UNHINGED Starring: Russell Crowe, Caren Pistorius and Gabriel Bateman Directed by: Derrick Borte Rated: R Running time: 1 hur 38 mins Solstice Studios
It’s happened to everyone. I know it’s happened to me. You’re behind someone at a red light and, when the light turns green, they don’t move. Usually I’ll give them a couple of seconds and give them a courtesy tap on the horn. How about you?
On a dark rainy night, Tom Cooper (a beefy and never better Crowe) sits in his truck outside a darkened house. He removes his wedding ring and tosses it behind him. After striking a match and letting it burn down to his fingers he grabs a hatchet and a gasoline can and makes his way to the front door. Soon, the occupants of the house are dead and the home is in flames. Tom, it seems, is having a bad day.
Rachel (Pistorius) is awakened by a call from her attorney. Her soon-to-be-ex-husband is asking for more in the settlement. Realizing she is running late, she needs to take her son, Kyle (Bateman) to school and has a business appointment, she hurries out the door. Making good time she finds herself behind a truck at a red light. Rather than giving a courtesy tap on the horn, she blares her impatience. Then she does it again. As the light begin to change to red she speeds around the still unmoving vehicle. Rachel is about to have an even badder day.
A thrill-ride of a movie that keeps you on the edge of your seat, “Unhinged” displays its opening credits over images of social unrest and images of people acting out angrily while snippets of newscasts decrying the current situation in the world are broadcast. Though obviously filmed some time ago, the film could easily be set today. Tom tracks Rachel down on the road and asks for an apology. She refuses, informing him that she is having a bad day. This triggers the bottled rage in Tom (we learn later that he too has been divorced) and what could have been settled with a sincere “I’m Sorry” soon becomes a tragic story with innocent bodies left it its wake.
I was introduced to Russell Crowe through his performance as the nasty skinhead Hando in the film “Romper Stomper.” Other roles, like the quick tempered Bud White in “L.A. Confidential” and his Academy Award winning performance as Maximus in “Gladiator” pretty much cement him in my mind as the one guy in Hollywood you would never want to piss off. Tom Cooper is no exception. With his soft spoken manner and quiet tone, the rage built up in Tom seeps through his eyes, making him one scary guy. As Rachel, Ms. Pistorius has a quiet toughness that allows her to stand up to the physical and emotional torment she is being put through. Young Mr. Bateman is equally strong, portraying a real teen-ager who is both frightened and resourceful.
Director Borte, who directed and co-wrote 2018’s outstanding “American Dreamers” keeps the action moving and doesn’t miss a beat in building up the audience’s suspense.
As theatres begin to open up again, I strongly recommend putting on a mask and heading to see “Unhinged.”
Starring: Chet Siegel, Ruby McCollister and Jeff Riddle Directed by: Matthew John Lawrence Rated: Not Yet Rated Running Time: 96 minutes Epic Pictures
Punk rock and horror just work. Both are angry, fast, short, simple and to the point. From “Surf Nazis Must Die” to “Return of the Living Dead,” there’s a lot of great elements at play anytime you get punk rockers and horror tropes mixed up. Contemporarily speaking, there isn’t much left in the proverbial tank, outside of “Green Room,” a film that I was in the minority on. But “Uncle Peckerhead” could serve as a potential rejuvenation for blast beat punk rock soundtracks laid over a gory mess.
When we meet the band Duh, made up of Judy (Siegel), Mel (McCollister) and Max (Riddle), they’re down on their luck. The trio’s touring van is repossessed, coming immediately after Judy secures several shows on a statewide tour. In a desperation move, the band begins plastering signs everywhere, hoping someone will let them rent a van for their tour. That’s when they meet Peck (David H. Littleton). Peck agrees to the van deal, but he has some stipulations. He gets to drive and be the band’s roadie. Out of options, the band agrees, even though something isn’t quite right with Peck. It’s only after their first gig on tour that they learn Peck is a flesh eating monster, with pale skin and yellow teeth, for about a dozen minutes when the clock strikes midnight.
The monster that Peck becomes isn’t scary, nor is it supposed to be. If the opening moments aren’t a clue, “Uncle Peckerhead” is a comedy-horror. My favorite kind of genre because it’s an excuse for gore and sometimes childish comedy. I mentioned “Surf Nazis Must Die” earlier because the film has a quaint Troma charm to it. If you had told me “Uncle Peckerhead” was a Troma film, I wouldn’t be surprised because it’s in the film’s DNA. Everything is cheap, but the cast dives so far into that content, that their line delivery is admirable, no matter how bad the dialogue is. The comedic timing is hit and miss, but when it hits, it’s nearly pitch perfect. So if uncomfortable situational humor and gore don’t tickle your funny bone, you should probably just avoid horror, and Troma films, altogether.
