either have you singing along or rubbing your temples.  I sing along every time, despite myself.

Tremors 2: Aftershocks
The direct-to-video sequel to Ron Underwood’s original throwback to classic creature features, is, in my estimation, almost as good as the original.  Here’s a movie that actually manages to make the absence of one of the leads from the first film work for it (not talking about Reba McEntire here, though).  The ever-grizzled Fred Ward brings his shitkicker, hangdog (his character is even named Bassett) charms, and Michael Gross’ Burt Gummer is the militia-minded gun hoarder we’d all love to know.  The other thing this film does so well is it believably develops the Graboids into their next stage of evolution, and constructs tense scenarios around them which are the equal of those in the original.  

Gamera 2: Attack of Legion
When Shusuke Kaneko directed Gamera: Guardian of the Universe in 1995, he singlehandedly revolutionized the Kaiju genre.  And he did it almost entirely with traditional, man-in-suit and miniatures techniques (with just enough CG to accentuate rather than overwhelm the practical effects work).  At a time when Toho Studio’s Godzilla franchise had their protagonist going all “thunder thighs” and coming up with stories that were both saccharine and largely dumb (c’mon, Space Godzilla?!), Daiei Studios put their money into solid narratives, interesting themes, and, most importantly for this genre, absolutely astounding special effects.  The story herein does bear similarities to Godzilla vs. Destroyah, with the mini-Legions wreaking havoc, but the final phase antagonist puts Godzilla’s foe to shame.  In Kaneko’s Gamera trilogy, the mammoth, fire-breathing terrapin is more than just some nuclear abomination or an elemental force; he’s verging on godhood.  Yet, for all the looking out for mankind he does, Gamera could turn old school Old Testament at any time.  It’s an intriguing conceit for a property that, at one point in time, had its star battling a monster with a giant knife blade for a head (yes, really; Viva Guiron!).

Shout! Factory - THE GONG SHOW MOVIE on Blu-ray

THE GONG SHOW MOVIE (1980; Chuck Barris)
This film has become a thing of slight legend over its many years of not being readily available to the movie viewing public. While not anywhere near as mythical as something like an uncut version of THE MAGNIFICENT AMBERSONS, it is still a bit of a curiosity with cinephiles and fans of bizarre stuff. I had only seen pretty awful bootlegs (taped off television) floating about so I never bothered to hunt them (or the movie) down. With the release of CONFESSIONS OF A DANGEROUS MIND, I became slowly and increasingly interested in Chuck Barris. He seemed such a fascinating dude to me. His celebrity was before my time, so I had no sense of him or how beloved he was at the height of his popularity (or not). All I was left with the impression you get with a guy who wrote an autobiography that makes him out to be some kind of international special agent. He seems like an odd gentleman, and perhaps a little sad. So I started to look back at old clips of The Gong Show and reminded myself that I had seen a couple partial episodes on cable as a high schooler. It seemed like kind of a mean show to me. It just had a flippant (if occasionally funny) attitude about the talent acts on the show and seemed to veer towards being a daily sideshow carnival at a certain point. It was a hit though right? That seems crazy to me, but then we are still watching the modern descendants of the show to this very day, so I guess some things about TV never change. Everybody loves a freak show. And I must admit that I do too, and I began to strengthen my resolve to find a decent copy. I had seen only seen a few scenes from it and wanted more. Then I started to notice it was airing on MGM HD, which shocked me so much at first that I thought someone had made a mistake. The network had screwed up and somebody accidentally put in the wrong tape (or played the wrong digital file if you like). They would realize that they aired it and issue some kind of formal/legal apology. I made sure to DVR it more than a week in advance once it first popped up in the schedule. I thought that maybe when I went to play back my recording, instead of THE GONG SHOW MOVE, I would have gotten some other nonsense instead.
The movie was written by Chuck Barris and Robert Downey Sr. (yeah, you-know-who's filmmaker father). Barris himself directed and stars. The film is one of those strange visions that you can't help but see some kind of auteurship in. It's not like a John Ford or Howard Hawks auteurship, but more the specific stamp of a single misguided (if well-intentioned) individual. 
Format-wise, it's a mix of film, videotaped audition footage, and excerpts from the TV show itself. It mostly consists of people auditioning for Chuck Barris on the street and everywhere he else goes. Barris is not necessarily an amazing screenwriter or director (or actor) and a result, the movie is a bit of a mess. Some might call it an irredeemable misfire, but I would never go that far. It is a cinematic curio from many years ago and it's strangeness and clumsiness are what make it memorable. It's not really quirky enough to be a true cult film, but it will still be a draw for a certain group. It's ine of those rarities that you really just have to see, especially if you grew up in the era of VHS and before. THE GONG SHOW MOVIE isn't twisted enough to be a WTF movie, but it is still not like anything you are likely to see anytime soon.
Special Features:
This Shout! Factory disc features an audio commentary by Pop Culture Historian Russell Dyball. Dyball speaks to the mythicism and ongoing saga of THE GONG SHOW movie with lots of detail. He also talks a good deal about Chuck Barris and his television show(s). I was interested to learn that Barris actually brought on Robert Downey Sr as not only a writer, but also a director initially and eventually the two parted ways when Chuck decided he wanted to direct. Dyball has clearly done a lot of research and has lots of interesting tidbits to offer throughout the commentary.

