Category: DVD/BLU-RAY

There's a reason why Martin Short is largely considered to be a comedic genius. Through his television work on "SCTV" and "Primetime Glick," supporting roles in films such as "The Big Picture," "Father of the Bride," and "Three Amigos," Broadway productions, and numerous talk show appearances, Short has displayed a sharp wit, endless supply of energy, and a rascally spirit. However, translating that delightful impishness to starring roles has proven difficult for the actor, who's been primarily stuck in unimaginative duds like "Pure Luck," "Captain Ron," and "Three Fugitives." Outside of 1987's "Innerspace" (a wonderful picture), Short hasn't found his niche when it comes to toplining major movies. 1997's "A Simple Wish" is another misfire for the funny man, although the premise provides more than a few opportunities for Short to shine. Instead, he appears handcuffed by the production, forced to work through habitual acts of physical comedy to compete with crude CGI and an aggressive cartoon vibe director Michael Ritchie (who passed away in 2001, making this his final feature) seems intent on selling as loudly as possible. Read the rest at Blu-ray.com

Period pieces are all the rage these days, thanks to the success of "Downton Abbey," yet "The Making of a Lady" offers a slight deviation from the tea-and-dismissal routine. It's a thriller, based on the novel by Frances Hodgson Burnett, hoping to lure viewers in with a portrait of romance before it turns into a semi-horror effort. The intent of the production is clear, but the execution is hopelessly mangled, leaving a picture that commences with dignity and concludes as an absolute mess. Read the rest at Blu-ray.com

"Murder on the Home Front" appears to be a pilot of some sort, establishing the daily activities of forensic scientist Lennox Collins (Patrick Kennedy) and his assistant, former journalist Molly Cooper (Tamzin Merchant). For this program, the pair work diligently to locate a serial killer stalking the single women of London during The Blitz, and while "Murder on the Home Front" is a 90-minute-long show, it could easily feed into a weekly series, following the duo as they carefully gather cues during the early years of scientific study, with the "C.S.I." template happily pinched, refreshing the business of crime scene examination. Read the rest at Blu-ray.com

Most television programs take a few years before they begin messing with a good thing. "The Bletchley Circle" boldly shakes up the formula in its second season. The changes are a gamble, some of it perhaps contractually required, and it doesn't represent a positive new direction for the series. The first season of "The Bletchley Circle" was a surprising nail-biter, with a stellar cast and a consistent pulse of suspense that carried from the first episode to the last. The second go-around for the codebreakers and their itchy position in 1950's society has been sliced in two, which ruins any extended run of tension while awkwardly inserting a new cast member into a dynamic that hasn't had time to gel. The show remains intermittently impressive, always boasting top-tier acting, but there's a lack of dramatic consistency as the production tackles two major plots that deserve their own season-long explorations. Read the rest at Blu-ray.com

1972's "Joe Kidd" reads like a dream come true for cineastes. It stars Clint Eastwood and Robert Duvall, it's written by Elmore Leonard, and the director is John Sturges. Heck, if you're a Dick Van Patten fan, his brief supporting turn is merely icing on the cake. The feature boasts an impressive roster of credits, working within a proven genre that plays to everyone's strengths. However, the realization that "Joe Kidd" is a good picture and not a great one is a source of tremendous confusion, with all pistons firing on a project that really doesn't go anywhere in particular, with blurry characterization and the flaccid conclusion weakening a passable take on a manhunt adventure. While its lacks consistency and scope, "Joe Kidd" remains a superbly entertaining effort, offering the patient a few meaty showdowns and a cheeky lead performance from Eastwood, who delivers amusing work as the titular brute, carrying the movie with his proven western poise, while Sturges emphasizes naturalistic grandeur with magnificent Californian locations. Perhaps in filmographies shellacked with greatness, this simple tale remains forgettable, but for those who enjoy gunfights and acts of intimidation, the lean endeavor offers the goods with conviction. Read the rest at Blu-ray.com