The main conflict that develops throughout this off-the-beaten path road trip film is between Judy and Peck. While Judy has her eyes set on becoming successful (which in the punk world, isn’t that successful), she has one eye on Peck. While her bandmates seem content with Peck’s blood lust, especially after he devours some metalhead bullies, Judy is understandably concerned that a trashy older man devours human flesh at night. Over time though, she begins to admire Peck because of the way he supports the band and its members. You could call him a hillbilly with a heart of gold.
I probably enjoyed “Uncle Peckerhead” more than most low-budget horror because it recognizes what it is, and doesn’t try to be different. Surprisingly by the film’s end, “Uncle Peckerhead” made me feel nostalgic. Watching a bad punk band play to a couple dozen fans looking to mosh made me miss concerts in new COVID-19 world. Campy films like “Uncle Peckerhead” are best viewed with a crowd. Unfortunately I missed this film at Panic Fest, where it premiered, so it also made me miss the cinematic experience that films offer in a crowded, dark room with strangers. I especially admire these kinds of low-budget horror gore films because the passion at work on screen spills over into the crowd, and suddenly the screening becomes a party. “Uncle Peckerhead” should satisfy the sweet tooth of passionate horror fans and give them something to bob their head to.
“You Should Have Left” had the chance to be epic. Kevin Bacon was reuniting with the writer/director David Koepp, they last teamed up on 1999’s “Stir of Echoes”. Throw in one of my Hollywood crushes, Amanda Seyfried (“Mamma Mia! Here We Go Again“, “Les Misérables”), and you have a winner…right?! Sorry, this slow burn thriller-at best (not horror) doesn’t pay off in the end. Performances from Bacon and Seyfried were OK, no issues there. Well, maybe all except for Seyfried’s over-the-top orgasm (during an off-camera sex scene). The house in the film definitely interested me more than the movie itself.
Official Premise: In this psychological thriller from Blumhouse Productions and legendary screenwriter Koepp, Kevin Bacon and Amanda Seyfried star as a couple seeking a restful vacation in a remote home in the Welsh countryside. What at first seems like a perfect retreat distorts into a terrifying nightmare when reality begins to unravel, dark episodes from the past resurface, and a sinister force in the house refuses to let them leave.
I give them credit for attempting to get to where they were trying to get to, since they never quite make it fully. The idea of the haunted house was kinda neat but I would have loved to seen it fleshed more. A little less mystery. Honestly, though if that house is on AirBNB someone tell me because its gorgeous! There are no extra content included with the digital code.
Travel back in time to a carefree Labor Day weekend in 1982, when The B-52s: Live At The US Festivalcomes to DVD and digital platforms on September 4th, from Shout! Factory. The performance features all five founding band members, and the film is dedicated to Ricky Wilson, who passed away 5 years after the US Festival performance. In brand-new interviews included in The B-52s: Live At The US Festival, band members Fred Schneider, Kate Pierson, and Cindy Wilson talk about Ricky, and what he meant to their unique sound, along with memories of performing at the US Festival.
Dance this mess around with the all-time, good-time party band The B-52s in a wild and unforgettable live performance. This hour-long set, recorded at the inaugural US Festival in 1982, had the crowd dancing from start to finish, and was considered to be one of the best of the entire festival.
“It was hot as hell in the desert but as soon as we got going we had the audience dancing up a dust storm,” says Fred Schneider.
This rare footage shows off the joyous energy and unique spirit that has been a hallmark of their music and live performances for over 40 years. Packed with 13 hits and favorites from the group’s early years, including “Rock Lobster,” “Planet Claire,” Private Idaho,” and others, Live At US Festival is the first-ever live concert DVD release from The B-52s’ classic era, and a tasty slice of rock history that’s an absolute must-see for anyone who likes to party out of bounds!
About Shout! Factory: Shout! Factory, LLC is a diversified multi-platform media company devoted to producing, uncovering, preserving and revitalizing the very best of pop culture. Founders Richard Foos, Bob Emmer and Garson Foos have spent their entire careers sharing their music, television and film favorites with discerning consumers the world over. Shout! Factory’s entertainment offerings serve up feature films, classic and contemporary TV series, animation, live music and comedy specials. In addition, Shout! Factory maintains a vast entertainment distribution network which delivers culturally relevant programming, movie and audio content to all the leading digital service providers in North America and across multiple platforms. Shout! Factory owns and operates Shout! Studios, Scream Factory, Shout! Factory Kids, Shout! Factory Films, Mystery Science Theater 3000, Timeless Media Group and Shout! Factory TV. These riches are the result of a creative acquisition mandate that has established the company as a hotbed of cultural preservation and commercial reinvention. Shout! Factory is based in Los Angeles, California. For more on Shout! Factory, visit shoutfactory.com.