THE GONG SHOW MOVIE Blu-ray can be purchased here:

Tuesday, March 29, 2016

Scream Factory - CHERRY FALLS on Blu-ray

CHERRY FALLS (2000; Geoffrey Wright)
There were lots of attempts to recapture the magic of SCREAM after that film was a hit in 1996. Movie theaters at the time were littered with I KNOW WHAT YOU DID LAST SUMMERs and URBAN LEGENDs. As entertaining as they could be, none quite found their way to being as solid or impactful as the Kevin Williamson/Wes Craven one-two punch. That self-awareness, though it had been glimpsed before in other horror films, was rarely encapsulated as nicely as in Jamie Kennedy's video store employee in that movie. CHERRY FALLS is certainly later in the cycle of this horror resurgence, but it is an overlooked and interesting entry to be sure. The plot is pretty straightforward as slasher movies go. Cherry Falls, Virginia has become a hunting ground for a serial killer who is specifically targeting virgin teenagers. Once this news gets out, it causes the already high hormone levels in the little town to escalate. Cherry Falls itself clearly has some secrets that go back a few years and may or may not have something to do with the specter of death that has come to visit.
What's interesting about CHERRY FALLS? A few things. First, I found the killer to be effective and interestingly portrayed as mysterious and creepy. The somewhat androgynous figure has long black hair that obscures facial features enough to basically function as a kind of mask and that works well to keep things menacing. I've said this a lot, but the design and for that the killer character takes in these movies can really hold things together or cause them to crumble. This killer is also pretty strong (not quite supernaturally so) and quick to strike and chase when engaging a victim. This keeps the tension going and kept me feeling on edge throughout. Other things that kept my interest were the performances of both Brittany Murphy and Michael Biehn. Murphy is obviously the main gal here and she has a specific manner that she brought to a lot of her characters that is somewhat different and set her apart. I can't even totally explain what it is she does, but it is a very vulnerable emotional state that she carried across - something almost childlike in its earnestness and subtle naivety. Combining these characteristics with her obvious sex appeal make for an unique charisma and connectivity that was part of what made her a star I believe. On top of that, it is often hard not to think of the real lives and deaths of actors, especially those that passed away so young and under somewhat mysterious circumstances. I found myself digging into whatever I could find about Murphy's demise after seeing this film. As morbid as that sounds, the movie somehow pushed me into that rabbit hole. 
Michael Biehn is an actor who I have been a fan of for quite some time. THE TERMINATOR was the first movie I ever bought on VHS and was thus the beginning of my movie-collecting obsession that continues to this day. I still adore that film and Biehn is quite good in it. He expanded my enjoyment of his work with roles in both ALIENS and THE ABYSS - I associate him strongly with James Cameron for this reason. His turn in CHERRY FALLS is yet another starkly serious one - not totally out of line with the one he showed in THE ABYSS. He plays the sheriff of this small town and the father of Brittany Murphy. He's a no-nonsense kinda guy who is doing his best to cope with and control the ever-spiraling murder situation in Cherry Falls. Biehn is able to be both a dude bent on saving the place and still be slightly off and a touch creepy at times, which is helpful in terms of maintaining an overall mood of dread. The atmosphere is a key thing here and it stays ominous throughout the movie. Spaces like high school hallways and class rooms are made to feel extremely unsafe in just the right way. I enjoy it a lot when a movie can take a traditionally safe space and make it feel scary. The other thing that hooked me about the movie is the enigmatic nature of the killer. I have perhaps seen too many movies like this and thus have a tendency to look for obvious suspects and immediately assume them to be red herrings, but this flick kept me guessing as to the killer's true identity and motivations. 
CHERRY FALLS is one of those troubled films that didn't quote connect properly with an audience at the time of its release. This is at least partially to the fact that this movie had a good deal of trouble with the MPAA and didn't get a theatrical release in the U.S. Its distributor (USA Films) instead chose to release it as a TV movie on cable (though it did get theatrically distributed in the UK and Europe). As a result, those that found the movie mostly did so via VHS and DVD. The DVD had been out of print since the early 200os though, so that certainly did not help it continue to grow in popularity since that time. This Scream Factory Blu-ray is quite welcome and will allow more folks to finally see the movie. I myself had not been able to see it until this release even though I had heard of it and was certainly curious. I had totally forgotten that Geoffrey Wright directed this movie by the way. I saw his film ROMPER STOMPER on VHS and it made an impression on me at the time. Wright is unquestionably a big part of why this movie works as well as it does.

