Category: DVD/BLU-RAY

Baseball is a game of patience and timing, but it's also a test of power. "Fastball" is a documentary about the titular pitching style, with director Jonathan Hock exploring the history of sporting velocity, attempting to summarize a century-long obsession with speed. Gathering famous player, scientists, and fans (and bringing in Kevin Costner to provide narration), Hock reflects on the particulars of pitchers, their philosophies and training, while inspecting the pursuit of the "world's hardest thrower," breaking down the fastball into segments for study. Read the rest at Blu-ray.com

Throughout the 1950s, paranoia cinema reigned, though most threats emerged from the sky or from beneath the earth. In 1953's "The Magnetic Monster," the villain is radioactivity, though represented here as a growing physical threat capable of destroying the planet through sheer size. It's cinema science executed with complete commitment by the production, joining 1954's "Gog" and "Riders to the Stars" as a trilogy of terror that plays liberally with facts and figures to manufacture horrors the audience isn't prepared to understand. Read the rest at Blu-ray.com

Before "Platoon" found enough political distance to explore the Vietnam War, resulting in a critical and commercial triumph, other productions made a similar, less funereal attempts to address the futility of the conflict. 1978's "Go Tell the Spartans" was perhaps a victim of bad timing, finding a limited audience during its theatrical release, but the clarity of its message and overall emotional authenticity is as powerful as a best Vietnam dissections, only hampered by a limited budget, which prevents the picture from achieving a truly cinematic viewing experience. Read the rest at Blu-ray.com

Producer Roger Corman has spent his career paying tribute to the works of author Edgar Allan Poe, most notably masterminding pictures such as "The Masque of Red Death" and "House of Usher." In 1990, Corman returned to Poe's creative playground with "The Haunting of Morella," tasking co-writer/director Jim Wynorski to come up with a sexually charged take on witchcraft and period passions, making sure to remain within strict budgetary limits. Big on nudity and light on thrills, "The Haunting of Morella" isn't a premiere Poe/Corman pairing (the material was previously covered in "Tales of Terror"), but when the film finally begins to issue macabre highlights, it finds its B-movie footing. Read the rest at Blu-ray.com

1973's "Crimson" offers dim-bulb criminals, shoot-outs, sex, police chases, mad scientists, and a human head transplant, and yet, somehow, the production makes the macabre and the absurd feel like punishment. Frightfully dull work from director Juan Fortuny, "Crimson" has a strange way of ignoring the possibilities of its premise, using copious amounts of exposition and vague depictions of sleaze to slowly put viewers to sleep. Handed a chance to make a weirdo thriller that touches on medical impossibility, and Fortuny chooses to make a crime picture that's so inert, it's a wonder why the story even bothers with such an outlandish plot to begin with. Read the rest at Blu-ray.com

Emerging from the success of 1969's "Butch Cassidy and the Sundance Kid," 1971's "Something Big" aims to sustain the freewheeling good times with another folksy western, this time pitting Dean Martin against Brian Keith. "Something Big" (which could inspire a drinking game, finding characters working the title into dialogue any chance they get) isn't a dynamic production from director Andrew V. McLaglen ("The Wild Geese"), but it gets the job done thanks to the charms of the cast and its askew sense of frontier priority. The screenplay by James Lee Barrett isn't always interested in Gatling gun action and chases, but pursues a lightly romantic tone as female characters become treasures to cowboys and military men, with the adventure straddling the border between America and Mexico. Read the rest at Blu-ray.com

1975's "The Land That Time Forgot" proved to be a hit with audiences, playing into the decade's fascination with the work of author Edgar Rice Burroughs, who provided inspiration for the big screen adventure with his 1924 novel. A sequel arrived two years later, also adapting Burroughs's work, with returning director Kevin Connor continuing his study of the forgotten land Caprona, reuniting with the sub-continent's population of dinosaurs and assorted native cultures. "The People That Time Forgot" sticks closely to what "Land" began, laboring to bring a special effects-intensive extravaganza to the masses, resulting in an offering of classic moviemaking craftsmanship during a year where "Star Wars" emerged to change the industry forever. "The People That Time Forgot" isn't successful as a roller coaster ride, but it retains thespian charm and touchable textures on its creatures, remaining a mild distraction with occasional surges in excitement, providing a natural extension of strange encounters with a little less budget to work with. Read the rest at Blu-ray.com

Sometimes, actors join a project to fulfill creative desires, drawn to material that offers newfound areas of dramatic expression, challenging them to reach beyond their capabilities and establish new career achievements. Other times, actors just want a free vacation. I believe the latter was the primary motivation for the cast of "Killer Force" (titled "The Diamond Mercenaries" on the disc), sending famous performers to the arid wilds of South Africa, spending their days rolling around in the sand, shooting guns, making out with Maud Adams, and blowing up various vehicles. Not that there's anything wrong with a chance to visit a corner of the globe, but "Killer Force" could've used more narrative emphasis when constructing its tale of a heist gone wrong. Visually, it's a stunning picture, taking advantage of its unique locations, which provide a wide playing field for criminal activities, but storywise, the effort is missing some snap with its twists and turns, in need of more combustible events to ornament this agreeable but unremarkable thriller. Read the rest at Blu-ray.com

I don't think director Jim Wynorksi has ever turned down a job, managing to build a career on blind script selection, finding hope with the bleakest of productions. He's a B-movie craftsman, and one with plenty of experience with exploitation, credited on such titles such as "Not of this Earth," "Deathstalker II," "Chopping Mall," and "The Bare Wench Project." Give the man lunch money, naked actors, and the opportunity to spill a little fake blood, and he's capable of creating a certain type of bottom-shelf magic. 1995's "Sorceress" (titled "Temptress" on the Blu-ray) isn't a raging effort of pure cinema, but as sleaze goes, it has its moments, most of them manufactured by Wynorski and his indefatigable interest in bedroom antics, seasoned here with bits of witchcraft. "Sorceress" doesn't make complete sense, and its handle on refined filmmaking elements is tenuous at best, but for those looking for cheap thrills and a weirdly calming viewing experience, Wynorksi delivers here, wisely showing more interest in sexual gamesmanship than suspense, as the feature is much too silly to support the weight of proper screen mayhem. Read the rest at Blu-ray.com

"Arabian Nights" is not something to be approach casually. Director Miguel Gomes takes on an incredibly ambitious project with this extended vision of Portugal woes (broken down into three chapters: "The Restless One," "The Desolate One," "The Enchanted One"), demanding over six hours of screen time to work out his vision for storytelling and symbolism. It's a huge undertaking, reserved for those who appreciate cinematic artistry, world culture, and have the patience to deal with a filmmaker who indulges himself in full, often for little payoff. Read the rest at Blu-ray.com

"The Chase" commences like most film noirs, setting up a dangerous game between shadowy men, with the charms of a woman wreaking havoc with several lives. The 1946 picture has passable style and an interest in storytelling peculiarity, adapting Cornell Woolrich's challenging novel for the screen. Director Arthur Ripley has ideas for "The Chase," but little interest in cranking up the cheap thrills of this frequently absurd thriller. Read the rest at Blu-ray.com

Nearly a century after his short film debut, the scope of Buster Keaton's early career is finally being explored in full. "Buster Keaton: The Shorts Collection (1917-1923)" builds on a previous 2011 Blu-ray release, adding new titles to the years when Keaton joined comedian Roscoe "Fatty" Arbuckle on the screen, establishing his brand of poker-face reactions and physical humor before striking out on his own. It's an odyssey that samples genres and ambition, but always delivers Keaton's special touch with two-reeler cinematic pursuits, honing skills that would later be exploited to perfection in his feature-length movie career. Included here are 33 shorts, lovingly restored by the team at Lobster Films, who do their best to preserve Keaton's legacy despite working with scattered source material. Read the rest at Blu-ray.com

After experimenting with more narrative-driven sexploitation in "For Men Only," writer/director Pete Walker graduates to feature-length naughtiness with 1969's "School for Sex," expanding his creative interests and run time, providing more opportunity for nudity and silliness. "School for Sex" is barely a movie, but it does actually live up to its promise of bawdy behavior, though Walker doesn't seem particularly aware that most viewers aren't watching the picture for its comedic value. Read the rest at Blu-ray.com