About The B-52s: Selling over 20 million albums worldwide, The B-52s—Fred Schneider [vocals], Kate Pierson [vocals], Cindy Wilson [vocals], — have quietly impacted alternative music, fashion, and culture over the course of four-plus decades. They count John Lennon, Madonna, James Murphy, and Michael Stipe among their disciples. Panic! At The Disco, Blood Orange, The Offspring, Pitbull, Roger Sanchez, and DJ Shadow have sampled classics from the band’s discography as Seth MacFarlane’s FamilyGuy, The Simpsons, Sugarland, and more offered up covers of their own. They inched towards the forefront of the post-punk movement in America codified by 1979’s self-titled The B-52s. Not only did the record go gold, but it also placed at #152 on Rolling Stone’s “500 Greatest Albums of All Time” and #99 on VH1’s “Greatest Albums of All Time.” The gold-selling Wild Planet arrived hot on its heels in 1980. With Keith Strickland brilliantly filling the void in with music composition and live show guitar duties, 1989’s watershed Cosmic Thing elevated the B-52s to another galaxy altogether. It moved 5 million-plus units and spawned a string of Top 10 smashes in the form of the GRAMMY®-nominated “Roam” and “Love Shack”—which Rolling Stone lauded on the “500 Greatest Songs of All Time.”
Season: 4 out of stars Blu-ray: 4 out of 5 stars Extras: 2 out of 5 stars
After the success of “IT”, there has been a full flow of Stephen King’s novels being adapted into film or TV being kicked into production. “The Outsider” is based off of King’s 2018 book. The show is backed with a great cast packed with great twists and turns that will keep you gripped to the TV until the climax. Ben Mendelsohn has made his name playing lead baddies in “Rogue One” and “Ready Player One” recently. It is nice seeing the other side of him in this series. Jason Bateman nails the dramatic angle again for sure after “Ozark”. This show was a big hit for HBO’s being labeled as its most watched new series in the last three years. So expect a second season in the works very soon!
Official Premise: Based on Stephen King’s bestselling novel of the same name, The Outsider is a new drama series that follows a seemingly straightforward investigation into the gruesome murder of a local boy. When 11-year-old Frankie Peterson’s body is found mutilated in the Georgia woods, police detective Ralph Anderson (Ben Mendelsohn) sets out to investigate – with eyewitnesses and physical evidence pointing to Terry Maitland (Jason Bateman), a popular high school teacher, Little League coach, doting husband and father. While the case appears ironclad, Ralph is baffled by the emergence of contradictory evidence that places his suspect in a neighboring city at the time of the murder. The mysterious set of circumstances surrounding this horrifying crime leads Ralph, a seasoned cop still grieving the recent death of his own son, to bring in unorthodox private investigator Holly Gibney (Cynthia Erivo), whose uncanny abilities he hopes will help explain the unexplainable.
The incredible cast of The Outsider includes Emmy®- and Golden Globe nominee Ben Mendelsohn (“Bloodline,” “Ready Player One”), Tony Award winner and Oscar® and Golden Globe nominee Cynthia Erivo (“The Color Purple,” “Harriet”), Bill Camp (Emmy®-nominee for “The Night Of”), Mare Winningham (Oscar® nominee for “Georgia”), Paddy Considine (HBO’s upcoming “The Third Day”), Julianne Nicholson (HBO’s upcoming “Mare of Easttown”), Yul Vázquez (“Divorce”), Jeremy Bobb (CINEMAX’s “The Knick”) and Marc Menchaca (“The Sinner”), with Emmy® and Golden Globe winner Jason Bateman (“Ozark,” “Arrested Development”) as Terry Maitland.
The 1080p transfer of the episodes are sharp, like “Castle Rock”, this show does not have an 4K Ultra HD release. The DTS-HD Master Audio 5.1 tracks work perfectly with the score leading these episodes with great suspense. In addition to all 10 exhilarating episodes from season one, The Outsider: The Complete First Seasonthe Blu-ray features over 40 minutes of behind-the-scenes bonus content including the all-new featurette “EL CUCO. THE BABA YAGA. THE OUTSIDER.” In this never-before-seen featurette you dive deeper into the real-world origins and supernatural abilities of the being at the center ofThe Outsider with interview from the creators and cast. The rest of the featurettes are worth taking a look at but nothing too stunning to jump out at you. “Invitation to Set” takes you through a tour of the show’s shooting locations. We have brief interviews with Stephen King and Jason Bateman. Lastly, “Adapting The Outsider” talks about bringing the story to life from the book to small screen.
BONUS FEATURES
EL CUCO. THE BABA YAGA. THE OUTSIDER – All New Featurette
FISHERMAN’S FRIENDS Directed By: Chris Foggin Starring: Daniel Mays, James Purefoy, David Hayman, Sam Swainsbury, Tuppence Middleton Runtime: 112 mins. Samuel Goldwyn Films
A hot shot London music agent named Danny (Mays) becomes entangled with some seaside villagers when he is ditched by his stag party buddies in Chris Foggin’s Fisherman’s Friends. Loosely based on a true story, the Fisherman’s Friends are a group of local musicians that Danny discovers singing sea shanties. Under peer pressure from his pals, Danny decides to ingratiate himself with the band in order to secure a record deal to take home. Along the way, he strikes up a romance with one of the group’s daughters and entrenches himself in local politics. With its picturesque setting, its city folk-country folk clashes and its romcom meet cute, Fisherman’s Friends has all the hallmarks of well, a Hallmark movie! Without the pesky Christmas baggage. Whether you’re on board with this style depends upon whether you’re up to this level of coziness and predictability.