Special Features:
- An Audio Commentary With Director Geoffrey Wright. (NEW)
-"Lose It Or Die: The Untold Story Of Cherry Falls" – featuring Interviews With Writer And Co-Executive Producer Ken Selden And Producer Marshall Persinger. (NEW)
-Cherry Falls Deputy Mina – An Interview With actor Amanda Anka. (NEW)
-Vintage Interviews With Brittany Murphy, Michael Biehn, Jay Mohr And Director Geoffrey Wright.
-Behind-The-Scenes Footage
-Original Script (BD-ROM)
-Theatrical Trailer

CHERRY FALLS can be purchased on Blu-ray here:

New Release Roundup - March 29th, 2016

THE GONG SHOW MOVIE on Blu-ray (Shout Factory)

CHERRY FALLS on Blu-ray (Scream Factory)

BICYCLE THIEVES on Blu-ray (Criterion)


THE HATEFUL EIGHT on Blu-ray (Starz/Anchor Bay

PIGS on Blu-ray (Vinegar Syndrome)

CODE 7, VICTIM 5/MOZAMBIQUE on Blu-ray (Blue Underground)

THE SICILIAN on Blu-ray (Shout Factory)

A POEM IS A NAKED PERSON on Blu-ray (Criterion)

Monday, March 28, 2016

Criterion Collection - BICYCLE THIEVES on Blu-ray

BICYCLE THIEVES (1948; Vittorio de Sica)
It's such a simple setup. A poor man who is out of work gets offered a job (a good city job) putting up posters. He's overjoyed by the opportunity, but there's a catch. He must have a bike or the job goes to someone else. What can he do? He lies and says he has one. It's so stripped down and elegant as a narrative design. And the conflict happens within the first few minutes of the film too, which is both economical and great craftsmanship. One of my big pet peeves is movies that take too long to set up characters and situations. I get that you sometimes want your audience to know the people that are inhabiting the world of the film before they are thrust into some dramatic scenario, but there are ways to move things along more quickly and still achieve the desired effect. So BICYCLE THIEVES establishes right away the importance of the bike. We know the main character needs one badly and that his job depends oh him keeping it. As you might guess from the title of the film, bicycles can be tricky to hold onto in the city of Rome where our main character works.
This movie has a reputation as being one of the greatest films ever made. Woody Allen is a big fan and has made reference to it in his films. It's even a ploy point in Robert Altman's film THE PLAYER. There's a lot for this film to live up to and perhaps partially because of all that, I had somehow neglected to see it all these years. Pretty shameful right? I agree. Thankfully, when this Blu-Ray was announced I knew I would finally make time to watch it. How was it you ask? Well, another thing you hear about this film is that it is quite depressing. Done call it heartbreaking, which is more apt, but it's no feel good movie in case you were wondering. That said it is ultimately a really engaging and powerful piece of cinema. A big chunk of the movie is just the man and his son wandering around Rome looking for his bicycle. But BICYCLE THIEVES is so much more compelling than that description would have you believe. So many excellent touches. Like The Rita Hayworth posters they are tasked with putting up. And something as