Making a career leap from nude 8mm loops to material fit for theatrical distribution, writer/director Pete Walker retains his sexploitation style for 1968's "For Men Only," which looks to merge some rather unadventurous ogling with mild comedy antics — think "Benny Hill," but without the cheeky spirit. "For Men Only" isn't aggressive or inventive in any way, with Walker somehow masterminding smut that one could watch with a grandparent and not feel weird about it. Read the rest at Blu-ray.com

Between work on "Little Big Man" and "Straw Dogs," Dustin Hoffman made time to star in 1971's "Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me?" A forgotten entry in the star's colorful filmography, the feature breaks up Hoffman's run of successes, watching the restless thespian climb into an indulgent, unbearable mess of a movie, trying to win audiences over with his commitment to character. "Harry Kellerman" is borderline unwatchable to anyone with limited interest in countercultural cinema, with its experimental interests and stream-of-consciousness storytelling reserved strictly for those who know what they're getting into. Read the rest at Blu-ray.com

After finding success with a nightclub act devoted to the rhyming style of the character Dolemite, comedian Rudy Ray Moore collected his earnings and decided to try his luck with a feature, self-financing an action extravaganza that combines the actor's love for sex, martial arts, and performance. By any standards, 1975's "Dolemite" is a poorly constructed film, frequently exposing technical mishaps, thespian limitations, and editorial indifference, walking and talking like a particularly inept home movie. And yet, the power of Moore is a special thing, securing his strange sense of humor through sheer force, finding a way to overcome the effort's mistakes and deliver a rousing, exceedingly bizarre take on urban authority. Armed with dead-eyed bravado, non sequiturs, and sheer volume, Moore is the reason to remain invested in "Dolemite," which provides the blaxploitation tradition with a much-needed shot of endearing ridiculousness, finding Moore committing to every moment of this outrageous picture. Read the rest at Blu-ray.com

I'm not sure how much cocaine was snorted and acid was dropped during the production of 1968's "Candy," but it wasn't nearly enough. A psychedelic journey into amorous encounters and farcical adventures, "Candy" is meant to represent the shifting creative interests of the time, taking a freewheeling look at sex and control, with a screenplay by Buck Henry trying to make sense of a novel by Terry Southern and Mason Hoffenberg. It's loud, wild, and carefree movie, and it's an absolute mess that mistakes length for importance. "Candy" is difficult to digest, more appealing as a road map of bad ideas than the mind-bomb experience director Christian Marquand intends to create. Read the rest at Blu-ray.com

1985's "Trashy Lady" is a rather extravagant adult cinema effort from director Steve Scott, who looks to celebrate the traditions of the gangster genre from the 1930s, assembling a highlight reel of dangerous encounters that typically end in sexual gratification. The basics in seduction and temptation are covered, but there's more concentration on glamour and role-playing to give "Trashy Lady" a decidedly filmic presence. It's a bit too loose from a narrative standpoint, but creative achievements are numerous here, offering more to the viewer than the essentials in hardcore entertainment. Read the rest at Blu-ray.com

1956's "A Kiss Before Dying" is an oddly managed movie. A suspense picture with macabre twists, the effort only really comes alive when it locks on to evildoing, suddenly inspired to crank up thrills and chills in a manner that's supremely effective. And yet, these peaks of tension are few and far between, with director Gerd Oswald almost going out of his way to keep the rest of "A Kiss Before Dying" (adapted from a novel by Ira Levin) as still as possible, refusing to reach the potential of the piece. Read the rest at Blu-ray.com

1976 was a big year for young actress Jodie Foster. Making a major leap to starring roles, Foster appeared in "Taxi Driver," "Bugsy Malone," and "Freaky Friday," solidifying her skill with comedy and drama, but also pushing Foster to play adult roles as a child, selecting projects that knew what to do with her unnerving maturity. "The Little Girl Who Lives Down the Lane" is perhaps the least known of the group, but it represents Foster's strongest work, tasked with portraying a troubled adolescent working to wave off attention on her troubling deeds, encountering true disease during a particularly eventful winter. "Down the Lane" is engrossing and unsettling, with director Nicolas Gessner unafraid to take the tale to dark places, mixing up suspense through subtle acts of predatory behavior. It's strange but effective movie, yet Foster is the reason to remain with it, finding a role that makes the most of her skill and impressive presence. Read the rest at Blu-ray.com