The flimsy setup to get city boy Danny stranded in Cornwall happens after his clique’s bachelor party yachting excursion falls through. Once it becomes clear they won’t be embraced by the locals after their drunken paddle boarding lands them in need of rescuing from the town’s fishermen, the trio of Londoners hightail it out of there leaving Danny stuck as a joke. It’s a pretty drastic prank but seeing as it passes the movie over from a carload of annoying bro caricatures and into the wonderfully capable and more weathered hands of cast like James Purefoy and David Hayman, the brevity is welcome.
There is a real warmth to the Cornwall setting and Foggin loads his soundtrack up with the Fisherman’s Friends sea shanties to keep everything pleasantly humming along. Sam Swainsbury as Rowan, the youngest member of the band, particularly shines in some of his solos as well as in playing the owner of the town’s financially struggling pub. His plot line gives the movie some needed stakes where the Fisherman’s Friends’ musical dealings are concerned. Meanwhile, the less defined village characters all manage to get their quippy jabs in at Danny in ways that are sure to wring a smile or pleasant chuckle from most viewers. It’s also nice to see Daniel Mays take a turn at a contemporary leading role seeing as I’m primarily used to seeing him pop in and out of so many period blockbusters.
When the film veers from the musical talent into Danny’s romantic relationship with Alwyn (Tuppence Middleton), the daughter of Purefoy’s character, you do lose some of that momentum while awaiting the fate of the titular band. Not least of all because one senses this movie will inevitably end happily so the requisite romcom roadblocks feel all the more rote. That said, even if you find yourself drifting somewhat, the kernel of the real life underdog musicians’ tale is compelling enough and the soundtrack is buoyant enough to keep it all afloat.
Starring: Natalia Dyer, Timothy Simons and Wolfgang Novogratz Directed by: Karen Maine Rated: R Running Time: 78 minutes Vertical Entertainment
It’s possible I’ve mentioned this before in my stint at MediaMikes, but it bears repeating that I was a Catholic school student at one point in my life. One of the most memorable things during those four years was the sex education. It was a fairly basic education, where boys and girls were divided into separate classrooms and given the lowdown. While they explained sex in the most basic manner, much of the sex education curriculum was built around sin. Masturbation is a sin. Pre-marital sex is a sin. Pornography is a sin. The curriculum is counter-intuitive to the modern adolescent experience and “Yes, God, Yes” takes a nuanced look at the relationship between puberty and religion.
While I’m sure some people will view “Yes, God, Yes” as a 90s coming-of-age film, I’d like to believe it’s a bit more than that. 16-year-old Alice (Dyer) tries to be a good girl in the eyes of her parents, school, priest, and God. But that’s complicated when something happens while at home after school one day. She logs on to AOL (for people younger than me and older than my parents, AOL was the Internet log-in go-to) and is approached by an anonymous user in a chat room. He asks her sexual questions, sends her a nude photo, and wants to cyber (for people younger than me, and my parents age and older, I don’t want to explain that one). Compounding her sexual feelings from this brief AOL chat is a private church retreat where her sexual urges and religious beliefs collide.
Surface level, the movie is a great dramedy, with its intellectual digs at Catholicism. Beneath that surface, it highlights the failures of anti-LGBT practices and abstinence only education. The message buoyed by the emotional tug and pull that Alice faces as she tries to handle her friends, classmates, sexuality and personal beliefs. I feel like the film’s greatest strength is finding a specific grey area where it teaches instead of lectures. I won’t give it away, but the movie does a great job at showing how the hypocrites are consciously aware of their own moral pitfalls. Alice slowly uncovers how her classmates and church leaders are all guilty of the sins they believe they’re combatting. While they are made out to be hypocrites, the movie shows how conflicted they are, just like Alice.
The summer of 2020 may be remembered for all the small gems found on streaming services. “Yes, God, Yes” is one of those indie films that will delight audiences. It tickles the funny bone with crass humor and awkward situations, while buttering us up with a very sweet, sentimental tale about hormones and finding ourselves. While moments of “Yes, God, Yes” are painfully realistic, it reminds the viewer that sex is sometimes uncomfortable, odd, and confusing for everyone. While everyone has different views on sex and the discussion revolving around it, “Yes, God, Yes” shows we’re all stuck in the same boat. Our sexuality is as integral to our life as much as our personal politics and religious affiliation.