basic as the way the little boy stretches the cheese from his mozzarella sandwich can be absolutely sublime. The drama of trying desperately to find the only old man who knows anything about the thief they stole the man's bike is remarkable. It's one of those movies that, once you're in it, wrings narrative tension out of the tiniest things. As I said, so simple and yet so poetic and beautiful in the way that it tells the tale that you can see why the film is held in such high regard.
One thing I do love is that I can draw a line between this movie and one of my favorites: PEE-WEE'S BIG ADVENTURE. While the two films couldn't tonally be more far apart, they are both stories about dude's with lost bikes. This may be a bit of a stretch for me to compare the two, and perhaps I just have Pee-Wee on the brain (which I certainly do), but I definitely feel like I saw at least a couple shots here that might have been lifted by Burton for BIG ADVENTURE. Good stuff. The two movies might even make an interesting double feature. PEE-WEE'S would make for a decent pick me up after the emotional devastation of BICYCLE  THIEVES.

Special Features:
First off, this is a New digital restoration (4K for the Blu-ray), with uncompressed monaural soundtrack on this Blu-ray. It's a pretty gorgeous transfer if I do say so myself.

-Working with De Sica, a collection of interviews with screenwriter Suso Cecchi d’Amico, actor Enzo Staiola, and film scholar Callisto Cosulich.
-Life as It Is, a program on the history of Italian neorealism, featuring scholar Mark Shiel.
-A Documentary from 2003 on screenwriter and longtime Vittorio De Sica collaborator Cesare Zavattini, directed by Carlo Lizzani.
-Optional English-dubbed soundtrack.
-PLUS: A booklet featuring an essay by critic Godfrey Cheshire and reminiscences by De Sica and his collaborators.

The BICYCLE THIEVES Blu-ray can be purchased via Amazon here:

Sunday, March 27, 2016

Underrated '96 - John S. Berry

Attempted positive guy on Twitter @JohnSBerry1 (I am not high on quantity of followers but overflowing with quality), occasional wise cracker on Gonzo Guys podcast and guy that saw Alien on HBO at way to young of an age. I still actively hunts down VHS tapes and am constantly taking notes to seek out films. It is near impossible to describe how happy I am after watching a gem of a film, often I have to go walk it off in the cool night air. Viva la cinema!
I often have a tendency to look at my past with romantic rose colored glasses (Jeesh I am old using that phrase) but looking at the listing of movies from 1996 I think I am correct in feeling that was a great year for films. It was also a great one for me personally and those are some of my fondest days.

I was finishing up college at Ft. Hays in Kansas and was just starting to travel to Lawrence to see bands and also smaller Indy movies as well. In Hays I often rented VHS from two different grocery stores and to this day I am not sure why they had so many Indy, foreign and WTF titles. I like to think it was some cool guy at the grocery store who ran it but more than likely a distributor just dumped a pile of whatever on them.

