Category: DVD/BLU-RAY

Pee-wee Herman was becoming a big deal for actor Paul Reubens in the 1980s. He scored attention with the creation, and success when generating a stage show for the nerdly character, earning spots on late night television and the attention of Hollywood producers. In 1985, “Pee-wee’s Big Adventure” was the first real nationwide test of the character’s appeal, pairing Reubens (who co-scripts with Phil Hartman and Michael Varhol) with director Tim Burton, a young talent making his feature-length debut with the endeavor. The idea was to take Pee-wee’s strange ways and stick them into a story about an outsider hunting for his stolen bicycle, but something wonderful happened to the project during its creation. Burton and Reubens found a way to take something potentially goofy and turn it into a splendid celebration of cinematic imagination, with visual and performance mischief found everywhere in the endeavor. “Pee-wee’s Big Adventure” is a special film, sharing an exquisite amount of playfulness and low-budget inventiveness during its run time, allowing Burton to run wild with his youthful interpretation of Pee-wee’s bizarre world of panic, road trip connections, and indefatigable determination to right a horrible wrong. Read the rest at Blu-ray.com

Writer/director Joe Begos is a fan of exploitation movies, and he’s been trying to replicate the approach of these films throughout his career. He’s had some visibility with endeavors such as “VFW” and “Christmas Bloody Christmas,” and he goes ultra-independent with “Jimmy and Stiggs,” which was shot inside his own apartment for almost no money, while cast and crew is mostly made up of pals who endured the three-year-long production journey. It’s an alien invasion picture, but certainly not a traditional one, as Begos (who also stars in the film) arranges a splatter-fest with the offering, keeping the tale contained to a single setting, and filling up this place with as much blood and guts as possible. “Jimmy and Stiggs” is a mess in many ways, and while it maintains a defiant attitude and enjoyable technical credits, the viewing experience also feels like a prison sentence at times, as Begos loves extremity and nothing else. Read the rest at Blu-ray.com

In 2009, Emily Hagins was the subject of the documentary, “Zombie Girl: The Movie.” The feature focused on Hagins and her moviemaking dreams, embarking on a mission to create her first project as a 12 year old, finding help from her parents and pals as they attempted to generate a proper horror experience. “Zombie Girl: The Movie” was a delight, and Hagins has seemingly pulled off the impossible, managing to build something of a career as she became an adult, eventually launching three follow-up projects (“My Sucky Teen Romance,” “Grow Up, Tony Phillips,” and “Coin Heist”) and various short films, maintaining some longevity in an industry that’s a true survival challenge. 2023’s “Sorry About the Demon” is Hagins’s fourth offering, and she sticks with her love of genre entertainment, attempting to mount a horror comedy about a twentysomething man and his war with insecurity as he deals with a recent breakup and the reality that he’s sharing a new rental home with a demonic force of doom. “Sorry About the Demon” isn’t ambitious, remaining dialogue-driven and sticking with a single location, and Hagins has some difficulty deciding what kind of movie she wants to make, as the comedy is limp and the scares are nonexistent in this overlong effort. Read the rest at Blu-ray.com

Horror films have a long history of addressing real world problems through the fantasy of fear. “Slapface” takes aim at the issue of bullying, with writer/director Jeremiah Kipp constructing a monster movie that touches on deep psychological situations of abandonment and isolation, following the lead character’s experience with a mysterious entity as he struggles to make sense of grief. “Slapface” is a low-budget production, often fighting against some visual ideas that don’t work, and performances aren’t always where they should be, but Kipp has an idea worth following in the feature, which does an effective job communicating abyssal pain and fear that’s starting to consume young minds, leaving them confused and exposed to an outside evil that works in strange ways. Read the rest at Blu-ray.com

Co-writer/director Tyler Taormina made an impression on indie film audiences with 2019’s “Ham on Rye.” The helmer invested in atmosphere, not storytelling, examining the behaviors and social interactions of teenagers as they prepare for a party. Taormina wasn’t interested in plot, just the vibe, and he returns to the same idea for “Christmas Eve in Miller’s Point,” which takes the “Ham on Rye” concept and transfers it to the holiday season. There’s a family gathering to inspect in the feature, bringing all types of personalities together for a celebratory evening where relationships are revisited and experiences are pursued. “Christmas Eve in Miller’s Point” sustains Taormina’s filmmaking interests in shapelessness, but he’s remarkably observant when it comes to the creation of a reunion event with holiday flair. The picture is practically 3D in the way it captures household bustle and indulgence, creating some superbly vivid moments. Read the rest at Blu-ray.com

