The Lonely Ones Debuts Video For ‘Flash Gordon’/’The Hero’ Cover

Courtesy: O’Donnell Media Group

Independent rock band The Lonely Ones debuted the video for its cover of a classic Queen song this week.

The band debuted the video for its cover of Queen’s performance of the Flash Gordon theme song and its companion song ‘Hero’ Tuesday.  The video features the band performing its take on the song in a studio setting, complete with sound effects and audio from the original movie.

The band’s take on the song pays full tribute to Queen’s version of the classic work.  The Lonely Ones’ rendition is longer than that of Queen, with the original clocking in at just under three minutes and the cover coming in at five-and-a-half-minutes.  Even with that in mind, the band’s cover is still very much in line with Queen’s original work.

The band talked about its take on the song in a collective statement.

“We recorded Flash in 2019 – a pretty dark year for the four of us on all fronts,” the statement reads. Our original musical output reflected that darkness, so recording a cartoonishly triumphant, heroic cover song seemed like a good counter-balance. Fast forward to spring 2020 and the impending COVID-19 Stay at Home order. With limited time and help from some fans we got our friends together to film a music video while we were still able. It’s July now and, with the future more unclear than ever, it seems like the perfect time to release the most positive song we have.  I hope you enjoy it. “Flash/The Hero. A Queen Cover.”

The Lonely Ones’ cover of Queen’s classic song comes more than a month ahead of Arrow Video’s upcoming re-issue of Starling Films/Famous Films/Dino De Laurentiis Company’s 1980 movie Flash Gordon.  It should be noted that the band’s premiere of its new cover is not connected with the movie’s forthcoming re-issue.  It is merely coincidence.

Arrow Video is scheduled to re-issue the science fiction flick Aug. 18 on 4KUHD/BD combo pack and standalone Blu-ray.

The forthcoming re-issue will feature a companion booklet with new liner notes on the movie penned by a variety of film critics and historians; separate feature length audio commentaries by Mike Hodges and Brian Blessed; cast interviews; a behind-the-scenes making of featurette; archival interview with Mike Hodges, screenwriter Lorenzo Semple Jr. and comic book artist Alex Ross as well as much more.

More information on The Lonely Ones’ cover of ‘Flash Gordon’/’The Hero’ is available along with all of the band’s latest news at The Lonely Ones’ official Facebook page.

More information on Arrow Video’s forthcoming re-issue of Flash Gordon is available along with all of the company’s latest news at:

 

Websitehttp://www.arrowfilms.com

Facebookhttp://www.facebook.com/ArrowVideo

Twitterhttp://twitter.com/ArrowFilmsVideo

 

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‘Undead & Unplugged’ Gives Hope For A Full-Length Live Recording From Ice Nine Kills

Courtey: Fearless Records

Forthy-three years ago, famed author Stephen King published what has gone on to become one of the most well-known novels of all time when he released The Shining.  Its creation came after King visited the Stanley Hotel in Estes Park, Colorado.  Three years later, that novel went on to be adapted into a movie that while disliked by King himself, has become beloved by horror movie fans.  In celebration of the 40th anniversary of the movie’s premiere, metalcore band Ice Nine Kills released a performance Friday that it held late last year at the hotel.  The surprise release is streaming through Fearless Records’ official YouTube channel.  The intimate performance serves as the foundation for its presentation.  Resting on that foundation is the matter of the concert’s set list, which while brief will still engage and entertain audiences.  The songs’ production and mixing rounds out its most important elements and will also be discussed later.  All three elements are key in their own way to the whole of Live From The Overlook Hotel.  All things considered, they leave listeners wanting for more in the best way possible.

Ice Nine Kills’ new live recording Live From The Overlook Hotel is another enjoyable presentation for audiences who are looking for their live music fix while stages are dark and silent.  That is due in part to the concert itself.  Rather than being a full-on, amped up concert, this performance was a more intimate, acoustic set from the band.  Adding to the interest is that the performance was held to mark the 40th anniversary of the debut of the movie spawned from Stephen King’s timeless novel by the same name.  Considering the alleged nature of the hotel – numerous stories have been told over the years about paranormal activity that has happened at the hotel – it was a surprise that nothing happened during the course of the concert, which was held in support of the re-issue of the band’s 2018 album The Silver Scream.  The re-issue, dubbed The Final Cut, was released Oct. 25, 2019, only weeks ahead of the band’s performance at the Staley Hotel.  The fact that the performance was so intimate and that almost no one was at the hotel when King and his wife Tabitha visited the business decades earlier adds to the interesting juxtaposition.  The question and answer session that was featured with the performance is removed from the EP along with the other mid-song interactions with the audience, in favor of just the songs.  Even despite that, the performance still offers its own share of engagement and entertainment for audiences.  Maybe one day audiences will get the performance in whole through an official release on DVD and/or Blu-ray.  In the meantime though, that the band would at least present its song performances from the concert is reason enough to check out this digital-only EP.

