New Line Cinema’s 1991 cinematic adaptation of the graphic novel series The Guyver will see the light of day again this summer.
Unearthed Films announced Monday, plans to re-issue the movie June 25 as a limited edition 4K UHD/Blu-ray combo pack. The latest re-issue will also feature the movie’s complete soundtrack on a bonus CD. The new re-issue will retail for MSRP of $59.95.
The movie stars Jack Armstrong (How To Get Away With Murder, Mr. Mayor, The Boys in the Band) as lead character Sean Barker. Sean, a college student, stumbles by chance, onto the movie’s namesake “device,” the Guyver and is turned into a super-powered fighting machine. Upon becoming the new hero, he is pursued by the evil Chronos Corporation, which wants to get the suit.
The Chronos Corporation will stop at nothing to get the suit, either, including kidnapping Sean’s girlfriend, Mizuki (Vivian Wu — The Last Emperor, Teenage Mutant Ninja Turtles III, The Pillow Book). Thankfully for Sean, he has the aid of CIA agent Max Reed (Mark Hamill — Star Wars Episodes 4-9, Batman: The Animated Series, Transformers: Rescue Bots), Sean has help in his battle against the Chronos Corporation.
The Guyver was helmed by Screaming Mad George, who also is known for his special effects work on the original Predator movie and for his art talents on The Abyss and visual effects work on Big Trouble in Little China. Steve Wang (Bill & Ted Face The Music, Predator, Drive) co-directed alongside Screaming Mad George.
Speaking of the co-directors, a feature-length audio commentary from the pair is also included as a bonus to the forthcoming limited edition collector’s presentation. Additionally, it will feature interviews with Screaming Mad George and producer Bryan Yuzna (Faust, The Dentist, Beyond Re-Animator), outtakes with commentary by Wang and George, alternate title sequences, gag reel, and production and artwork gallery.
More information on this and other titles from Unearthed Films is available at:
There is an old adage out there that states “silence is golden.” As most people know, that adage means to say that having silence instead of the noise all around us is a good thing. It is, too. At the same time though, it can apply in another way, believe it not. It can also apply in regard to silent film. That is because there are lots of great old silent films that are golden in their own right. Case in point are the old Buster Keaton movies, those from the likes of Harold Lloyd, Douglas Fairbanks, and so many others. This week, Eureka Entertainment re-issued another golden silent film for a whole new generation of audiences in the form of The Cat and the Canary. Originally released in 1927 by Universal Pictures, this “old dark house” style film was not the first of its kind but is still a thoroughly entertaining work that every true film buff should watch. The bonus content that accompanies the movie in its brand new Blu-ray re-issue adds to its appeal because of the history that it provides regarding the movie, its cast, and its place in the larger pantheon of cinematic history. The overall production in this restoration puts the finishing touch to the movie’s presentation. It will have audiences applauding just as much in is own way. When it is considered along with the bonus content and the movie’s story, the whole therein makes this movie release another great addition to this year’s field of movie and TV re-issues.
Eureka Entertainment’s brand new re-issue of Universal Pictures’ 1927 silent film, The Car and the Canary, is a strong presentation from the independent distribution company that most true film buffs will appreciate. The movie’s appeal comes in part through its featured story. The story in question is a familiar tale. A group of people come together in an old house to hear the reading of a departed family member’s will. They all must stay the night and survive and only one person can end up with the money. Meanwhile the specter of something paranormal or even more dangerous lurks in the shadows. If this sounds familiar, it should. It was also used in the play by John Willard as well as in the stage play presentation of The Bat years prior in 1920. The play in question was the brainchild of Mary Roberts Rinehart and Avery Hopwood. It would also go on to be used multiple times in later years in the likes of another Universal flick, The Shadow of the Cat (1961) and Deal Productions/Iselin-Tinney Productions’ The Curse of the Living Corpse (1967). Even The Flintstones would use a very similar plot in its 1964 episode, “A Haunted House Is Not A Home.” The Three Stooges would also go on to use a similar plot more than once in their shorts, one of which being 1945’s “If A Body Meets A Body.”
The evil that lurks in the case of The Cat and The Canary is believed to be a maniac who escaped a nearby insane asylum, though the reality is disturbing in its own right as it is revealed who the maniac really is. In the end, audiences get a satisfying finale. At the same time though, there is one somewhat disturbing aspect. That aspect is the reminder in viewers’ minds that Paul (Creighton Hale) and Annabelle (Laura LaPlante) are related albeit distantly. That the story would put them together romantically (or what seems romantically) is a little unsettling.
Speaking of that seeming romance, it is one of a number of interesting topics addressed in the bonus feature-length audio commentary from the pairing of Kevin Lyons and Jonathan Rigby. The duo’s commentary is one of a number of fully engaging and entertaining extras that come with the movie’s new re-issue. The pair notes in passing, the romantic ending that is so commonplace among stories such as The Cat and the Canary. The pair also raises an even more intriguing discussion, that of director Paul Leni’s focus on the characters’ hands throughout the movie. It really is an interesting topic to which most audiences likely would not have thought about had they not taken in this audio track but once they do, becomes clearly important in the bigger picture of the story. The duo also discusses Leni’s own take on the film as influenced by the European filming techniques of the age; those impressionist influences, such as extreme facial close-ups and other items. They, like author Stephen Jones and critic Kim Newman (who provide their own separate commentary track), also discuss the “old dark house” movie plot, its use in the original stage play, and the history of the genre. The pair makes mention of the tie to The Bat in regard to the genre, as do Newman and Jones. Speaking of that pair, viewers learn from Newman and Jones, The Cat and the Canary is not the progenitor of the “old dark house” genre. That honor belongs to Paramount Pictures’ 1921 movie, The Ghost Breaker. The pair also takes on Leni’s impressionist influences in his directing style, just as Lyons and Rigby do on their audio track.
As if everything noted is not enough, Lyons and Rigby also take on differences between the original stage play of The Cat and The Canary and its cinematic adaptation. The pair reveals during its discussion, for instance, that not included in the movie but included in the stage play, was a mention of Paul suffering somewhat from PTSD due to his time in military service. It is understandable, considering how the movie script plays out, why that was not included here. On yet another note, Newman and Jones make mention of Hale’s deliberate attempt to emulate Lloyd what with the use of his glasses. He really does look similar to Lloyd thanks to that added touch. It helps add to the story’s overall comedic touch even amid all of the story’s tension. When one considers all of the items discussed noted here alongside everything else raised in the commentaries and other standalone extras, the whole therein adds a whole extra layer of engagement and entertainment for audiences. When that extra layer is considered along with the story (and its pacing), that whole gives audiences more than enough to applaud. It is still not all that audiences will appreciate. The general production of the movie in its latest re-issue rounds out the reasons for audiences to take in this presentation.
