Category: DVD/BLU-RAY

1990's "Singapore Sling" offers a trip into madness, sold with a noir-ish approach. It's an endeavor from writer/director Nikos Nikolaidis, and his fondness for the extreme and the surreal is fully on display in the movie, which tracks the efforts of a wounded detective hunting for his girlfriend, encountering pure insanity with two women who love to kill and engage in perverse sexual games. "Singapore Sling" is an experience, and clearly aimed at those willing to ride along with Nikolaidis, who has a specific idea for the feature, but seems to enjoy obscuring what viewers are meant to take away from this picture. Read the rest at Blu-ray.com

"Immaculate" is written by Andrew Lobel, and it's his first effort in the world of feature-length filmmaking. He doesn't have many fresh concepts for the picture, but he does have blood and various grotesqueries, also trying to have some fun in the world of "nunsploitation," merging Catholic oppression with something macabre brewing over the run time. Director Michael Mohan ("Save the Date," and the most screencapped movie of 2021, "The Voyeurs") has the job to make a sinister premise come alive, but suspense and frights are basically uninvited to this genre party. Instead of a nail-biter with a palpable sense of evil, "Immaculate" is lethargic and unwilling to put in the work to really rile up viewers with its ideas on religious submission and perversion. Star Sydney Sweeney is little help, unable to bring the thunder in a role that requires a special level of panic she's seemingly incapable of summoning. Read the rest at Blu-ray.com

1985's "Story of a Junkie" welcomes viewers to Hell, or at least a decent replication of it, found in New York City's Lower East Side during the early 1980s. Director Lech Kowalski goes the cinema verite route for the endeavor, which presents the experiences and thoughts of John Spacely, a drug addict working the routine of his life in an especially rough neighborhood. The helmer creates a spare, unflinching look at this daily struggle, but "Story of a Junkie" doesn't seek to help Spacely, simply generating a dramatic space for him to exist in. It's a picture of thoughts and addictions, and while it tends to get a little lost in occasional ramblings, Kowalski captures a time and place with authority, displaying misery for all to see. Read the rest at Blu-ray.com

The saga of Bob and Harvey Weinstein is one filled with ugliness, with the pair employing strong-arm tactics to help dominate the film industry. For a while in the 1990s and the early 2000s, it worked, with the siblings managing to build their company, Miramax, into a major player during awards season and on weekly box office charts. Part of this corporate approach involved the acquisition and alteration of genre pictures, with Bob's Dimension Films notorious for re-editing features, reducing length and occasionally softening violence, allowing the company to sell PG-13 experiences to young audiences. 2002's "Darkness" is one of many efforts subjected to the Weinstein treatment, with the Spanish production shelved for two years, eventually handed a quickie Christmas release in a version roughly 15 minutes shorter than its original cut. At the time, "Darkness" was awful, finding director Jaume Balaguero's trendy visuals and inability to summon suspense making for a hard sit. Now his initial version is available (including this Blu-ray release), and the offering is…slightly less awful. That's not to suggest the Weinsteins were correct in cutting down Balaguero's endeavor, but the material and execution are deeply flawed, generating a tedious ghost story. Read the rest at Blu-ray.com

Between 1990 and 1995, filmmaker Larry Wessel toured parts of Los Angeles with a camera. He wasn't hunting for a story, but attempting to capture the experience of the city, away from the glitz and glamour typically associated with Hollywood. "Ultramegalopolis" is a document of this time, offering a wandering, mostly repetitive understanding of the world as it was. Wessel aims to capture experience with the endeavor, and he's successful, but 157 minutes of "Ultramegalopolis" is a lot to ask of viewers, who are treated to a picture that's filled with both interesting and agonizingly dull sequences. Read the rest at Blu-ray.com

Liam Neeson has been making the same type of movie for quite some time now. While box office returns haven't been strong, someone is making money, because the actor keeps finding work with violent entertainment. Neeson doesn't exactly distance himself from the usual with "In the Land of Saints and Sinners," but the feature is a slight break from the norm, reteaming with his "The Marksman" director, Robert Lorenz, for an Irish tale of revenge and protection. "In the Land of Saints and Sinners" handles with pleasing hostility, and the script by Mark Michael McNally and Terry Loane creates dimensional characters to follow, making for a deeper inspection of danger. It's a sharp, involving film, and one of the better Neeson endeavors of the last five years. Read the rest at Blu-ray.com

1989's "Witch Story" brings the ways of Italian genre filmmaking to Florida for a tale of possession and partying. Co-writer/director Alessandro Capone doesn't have much in the way of budgetary power to help the endeavor, and he's not particularly strong with pacing and performance either. "Witch Story" has some bits and pieces of peculiarity to hold attention, but it's not an inspired take on supernatural and satanic happenings. Capone has slasher formula to follow, but suspense isn't invited to the picture, with most of the movie struggling to generate a level of panic the story initially promises. Read the rest at Blu-ray.com