Speaking of songs performed during the intimate performance, the concert’s set list is of its own interest for listeners.  Composed of five tracks, the concert focuses mainly on the acoustic tracks that are featured in The Silver Scream’s Final Cut re-issue, which would make sense, considering that the performance, again, came only weeks after The Silver Scream: The Final Cut was released.  The acoustic take of ‘Thank God It’s Friday’ is here, as are the acoustic takes of ‘A Grave Mistake’ and ‘Savages.’  The band’s acoustic take of ‘Stabbing in the Dark’ was replaced in this concert with an acoustic take of ‘Love Bites.’  That song was also featured in The Silver Scream, but was not featured as an acoustic take on The Final Cut.  The set’s closer, ‘Enjoy Your Slay’ also was not an acoustic work presented in the original album or its re-issue.  Even with that in mind, it was still a strong performance in its own right.  Considering the mood of the overall concert and its setting, the performance was a good fit.  There was a certain eerie, somber nature in the performance that just enhanced the overall mood of the performance.  Given, it would have been nice to have had more songs in the set list, but again, the concert was part of the supporting tour in support of The Final Cut.  So to that end, the acoustic takes were naturally the point of focus here.  To that end, the set list in itself is still engaging and entertaining.  Together with the show’s setup, it makes the overall concert even more noteable.

While the concert’s background and its set list do a lot to make it worth taking in, they are only a portion of what makes the performance stand out.  The recording’s production and mixing rounds out its most important elements.  They are important to note especially because this is an all acoustic performance.  This might not seem important on the surface, but in the bigger picture, making sure all of the sound levels are precise in an acoustic setting is just as critical if not more so in an acoustic setting as a fully amplified performance.  That is because the sound is softer, so even more attention has to be paid to every bit of sound balance.  Those behind the boards and editing are to be commended for that attention to the finer details, too.  Their efforts paid off in each song, putting the final touch to the presentation.  Together with the noted set list and the setting for the concert and its background, all three elements come together to make Undead & Unplugged: Live From The Overlook Hotel a good first live outing for Ice Nine Kills that gives hope for a future full-length live recording from the band..

Ice Nine Kills’ new live EP Undead & Unplugged: Live From The Overlook Hotel is a positive offering from the band.  That is especially considering that it is the band’s first live recording.  That is due in part to the concert’s setup and background in itself as noted here.  The set list, though brief, adds its own interest to the EP’s presentation.  The recording’s production and mixing puts the finishing touch to its presentation.  All three items are important in their own way to the whole of this live EP.  All things considered, they make Undead & Unplugged: Live From The Overlook Hotel a positive live debut from INK, and a presentation that gives hope for what a full-length live recording could look and sound like.  The recording is streaming now through Fearless Records’ official YouTube channel.

More information on Ice Nine Kills’ new video game, tour dates and more is available online at:

 

Websitehttp://iceninekills.com

Facebookhttp://www.facebook.com/IceNineKills

Twitterhttp://twitter.com/iceninekills

 

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Film Movement To Release New Drama Tuesday

Courtesy: Film Movement

Film Movement is bringing a new existential drama to American audiences Tuesday.

The independent film studio is scheduled to release the Polish import Corpus Christi June 23 separately on DVD, Blu-ray and digital.  The movie focuses on an ex-con who masquerades as a priest in a small village after serving a 20-year sentence in prison for committing a violent crime.

The convict, Daniel (Bartosz Bielenia — Ondine, The High Frontier, I Am Lying Now) pretends to be a priest after having found Christ during his time behind bars.  That change in life led him to aspire to serve in the clergy, which is why he pretends to be a priest.  The problem is that as an ex-conv, Daniel’s chances of becoming an ordained priest are next to zero.

As time passes, Daniel’s behavior leads some of the people in the town where he serves as a priest to become suspicious of him.  Now it is up to Daniel to come to a decision that could change his life all over again.  The movie’s trailer is streaming here.

Corpus Christi made its international debut Sept. 2, 2018 at the Venice Film Festival and U.S. premiere Oct. 23, 2019 at the Chicago International Film Festival.  The movie received various accolades, including a nomination for Best International Film at the 2020 Oscars ceremony and named an official selection of the 2019 Toronto International Film Festival.  It also received a Tomato Meter score of 97% through rottentomatoes.com.

The movie’s full list of accolades is noted below.

Nominated – Best International Feature Film – Academy Awards
Winner – Young Cineastes Award – Palm Springs Int’l. Film Festival
Winner – FIPRESCI Prize for Best Actor in an Int’l. Feature Film – Palm Springs Int’l. Film Festival
Winner – Edipo Re Award – Best Film – Venice Film Festival
Winner – Label Europa Cinemas – Best Film – Venice Film Festival
Winner – Eleven Awards including Best Film – Polish Film Festival
Winner – Best Actor – Chicago Int’l. FIlm Festival
Winner – Best Actor – Stockholm Film Festival
Nominated – Fedeora Award – Best Film – Venice Film Festival
Official Selection – Toronto Int’l. Film Festival
Official Selection – Busan Film Festival
Official Selection – AFI Fest —

The forthcoming domestic home release of Corpus Christi features a bonus making of featurette and bonus short film, titled Nice To See You as extras.  The short film, directed by Corpus Christi director Jan Komasa, focuses on the relationship between a college student and her father when he unexpectedly shows up asking his daughter to move back home with him.

Corpus Chrsti will retail for MSRP of $34.95 on Blu-ray and $24.95 on DVD.

More information on this and other titles from Film Movement is available at:

 

Website: http://www.filmmovement.com

Facebook: http://www.facebook.com/FilmMovement

Twitter: http://twitter.com/Film_Movement

 

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Sci-Fi Sequel Import ‘Attraction 2’ Coming To American Audiences Next Month

Courtesy: Dark Sky Films/Capelight Pictures/Columbia Pictures/Sony

The aliens are coming again.

Columbia Pictures and Sony are teaming with Dark Sky Studios and Capelight Pictures to bring the new sci-fi import sequel Attraction 2Invasion to American audiences.  Scheduled for release July 21 on digital/DVD/Blu-ray, the movie is the follow-up from the 2017 movie Attraction.

The story featured in this movie picks up two years after the events of its predecessor.  Julia (Irina Starshenbaum — LetoT-34Kesa) has become a person of great interest to the Ministry of Defense after the events of Attraction.  As study on Julia takes place, she discovers that she is developing seemingly superhuman powers.  As a result of this development, it turns out that the humans are not the only ones who are pursuing her.  Beings from another world are also looking for her, but not for the same reason as those who are studying her here on Earth.

The movie’s trailer is streaming here.

Attraction 2 premiered early this year in its home nation of Russia.  It is presented in its new domestic presentation with English dubbing and in Russian with optional English subtitles.

The movie’s run time is two hours, 13 minutes.

More information on this and other titles from Dark Sky Films is available at:

 

Website: http://www.darkskyfilms.com

Facebook: http://www.facebook.com/DarkSkyFilms

Twitter: http://twitter.com/darkskyfilims

 

More information on this and other titles from Capelight Pictures is available at:

 

Website: http://www.capelight.de

Facebook: http://www.facebook.com/capelightpictures

Twitter: http://twitter.com/cplght

 

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Corinth Films Bringing Its 2016 Dramedy ‘The Carer’ To American Audiences

Courtesy: Corinth Films

Corinth Films’ dramedy The Carer will make it domestic debut next month on DVD and digital.

The studio is bringing its movie The Carer to American audiences July 14.  The British import dramedy premiered in the United Kingdom in 2016.  It stars .Golden Globe Award winning actor Brian Cox (X2XMen UnitedAdaptationSuper Troopers) in the lead role as ailing theatrical legend Sir Michael Gifford.  Gifford is suffering from a a rare form of Parkinson’s Disease.

As a result of his condition, Gifford is in need of someone to help him on a daily basis.  Enter Dorottya (Coco Konig — Assassin’s CreedTo The BoatsDie Rauber) an aspiring Hungarian stage actress, as Gifford’s carer.  She hopes that in caring for Gifford, her career can get a boost.  Things between the pair start off rough, but their friendship eventually grows.

While the duo’s friendship grows, the around the pair become dubious of Dorottya’s real intentions.  This ultimately leads to a confrontation between Gifford and his scheming daughter Sophia (Emilia Fox — The PianistDorian GrayCashback), who is trying to keep her father from what could be his last on-stage appearance, a ceremony held by the Critics Guild of Great Britain.  The organization is set to present him with a Lifetime Achievement Award.

The sense of purpose and life that Dorottya has instilled in Gifford comes even more into play as this confrontation builds, leading to the story’s finale.

The Carer also stars Anna Chancellor (Four Weddings and a FuneralPennywothTrust) and Karl Johnson (Hot FuzzThe IllusionistThe Death of Stalin).  Sir Roger Moore (MoonrakerThe Spy Who Loved MeThe Man With The Golden Gun) also makes an appearance in the movie.

Cox was nominated for a BAFTA (British Academy of Film and Television Awards) prize for Best Actor in 2016 when the movie originally premiered in the United Kingdom for his role in the movie, which was directed by Janos Edelenyi (Prima PrimaveraThe Long ShadowKasztner’s Ark).

The Carer‘s run time is 89 minutes.  It will retail for MSRP of $24.95.  More information on this and other titles from Corinth Films is available at:

 

Website: http://www.corinthfilms.com

Facebook: http://www.facebook.como/CorinthFilms1977

Twitter: http://twitter.com/corinthfilms

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and ‘Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

 

Visual Effects, Pacing Save Disney/Lucasfilm’s Finale To The ‘Star Wars’ Skywalker Saga

Courtesy: Lucasfilm/Disney

So this is how it ends.  Not with a bang, but with a whimper.  Such is the case of Lucasfilm and Disney’s finale to the Star Wars universe’s Skywalker saga, The Rise of Skywalker.  Originally released in theaters Dec. 20 and to DVD/BD on March 31, this finale to the Skywalker saga is one of those presentations that is no better in its home release than its theatrical premiere.  It is not a total loss, though.  As has already been noted by various critics and audiences, the movie’s writing makes it near unwatchable, so it won’t be rehashed here.  What does deserve to be noted is the bonus content featured with the movie’s home release.  It does its own share of damage to the presentation as the movie’s script, and will be addressed a little later.  For all of the damage that the bonus content does, it doesn’t render the presentation completely unwatchable.  The movie’s visual effects make it worth at least one watch.  They will be discussed shortly.  For all of the problems that the movie poses with its bonus content and writing, one other positive that can be noted is the story’s pacing.  Together with the visual effects, the two elements collectively make Star Wars: The Rise of Skywalker a movie that despite being hardly the best entry in the franchise, still worth at least an occasional watch.

Disney and Lucasfilm’s final entry in the decades-spanning Star Wars Skywalker franchise is a difficult end to the saga.  It is not a complete loss, though.  Despite the problems posed by its plot hole-filled script, it does have at least a couple of positives, one of which is its visual effects.  The visual effects (special effects) incorporated into the Rise of Skywalker are to be applauded.  Given, a lot of CG content was used, just as much real sets were tied into that digital content.  One key instance in which the two elements were so well-balanced was in the final battle scene on Exegol.  A large physical set was actually constructed for that scene, and dozens of extras were used along with the main cast for that moment.  The precision in the look of that set, when placed along with its digital counterpart actually is surprisingly seamless.  The same applies with a situation, such as the Death Star battle scenes.  Again, there was a significant amount of digital presentation in this expansive scene, but it was also well balanced in its own right with the physical Death Star set that was created specifically for that crucial moment in the story.  Audiences will be just as pleasantly surprised by other physical sets created for the movie, such as Palpatine’s throne room, the miniatures of the sand people’s vehicle, D-O’s ship and the sand planet scene involving the massive “dance” number, complete with all of its various costumes.  The only downside to that scene is the speeder chase scene.  It looks like something right out of one of the Mad Max movies, just with a more “upped” sci-fi flare.  Of course all the CG content is not to be ignored.  Between the laser blasts, the massive fleet of star destroyers and the other minor details, they add their own touch to the movie’s presentation, too.  All things considered, audiences will be impressed by the dedication by those behind the lens to minimize the use of digital effects and make the movie look as real as possible throughout its nearly two-and-a-half-hour run time.  That balance of real and digital elements is surprisingly positive and does its share to make the presentation worth experiencing at least once.  Of course for all of the good that the visual effects do to make the movie worth watching, its bonus content counters that positive impact.