The holiday season is meant to inspire warmth and joy, but to horror filmmakers, it’s a ripe opportunity to bring ghoulishness to the screen. 2021’s “The Advent Calendar” is a Belgian production that looks to disrupt the wonders of Christmas by offering a highly bizarre tale of a gift that keeps giving, and in increasingly malicious ways. Writer/director Patrick Ridremont shows some imagination with the picture, examining the tension of a young woman dealing with an unusual German present that takes command of her life, testing her sanity as the countdown to Christmas continues. “The Advent Calendar” is actually more a genie-style examination of wish-granting, following the main character’s journey into a different reality she wants for herself, only to be asked to sacrifice so much to keep it. Ridremont has a strong opening half, tracking the passage of days and the prizes inside the eponymous gift, achieving a strong atmosphere of mystery and menace as the central story develops. The endeavor eventually starts to lose focus in its second half, but there’s enough presented here to deliver on some welcome oddity and intensity as the main character experiences a very special countdown to Christmas. Read the rest at Blu-ray.com

When making a movie about the lives of paramedics, intensity to a point of insanity is always the atmosphere. There’s nothing cozy about the vocation, which demands everything from employees, especially those working in troubled areas of the country. Madness is the journey, but co- writer/director Christopher Leone makes a valiant attempt to find some dark humor in the details of life and death. “Code 3” strives to follow the rocket sled ride of EMS life during a 24-hour-long shift for two veterans and a rookie, sending them around Los Angeles as they encounter people in dire need of medical treatment. Leone and co-writer Patrick Pianezza aim for realism in the work, delivering a disturbing understanding of mental illness and physical damage involved in this world. They also try to keep the feature at least somewhat approachable, giving star Rainn Wilson an opportunity to deliver perhaps the best performance of his career in a supremely challenging role. Read the rest at Blu-ray.com

People love shark attack cinema. Earlier this year, “Dangerous Animals” found release, which attempted to subvert the norm in the subgenre, playing around with human predators instead of strictly oceanic ones. And now Japan tries their luck with horrors from the deep in “Hotspring Sharkattack,” which is about an unserious as a film can get. We’ve done the “Sharknado” thing too many times, but writer/director Morihito Inoue delivers a different kind of wackiness with his presentation of death and destruction. He goes camp, but creatively so in the picture, which examines chaos caused by deadly ancient sharks awakened from the deep due to commercial development, seeking revenge on all for such an offense. “Hotspring Sharkattack” is low-budget and loving it, and while there’s definitely a limit on such exaggeration, Inoue has some imagination for his lunacy, mounting a bizarre and amusing riff on sharksploitation bedlam. Read the rest at Blu-ray.com

As the United States of America prepares to experience its semiquincentennial in 2026, directors Ken Burns, Sarah Botstein, and David Schmidt look to return to the formation of the states in “The American Revolution.” The six-part documentary means to walk viewers through years of conflict, taking the development of war almost one step at a time while examining rising tensions between Colonists and British occupation, creating a path to a prolonged and bloody battle. The production remains in line with previous projects from Burns, electing to pore over the details of the era and its personalities to present a richer understanding of motivations. And without the benefit of film footage and photographs, the series turns to paintings, documents, and brief recreations to best bring viewers into this march of history. “The American Revolution” is a reliable offering of information, tastefully organized as always, but it also aims to be a timely remembrance of sacrifice, betrayals, and various survival challenges, physically, mentally, and politically, putting viewers into contact with the scope of the war and the ragged formation of a nation. Read the rest at Blu-ray.com

The children’s matinee. There was once a time in film exhibition history when theaters actively encouraged attendance from family audiences, luring them in with cheaper tickets and earlier showtimes, supplying a calendar of squeaky clean cinematic entertainment to keep youngsters glued to the screen while parents endured the pictures, slept, or simply allowed their kids to head to the local theater on their own to seek age-appropriate entertainment. These offerings rarely represented the finest projects production companies could create. They were mostly cheapy, short endeavors meant to be paired with cartoons and assorted distractions, delivered to viewers who were simply happy to be out of the house. “Krazee Kidz Video Party” is a collection of obscure efforts aimed at little ones, putting 1957’s “The Big Bad Wolf,” 1965’s “Fun in Balloon Land,” the 1960’s television show “Polly Pockets,” 1963’s “Kingdom of Cracked Mirrors,” and 1965’s “The Princess and the Magic Frog” on a single disc to help relive or revive the experience of surviving colorful, brightly performed, tedious nonsense. It’s a real viewing challenge, but “Krazee Kidz Video Party” is also a terrific reminder of a different time in movie theater patronage. Read the rest at Blu-ray.com