For the first time ever worldwide, all twelve tales of the adventures of everyone’s favorite titanic terrapin are collected together in one deluxe Blu-ray boxset
This limited edition collectors’ set traces the decades-long evolution of Gamera, from the “friend of all children” in his more light-hearted earlier films, to the Guardian of the Universe in the groundbreaking 1990s reboot series, often hailed as three of the best kaiju films ever made.
COLLECTOR’S EDITION BOX SET CONTENTS Limited collectors’ edition packaging, housed in a large-format rigid box, fully illustrated by Matt Frank Casebound, fully-illustrated disc book containing eight Blu-ray discs High Definition (1080p) versions of all twelve films, with lossless original Japanese audio and a complete collection of English dub tracks, including classic American International dubs on the Showa-era films remastered from original MGM elements Hardback 130-page comic book including a full-colour reprint of the four-issue Gamera comic series originally released by Dark Horse Comics in 1996, and the first-ever English-language printing of the prequel comic The Last Hope by Matt Frank and Joshua Bugosh Perfect-bound 80-page book including a new retrospective on the series by Patrick Macias, an archive interview with Noriaki Yuasa by David Milner, kaiju X-ray illustrations by Jolyon Yates, Fangoria set reports on the Heisei trilogy by Norman England, and a viewers’ guide to the English-dubbed versions of the films Double-sided four-panel poster of “Gamera’s Map of Japan” in both Japanese and English Collectors’ artcards for each film, featuring new artwork by Matt Frank
DISC ONE – GAMERA THE GIANT MONSTER High Definition (1080p) transfer of Gamera the Giant Monster, with lossless original Japanese and dubbed English mono audio, and optional English subtitles Commentary and newly filmed introduction by August Ragone High Definition (1080p) transfer of Gammera the Invincible (Blu-ray premiere), the American theatrical version of the film, with lossless mono audio and optional English subtitles for the deaf and hard-of-hearing Remembering the Gamera Series, an archive featurette from 1991, including interviews with director Noriaki Yuasa, writer Nisan Takahashi and others Interview with Noriaki Yuasa, filmed by Jörg Buttgereit in 2002 Gamera Special, an hour-long best-of compilation supervised by Noriaki Yuasa in 1991 Alternate English credits Trailer and image galleries
DISC TWO – GAMERA VS. BARUGON / GAMERA VS. GYAOS High Definition (1080p) transfers of Gamera vs. Barugon and Gamera vs. Gyaos, with lossless original Japanese and dubbed English mono audio, and optional English subtitles Commentary on Gamera vs. Barugon by August Ragone & Jason Varney Commentary on Gamera vs. Gyaos by Stuart Galbraith IV Newly filmed introductions to both films by August Ragone High Definition (1080p) transfer of War of the Monsters, the shorter American edit of Gamera vs. Barugon, with lossless English audio Alternate English credits for both films Trailer and image galleries
DISC THREE – GAMERA VS. VIRAS / GAMERA VS. GUIRON High Definition (1080p) transfers of Gamera vs. Viras and Gamera vs. Guiron, with lossless original Japanese and dubbed English mono audio, and optional English subtitles Choice of three different versions of Gamera vs. Viras via seamless branching (72-minute Theatrical Version, 81-minute Director’s Version and 90-minute US Extended Version) Commentary on Gamera vs. Viras by Carl Craig and Jim Cironella Commentary on Gamera vs. Guiron by David Kalat Newly filmed introductions to both films by August Ragone New featurette with actor Carl Craig showing his souvenirs and props from Gamera vs. Viras Highlights from the G-FEST X convention in 2003, featuring Noriaki Yuasa and Carl Craig The 4th Nippon Jamboree, a promotional film for the Boy Scouts of Japan directed by Yuasa in 1966 Alternate English credits for both films Trailer and image galleries
DISC FOUR – GAMERA VS. JIGER / GAMERA VS. ZIGRA / GAMERA SUPER MONSTER High Definition (1080p) transfers of Gamera vs. Jiger, Gamera vs. Zigra and Gamera Super Monster, with lossless original Japanese and dubbed English mono audio, and optional English subtitles Commentary on Gamera vs. Jiger by Edward L. Holland Commentary on Gamera vs. Zigra by Sean Rhoads & Brooke McCorkle Commentary on Gamera Super Monster by Richard Pusateri Newly filmed introductions to all three films by August Ragone Alternate English credits for all three films Trailer and image galleries
DISC FIVE – GAMERA THE GUARDIAN OF THE UNIVERSE High Definition (1080p) transfer of Gamera the Guardian of the Universe, from a 4K restoration by Kadokawa Pictures Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles Commentary by Matt Frank Newly filmed introduction by August Ragone A Testimony of 15 Years: Part 1, the first in an epic three-part documentary interviewing cast and crew of the Heisei Trilogy Interviews with director Shusuke Kaneko and SFX director Shinji Higuchi, filmed by Jörg Buttgereit in 2002 Extended 90-min interview with Shinji Higuchi from 2001, focusing on the trilogy’s special effects Behind the scenes featurettes tracing the film’s production from announcement to release Alternate English credits Trailer and image galleries