The bonus content featured with the home release of Star Wars: The Rise of Skywalker detracts from the movie’s presentation because it is so targeted in its own presentation.  Given, the main feature, “The Skywalker Legacy” does give audiences a background in how the visual effects were created for this final chapter in the Shywalker saga.  The problem is that that’s all it does.  The feature’s title is “The Skywalker Legacy” but does next to nothing to actually discuss the legacy of Luke Skywalker and his sister Princess/General Leia Organa.  That name in itself brings about its own problems.  If she’s Luke’s sister (and Han Solo’s wife), why is her last name Organa?  That’s yet another writing matter that this critic will leave for others to discuss.  The fact that the feature, which runs well over an hour in time, is titled “The Skywalker Legacy” but focuses solely on the special/visual effects instead of the very story that led to this point is self-defeating.  Making matters worse is the fact that the featurette tries to justify itself (and the movie) by linking its own special effects to the special effects used in the original Star Wars trilogy.  It is a blithe approach for this presentation all the way around.  By comparison, MVD Entertainment Group’s surprisingly entertaining documentary Elstree 1976 does far more to honor the legacy of the original Star Wars trilogy, including its special effects.  Had “The Skywalker Legacy” had a different title that was more in line with its content, the outcome might have been different, but that wasn’t the case.  Making matters worse is that all of the movie’s other bonus features focus solely on its special effects, too.  Ironically, there is one mention by stars Jon Boyega and Naomi Ackie that they were the first African-American stars to lead a cavalry in such an epic final scene near the movie’s end.  That actually could have been used as a starting point for a much deeper discussion on diversity in the cinematic realm, but Disney and Lucasfilm officials completely missed the mark on this matter.  It’s just one more way in which the movie’s bonus content proves itself a detriment to the home release of The Rise of Skywalker.  Sure, the bonus content will appeal to those who have a love of and interest in movie production, but those viewers make up the only audience that will deeply appreciate its presentation.  To that end, the bonus content does little to help the movie, proving once more that while sometimes bonus features can make a bad movie better, other times, said content does little to nothing for a movie.  Luckily, for all of the impact that the movie’s bonus content has (and doesn’t have) on the movie’s overall presentation, it still does offer at least a tiny bit of appeal, if any.

While the impact of the bonus content featured in the home release of Star Wars: The Rise of Skywalker is minimal at best, one other item, the movie’s pacing can be said to be a definite positive.  Considering that the movie’s run time is just shy of two-and-a-half-hours (which seems to be the norm nowadays with major blockbusters), it actually moves at a surprisingly quick pace.  From the opening scenes to Ray continuing her training to the buildup to the final battle to that big moment, the movie’s scrip wastes little time on unnecessary items.  That’s not to say that the script doesn’t find some slow moments.  That desert planet scene does drag on a bit more than maybe it should have.  Also, the wait for re-enforcements in that final battle takes its time.  There is also the moment in which the Ray and company have to travel to one of the star destroyers to save Chewbacca, which is of note.  This sequence slows things down a bit in its own right, as doe the scene in which the rebels have to find a certain character who can help dive into C3PO’s data memory to get the location of one of the devices that will lead to another key moment.  This whole segment not only slows things down, but it also brings about the discussion on another of the plot holes, the very fact that C3PO’s memory could be wiped, but then later conveniently recovered by his longtime bot buddy R2-D2.  Luckily for viewers, such moments are rare and don’t do too much damage to the pacing.  To that end, the pacing actually is just enough to keep viewers watching from beginning to end, even with all of the plot holes and other problems that pose issues for the movie.  Keeping those issues in mind along with everything else mentioned here, the noted elements collectively make Star Wars: The Rise of Skywalker a work that while hardly a winning finale for this franchise, is not a complete loss.