The production that went into the movie’s restoration this time out is well-deserving of praise because of the clarity in the picture and sound. All of the look of the original film is there in the rich sepia tone and even the grainy look of each scene. It creates a wonderful, welcome sense of nostalgia. The orchestration that accompanies the movie, serving as its soundtrack adds just as much to the whole. The perfect timing adds so much emotion to each scene and the sound itself exhibits the amount of work that went into giving new life to the movie’s soundtrack through its new recording. The positive aesthetic that it and the general look of the production brings to the movie makes for just as much enjoyment as the movie’s story and its bonus content. When all things are considered, the result is a presentation that every film buff will appreciate and that is the best re-issue of the classic flick to date. Overall, they make the movie among the best of this year’s new movie and television re-issues.
Eureka Entertainment’s brand new re-issue of Universal Pictures’ classic crime thriller The Cat and the Canary is a wonderful new entry in this year’s field of new movie and television re-issues. It gives audiences so much to appreciate, from its relatively accessible story to its bonus content, which provides audiences so much background on the movie and the very genre that is the “old dark house” and more, to the expert production. Each item examined adds so much to the whole of the movie’s new presentation. All things considered they make The Cat and the Canary’s latest release a must have for any classic film buff that proves in fact silence is truly golden in more ways than one.
Eurkea Entertainment’s new re-issue of The Cat and the Canary is a successful new offering from the independent distributor. It is available now. More information on this and other titles from Eureka Entertainment is available at:
Late last month, Walt Disney Studios released its latest animated feature, Wish, to 4K UHD, Blu-ray, and DVD. The movie, meant to be a celebration of the studio’s 100th anniversary, is, sadly anything but a proper celebration of the legacy made by what was once one of Hollywood’s powerhouse studios. That is shown largely through its featured story, which at its heart is anything but what is discussed in the movie’s bonus content. That bonus content is actually the saving grace to this otherwise lackluster attempt to celebrate the legacy of the studio’s namesake so many decades ago. It will be discussed shortly. The movie’s animation style rounds out its saving graces and will also be addressed later. Each item noted here plays its own important part in the whole of Wish. All things considered, Wish proves itself to be anything but a wish granted for audiences hoping for a much more fitting birthday bang for what used to be one of Hollywood’s most respected names.
Wish, Walt Disney Studios’ latest animated cinematic offering was said to be by some in the bonus content that accompanies the movie in its home release , a celebration of the company’s 100th anniversary. If that really is the case then it was certainly not the best way for the studio to mark the occasion. The movie is not a complete failure, though. The bonus content that accompanies the movie in its recently released home presentation serves to help it survive at least to a point. One of the most interesting of the bonus features is in fact the very discussion on how it was used to celebrate Disney reaching the century mark. The discussion in question is titled “The Story of Wish.” The movie’s creative heads talk about how the movie came to be as a result of various round tables. One topic that came about was the discussion on how Disney movie heroes were ordinary figures facing great odds, and how that made them relatable. That led to a further discussion on the topic of so many Disney characters wishing on a star. That topic became the center of Wish. On the surface, that comes across as a great topic, tying all of Disney’s movies to this story. The thing is that the story is more than that. It is also an allegory about authoritarianism. This is never directly noted in the bonus content, but the group does discuss briefly how the main theme of wishing on a star plays into another theme, that of who has the right to control our wishes and our dreams. The authoritarian allegory comes into play as the story’s main character, Magnifico (Christopher Pike – Star Trek, Star Trek: Into Darkness, Star Trek: Beyond) has his authority questioned by Asha (Ariana DeBose – West Side Story, Hamilton, Argylle). Magnifico starts out as an already somewhat power hungry figure, but gets pushed over the edge by that questioning. This approach is one of the few saving graces of the story, which is otherwise forgettable.
That the writing team behind Wish is to be commended for making Magnifico a figure who was sort of a villain to begin with but not the overt villain that so many Disney movies have come up with in its existing, expansive catalog. Far too often audiences have been presented with the typical megalomaniacal villain in every Disney movie. This time out, audiences get to see someone who was already conflicted become the total villain all because of one person. It is that theme of absolute power corrupting absolutely because of its addictive nature. At the same time, the preachy message of authoritarianism (which is typical of every Disney movie villain) becomes just too much because it is so commonplace. The nonstop musical numbers, which are so prominent throughout the movie tend to offset that otherwise watchable presentation. It seems like there is a musical number once every few minutes, with the number reaching something around eight to nine songs. It just all seems so run of the mill save for that one aspect of the story surrounding Magnifico. Other than that, the story really does not do much of anything to make itself a big, bombastic celebration of Disney’s 100th anniversary.
While the story featured in this movie is otherwise forgettable, save for one aspect of the presentation, there is one other item that helps to save it. That aspect is its animation. As is mentioned in the separate bonus feature focused on the animation, this is thankfully not just another cookie cutter offering from Disney in regard to its animation. Audiences will note that the animation incorporates vintage hand-drawn art as well as digital art. The blending of that vintage and modern art style gives the movie an identity all its own. It really is the core of what makes the movie bearable. When the unique artistic approach taken to this movie is considered alongside its companion bonus discussion and the other bonuses, the movie becomes at least worth watching once despite not being the best anniversary celebration for Disney.
Wish, the latest animated feature from Walt Disney Studios, is far from being the best movie that the once legendary studio has ever produced in its now century-long history. It is also not the studio’s worst offering. If anything, it is worth watching at least once, but that is primarily due to the bonus content featured with the movie’s home release. The background information that the bonus content provides audiences on the movie helps make it at least somewhat more bearable. The animation that is used in the movie helps make it bearable in its own right. That is because it actually takes a different approach for once, avoiding the cookie cutter look of so many Disney (and even Pixar) movies that the studio has released. When each element is considered along with the story, which is weighed down by the preachy allegory of authoritarianism (that likely will go over most younger viewers’ heads) and the unnecessary number of musical numbers, the whole proves a presentation that deserves to be seen at least once but sadly is anything but a proper celebration of a studio that has crafted far better fare in its heyday.