In the heart of Ireland lies the Shannon River. Over 200 miles long, the river represents the soul of the country, with its serene beauty, delicate ecosystems, and unflinching patience with the elements. Wildlife cameraman Colin Stafford-Johnson has spent many years studying the Shannon, recording its personality and noting its changes, with "Ireland's Wild River" his valentine to the waterway. Taking a camera crew down the river, Stafford-Johnson curates a look at the seasonal residents and future of the Shannon as he floats downstream, appreciation the view. Read the rest at Blu-ray.com

Man's best friend goes insane in 1976's "Dogs," a rather assertive attempt on part of the producers to cash in on the growing eco-disaster/animal-attack subgenres popular in the decade of disillusionment. That's right, old Spot and Snoopy are the enemy in this feature, which gleefully serves up violence, preying on fears of a domesticated animal uprising where no one is safe from harm. The premise is goofy, but nobody told director Burt Brinckerhoff (a longtime television journeyman) and screenwriter O'Brian Tomalin ("Acapulco Gold") they needed to play the picture tongue-in-cheek. In fact, "Dogs," outside of some obvious touches of camp, plays out with refreshing severity, watching the cast maintain straight faces as they engage in battle with neighborhood pooches. Extremely entertaining when it isn't tying its shoelaces together with laborious scientific exposition, the movie delivers exactly what the title promises, organizing stalking sequences and kills that highlight the four-legged co-stars and their insatiable appetite for human blood. Read the rest at Blu-ray.com

The Chipmunks today are not The Chipmunks of yesteryear. There was once a time when the characters weren't completely disagreeable, armed with fecal matter jokes and voiced by Justin Long. There were two previous phases of Chipmunk rule, the first beginning in the late 1950s, which gave birth to the omnipresent holiday tune, "The Chipmunk Song," and the program, "The Alvin Show." The second phase commenced in the 1980s, where the titular group returned to television with a distinct MTV inspiration, riding a pop wave of hits to the delight of Saturday morning cartoon warriors everywhere. Midway through the run, 1987's "The Chipmunk Adventure" was issued to multiplexes, hoping to cash in on a theatrical boom triggered by the surprising success of 1985's "The Care Bear Movie," which managed to out-gross Disney's sure thing, "The Black Cauldron." Suddenly, Alvin, Simon, and Theodore were prepped for big screen stardom, and while the effort didn't take as expected, "The Chipmunk Adventure" eventually acquired a considerable following through cable and television showings, finding the fanbase on a more intimate level. Read the rest at Blu-ray.com

I'm beginning to understand what inspired David Lynch to start directing films. 1963's "L'immortelle" exists in a dreamscape, or perhaps a nightmare, or perhaps it's all set in a level of purgatory. Famed French New Wave architect Alain Robbe-Grillet isn't in the mood to provide answers with his directorial debut. He's mounted an avant-garde ode to the minutiae of loss and psychological disorder, setting this often indescribable tale in Istanbul, where the lead character and the viewer are strangers in a strange land, unable to decode the local language and decipher the landscapes. "L'immortelle" isn't an approachable picture by any means, instead marching forward as an exercise in cinematic form. Read the rest at Blu-ray.com

In the vast collection of Italian crime sagas, perhaps 1976's "Meet Him and Die" wouldn't rate very high on the quality scale. The story isn't energizing, with a blur of names and motivations competing for director Franco Prosperi's attention, and the resolution leaves much to be desired, electing for a blunt conclusion that doesn't retain its intended sting. However, looking past the picture's obvious shortcomings, and there's an entertaining tale of revenge to embrace, with heated performances and daredevil stunt work to wow viewers. "Meet Him and Die" gradually builds into an engaging underworld adventure, complete with double-crosses and near-misses, but its interests remain with visceral events, as Prosperi has a fondness for the physical stuff. Well paced and surprisingly scrappy, the feature contributes to the funky subgenre with a healthy dose of action, aggression, and a few gulps of the old J&B. Read the rest at Blu-ray.com