Disney and Lucasfilm’s finale to Star Wars’ Skywalker franchise is an intriguing closer for the franchise that started out with such a bang more than four decades ago.  It is a work that is clearly hindered greatly by its writing, but is also saved at least somewhat by its visual effects.  The bonus content that is featured with the movie’s home release will appeal to a very targeted audience.  The primary bonus feature, “The Skywalker Legacy” is a completely improperly titled presentation, considering its content, detracting from its appeal even more.  There is also a missed opportunity in the opening for a discussion on the role of race in cinema, as has already been noted here.  The story’s pacing works with its visual effects to make up at least a little bit for the problems created by the story’s script and bonus content.  All things considered, this finale to the Star Wars Skywalker saga is a disappointing finish to the current leg of the franchise, but is not a complete loss.  It is worth at least one watch.  More information on the movie and all things Lucasfilm is available at:

 

 

 

Website: http://lucasfilm.com

Facebook: http://www.facebook.com/lucasfilm

Twitter: http://twitter.com/jointheforce

 

 

 

More information on the home release of Star Wars: The Rise of Skywalker is available at:

 

 

 

Website: http://www.starwars.com/films/star-wars-episode-ix-the-rise-of-skywalker

Facebook: http://www.facebook.com/starwars

Twitter: http://twitter.com/starwars

 

 

 

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Century Media, Heavy Metal Magazine Launch New Contest

Courtesy: Century Media Records

Century Media is teaming up with Heavy Metal magazine for a new contest.

The companies have partnered to launch what they have dubbed “The Ultimate Stay At Home Prize Pack” contest.  The contest launched Monday and ends Friday.  It gives audiences the chance to win a prize pack each day this week that contains the following: One (1) Heavy Metal t-shirt; one (1) Century Media Blue Horns t-shirt; one (1) 3TEETH face mask; five (5) issues of Heavy Metal magazine; five (5) Iron Maiden Legacy of the Beast comic books and 10 select Century Media CDs from artists, such as Sons of Apollo, Iced Earth and Unearth.

According to the giveaway’s rules, the prize pack drawings begin Tuesday and end Saturday.  The drawings will be for entries received for the previous day’s contest.  In other words, Tuesday’s drawing will be for Monday’s giveaway and so forth.  Winners have 24 hours to respond and confirm their entry once their names are announced.  Special rules apply for Canadian entrants.  Rules and entry forms are all available here.

More information on the giveaway is available online along with all of Century Media’s latest news at:

 

Website: http://www.centurymedia.com

Facebook: http://www.facebook.com/centurymedia

Twitter: http://twitter.com/centurymediaeu

 

More information on Heavy Metal magazine is available online at:

 

Website: http://www.heavymetal.com

Facebook: http://www.facebook.com/MyHeavyMetal

Twitter: http://twitter.com/HeavyMetalInK

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Gene Autry Movie, TV Archives Coming To Shout! Factory TV

Photo Credit: Autry Qualified Interest Trust and The Autry Foundation
Gene Autry from Rovin’ Tumbleweeds (1939)

Shout! Factory TV will take audiences back to the old west next month.

The company will stream Gene Autry’s TV and movie archive beginning May 1. The resurrection of the archives marks the first time ever that the properties have been available to stream by any company.

Shout! Factory TV worked closely with Gene Autry Entertainment to curate the titles. The first group of Gene Autry titles to stream (May 1) are his feature films, South of the Border, Gaucho Serenade, Melody Ranch, The Strawberry Roan and Blue Canadian Rockies.  The second round of content — Public Cowboy No. 1, In Old Monterey, RovinTumbleweeds, RidinOn A Rainbow and Sioux City Sue will start streaming June 1.

Autry’s TV and film collection will be available to stream on all Shout! Factor TV platforms: Shout!FactoryTV.com, Shout! Factory TV’s Roku Amazon Fire, Apple TV and Android apps.  It will also be available on Shout! Factory TV-branded channels, such as Tubi, Amazon Prime Video Direct, Amazon Channels and Roku Channel.  Each of Autry’s films will stream on the noted channels on the last Wednesday of each month, too.

The synopsis of each of Autry’s movies is noted below.