Wish is available now on DVD, Blu-ray and 4K UHD as well as through Disney+. More information on this and other titles from Walt Disney Studios is available at:
Late this winter as the new year opened and the cold winds of winter blew so hard, Cohen Media Group gave audiences a new reason to stay indoors and warm while they counted the days until spring when the company released its new World War II double feature, The Sea Shall Not Have Them/Albert R.N. The two British imports are interesting presentations in regard to their stories. This will be addressed shortly. While the stories give audiences reason enough to watch the movies, the lack of any bonus content addressing them (and other related matters) definitely detracts from the collection’s presentation. This will be factored a little later. Knowing that lack, while concerning, is not enough to doom the set, there is at least one more positive to note. That positive is in how the stories were presented. This will be discussed later, too. Keeping all of this in mind, this recently released double feature proves itself a collection that true film buffs on either side of “the pond” will find worth watching at least once.
Cohen Media Group’s recently released double feature of British World War II period pieces, The Sea Shall Not Have Them/Albert R.N., is an offering that most true film buffs and historians will find worth watching. That is due in part to the stories featured in each movie. In the case of The Sea Shall Not Have Them, the story at the center of the movie, which made its theatrical debut in 1954, follows the crew of a downed British warplane as it struggles to survive against the elements in a tiny life raft in the North Atlantic Ocean. What is interesting here is that while the story centers on the plane’s crew, the men are not the only focus. The story, which is based on the novel penned by John Harris only a year prior, opens on the crew of a British patrol boat that plays a pivotal role in finding the crew of the downed plane. As the story progresses, it goes back and forth between each crew, slowly building the tension over the course of the movie’s 92-minute run time. How that tension is built plays into the way in which the story was constructed here. This will be addressed later. Suffice it to say the story has a happy ending.
In the case of Albert R.N., the story centers on a group of British prisoners of war that is being held in a German camp in the waning days of the war. Originally released in 1953, the movie’s story finds the men designing a dummy that it uses to try and help its ranks escape the camp, naming the dummy Albert. Unlike The Sea Shall Not Have Them, this movie is not based on a novel but rather on actual events. Yes, it is one of those movies. They even existed even that far back in the history of film, and over in Great Britain just as much as in the United States. While there is no seeming connection between this story at that of The Great Escape, which American audiences received a decade later in 1963 and the CBS sitcom, Hogan’s Heroes, which first debuted on television the same year as The Great Escape, it is interesting to see the apparent popularity of such a story line at that time in cinema. Maybe it was coincidence that all three productions debuted in such a short time, but that again goes back to that discussion.
Speaking of said discussion, while the stories at the center of the movies make for some interest, there is zero bonus content focusing on that noted close release of all three productions in such short time. Was it coincidence or was it part of some larger trend? Again, there is no bonus material to address this matter. For that matter, there is no bonus content at all. So viewers do not even get any insight into the continued popularity of WWII stories even 10-20 years after the war’s end (at that time). What’s more there is not even discussion on what keeps WWII-era stories at least moderately popular even now in the 21st century.
On yet another note, there is no discussion on the approach taken to the stories. That aspect – the approach taken – plays directly with the stories themselves to make for even more interest. As previously noted, the story at the center of The Sea Shall Not Have Them is unique in how it is constructed. Its title hints at it focusing on the group of downed airmen yet focuses just as much on the group of British seamen who find the airmen as the airmen themselves. The scene transitions used to go back and forth between the two groups is intriguing because they feel like something that one might see play out on stage, not necessarily on screen. It is something that must be seen to be fully appreciated. It is actually something unique in a good way. This applies even as the story turns to focus on the men at the headquarters who are using maps to try to trace the signal being sent out by the airmen.
What is even more interesting in all of this is the minimalist approach taken throughout the story. In today’s moviemaking industry, such a movie would be so unnecessarily over the top. There would be tense music, all kind of melodrama and other elements that are so commonplace in today’s dramas and blockbusters. Those behind the lens of this movie did not do any of that. They simply used story telling to play out the tale and it makes the story all the more gripping. To that end, the approach taken here serves as a key example of how far the movie industry has strayed from its roots and how much better movies were so many ages ago.
The same applies in the approach taken to Albert R.N. Just as The Sea Shall Not Have Them, the approach taken here is minimalist, too. Most of the story takes place in the one primary prisoner barracks building. There is a secondary scene – a bath house. But other than that, the interior set and the camp exterior set are the main focus. The plan and house it was executed makes for some light hearted moments among the otherwise tense tale. The work of the cast (especially those playing the Nazi officers) succeeds because it makes it easy to hate especially Schulz and have so many mixed feelings about the camp’s lead officer (played by Frederick Valk – Dead of Night, Thunder Rock, Night Train to Munich). That is because while he is a Nazi, he is far more human and humane than Schulz (Anton Diffring – Victory, The Blue Max, Where Eagles Dare). Diffring’s col nature makes his wonderfully despicable, and in turn audiences will cheer when he receives his fate in the finale. The thing is that even with that in mind, that finale leaves too much room for closure, but that is a discussion for another time (maybe even for bonus content that could have and should have been included with the collection). The simple, straight forward approach to everything here makes for plenty of engagement and serves in its own right to show that simplicity works just as well as the over-the-top approach that far too many moviemakers take today if not better. Keeping in mind the positive impact that the stories’ simple approaches take alongside the stories themselves, these two aspects combine with the work of the movies’ cast to make the movies worth watching at least once. To that end, the set in whole proves itself worth watching at least once among true movie buffs and historians on either side of the Atlantic.
Cohen Media Group’s recently released WWII period movie collection, The Sea Shall Not Have Them/Albert R.N., the recently released WWII-era double feature collection from the well-known cinema studio. It is a collection that offers some interest through its movies’ stories and through the approach taken to each story. The lack of any bonus content to accompany the collection definitely detracts from the collection’s overall engagement and entertainment. It is not enough to doom the set but certainly would have helped to really enhance the presentation. Keeping all of this in mind, the collection is an interesting addition to this year’s field of movie re-issues.
The Sea Shall Not Have Them/Albert R.N. is available now from Cohen Media Group. More information on this collection and other titles from Cohen Media Group is available at:
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Late last month, Arrow Video re-issued Paramount Pictures’ 1971 WWII story, Murphy’s War on Blu-ray. The movie proved anything but successful for Paramount and its lead star, Peter O’Toole (Lawrence of Arabia, The Lion in Winter, The Stunt Man) when it debuted in 1971. Believe it or not, being so unsuccessful made (and makes) it an important part of Hollywood’s cinematic history, as critics Sheldon Hall and David Cairns make clear in their respective bonus commentaries included in the movie’s new home release. They will be discussed later here. Keeping in mind that importance, the unearthing of this otherwise forgotten movie by Arrow Video ultimately proves a positive addition to this year’s field of new TV and movie re-issues. Audiences will increasingly realize this as they take in the movie’s story, which will be discussed shortly. The story presented here is just one of the important aspects of the movie in its new BD presentation. It suffers, too, from a severe audio imbalance throughout its presentation. This does not doom the movie but makes one wonder if the imbalance was an issue in its original presentation, too. Each item noted here is key in its own way to the whole of Murphy’s War. All things considered, they serve to remind viewers of the importance of the movie’s place in Hollywood’s history, even being a lesser memorable movie.