DISC SIX – GAMERA 2: ATTACK OF LEGION High Definition (1080p) transfer of Gamera 2: Attack of Legion, from a 4K restoration by Kadokawa Pictures Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles Commentary by Kyle Yount Newly filmed introduction by August Ragone A Testimony of 15 Years: Part 2, the next part of the documentary interviewing cast and crew of the Heisei Trilogy On-set footage from the shooting of the film’s main unit and special effects filming Behind the scenes featurettes tracing the film’s production from announcement to release Alternate English credits “Lake Texarkana” comedic dub track Trailer and image galleries
DISC SEVEN – GAMERA 3: REVENGE OF IRIS High Definition (1080p) transfer of Gamera 3: Revenge of Iris, from a 4K restoration by Kadokawa Pictures Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles Commentary by Steve Ryfle & Ed Godziszewski Newly filmed introduction by August Ragone A Testimony of 15 Years: Part 3, the final part of the documentary interviewing cast and crew of the Heisei Trilogy Newly filmed interview with Kaho Tsutsumi about the DNA Tokasatsu exhibition in Tokyo, by kaiju historian Edward L. Holland Behind the scenes featurettes tracing the film’s production from announcement to release Deleted Scenes The Awakening of Irys (Remix), a montage of behind-the-scenes footage and work-in-progress special effects footage Alternate English credits Spoof commentary by “Gamera” & “Soldier No.6” Trailer and image galleries
DISC EIGHT – GAMERA THE BRAVE High Definition (1080p) transfer of Gamera the Brave Original Japanese and dubbed English DTS-HD MA 5.1 and 2.0 audio, with optional English subtitles Commentary by Keith Aiken & Bob Johnson How to Make a Gamera Movie, a featurette hosted by director Ryuta Tasaki Behind The Scenes of Gamera the Brave, an all-access on-set documentary The Men That Made Gamera, a documentary looking back at the series from start to finish, featuring interviews with cast and crew Opening Day Premiere, a featurette showing the cast and crew presenting the film at its first showing Kaho’s Summer, an interview with the film’s young star Special Effects Supercut, a montage of effects shots overseen by FX supervisor Hajime Matsumoto Trailer and image galleries
SRP: $179.95 Format: BLU-RAY SKU: AV275 UPC: 760137365983 Street Date: 08/18/20 Label: Arrow Video Run Time: 1174 mins Number of Discs: 8 Audio: STEREO Year of Production: 1965 Region Code: 0 Language: Japanese
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Directed by: Cara Jones Rated: NR Running Time: 74 minutes
There’s a statement/joke I’ve heard when it comes to talking about cults and religion. It goes something like, “Cults + Time = Religion.” Granted, I could be butchering it. Regardless, the joke is that all religions started out as cults before legitimizing themselves. I say this first and foremost because “Blessed Child” deals with the personal story of Cara Jones and her time in the Unification Church, a new religious movement born in South Korea, which focuses on the teachings of Jesus. The teachings of Jesus range from the mainstream (Presbyterian, Catholic, Lutheran, etc.) to the extreme (Peoples Temple, Branch Davidians, Heaven’s Gate, etc.). My understanding is that the Unification Church toes the line between these two polar opposites. If you’re looking for an in-depth look at the church, “Blessed Child” is not for you. But if you’ve done a little bit of general reading on Unification Church, “Blessed Child” serves as an intimate look at its impact.
“Blessed Child” starts in 1995, where director Jones is getting married, alongside hundreds of other couples at an Olympic sized stadium before the Unification Church. She shouts, along with thousands, her marriage vows on the field, while holding the hand of a man she barely knows. It’s surreal to believe and see something bizarre and forced, especially when it happened in my own lifetime in a first-world country. The marriage, and her time in the Unification Church, didn’t last long. We’re not told exactly how she left (or escaped), but we know that she had to make a difficult choice; leaving her parents and family behind in a potential cult.
While Jones’ story is definitely the crux of the film, there’s a lot of other viewpoints included in this documentary. Jones talks with others who left (or escaped) the Unification Church. We learn that people left the church due to their own sexual orientation, for socioeconomic reasons, or a person’s general feeling of being excluded for whatever reason. The documentary doesn’t necessarily paint the Unification Church in a negative light, but it isn’t about to paint it in a flattering one.
“Blessed Child” has a surprising amount of nuance, especially since outsiders tend to label participants in these kind of religious sects as “nuts” or “brainwashed sheep.” The film establishes some solid reasoning as to why people become attracted to what it preaches. It uses this through archive footage and interviews. Unfortunately for me, it didn’t pull back the curtain enough for me to get a general enough feeling about the inner workings of the Unification Church. Halfway through the movie I opened up Wikipedia and hit up Google to answer some of my more burning questions. If anything, “Blessed Child” may be a form of self-medication and therapy for Jones, who reckons with her emotions.