 

List of Films and Synopses
Available May 1, 2020
South of the Border (1939)
On the eve of World War II, Federal agents Gene Autry and Smiley Burnette are sent South of the Border to help foil the plans of foreign spies attempting to gain control of Mexican oil fields. Full of action, humor and music, this 1939 release introduced both the title song and teen performer Mary Lee to movie audiences.
Gaucho Serenade (1940)
A case of mistaken identity sends Gene and Frog (Smiley Burnette), two down-and-out ex-rodeo stars, on a rip-roaring, cross-country trek as they help a little boy evade the gangsters responsible for the false imprisonment of his father. This “road picture,” originally released in 1940, features Duncan Renaldo, TV’s popular Cisco Kid, and counts “A Song at Sunset” among its classic tunes.
Melody Ranch (1940)
Lawlessness runs rampant in Gene’s hometown of Torpedo until the movie and radio cowboy returns as Honorary Sheriff for a Frontier Days celebration and cleans up the town. Showcasing classics like “We Never Dream the Same Dream Twice” and its title song, and featuring Jimmy Durante and Ann Miller, this musical was Gene’s biggest theatrical production when it was released November 15, 1940. Melody Ranch was selected by the Library of Congress for the National Film Registry in 2002.
The Strawberry Roan (1948)
In Gene Autry’s first color picture, Champion stars in the title role as a wild stallion who becomes a legend of the West. More exciting than any manhunt is the furious pursuit of an outlaw stallion, branded a killer, and the two-fisted cowboy who fights off a gun-crazed posse to win justice for the noble animal. Filmed in vibrantly hued Cinecolor against the beauty of Arizona landscapes, The Strawberry Roan combines thrill-filled action with a tender story of loyalty and includes five great Western songs, including the title song and “The Angel Song.”
Blue Canadian Rockies (1952)
Gene Autry and Champion crash through a maze of murder and mayhem on a dude ranch deep in the heart of the tall timber country. Montana rancher Cyrus Higbee sends Gene, his foreman, to Canada to stop the marriage of his daughter Sandra to Todd Markley, whom he suspects is a fortune hunter. Gene soon discovers that Sandra has turned the place into a dude ranch with entertainers Carolina Cotton and the Cass County Boys. When a mountie is murdered and lumberjacks threaten to take over, Gene and Pat Buttram must find the real murderer and bring peace to the Blue Canadian Rockies. Features the title song and the humorous tune “Mama Don’t Like Music.”
Available June 1, 2020
Public Cowboy No. 1 (1937)
Gene Autry’s tried and true crime fighting methods are put to the test when cattle rustlers employ modern technology – including refrigerated trucks, planes and two-way radios – in Public Cowboy No. 1. Things get worse when the local newspaper gal’s scathing editorials bash Gene’s old-fashioned methods and demand the locals call in “progressive” big city detectives. It’s up to Gene and his horse Champion, along with pal Frog Millhouse, to prove that the Western straight-shooting methods of dealing with crime still hold true! Features the classic tune “The West Ain’t What It Used to Be.”
In Old Monterey (1939)
Sergeant Gene Autry, formerly a rancher, pretends to quit the Army to persuade stubborn farmers to sell their land for a military proving ground. Gene soon discovers that unscrupulous mine owners are keeping the ranchers stirred up in hopes that the government will grow weary of the dealings and pay a higher price for their land. Smiley Burnette and June Storey join Gene in this wartime Western. Features the classic song “Tumbling Tumbleweeds.”
Rovin’ Tumbleweeds (1939)
Rancher Autry takes a job singing on the radio to aid farmers and ranchers whose lands were destroyed by raging floods. Blaming crooked politicians, he goes to Washington and tries to put through a flood control bill and finds he has a lot to learn. In this classic release, Gene introduces his immortal theme song,“Back in the Saddle Again,” which has gone on to become a piece of American history.
Ridin’ On A Rainbow (1941)
Assisting in the search for murderous bank robbers, rancher Gene Autry goes undercover as a showboat entertainer to capture the crooks and recover the money. Key to their investigation is the young singer Patsy, played by Mary Lee. Action-packed from ship to shore, the film’s showstopping musical numbers include Gene’s performance of “Be Honest with Me,” nominated for an Academy Award® for Best Song of 1941.
Sioux City Sue (1946)
Gene trades in his wings for a pair of spurs in his first movie after returning from World War II. To get his ranch out of dire financial straits, Gene reluctantly goes to Hollywood to make a movie. But his real troubles begin on his return when everyone finds out he’s the voice of Ding Dong the animated singing donkey, and his nemesis tries to drive him to ruin. Released November 21, 1946, this classic features Sterling Holloway and the hit “Oklahoma Hills.”