Movies based on books and those centered on “The Greatest Generation” are among the most commonplace in Hollywood’s rich history. From the likes of The Longest Day to Patton to Midway, Stalag 17, and A Bridge Too Far and so many others, the list of great WWII epics is long to say the least. For all of the great movies out there that center on that era of history, there are just as many that have ultimately faded into the annals of Hollywood’s history and become forgotten. Late last month, Arrow Video re-visited just one of those forgotten movies when it re-issued Paramount Pictures’ 1971 flick, Murphy’s War on Blu-ray. Adapted from author Max Catto’s novel by the same title by screen writer Stirling Silliphant, the movie follows the exploits of its title character, the singularly-named Murphy. Played by O’Toole, Murphy is an Ahab-type character who is bent on vengeance against a crew of Nazi submariners who killed all of his ship mates along a South American river. In his attempts to avenge his fellow seamen, Murphy repairs and uses a British warplane to drop giant Molotov cocktails on the sub at one point. When that does not work, he goes even farther, using a barge to try to ram the sub. That ultimately fails, leading to the story’s climactic finale. The finale will be left for audiences to discover for themselves, but it is quite different between Catto’s novel and Silliphant’s screenplay.
The story is relatively straight forward and easy to follow as a result of that focused approach. At the same time, it suffers to a point because as both Cairns and Hall point out in their respective bonus interviews (again, which will be discussed later), the story ultimately suffers from an imbalance of being an action film and a character-driven human drama. Viewers who fully immerse themselves in the story will notice that imbalance what with the constant back and forth of the action sequences and the calmer, almost meditative scenes during which Murphy talks with the doctor Hayden (Sian Phillips – Dune, Clash of the Titans, I, Claudius) and Louis (Philippe Noiret – Cinema Paradiso, Topaz, The Postman). The change in the story’s mood between the noted scenes is stark to say the least and causes a certain sense of discomfort along the way. As Cairns and Hall each note in their discussions, this imbalance was in fact due to director Peter Yates and producer Michael Deely not seeing eye to eye on which approach the story should take. In other words, issues behind the scenes led the story’s overall feel to be somewhat disjointed.
Keeping all of this in mind, even with the external forces at work on the story, it is still relatively easy to follow. In a bizarre way, it actually plays into the story because it serves to show perhaps a certain imbalance in Murphy’s own mental state as he plots his revenge against the Nazis for their crimes. To that end, the overall story proves a point that makes the movie worth watching at least once.
While the story at the center of Murphy’s War makes it worth watching at least once, the movie is far from perfect. It suffers throughout its roughly hour and 47-minute run time from an imbalance in its audio. Viewers will find themselves constantly having to adjust the volume throughout the movie, turning it way up during the dialogue scenes and then back down during the action sequences. Whether this was the case in the movie’s original theatrical run is anyone’s guess. If it was and that was not addressed for its re-issue, then that shows even more why the movie failed. Audiences should not have to strain to hear dialogue and then only seconds later protect their eardrums when gunfire and explosions fill the story. To that end, the imbalance in the volume levels throughout the story do plenty to hurt the movie’s presentation.
The issues with the movie’s audio imbalance are problematic to say the very least. Audiences who can overlook the discomfort caused by that imbalance will find one more positive to the movie in its latest release. That positive is the bonus content that accompanies the movie. The most important of the bonuses are the new retrospective on the movie by critic David Cairns and the archived interview with Sheldon Hall. Each man discusses in his respective feature, everything addressed here. The men point out the problems that happened behind the scenes, including even how Yates and Deeley disagreed on the story’s finale, whether it should stick to the book or to Silliphant’s adaptation. Of course, in the end (no pun intended) Silliphant’s work won out. The result is that the movie becomes easily comparable to author Herman Melville’s classic novel Moby Dick. This is just part of what the men address went on behind the scenes. Each reveals that O’Tolle apparently had a negative reputation, but for all the negative things that happened behind the scenes, his behavior was the one thing that went right. Of course, that might have been thanks to the casting of Phillips opposite O’Tolle, according to each figure. Phillips was married to O’Toole at the time and as both men point out, she was brought in to keep an eye on him, not so much for her acting ability. One cannot help but laugh at this to a point, especially considering how much else went wrong behind the lens.
Speaking of things going wrong behind the scenes, the creative differences were not all that went wrong in the process of filming. Hall reveals in his archived discussion, the Nazi’s sub (which was a decommissioned American sub provided to the studio by Venezuelan officials – since the movie was filmed partially on site in Venezuela) was actually too large for the river where the principal photography was done. It apparently did in fact find itself stuck in the river because the river was not deep enough for the sub to actually fully dive.
On yet another note, the men also reveal that the cast and crew had to deal with a cruise liner that was not all that it appeared to be between shoots. That anecdote is a surprise in itself. Between these revelations and so much more, the discussions from Cairns and Hall offer so much deep insight into Murphy’s War. That insight leads one to wonder if Murphy’s War should have even been made. Since it was made though, it serves as an important reminder for other filmmakers (current and future) of what not to do when making a movie. The result is a movie that even as unsuccessful as it was, proves an important piece of Hollywood’s history because of its failure that is worth watching at least once.
Arrow Video’s recent Blu-ray re-issue of Paramount Pictures’ 1971 movie, Murphy’s War, is an important presentation that every true cinephile should see at least once. That is because the movie is proof that some books really do not belong on the big screen and simply that some movies simply should not be made. This is the case even despite a straightforward story that is relatively easy to follow. The story is rife with problems. Those problems are outlined in depth through the bonus content that accompanies the movie in its recent home release. Keeping that in mind, this movie is an important piece of cinema history because it is so imperfect. It makes the movie a presentation that audiences should see at least once.
Murphy’s War is available now from Arrow Video. More information on this and other titles from Arrow Video is available at:
The weather outside across most of the country is quite frightful as the new year opens. Cold temperatures across most of the nation have kept thousands if not millions indoors to stay warm. The problem with staying indoors is finding ways to pass the time and avoid those feelings of cabin fever. Next week, Marvel Studios will give audiences a new way to do just that when it releases The Marvels to home media on 4K UHD, Blu-ray and DVD. Released to digital outlets last month, the sequel to 2019’s Captain Marvel, The Marvels proves worth watching despite being imperfect. The movie proves worth watching in large part because of its story. At the same time, the story is a big part of what made audiences less receptive to the movie than its predecessor. This will be discussed shortly. The work of the movie’s cast makes for its own appeal, too and will be addressed a little later. The bonus content that accompanies the movie in its home release is not necessarily memorable but does add at least a little bit of something to the viewing experience. This will be discussed later, too. Each item noted is important in its own way to the whole of the movie’s presentation. All things considered they make The Marvels maybe not among the best of Marvel Studios’ current offerings but still worth watching at least once.
Marvel Studios’ The Marvels is anything but a marvel of a movie, but it is also not the worst of the company’s ongoing slate of comic book-based movies. It is a presentation that is worth watching at least once, if only because of its story. The story in question is a continuation of the story established in 2019’s Captain Marvel. Audiences catch up with Carol Danvers/Captain Marvel (Brie Larson – Room, Avengers: Endgame, Short Term 12) years after the events of Captain Marvel. This time she teams up with two other superpowered women – close friend Monica Rambeau (Teyonah Parris – Dear White People, If Beale Street Could Talk, Chi-Raq) and Kamala Khan (newcomer Iman Vellani) a.k.a. Ms. Marvel – to form the all-female superhero squad and face the villainous Dar-Benn (Zawe Ashton – Blitz, Grets, Velvet Buzzsaw). Dar-Benn is bent on destroying other worlds in order to return her own home world to life after Captain Marvel destroyed the Supreme Intelligence at the end of Captain Marvel. That is in order to take those planets’ resources for her own Kree planet, Hala. This is where things start to get a little convoluted. Thanks to the work of the movie’s writing team of writer/director Nia Costa, Meghan McDonnell and Elissa Karasik, Captain Marvel starts having an existential crisis of sorts as she realizes that maybe Dar-Been is not necessarily the ultimate big bad she thought she was. She starts to blame herself as she realizes in her own mind, that she was ultimately to blame for what happened to Hala after she destroyed the Supreme Intelligence. This causes her to start having a lot of doubts about other things as she and her fellow superheroes travel from world to world in an effort to prevent Dar-Benn from stealing the planets’ resources, which really becomes a little hard to believe. Her self-doubt becomes problematic because it simply seems too convenient a plot element and so cheesy as a result. The whole matter of protagonists hating themselves, doubting themselves, has been going on for ages and just becomes so boring and trite here.
As if all of this is not enough, the inclusion of Ms. Marvel into the story makes for even more problems. That is because it forces audiences to have to delve back into her story (which is presented exclusively through Disney+) in order to grasp the importance of her inclusion into the story, what with the super powered bangle that she uses and its connection to Dar-Benn’s quest. This has been an issue with all of Marvel’s movies. Audiences who want to fully grasp the interconnectivity of its movies and TV series have to watch them all, and that requires way too much time dedicated to it all. What’s more, it essentially forces audiences to buy into Disney+ if they actually want to catch everything.
Making things even more annoying about this movie’s story is one sequence in particular. The sequence in question is a song and dance number that comes up on one planet whose ruler apparently married Captain Marvel at some point, as is revealed here. That this was not addressed in the first movie is bad enough. That this female-fronted movie could not get through itself without some song and dance number only serves to widen the gender gap in cinema. That is because it further leads audiences to believe that no female-centered and targeted movie can happen without such an element. It really does a disservice to what is otherwise supposed to be an empowering presentation for women. Between that matter and the contrivance of the writers having Captain Marvel have her self-doubt, these elements are enough to make for plenty of concerns about the story.
At the same time that the story has some clear concerns, audiences should also appreciate its run time. Much like Ant Man and The Wasp: Quantumania, this movie’s run time actually clocks in at less than two hours. As a matter of fact, not counting end credits, it comes in at approximately an hour and a half. For Marvel (and for most blockbusters in the current era, that is incredible). The story has a clear execution of beginning, rising action, and denouement. It gets right to the point, stays focused throughout (even despite that pointless musical number and the unnecessary brooding), and closes out the story while also expanding the MCU in the end. Considering how over the top and how long so many Marvel movies are nowadays, that focus helps keep the movie moving fluidly, and in turn helps the story’s appeal that much more. The positive of that focus works with the easy to understand story itself to make the story a relatively stable foundation for its presentation.
Resting on that foundation is the work of its team of super-powered superheroines. There is a certain clear chemistry between Larson, Parris, and Vellani that shows the women must have gotten along well off camera. This is especially the case as the women learn to transport at the same time and balance their powers. At first there is a clear reluctance among the women about teaming up and the group makes the gradual change in attitude fun to watch. The changes make for plenty of moments that will leave audiences laughing in the best way possible.
On another note, the more emotional moments between Danvers and Rambeau in which the women discuss the events of the past could easily have been hammed up so easily. Thankfully, Larson and Pariss did not allow that to happen. They actually made those moments engaging rather than the saccharine sweet emotional content that so much female-centric content boasts. That is a tribute to the expertise of both women.
On yet another level, the starstruck behavior that Vellani brings out from Ms. Marvel as she takes in the realization of her situation is just as entertaining to watch. That is because that is about how so many young people are when they meet their idols. As she settles in alongside her teammates, that nature is still there, but audiences also see a personal growth in her character courtesy of Vellani’s experience. When her engaging work is considered alongside that of her cast mates, the trio’s collective work makes for plenty of reason for audiences to give The Marvels a chance, too.
The bonus content that accompanies the movie in its forthcoming home release rounds out the most important of its elements. It does its own share to play into the viewing experience because of the background that it offers. The feature-length audio commentary, for instance, finds DaCosta talking about her dedication to keeping the story as true to the source material as possible. She notes how she poured over old copies of Captain Marvel and related books to make the story one that diehard fans would find appealing. Audiences will appreciate that she actually took the time to focus on keeping the ties as strong as possible. Another intriguing comment that DaCosta makes is her attempt to limit the use of CG in the movie during the course of the bonus featurette, “Entangled” and the audio commentary. In an age when so many blockbusters rely way too heavily on CG, the balance of live sets and CG is quite noticeable throughout the movie. It is a nice change of pace and leaves one wishing more movie makers would go back to the old days of relying on the physical versus the digital even here in the way of moviemaking. This alone adds so much more reason for audiences to take in the movie because of the sense that it creates in viewers.