1983’s “Men from the Gutter” is a lot of things. Director Ngai Choi Lam is in charge of keeping an easily distracted screenplay in order, overseeing the development of many subplots and a community of characters, with everyone assigned their own special motivation. The picture is not an epic crime story or even a rousing supercop thriller, often stuck attempting to juggle so much when it comes to characters and their missions of justice and crime. It’s not the most engaging feature around, but the production makes a wise choice to try and add excitement whenever possible, keeping the pace up as chases are periodic and brutality is common, generating some momentum to help the offering when the storytelling gets a little stuck in the murky details of character lives. Read the rest at Blu-ray.com

The massive success of 1982’s “E.T. the Extra-Terrestrial” certainly spawned plenty of copycats, putting producers to work dreaming up stories involving alien visitors and the young humans who love them. Traces of the Spielberg smash can still be found in cinema today, with “Xeno” clearly inspired by the classic film, providing a tale of discovery and bonding with a monstrous creature who’s drawn to the benevolent ways of a teen girl. However, there’s very little that’s cuddly in the feature, as writer/director Matthew Loren Oates aims to push his PG-13 rating with the material, which has its sweet moments, but also a violent side. A little extra intimidation factor helps “Xeno” achieve a different type of atmosphere, which is welcome, and there’s some wonderful technical surprises, as Oates dials down CGI achievements in the movie, turning to the Jim Henson Creature Shop to create the eponymous visitor, giving the endeavor a sense of the real as it deals with fantasy conflicts. Read the rest at Blu-ray.com

Screenwriter Joshua Friedlander has something devious in mind with “Bone Lake,” and perhaps cineastes have seen this type of twisted game before. The picture isn’t really a horror experience until the final act, more closely resembling a riff on Michael Haneke’s “Funny Games” for the majority of the feature, exploring tensions rising between two couples stuck in the same rental house for the weekend. Director Mercedes Bryce Morgan (“Spoonful of Sugar”) creates a good deal of screen tension, working to reinforce various violations of trust and woozy temptations while the writing hopes to pull viewers in closer as things go all kinds of wrong for the characters. “Bone Lake” doesn’t have originality on its side, but there’s some moviemaking hustle to appreciate, as Morgan generates an atmosphere of uneasy interactions and growing paranoia. Read the rest at Blu-ray.com

Body horror pays a visit to couples therapy in “Together,” which is the feature-length filmmaking debut for Michael Shanks. He heads into Cronenberg Country with the endeavor, using the ways of the flesh to explore a corporeal breakdown between two people who’ve stopped communicating with each other, on their way to living separate lives. The universe has other plans, and Shanks labors to create a nightmare to follow on multiple levels of interpretation, spending the first half of the picture creating a successful mystery concerning possible evil and a potential break up. “Together” makes some questionable creative decisions as it hunts for an ending, limiting the lasting impact of its dramatic mission, but the movie remains vivid enough to engage, finding pockets of ugliness to investigate, and the writing has a few things to share about the struggles of cohabitation and partner support. Read the rest at Blu-ray.com

2001’s “Sleepless” is a sign of life in the career of director Dario Argento. Struggling throughout the 1990s to recapture his creative mojo, Argento found something interesting in a giallo that played with scenes of vicious violence and the waning memory of a detective reconnecting with the biggest case of his career after decades away from the clues. Argento seems to understand the stakes of the picture, attempting to use his 1975 shocker “Deep Red” as an influence over the production, even recruiting Goblin to score the endeavor. As with most releases from the helmer, “Sleepless” is odd and a bit unwieldy, but Argento finds inspiration in the material, handling murder sequences with skill. He also has help from star Max von Sydow, who brings a lot of presence and commitment to the effort, helping to boost some dramatic urgency as the tale works around offerings of graphic violence. Read the rest at Blu-ray.com