 

More information on Shout! Factory TV’s upcoming Gene Autry presentations is available online along with all of the latest Shout! Factory news at:

 

Website: http://www.shoutfactory.com

Facebook: http://www.facebook.com/shoutfactoryofficial

Twitter: http://twitter.com/ShoutFactory

 

More information on all things Gene Autry is available online at:

 

Website: http://www.GeneAutry.com

Facebook: http://www.facebook.com/GeneAutryOfficial

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

MVD Entertainment Group Announces Release Date, Specs For New Laurel & Hardy Collection

Courtesy: MVD Entertainment Group

MVD Entertainment Group will resurrect the classic comedy films and Stan Laurel and Oliver Hardy this summer.

Laurel & HardyThe Definitive Restorations is scheduled for release June 16.  The collection’s release will feature the duo’s classic comedy shorts presented for the first time ever in 2K and 4K restorations from the films’ 35mm originals.  It will feature shorts, such as “Me and My Pal,” “County Hospital” and “Come Clean” as well as the debut of Laurel & Hardy’s 1927 silent “pie fight” film from the short “Battle of the Century” and the only Laurel & Hardy blooper reel.

Adding to the viewing experience is eight hours of bonus content, such as rare photos and studio documents, interviews with those who worked with Laurel & Hardy and original music tracks and trailers, plus the full restoration of one of Laurel & Hardy’s surviving color films, The Tree In A Test Tube.

Commentaries from Laurel & Hardy historian Randy Skretvedt and Richard W. Bann are also featured as part of the collection’s extensive bonus content.  The restorations were made by possible by Jeff Joseph and SabuCat in conjunction with UCLA Film & Television Archive and the Library of Congress.

More information on this and other titles from MVD Entertainment Group is available online at:

 

Website: http://mvdentertainment.com

Facebook: http://www.facebook.com/MVDEntertainmentGroup

Twitter: http://twitter.com/mvdentgroup

 

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Eagle Rock Entertainment Debuts New Trailer For New Ella Fitzgerald Documentary

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment released the first new trailer this week, for its forthcoming documentary, Ella FitzgeraldJust One Of Those Things.

The new trailer, released Wednesday, features clips of Fitzgerald performing with Duke Ellington and his orchestra, new interview footage with the likes of Tony Bennett and Jamie Cullum.

The 90-second trailer also features vintage photos of Fitzgerald from early in her career and even footage of interviews that Fitzgerald herself conducted on television.

The trailer is streaming here.  Eagle Rock unveiled a clip from the documentary last month, that featured discussions on Fitzgerald’s time on the road with Chick Webb and his orchestra.  It is available to watch here.

Ella FitzgeraldJust One Of Those Things is scheduled to make its theatrical debut April 3 in select theaters nationwide.  Award-winning director Leslie Woodhead helmed the project, and Reggie Nadelson produced the presentation.

Just One Of Those Things follows Fitzgerald on and off the stage, showing how she used her musical talents and her intelligence to break down barriers and overcome great odds throughout the course of her life.  It features never-before-seen footage of interviews with Smokey Robinson, Tony Bennett, Johnny Mathis, Norma Miller and Ray Brown Jr., Ella’s son. along with many other famous figures.

Fitzgerald lost her mother when she [Fitzgerald] was 15 years old.  From there, she also endured mistreatment in reform schools.  in 1934, her life took a turn that would set her on the path of success from then on, winning a contest at the famed Apollo Theater.  She would eventually go on to work with jazz greats, such as Dizzy Gillespie, Frank Sinatra, Louis Armstrong and Benny Goodman.

While she had great success on stage, Fitzgerald was very different off-stage, wanting privacy for herself and her family.  Audiences will see that dichotomy throughout the course of this new documentary.

Fitzgerald earned a number of accolades during the course of her career. Among those honors were 13 Grammy awards, record sales exceeding 40 million records and an NAACP Equal Justice Award. She also received the American Black Achievement Award.

More information on Eagle Rock Entertainment’s new Ella Fitzgerald documentary is available online at:

 

Websitehttp://www.ellafitzgeraldmovie.com

Facebookhttp://www.facebook.com/EllaFitzgerald

Twitterhttp://twitter.com/ellafitzgerald

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.