There is also during the audio commentary, note by DaCosta that she intentionally wanted to show her stars in everyday wear and less in the typical spandex and other outfits that so many superhero flicks present. It is something that in actively watching the movie, viewers do not think about. However, in hindsight, hearing DaCosta talk about the deliberate approach to show maybe another side of superheroes (so to speak) actually creates its own interesting aesthetic that actually makes for even more aesthetic appeal here. Keeping this in mind along with everything else noted and with the rest of the bonus content, it is clear that the bonus content featured in The Marvels’ home release does just as much to make the movie worth watching at least once as its story and the work of the movie’s lead cast. All things considered, they make The Marvels maybe not a marvel in itself but still a movie worth giving a chance.
The Marvels, the latest addition to Marvel Studios’ ongoing slate of superhero flicks, is an intriguing offering from the company. It is neither the best nor the worst of the company’s offerings. Rather it is just an interesting work that is worth watching at least once. Its appeal comes largely through its simple, straight forward story, which tells the tale of three super powered superheroines who join forces to stop a woman bent on destroying certain worlds. She is just another misguided figure. This formulaic approach to the villain and the equally formulaic heroic brooding is problematic to the overall story (as is the totally unnecessary song and dance number – yes there is even a song and dance number in this story) but is not enough to completely doom the movie. That the movie runs only 90 minutes and remains focused throughout that time ensures audiences’ engagement and entertainment. The work of the movie’s lead cast does its own share to make the movie worth watching. That is because of the obvious chemistry between the women. The bonus content that accompanies the movie in its forthcoming home release adds just enough background to make for more engagement and entertainment. Each item examined is important in its own way to the whole of The Marvels. All things considered they make The Marvels not marvelous but still worth watching.
The Marvels is scheduled for release on 4K UHD, Blu-ray and DVD Feb. 13. More information on this and other titles from Marvel Studios is available at:
Nearly a quarter of a century after its release, the Jet Li action flick, Black Mask will get the re-issue treatment this spring.
Eureka Entertainment is scheduled to re-issue the movie April 23 on Blu-ray. Originally released May 14, 1999 through Distant Horizon/Film Workshop/Win’s Entertainment Ltd., the movie centers on Li’s character, Tsui Chik as he fights his former super soldier friends as they embark on a crime spree across his city.
The re-issue will be limited to only 2000 copies. It will feature a second disc that features two alternate versions of the movie and a bonus collector’s booklet with new notes by James Oliver.
In addition to the bonus booklet, the new re-issue will also feature bonuses, such as a feature-length audio commentary by Asian film expert Frank Djeng; new interview with stuntman Mike Lambert, and new interview with film critic Andrew Heskins.
A trailer for the movie is streaming here. Pre-orders are open.
More information on this and other titles from Eureka Entertainment is available along with all of the company’s latest news at:
The annual awards season is under way. For those who maybe live under a rock, the season starts this time every year with the annual Golden Globes® awards gala. As expected, Oppenheimer and Barbie were among the night’s big winners Sunday night. While so much attention was flourished on those two blockbusters, there was one movie among the year’s nominees (and winners) that sadly did not get the attention that it deserved. That movie is Universal and Focus Features’ story of family and friendship, The Holdovers. Released theatrically Nov. 10 and to DVD and Blu-ray/DVD combo pack last Tuesday, Jan. 2, its addition to this year’s Golden Globes® was a surprise because of how late in the year it was released.
The Holdovers was nominated in three categories this year at the Golden Globes®: “Best Motion Picture – Musical or Comedy,” “Best Performance by a Male Actor in a Musical or Comedy,” and “Best Performance by a Female Actor in a Supporting Role in Any Motion Picture,” with star Da’Vine Joy Randolph (The Lost City, Puss In Boots: The Last Wish, Dolemite Is My Name) taking the trophy for the acting categories but losing out to Poor Things in the former category. That the movie was considered as one of the year’s best cinematic offerings in any category is a well-deserved honor. That is because it really is such an unlikely enjoyable offering. That it won in its latter nominations is just as positive, considering the work of Giamatti and Randolp. The cast’s work is just part of what makes The Holdovers worth watching. Its story definitely plays into its appeal and will be examined shortly. The bonus content that accompanies the movie in its new home release rounds out the most important of its elements and will also be discussed later. Each item noted here is important in its own way to the whole of The Holdovers. All things considered they make The Holdovers a breath of fresh air among all of the nonstop prequels, sequels, reboots, and movies based on books and actual events.
The Holdovers, the latest cinematic offering from Universal and Focus Features is unquestionably one of the sleeper hits of 2023. Having made its theatrical debut Nov. 10 and having been released to DVD and Blu-ray/DVD combo pack last week, this movie succeeds in part because of its story. The story centers on teacher Paul Hunham (Giamatti), a curmudgeonly instructor at the private Christian boys school, Barton Academy. Hunham is made to watch after a group of the boys who are left at the school over the holiday break essentially as a punishment for not letting a senator’s son pass his class. Hunham even points that out subtly at one point late in the story, and he is not wrong, either. Now while the movie’s marketing focuses on his watching all four boys, three of the four ultimately manage to leave while one – Angus Tully (Sessa) is left behind. Hunham is left to watch after Angus alongside the school’s head cafeteria worker, Mary (Randolph). Things start out rough among the trio, but as the days pass, audiences see Angus manage to get Paul to come out of his shell and loosen up. A friendship develops between the men and Mary, with Paul and Mary essentially becoming surrogate parents to Angus. The gradual development of that emotional connection shared between the group is so subtle, which makes the story all the more engaging. It would have been so easy for script writer David Hemingson to have really gone overboard with that emotional development, but instead he handled it with such grace and depth. It makes viewers really root for all three, especially when the story reaches its bittersweet ending. That final will not be given away here for the sake of those who have not seen this movie, but it really will leave audiences’ heart strings pulled in the best way possible.
As a reminder, the story takes place over the course of the school’s holiday break. On the surface one might think that this makes the movie a Christmas movie, especially with the focus on the Christmas trees, songs, etc. But in reality, the story is one that could be used in so many situations. To that end, this is not a Christmas story. It is a story of family and friendship that uses Christmas as a backdrop.
As noted, a big part of what makes The Holdovers’ story so surprisingly enjoyable is the way in which the relationship develops between Paul, Angus, and Mary. The execution thereof through the writing is impressive to say the least. Giamatti, Randolph and Sessa add to the engagement and entertainment in the development because of their work. Giamatti expertly interprets Paul’s growth and change throughout the movie, making his cold, snarky persona just as loveable as his softer side. Audiences will love to hate Paul early on because everyone has had a teacher or instructor like him. As he changes and opens up more to Angus while also battling his own demon (alcoholism) audiences will find themselves loving him more than loving to hate him. That is because viewers begin to see what made Paul become so hardened over the years as he begins to open up. It makes him a more sympathetic character. On a side note, Giamatti’s ability to so expertly display Paul’s change continues to show why he is really this generation’s Cary Grant. Yes, that is a lofty comparison, but it is deserving. If one compares his impressive work here to that of his work in, say, The Illusionist and both performances to that in Sideways, Fred Claus and so many other movies, he continues to show here, his ability to really fully become each different character and character type.