Looking through the list I also saw a lot I missed, this was a time before streaming and Youtube so a lot of my movie viewing dealt with video store availability and convincing my folks to let me rent via the new-fangled at the time Dish Network (which I would tape onto VHS to share/ re-watch later). I saw a lot of great films in 1996 that shaped and developed my love of movies and unique story telling. I look forward to telling the tales to the young attendants bringing my lunch to me in the nursing home but until then:

1. Beautiful Girls: The word that comes to mind when I think about this movie is charm. Most of the characters are flawed but loveable (especially Michael Rappaport who has made a career of this theme). A lot of the characters reminded me of guys I grew up with, they will bust your stones but will be there for you when you need them. The movie borders in the realm of stunt casting but most of the performances are pretty natural and reeled in (except Rosie O’Donnell). This movie still feels relatable to me when I go back home having left for the city as well, although not in a cool as fashion as Timothy Hutton as a piano man. Also, not only is the soundtrack amazing but Afghan Whigs make an appearance as a house band!
2. She’s the One: I was always more of an Independent Ed (Burns) guy than a Tarantino guy. I somehow got ahold of a dubbed VHS of Brothers McMullen and loved how natural and touching the movie felt and I found Burns to be the coolest guy with his no bullshit attitude and gravelly voice. I worked in a college radio station and we received the Tom Petty soundtrack and I knew seeing the film in western Kansas was not going to happen. Years later I bought it sight unseen and loved it as well and you could see Burns improving as a director. Jennifer Aniston easily plays one of those sweet girls with a heart of gold and Michael McGlone as Francis plays a true Wall Street selfish prick. She’s the One is a NYC fairy tale showing how complicated and selfish relationships can be and the fairy tale ending isn’t always with who or where you expect it to be. I still have my weathered loaned out to many DVD copy and realized it may be time to re-visit Independent Ed’s catalog (sorry Tarantino but Ed’s running times never made me almost pee my pants).
3. The Pallbearer: I remember seeing a preview for this one and I have to admit I liked Friends and Ross was by far my favorite character. This film always felt like an updated version of The Graduate with a few extra side stories that were just as for keeps as the main romance. This movie is full of cringe moments and the “I need to borrow a shirt” scene drives home just how little Tom (David Schwimmer) has changed and moved on with his life since high school, he still sleeps in a bunk bed at home and still pines on a crush Julie (Gwyneth Paltrow). This film does a great job with the concept of a sort of lie (and some out right lies) that just snow ball and most of the situations could be avoided by just telling the truth. The cover of the video makes the movie look like a sweet romantic comedy but it has a dark edge to it and an ending that is not sugar sweet and predictable. The Pallbearer also features another appearance by the busy in the 90s Michael Rappaport!
4. Hardcore Logo: When I am asked these days if I miss touring I often reply that I loved the time in when it happened but there is no way I could do it now at this age. This mockumentary follows the fictional Canadian band Hard Core Logo on a reunion tour and you see many different characters unravel in various ways. Watching this always reminds me of bands I used to see in small clubs and I wonder if the ones still out there doing it love it or resent the hell out of the fact they never made it to the next level? The brotherhood and the jealousy between the two main band members Joe Dick and Billy Tallent is shown in a very realistic way that anyone who has been stuck in a smelly van has probably seen it unfold. The music is great in this one as well (a common theme in 90s films) and the feeling of aging and questioning what have you done with your life really comes across in this film.
5. Heaven’s Prisoners: This movie just feels humid and hot and sticky. I rented this and watched on a sick day and it made me feel like I never wanted to visit Louisiana…ever. Alec Baldwin is a recovering alcoholic and former cop who is leading a quiet life with his wife Kelly Lynch. Their life gets super loud when a plane crashes and they rescue a young girl from the wreckage. The movie has a lot of twists and turns and an abundance of sweaty sleazy characters such as Eric Roberts and his main squeeze played by Terri Hatcher who plays way against her role as Lois Lane. Heaven’s Prisoners is entertaining story of redemption and loss and in some cases back to redemption.

Kino Lorber Studio Classics Action/Thriller Blu-ray Sale!

A bunch of Kino Lorber Studio Classics Discs on sale at Amazon right now!

DEFIANCE - $12.99:

BUSTING - $12.99:

HICKEY & BOGGS - $11.99:

MALONE - $12.99:

MR. MAJESTYK - $11.99:

GATOR - $12.99:


F/X - $12.99:

F/X 2 - $12.99:

COP - $12.99:


HORNET'S NEST - $12.99:

THE SATAN BUG - $12.99:


DELTA FORCE 2 - $11.99:





SHATTERED - $12.99:

THE FOURTH WAR - $11.99: