Maltauro Entertainment in association with Baumant Entertainment has announced the December 6th Blu-ray, DVD and Digital HD release of Never Open the Door. Writer-director Vito Trabucco (Bloody Bloody Bible Camp) and writer-producer Christopher Maltauro have created a chilling homage to the twisted and otherworldly tales of the original “Twilight Zone”, “Outer Limits” and “Alfred Hitchcock Presents” series. Never Open the Door will be available to rent or own starting December 6th on Amazon Instant Video and Google Play.
Putting a couple Oscar nominees and two more talented performers in a film structured like a 4-person play is one thing. Setting that film on a remote Italian island adds an extra layer. A Bigger Splash made a small splash at the box office this past spring, but won over many critics. Now this provocative thriller is available on Blu-ray for more to discover what exactly is going on underneath the Mediterranean sun.
Get ready to settle in this November with Criterion’s exciting lineup of releases. Paul Thomas Anderson makes his long-awaited debut in the collection with a director-approved edition of his delightfully eccentric and endearing Punch-Drunk Love, the Cannes-award-winning romantic comedy starring Adam Sandler in his first, and extraordinary, dramatic role. Speaking of firsts, Marlon Brando’s singular directorial effort, One-Eyed Jacks, his unique take on the western and the Billy the Kid legend in which he also gives a memorably tender performance, arrives in a marvelous 4K restoration supervised by Martin Scorsese and Steven Spielberg. Then prepare yourself for all six 1970s manga-based Lone Wolf and Cub films, action-packed and overflowing with blood and endlessly creative carnage, available in a box set featuring new 2K restorations of the films. All this plus Akira Kurosawa’s Dreams, an enchanting late film by the master director in which he brings to life a series of his own nocturnal visions, and Noah Baumbach’s bitterly comic, Oscar-nominated The Squid and the Whale, a coming-of-age drama set in 1980s Park Slope, Brooklyn, and featuring stellar performances by Jeff Daniels, Laura Linney, Owen Kline, and Jesse Eisenberg.
Who knew the Sphero remote control BB-8 could get any better? It still is controlled by the smartphone app, but it now has the look of battle to it. The days of happiness are over for our friend. His exterior isn’t as polished as it once was. Oh yes, he has some stories to tell. He’s seen sights that are so horrible he can’t even get all the beeps out. It’s okay though, cause he’s still adorable. Who cares that he’s emotionally scarred?!?
We might not be seeing any Rogue One footage, but the Star Wars booth did have some costumes displayed for your viewing pleasure. While most are ones we’ve already seen, there is a new creature that’s new, at least to me.
Last year, the DC Booth had some pretty amazing costumes and props they displayed for Batman v Superman. This year, I was really hoping they would have some things for Justice League. No luck, although they did share some fancy outfits from Wonder Woman. Unlike the Suicide Squad toys, there really aren’t any spoilers here.
Suicide Squad is all the rage at Comic-Con this year, for obvious reasons. Earlier today we saw some of the costumes, and soon after I ran into some pretty interesting toys. If you don’t want possible spoilers, turn back now!
We are thrilled to announce Criterion’s latest spellbinding lineup. Guillermo del Toro is at the center of the exciting October slate, which features a new stand-alone edition of the haunting, Oscar-winning fantasy epic Pan’s Labyrinth as well as a set-available in both a DVD edition and a sumptuously designed Blu-ray box that includes a deluxe hardcover book-collecting the writer-director’s trilogy of fabulist Spanish-language films: Cronos, The Devil’s Backbone and Pan’s Labyrinth. We’re also thrilled about two European masterpieces making long-awaited entries into the collection: Ermanno Olmi’s Palme d’Or-winning The Tree of Wooden Clogs, an absorbing and sensual elegy that faithfully captures the rhythms of a now-lost way of life in rural Italy at the turn of the twentieth century; and The Executioner, a darkly comedic and fiercely subversive political satire by Luis García Berlanga, regarded by filmmaker Pedro Almodóvar as “the true father of Spanish cinema.” Continue reading ‘Criterion October 2016 Titles Get Announced!’
Get your wallets ready, because the Criterion Collection is about to have one hell of a month. Orson Welles will preside over Criterion’s incredible August lineup. First, Chimes at Midnight, Welles’s monumental Shakespeare adaptation—for decades, one of the world’s most sought-after lost films—in a gorgeous new restoration straight from Janus Films’ successful theatrical run. Meanwhile, Welles’s The Immortal Story, starring Jeanne Moreau, is a gorgeous reverie of a film that, like Chimes, has never before been available on DVD or Blu-ray in the U.S. Speaking of dreamlike films, presented is Robert Altman’s brilliant deconstructed western McCabe & Mrs. Miller, among the great works of the American 1970s, starring Warren Beatty and Julie Christie. All this plus Tony Richardson’s benchmark of 1960s British realism A Taste of Honey, still a revelation; Ingrid Bergman: In Her Own Words, a revealing and beautifully constructed new documentary about the life and career of the legendary actor; and new DVD and Blu-ray editions of Hiroshi Teshigahara’s radical and erotic 1960s art-house sensation Woman in the Dunes.