Getting back on the topic at hand, Randolph also fully deserved her Golden Globes® award that she won Sunday night for her performance as Mary. That is because her performance is engaging and entertaining in its own right. The subtle edge that she brings to Mary through her work as she handles Paul is the perfect counterpoint of sorts to Giamatti’s work as Paul. Thanks to that edge, Mary manages to help Paul break out of his shell over time without even trying. This even as she is battling her own thoughts and difficult feelings from the deaths of her son, who was serving in the military, and her husband. That ability to balance Mary’s strength and vulnerability throughout the story makes Randolph’s performance so wonderful thanks to the subtle way in which she presents that balance. It makes her win Sunday all the less surprising.
Sessa being a newcomer, he shows that he has a bright future in the worlds of theater and cinema. This as he brings out Angus’ torn emotions and thoughts over being left at the school. Right from the moment that his mother talks to him on the phone about going on a honeymoon with her new husband, his reaction makes him such an endearing figure. It lets viewers know that there is something more at play, and over time audiences learn exactly what is going on. The revelation and his growing relationship with Paul (that surrogate father-son relationship) is handled just as well through his performance. It would have been so easy for Sessa to ham it up and chew the scenery so to speak, but he handled his performance throughout with his own level of expertise. Considering this, it will be no doubt when viewers start to see his name on even more movies in the not too distant future. When his performance is considered alongside those of Giamatti and Randolph, the trio’s collective work makes for just as much reason to watch this movie as the movie’s story.
The revelation that Sessa is a newcomer is one of a number of interesting revelations that comes through the bonus content that accompanies the movie in its new home release. Viewers learn through the bonus content that Sessa was in fact a high school senior who already had experience in theater when he auditioned for the role of Angus. It is especially interesting to learn that he was tapped for the role after the casting director had received only 800 auditions for that role. That makes him elite in a certain manner of speaking, and justifiably so at that. It is just one of the interesting revelations made through the bonus content. Audiences will also learn that the movie’s “indie” look was intentional. As is pointed out in this discussion, the period costumes, cars, and shooting locales were largely scouted, and the distinct style of cinematography was also intentional. It is that cinematography that gives the entire movie its grainy look and equally unique lighting and other factors. That throwback style is perfect, unlike that of so many period pieces that have tried to look like they came from their respective eras. That insight offered through that discussion makes for even more appreciation for the movie. As if that is not enough, viewers also learn of director Alexander Payne’s (Sideways, Nebraska, The Descendants) somewhat hands off approach as a director. That hands off approach is addressed by the cast, who note that they appreciate his notable leadership style. They reveal that it is because of that hands off approach that they feel able to bring out the best in their respective performances. And obviously because they were able to bring out their best, Randolph ended up bringing home a major award for her work. To that end, this and the other items addressed here work with the rest of the revelations made in the bonus content for a whole that fully shows the importance of the movie’s bonus content. When the bonus content is considered along with the movie’s story and the cast’s work, the whole therein makes The Holdovers a movie one of the biggest cinematic surprises of 2023 and one of the best new home releases of 2024.
The Holdovers is one of the most unlikely enjoyable movies from the 2023 movie season. That is due in large part to its story. While the story takes place during the holiday season, it is not a Christmas or holiday movie. It is a touching story of family and friendship that just so happens to have the season as a backdrop. It follows three unlikely friends who become a surrogate family and grow together over that time. The story and its execution are reason enough for audiences to watch this movie. The work of the movie’s main cast is even more reason to watch this movie. That is because of the expert way in which each actor handles his/her performance. The subtlety in each actor’s performance brings out so much depth in its own right to the overall presentation and gives audiences all the more reason to watch. The bonus content that accompanies the movie in its recent home release puts the finishing touch to the presentation as it gives viewers some very interesting insight into the movie’s creation and back story. Each item examined here is important in its own way to the whole of the movie’s presentation. All things considered they make The Holdovers one of the most welcome cinematic surprises of 2023 and one of the best home releases of 2024.
The Holdovers is available now on DVD and Blu-ray/DVD combo pack. More information on this and other titles from Universal Pictures is available at:
Arrow Video will bring renewed attention to Paramount Pictures’ 1971 WWII flick, Murphy’s War early in 2024.
The Moby Dick re-imagining of sorts is scheduled for release Jan. 30 on Blu-ray. The story centers on its titular character, the single-named Murphy (Peter O’Toole — Lawrence of Arabia, The Lion in Winter, The Stunt Man) as he looks to avenge the death of his fellow sailors aboard a merchant ship after the vessel is attacked by a German sub. In his attempts to exact vengeance, Murphy does succeed but success comes at a very high price. The result will be left for audiences to discover for themselves.
The re-issue will feature a variety of bonuses, including and not limited to: a new visual essay titled, “Running Out Of War” by film critic David Cairns, “A Great Adventure,” an archived interview with the movie’s assistant director John Glen, and “One Man Army,” an archived interview with film critic Sheldon Hall.
A companion booklet with new liner notes composed by film critic Philip Kemp is also included with the re-issue.
Murphy’s War will retail for MSRP of $39.95. Pre-orders are open.
More information on this and other titles from Arrow Video is available at:
More than 40 years ago, 20th Century Studios (nee 20th Century Fox) and director Ridley Scott changed the face of both horror and science fiction when they released the groundbreaking movie, Aliens. The movie brought the genres together and took them in a direction that even the science fiction flicks of the 1950s could ever imagine going, in turn creating a whole new genre within itself. Roughly seven years later, the success of that movie would lead to the first of a number of sequels in the form of Aliens. The largely well-received sequel earned itself two Oscars® awards, one for Best Sound Effects Editing and the other for Best Visual Effects. The awards were credit in large part to famed director James Cameron who also wrote the movie’s script alongside David Giler and Walter Hill. Star Sigourney Weaver (Ghostbusters, Ghostbusters II, Alien) was nominated for Best Actress, proving even further the movie’s success. The movie has seen a number of re-issues on each new home media platform since making its debut in July 1986, and now this coming March, will see its latest re-issue, this time on March 12 on 4K UHD. The forthcoming re-issue will appeal to longtime fans of the Alien franchise and to those who might be less familiar with the franchise. That is due in part to its story, which will be addressed shortly. As with another Cameron-helmed movie set for re-issue March 12 – The Abyss – its special effects are just as much a part of its presentation and worth examining, too. They will be discussed a little later. The bonus content that accompanies the movie in its forthcoming 4K UHD re-issue rounds out its most important elements. It does its own share to make for engagement and entertainment and will also be examined later. Each item noted is important in its own way to the whole of Aliens. All things considered they make the movie’s forthcoming 4K UHD re-issue a largely successful presentation that still leaves audiences wondering if the rest of the movies will ever get the 4K treatment.