“Coyotes” is an animal attack picture from director Colin Minihan, who offered impressive genre work in his last two features, “What Keeps You Alive” and “It Stains the Sands Red.” He returns to horror in his latest, with screenwriters Nick Simon and Ted Daggerhart creating a nightmare situation for Los Angeles residents, pitting a collection of characters against the arrival of vicious coyotes who are no longer fearful of humans, determined to rule the neighborhood. It’s not an especially fresh idea (the script even offers a shout-out to Alfred Hitchcock’s “The Birds”), and its a surprisingly muted take on terror from the production, which tries to be funny and serious while generally neglecting to create a fear factor from the premise. Technical and performance issues also manage to weaken the viewing experience, which only has a few select moments of tension while the rest of the offering seems generally confused about tone and pacing. Read the rest at Blu-ray.com

Described as a “satirical war novel,” author Joseph Heller’s 1961 book, “Catch-22,” initially triggered a race to acquire the movie rights, with producers looking to make something out of the writer’s vision for World War II insanity. Director Mike Nichols eventually claimed the project, building on career momentum provided by the successes of 1966’s “Who’s Afraid of Virginia Woolf?” and 1967’s “The Graduate.” He was the right man for the job, tasked with untangling Heller’s work, bringing in “Graduate” co-writer Buck Henry to make sense of the material and find a cinematic way to explore it. “Catch-22” definitely plays like a difficult book-to-screen adaptation, pushing its way through time and temperament to track the dwindling patience of the main character and his full-body desire to get out of military duty. It’s not an easily classifiable feature, and it’s rarely a consistent endeavor, but there’s a certain darkness here that Nichols captures exceptionally well, best served when he isn’t trying so hard to be humorous. Read the rest at Blu-ray.com

Few people actually saw “This Is Spinal Tap” when it was originally released in 1984. The feature came and went, attracting some positive reviews and cult appreciation, leaving the real exposure of the film to home video and cable airings, where a fanbase developed, while the intimacy of domestic viewings certainly helped to process director Rob Reiner’s clever approach to faux documentary moviemaking. 41 years later, and the picture is a bona fide classic, one of the greatest comedies of all time, and stars Christopher Guest, Michael McKean, and Harry Shearer have certainly kept the brand name alive, releasing albums, making TV specials, and even touring as Spinal Tap, doing an incredibly impressive job extending the illusion with tremendous wit and good-natured fun. And now there’s “Spinal Tap II: The End Continues,” which is an official sequel, bringing Reiner and the guys back to the screen for a fresh round of heavy metal tomfoolery, assembling a valentine to the aging band while putting them through the wringer of comedic misfortune again in this slight but very funny follow-up. Read the rest at Blu-ray.com

Screenwriters Kyle Marvin and Michael Angelo Covino found their way to some notice in 2020’s “The Climb,” where they explored the complications of life and love while following a study of male friendship. The duo returns with “Splitsville,” and they don’t stray far from their dramatic interests, once again inspecting the difficulties of partnerships and connections, this time involving married couples trying to make sense of a newfound curiosity around the ways of open relationships. Marvin and Covino (who also directs) have something slightly wacky in mind for the feature, but they also try to blend in emotionality and perhaps a bit of reality as they construct a semi-farce. “Splitsville” is funny and very strange, following a screenplay that’s attempting to share bizarre behaviors and relationships, out to remain approachable while dealing with thorny issues of jealousy and control. It’s a fascinating tonal tightrope walk at times. Read the rest at Blu-ray.com

After the success of 1982’s “Conan the Barbarian,” plans were quickly put into motion to deliver a sequel and help expand the cinematic potential of writer Robert F. Howard’s literary creations with a spin-off. 1985’s “Ren Sonja” was intended to keep the world of Conan going, but it didn’t find an audience, who were offered a visually striking but largely inert fantasy adventure, while Brigitte Nielsen’s performance as the main character left much to be desired. Talk of returning to Red Sonja has been going on for decades, but now there’s another pass at the character and her violent spirit, with actress Matilda Lutz (“Reptile,” “Magpie”) hired to bring the flame-haired warrior to life for director M.J. Bassett (“Rogue,” “Endangered Species”) and screenwriter Tasha Huo. The new “Red Sonja” has a plan for Hyborian Age action and adventure, but not a lot of resources to pull off the adaptation, which often struggles with low-budget visuals and a few critical miscastings. Read the rest at Blu-ray.com