Things will be heating up this summer. In July, Criterion will bring into the collection films from three of the greatest directors of all time: The New World, the exquisite reimagining of the Pocahontas–John Smith tale by American treasure Terrence Malick, in a deluxe special edition featuring three different cuts of the film; A Touch of Zen, the extraordinary, game-changing martial arts epic by Chinese wuxia master King Hu; and Muriel, or The Time of Return, the excellent French drama about time, memory, and the Algieran War by New Wave master Alain Resnais—as well as new Blu-ray and DVD editions of Resnais’s unforgettable Holocaust documentary Night and Fog. Also coming in July is Arthur Hiller’s beloved, endlessly quotable cult comedy The In-Laws, with Peter Falk and Alan Arkin. All this plus new Blu-ray and DVD editions of Herk Harvey’s quintessential independent American horror film Carnival of Souls. Full info on these exciting July releases is below. Continue reading ‘The Criterion Collection July Titles – Terrence Malick, King Hu, Alain Resnais & More!!!’
I can only assume teenagers will be the only demographic that enjoys Spaceship. Okay — please permit me to narrow that down. It will appeal to the emo subset. They’ll watch it with wonder, repeating favorite lines for about five years. And you know what? Good for them. I couldn’t be happier. For everyone else, though, good luck trying to stay awake.
John Cleaver (Max Records) is a diagnosed sociopath, completely aware that he is capable of murder, yet wants to suppress these urges. Working with his therapist, Dr. Neblin (Karl Geary), he has constructed a set of rules and guidelines to ensure the safety of those around him. It should go without saying that he’s obsessed with death and famous serial killers; he even works at his mother (Laura Fraser) and aunt’s mortuary in the evening after school and on weekends. When a series of slaughtered citizens begin to pop up around the community with organs and limbs missing, it captures John’s imagination, propelling him on a solo investigation, slowly evolving into the discovery of a supernatural being.
I’ve been running around all day here at SXSW, so my Operation Avalanche and Sausage Party reviews are a bit delayed. Until then, I wanted to share the new Don’t Breathe poster that EW debuted today. Don’t Breathe is an electrifying thriller, one that demands to be seen with a large audience. I held my breath for so long I felt as if I were going to pass out. I’m in love with this poster, and absolutely want to hang on my wall. Jane Levy is in a position you’ll most likely be throughout the film’s running time.
Hush is 90 minutes of energy, a white-knuckle thriller in every way; Oculus director Mike Flanagan has crafted a lean, brutal, and deceptively simple home invasion thriller. It’s almost a perfect companion piece to Don’t Breathe (Review Here). One has a blind villain; the other, a deaf heroine. Both will have you gasping for air after holding it in during sequence after sequence of blood-boiling anxiety. Continue reading ‘SXSW Review: Hush’
Because you don’t know anything about Don’t Breathe, the second film from the Evil Dead remake director Fede Alvarez, I’m hesitant to spoil too much (although I’m sure the trailers will undoubtedly fulfill that role). To say that Don’t Breathe is tense is an understatement; it’s unquestionably one of the most heart-stopping cinematic experiences I’ve had in what seems like an eternity. There were numerous moments where the entire audience went completely still and, as the tension filled the room, it became more and more apparent that Fede Alvarez might just have crafted a new modern classic.
I imagine The Greasy Strangler to be the product of teens who have watched too many Tim & Eric episodes and discussed what a horror film would look like with their sensibilities. There’s about four jokes which are repeated endlessly throughout the film, which would make for (maybe) a decent short film, but at 80 minutes, I was begging for the film to just end. I don’t think I’ve ever exited a film so fast in my life.
Poor Anna. She’s having a really shitty day. Her ex won’t take their daughter for the weekend, which results in her daughter giving attitude. Fortunately, daughter can vent to a friend on Facebook. Unfortunately, Facebook friend is revealed to be some creepy guy in an apartment, watching a video of a woman screaming so he can record the audio. KIDS THESE DAYS!
What a load of crap. The remake of “Poltergeist” is filled with bizarre and misguided choices. Instead of reimagining the original, which was promised a year ago, the filmmakers have instead produced a near shot-for-shot remake. They reimagined the names; maybe that’s what they were referring to. Oh, and you get to see what’s happening inside the wall, so I suppose that’s different. But wait, showing us all the ghosts in the other dimension isn’t creepy at all! They’re all CGI nonsense!