When Lloyd Kaufman gets around to making a movie, he doesn't mess around. The co-founder of Troma Entertainment, Kaufman returns to directorial duties with "Return to Nuke 'Em High: Volume 1," a reboot of the cult splatter series from the 1980s and '90s. Opening with narration by Stan Lee, a starring credit for "Kevin the Wonder Duck," and seasoning the agony early with a scene of penile dismemberment and full-body melt, the feature doesn't waste any time trying to become the zaniest, goriest, more offensive picture of the year. Mission accomplished, but with Troma, a little ugliness goes a long way, and while "Return to Nuke 'Em High" retains a certain B-movie moxie, its chaotic nature fatigues the film long before it reaches its non-conclusion. Points to Kaufman for the hurricane of sick ideas, but would it kill Troma to show a little patience? Read the rest at Blu-ray.com

1968's "The Swimmer" is a dream and a nightmare rolled into a deceptively simple mission of memory evasion. It's a strange picture, but engrossingly so, taking the viewer on a journey of self-delusion and nostalgia that gradually exposes a richly tortured main character as he attempts to immerse himself in a life that's no longer available to him. Strikingly made and outstandingly performed by Burt Lancaster, "The Swimmer" (directed by Frank Perry and scripted by Eleanor Perry) deftly combines disturbing realities with the romance of fantasy, constructing a riveting psychological portrait of a man set loose in his own playground of emotional fragmentation. Beautifully shot and executed, the effort is generous with disturbing, puzzling behavior, yet wise enough to provide clear clues to aid interpretation. Read the rest at Blu-ray.com

"The Flesh and Blood Show" opens with a shot of blood pouring down a pier pillar, setting a macabre mood for all the evildoing to come. It's a fantastic way to kick off the picture. Cruelly, it's the first and last bit of nasty business to cause a scene in the movie. A 1972 effort from director Pete Walker, "The Flesh and Blood Show" doesn't even seem particularly interested in scaring its audience, instead offering a mix of titillation and flaccid dramatics to fill the run time, while suspense is nonexistent, featuring extended sequences of horror that aren't the least bit frightening. Although the collision of egos, nudity, and infighting certainly has promise, it remains unfulfilled in Walker's feature, which is so glacial and mild, it's a wonder what the production was actually trying to achieve with its emphasized but underutilized genre elements. Read the rest at Blu-ray.com

"Frightmare" represents my official introduction to the filmography of Pete Walker. A British director who specialized in low-budget horror features, Walker made a name for himself with efficient chillers and scrappy visions of brutality, with efforts such as "Schizo," "House of Whipcord," and "The Comeback" earning the respect of cult audiences who live their lives to make such discoveries. 1974's "Frightmare" is perhaps his most admired production, if only because it caused quite a stir during its initial theatrical release, upsetting critics at the time with its X-rated vision of cannibalism and murder, while offering a provocative condemnation of criminal rehabilitation services. In 2014, it's difficult to understand why such a fuss was raised, with the genre now exposing every perversion and evil known to man, but what remains under the aged layers of condemnation is a crafty chiller, wonderfully performed and executed with a refreshing grimness. "Frightmare" has its share of ugliness, but it's also considered work from Walker, who isn't merely out to sicken, but haunt his audience with this effective picture. Read the rest at Blu-ray.com

When it finally saw a wide release in January 1992, "Fried Green Tomatoes" shocked Hollywood with its box office staying power, ending up with grosses nobody could've predicted. Finding its audience at the right time, it's easy to spot why the film connected in a big way. With characters worthy of emotional investment, sassy humor, and a female perspective rarely viewed in such a frank manner, "Fried Green Tomatoes" is a full course cinematic meal, retaining its literary origins with ideal confidence. Quibbles aside, it's a well-told tale with unexpectedly secure performances, also retaining a nice edge that helps to dial down the potential for syrup. After all, it's not every day that one encounters a sensitive tale of sisterhood that also contains an element of cannibalism. For that alone, the movie deserves respect. Read the rest at Blu-ray.com