20th Century Studios’ forthcoming 4K UHD re-issue of Aliens is a presentation that established fans of the Alien franchise will find mostly appealing just as much as those who are less familiar with the movies. That is due in part to its story. The story at the center of Aliens is of interest because it continues Ellen Ripley’s (Weaver) battle against the vile Xenomorphs, this time on an exomoon’s surface instead of in space. The planet in question is the site of a human colony that has been overrun by the Xenomorphs after the creatures’ ship crashed on the planet. As with the original movie, there are lots of casualties, lots of gunfire and whatever that stuff is that drips from the Xenomorphs’ mouths (primary and secondary). There is also a shocking revelation about the creatures that ties back to her employer, the Eather-based Weyland-Yutani company, leading to even more conflict as Ripley and the colonial marines battle the Xenomorphs. If course Ripley and a handful of others escape in the end and the Xenomorphs are believed to have been defeated. Of course, being there was another movie (and another, etc. after this one ended), audiences know now this was just the latest chapter in the ongoing franchise that has otherwise sadly gotten worse with every movie since Aliens. That overall story is sure to keep audiences fully engaged even as Ripley and the Marines keep battling the Xenomorphs in increasingly tense and difficult situations leading up to the finale. It will all leave viewers breathless and spent by the story’s end.
As much as the story does to make Aliens so engaging even with all of its tension and action, it is just part of what makes the movie interesting. The special effects are of their own importance to the appeal here. As with The Abyss, Cameron was unable to rely on computers for the special effects. He actually uses largely real elements, such as guns and models, and even a remote control exosuit that was part costume for an actor. Even the Xenomorphs themselves were real costumes worn by stunt actors. This is all discussed at length by Cameron in one of the bonus features carried over from the movie’s most recent re-issue, “The Inspiration and Design of Aliens.” All of that commentary will be discussed later along with a focus on the movie’s also carried over feature-length commentary. Almost all of the special effects exhibited throughout the movie were actual physical items. The result is that the movie’s otherworldly setting, beings, weapons and other items look all the more believable, thus pulling audiences even more into the movie. It is such a welcome, refreshing change of pace – again – from all of the over the top CG-infused blockbusters out there today. To that end, Aliens’ special effects and story do more than enough to keep audiences engaged and entertained.
Building even more on the appeal ensured through the movie’s primary and secondary content is the bonus content that accompanies Aliens in its re-issue. None of the bonus content featured here is new. It is all carried over from previous releases but again maybe not everyone has seen any of said content, making for its own share of interest. The previously noted featurette that addresses the movie’s special effects offers lots of insight into how much work went into making the whole futuristic film. For instance, Cameron reveals that the drop ship that takes Ripley and the Marines onto the moon’s surface was a model whose design was itself based on an AH-64 Apache attack helicopter. He also notes the Xenomorphs were in fact actors in suits. There was no CG to cause the cast to have to imagine being chased. Those intense scenes involving the evil creatures were, for the most part, real. Additionally, he reveals the wheeled vehicle used after the drop ship reaches the moon’s surface was itself real. He points out the machine was in reality an aircraft “tug” that was used to move airplanes at London’s famed Heathrow Airport. He notes that for specific reasons, the crew had to physically remove some 20 tons or so of weight from the vehicle for use in the movie and somehow managed the task. As if all of this is not enough, Cameron also points out that while the movie is a sequel to Alien, he also points out what is perhaps the most intriguing pieces of information in the revelation that America’s involvement in Vietnam was the inspiration for the story herein. He goes into some depth here and the discussion will be left for viewers to take in for themselves.
The discussion on the movie’s look and special effects is just one of the bonuses that audiences will appreciate. The feature length audio commentary carried over from the movie’s 2003 release adds even more to the appreciation for the whole. Cameron points out here that taking the lead for Aliens happened largely by chance after he had talked to studio executives with 20th Century about Alien. His anecdote here is quite insightful in how casually it happened. He also points out as the movie continues, the movie also focuses on the central theme of motherhood. More specifically, that theme comes from the central focus on Ripley through a scene included here that was deleted from the original movie. That discussion and how it ties directly into the movie’s tense climactic finale makes for its own share of interest, too.
As if all of this is not enough, members of the movie’s cast and crew (including producer Gale Hurd and the late great Bill Paxton – Twister, Apollo 13, Frailty) are on hand to add to the discussions. Hurd reveals through her comments that the noted scene that was cut and others removed were taken out so as to optimize the number of showings the movie could have in theaters at the time. That revelation is eye-opening as it can lead to talks on how apparently movie run times are tied to their own access to theaters. She points out the cuts made to the movie for its final release put the run time at just over two hours whereas Cameron points out the full movie’s run time (which is displayed in this 4K UHD re-issue) is just over two and a half hours. Between this discussion, the others also addressed here and the rest of the bonus commentary throughout the extras makes the movie all the more encompassing. The overall engagement and entertainment ensured through the overall bonus content works with the movie’s story and its equally unique special effects to make the presentation in whole a mostly welcome new re-issue of what is one of the scariest and most intense science fiction and horror films to come from the 20th Century.
20th Century Studios’ forthcoming 4K UHD re-issue of its 1986 sci-fi/horror flick Aliens, is a largely positive early addition to 2024’s list of new movie and TV re-issues. That is due in part to its story. The multi-tiered (and apparently rather in depth) story continues Ripley’s battle against the evil Xenomorphs but in a unique fashion. How this happens is what really makes the story unique. Yes there is lots of gunfire, lots of violence, etc. but it isn’t just another shoot-‘em-up flick. As the bonus commentaries reveal there is a lot more going on. That collective bonus content does plenty of its own share to make this movie worth watching. When it is considered along with the story and the largely organic special effects, the whole therein makes the overall presentation that is Aliens all the more engaging and entertaining for science fiction and horror fans alike. Maybe now with this movie’s re-issue on 4K UHD and that of Alien in 2019, maybe just maybe audiences will see a full 4K re-issue of the Alien Quadrilogy or even the 6-movie set sooner rather than later.
Aliens is set for re-issue March 12 on 4K UHD. More information on this and other titles from 20th Century Studios is available at:
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