Not to say that Jones’ story isn’t interesting or compelling, but at times it feels like there’s not enough information to digest, hence it’s incredibly brief running time. “Blessed Child” is a fairly interesting documentary, but not on par with others dealing with this subject matter. The reason it’s watchable though, is because Jones bares so much of herself that it’s fascinating to watch Jones break down and eventually reconcile with her parents and herself.
Season: 4 out of 5 stars Blu-ray: 4 out of 5 stars Extras: 1 out of 5 stars
Right off the bat let me start with the fact that “Castle Rock” fans are going to be pretty disappointed with this release. First of all the first season of “Castle Rock” was released in 4K UHD, so where is the 4K release for season two? I guess we know sales weren’t as expected, I assume. Either way season two is a far superior than than the first. Let’s just say that Lizzie Caplan knocks it outta the park with her performance. So, great season but I am sure fans like myself were hoping for that 4K release as well.
Studio description: Stephen King’s multiverse, Castle Rock, is a place which combines the mythological scale and intimate character storytelling of the best-selling author’s best-loved works. In season two, a feud between warring clans comes to a boil when budding psychopath Annie Wilkes (Lizzie Caplan, Masters of Sex), Stephen King’s nurse from hell, gets waylaid in the small town of Castle Rock. Local businessman Reginald “Pop” Merrill (played by Academy® Award-winning actor Tim Robbins – Mystic River) is dragged into the fight, when Pop’s nephew, legendary bully John “Ace” Merrill (Paul Sparks, House of Cards), stirs up trouble. It’s another eerily unforgettable season of Castle Rock, as the mysterious town’s ongoing epic saga continues to unfold.
Season two of Castle Rock also stars Barkhad Abdi (Captain Phillips) as Abdi Howlwadaag, Yusra Warsama as Dr. Nadia Howlwadaag, Elsie Fisher (Eighth Grade) as Joy and Matthew Alan as Chris Merrill (Snowfall, 13 Reasons Why).
Along with the ten one-hour episodes, the special features on the release are really sad. There is no commentary tracks included, which I am sure fans would have dug. All we get is new featurette called “ANNIE WILKES: Mother of Sorrow”, which runs about ten minutes. The Blu-ray itself still looks good even though its not 4K. The 1080p transfer is solid and sharp, works well with dark scenes. The DTS-HD Master Audio 5.1 tracks also carry the seasons mystery and suspense well.
Iconic actor, best-selling author, Grammy Award-winning comedian, activist and America’s sweetheart of Cannabis Tommy Chong is legendary for his invaluable contribution to American counter-culture as part of the iconic comedy duo Cheech & Chong, and with a name synonymous with cannabis, has entered into dispensary license with Five Point Holdings Inc. and partnered with Cheech Marin to develop a five state dispensary chain. Media Mikes had a chance to chat about the dispensaries with Tommy as well as his new video game “Bud Farm”.
Starring: Emily Mortimer, Robyn Nevin and Bella Heathcote Directed by: Natalie Erika James Rated: R Running Time: 89 minutes IFC Midnight
Every once and awhile, I still encounter someone who tells me that the horror genre is trash; that it’s nothing but blood, guts and boobs. It doesn’t take me long to rattle off a list of contemporary horrors that don’t fit that mold, and generally scare, thrill and linger in the psyche of viewers. “Get Out” is always an easy one to point to, as well as “It Follows,” “The Mist,” and others. In the current age of quarantine, I can now point to a streaming option that’ll push any viewer to the edge of their seat and leave them petrified through the end credits.
“Relic” opens on Kay (Mortimer) and Sam (Heathcote), the daughter and granddaughter of Edna (Nevin), visiting Edna’s house which sits by itself in dense, foreboding woods. The reason for their trip is that they’ve been told Edna has gone missing. The only thing that greets the mother/daughter duo upon their arrival is strange creaks and groans made by the house, as well as several mysterious notes that range from innocuous (“turn the light off”) to insidious (“DON’T FOLLOW IT”). Just as the authorities are called and a search for Edna begins, she reappears unannounced in the house one morning, making tea, acting as if nothing happened, despite the soles of her feet being covered in dark grime.
“Relic” relies on shadows, haunting imagery, and our general fear of the dark and unknown to keep us off kilter from the get-go. But it’s as the movie progresses, that “Relic” finds other scare tactics within the realm of mental health. The dive into realistic fears is combined with other tricks and treats from the horror genre grab bag. It’s a film that manages to earn some of its cheaper jump scares as opposed to throwing them in randomly mad libs-style like most mainstream horror films or any subpar Blumhouse production.