Although other films have made the attempt to master the same moves as epic cinema of old, 1992's "Far and Away" was perhaps the last effort to come the closest to a David Lean-style spectacle without employing sizable help from CGI. Director Ron Howard's throwback feature doesn't achieve iconic status, but it's fine entertainment overall, exploring a classic tale of immigration and desire, set against the backdrop of the American Dream. Even with a few hiccups in storytelling, the production satisfies a sizable amount of its goals, hitting beats of romance and tragedy while stars Tom Cruise and Nicole Kidman bring reassuring star power to the picture, allowing Howard to find his sense of sweep as the movie makes its way to a wonderfully widescreen conclusion. Read the rest at Blu-ray.com

Stories rarely come more uncomfortable than "Mysterious Skin." Not only is the film's sexuality bluntly displayed, but the tale concerns molestation and abandonment, detailed in a graphic manner that requires viewers to place their trust in the hands of writer/director Gregg Araki. A helmer not known for his sense of good taste, Araki plays this 2004 effort carefully, aware of the tonal tightrope walk the material demands as it visits places of deep-seated despair and lifelong confusion. "Mysterious Skin" contains a few flat notes of community participation, but Araki locates all the necessary surges of hopelessness and misguided desire, ending victorious in his quest to adapt Scott Heim's provocative novel. Read the rest at Blu-ray.com

The Vietnamese production, "Sword of the Assassin" (released as "Blood Letter" in its homeland), is reportedly one of the country's most expensive movies. Budgetary might shows throughout the picture, which submits elaborate costuming, a wide range of locations, and wire-intensive martial arts sequences, supporting an epic tale of destiny and revenge. The feature also represents a flirtation with the wuxia genre, bringing that bag of tricks to a national film scene that hasn't had the practice. Uncertainty comes across clearly during the effort's more elaborate moments of violent engagement and escape, but what's more troubling is the tangled plot, which seems to go out of its way to provide names and motivations without making secure introductions first. There's plenty of narrative business to sort through, but the dramatic claustrophobia does little to dilute the sheer beauty of the film, making "Sword of the Assassin" a feast for the eyes with its dazzling colors, far off locations, and vivid costuming. Just make sure you have a pen and a pad handy to keep characterizations in check. Read the rest at Blu-ray.com

I recognize and respect the movie's position in the exploitation hall of fame, but let's not kid ourselves here: "Snuff" is a terrible motion picture. More of a triumph of provocative marketing than a coherent feature, this 1976 endeavor is all about shock value, attempting to work itself under the skin of the viewer with a parade of macabre events and displays of gore, with the very act of anticipation the key to the horror here, not anything actually contained in the effort. Bizarre, deathly dull, and distinctly amateurish, "Snuff" is best left as a ridiculous urban legend, as any exposure to a mere minute of this punch-drunk picture diminishes its power as a nightmare machine using the tease of genuine murder as a way to attract the curious and dubious. Read the rest at Blu-ray.com

Count Dracula is often mentioned as Christopher Lee's most iconic character, with the actor playing the famous bloodsucker in nine different movies over the course of his career. With such immediate popularity, triggered by the 1958 release of "Dracula" (co-starring Peter Cushing), it seems odd that Hammer Films waited eight years to mount a follow-up with the actor, finally arriving at a point of cinematic resurrection with 1966's "Dracula: Prince of Darkness," only to rob the monster of all his lines and delay his introduction to comedic degree. Despite its routine dramatic interests and habitual need to postpone the inevitable, "Prince of Darkness" has enough proper Hammer Horror elements to engage, gifting the viewer the titular ghoul, a creepy castle located in the middle of nowhere, and a cast of innocents who boldly step into the line of fire, completely ignoring repeated pleas for vigilance. It's almost enough to fuel an effort that practically refuses access to its most interesting screen element. Read the rest at Blu-ray.com