“Relic” takes it’s time, moving at a creepy pace, slowly sinking its claws in your mind. The directorial debut for Natlie Erika James is nothing short of impressive. The film moves with such confidence, that you suspect a veteran filmmaker is behind the lens. Having only written and directed a handful of shorts in the past, James also reveals the kind of equal parts terrifying and heartbreaking craftsmanship that Stephen King and Rod Sterling spent decades perfecting. James joins others, like Jennifer Kent (“The Babadook”) and Emma Tammi (“The Wind”), when finding the unsettling middle ground between cerebral horror and spook house tropes.
The film’s atmosphere grips you immediately, letting you know upfront that not everything is as it seems and that something is horribly wrong with Edna. Nearly every viewer will recognize that Edna is suffering from a mental illness at her ripe age, most likely dementia. But just like “Hereditary” a few years ago, the supernatural and family history can collide in frightening ways. The movie effortlessly keeps us on pins and needles, even when we think we’ve figured it all out. There’s this nauseating foreshadowing that we can’t shake as “Relic” reaches its climax. Even when the true horror reveals itself, we’re left with a pit in our stomach because we know what will happen next, even as the film ends.
I first met Oscar and BAFTA nominated filmmaker Agnieszka Holland several years ago when I had the honor of introducing her amazing 1990 film “Europa, Europa.” In my introduction I noted that, when I first saw it I was a theatre manager and watched it at 430 in the morning. I then commented that I loved the film so much that I threaded up the projector and watched it again. She told me later in the evening that I had given her one of the best compliments she had ever received. She also very graciously signed my “Europa, Europa” DVD. Her latest film, “Mr. Jones,” tells the story of a Welsh journalist who broke the news in the western media of the famine in the Soviet Union in the early 1930s and is currently available via Video-on Demand. “Europa, Europa” recently received a beautiful CRITERION Blu-ray/DVD release. While awaiting start on her next project, Ms. Holland took the time to speak with me about “Mr. Jones.”
Mike Smith: What drew you to direct “Mr. Jones?”
Agnieszka Holland: The script was sent to me by a first-time screenwriter and when I read the script what struck me first was how personal it sounded as well as how relevant it was. A story about the manipulation of the media – the propaganda – fake news and the consequences of it and how they are relevant to our time. I realized at the time that the work of Stalin was virtually unknown to the masses and that what he allowed was unjust and wrong. And I knew the story had to be told. At the beginning, Mr. Jones is curious and bright and a businessman. He wants to discover some new things but what he finds are things that other people don’t see; this incredible tragedy happening to the entire population. He becomes the messenger that speaks for them.
MS: Were you familiar with Gareth Jones’s story before you were sent the script?
AH: Not really. It was only after I agreed to make the film and met with members of his family that I found out they were hearing the story for the first time. It was one of his grand-nephews that discovered the documents that center around the story. After his death his actions had been forgotten. He is best known in Ukraine where he is considered a national hero. Once I read the script I knew this young man’s work had to be brought to the light again
MS: “Europa, Europa” turns 30 this year. Do people still approach you and tell you the impact the film had on them?
AH: Yes, the film doesn’t seem to age. They’ve either seen it on television or they have purchased the new CRITERION Blu-ray/DVD. I hadn’t seen the film myself in quite a while and I recently introduced it at a film festival and I was surprised at how well it stood the test of time
MS: You work a lot in both film and television. As a director do you have a favorite medium?
AH: Television is easier because as a director you don’t have to be totally involved. You are just helping to tell the story. On a film the director is responsible for everything. On television you have several layers of responsibility from the show runner on down, and rarely does a director do the entire series. I will share my vision but it’s not entirely my own work so things go a lot smoother and entirely faster.
MS: What is your next project?
AH: I just finished a film called “Charlatan,” a Czech film that recently premiered at the Berlin Film Festival. It was supposed to open in European theaters in March but because of the Covid lockdown it will probably be released in the fall. It was well received in Berlin so I hope the people like it. I’m now preparing to shoot a television series for Apple TV which will be filmed in Paris but we are waiting to see when we can begin filming, again due to the current situation. Right now it would be impossible but we are continue to prepare it so will be ready when we are allowed to start.
Stacey Nelkin is known best for her role of Ellie Grimbridge in “Halloween III: Season of the Witch”. She was also cast in “Blade Runner” as the the infamous “Sixth Replicant” but ended up being cut.
Media Mikes had a chance to chat with Stacey about Halloween III as well as her work with the Monty Python gang in “Yellowbeard” and working with Tony Danza and Danny DeVito and the orangutans in “Going Ape”.
Ralph Bakshi is the man responsible for films like Fritz the Cat, Coonskin, American Pop, Heavy Traffic, The Lord of the Rings (’78), Wizards, and Cool World.
Media Mikes had a chance to chat about drawing with Ralph as well as how he got the rights to make the animated Lord of the Rings movie in 1978 to working with a young Brad Pitt on Cool World.