In the great British horror race of the 1960s, Amicus Productions tries their luck with an anthology film, launching 1965's "Dr. Terror's House of Horrors." Director Freddie Francis and screenwriter Milton Subotsky offer five tales of weird happenings involving train passengers getting their first taste of the tarot card experience, launching stories meant to give viewers the chills. An actual fear factor doesn't arrive during "Dr. Terror's House of Horror," but the entertainment value of the endeavor is strong, as Francis oversees a wonderful assortment of actors (including Peter Cushing, Christopher Lee, and Donald Sutherland) who work hard to sell short tales of the unreal and the frightening. And they do so with impressive technical achievements, especially moody cinematography from Alan Hume. Read the rest at Blu-ray.com

1981's "Blonde Ambition" strives to be something more than the average adult film. Actually, carnal activity is quite limited in the feature, with directors John and Lem Amero more interested in making something of a screwball comedy about show business and a jewelry switcheroo, with most of their attention put into the creation of the picture. The heat of "Blonde Ambition" isn't quite there, but there's a lot to like in this movie, which frequently endeavors to best its low-budget limitations with a lively understanding of entertainment business mishaps and New York City activity. Read the rest at Blu-ray.com

1981's "Blonde Ambition" strives to be something more than the average adult film. Actually, carnal activity is quite limited in the feature, with directors John and Lem Amero more interested in making something of a screwball comedy about show business and a jewelry switcheroo, with most of their attention put into the creation of the picture. The heat of "Blonde Ambition" isn't quite there, but there's a lot to like in this movie, which frequently endeavors to best its low-budget limitations with a lively understanding of entertainment business mishaps and New York City activity. Read the rest at Blu-ray.com

As an actor, Klaus Kinski received accolades for his work, using his natural connection to psychological instability to inform his characterizations, often portraying men on the edge of sanity. He passed away in 1991, and with death comes some form of truth, permitting collaborators and family to step forward and detail his vicious, predatory behavior towards others. "Paganini" is Kinski's final film, taking directorial control of the picture, which creates a hazy portrait of the virtuoso violinist's life and obsessions, and it's a weirdly perfect way to sum up Kinski's severity as a man and artist. "Paganini" is a mess and an uncomfortable watch, with Kinski using his position of power to detail the madness of the musician, which extends to a few forms of violence that often don't feel like acting. Kinski tries to get lost in the part, but his own urges often dominate the endeavor, which is more of a vanity project than an honest study of a preternaturally talented and disturbed individual. Read the rest at Blu-ray.com

1976's "Midnight Desires" offers a break from the adult movie norm. Certainly, there's plenty of carnal activity to survey, sold by a troupe of capable actors. However, writer/director Shaun Costello is clearly looking to try something different with the endeavor, which examines a night of gamesmanship and psychoanalysis involving two couples and their strange sense of entertainment. "Midnight Desires" is a bit baffling at times, and perhaps too mean during one sequence, but it's an unusual picture in an industry that's almost entirely consumed with pumping out the same product. Read the rest at Blu-ray.com

David and Nathan Zellner make very peculiar movies. That's what they're known for, trying to bend and twist indie cinema expectations with their oddball takes on genres and performances. Over the last decade, they've made "Kumiko, The Treasure Hunter" and "Damsel," and now they attempt to pull off perhaps their most divisive idea with "Sasquatch Sunset," which is literally 90 minutes of watching a family of creatures navigate the world around them and the storms of behavior within. There is no dialogue, just grunting, and human characters are nowhere to be found, with the siblings concentrating on this semi-remake of "Bambi," only here the seasons change and life goes on for bigfoots on the move in the big, beautiful world. There's no recommending "Sasquatch Sunset," with warnings more appropriate, as the Zellners really go for it here, trying to make something almost absurd with the picture, giving those willing to strap in a ride of strangeness that doesn't come around much these days. Read the rest at Blu-ray.com

As a tale of temptation and survival, "Hansel & Gretel" has been adapted and reimagined countless times since its debut in 1812. The Brother Grimm fairy tale has been transformed into light and dark entertainment, most recently in 2013's "Hansel & Gretel: Witch Hunters," which attempted to turn the storybook siblings into action heroes. For co-writer/director Oz Perkins, the original tale is an ideal fit for his helming interests, giving him another opportunity to explore slow-burn chills, only now he's handed a little more marketplace visibility with "Gretel & Hansel," which delves into Grimm Brother doom, but also keeps up genre trends set by Euro-flavored endeavors such as "The Witch" and "Hereditary." Perkins aims for cinematic creep with the progressively titled "Gretel & Hansel," and he's capable of constructing arresting imagery. It's storytelling stasis that often flattens the viewing experience. Read the rest at Blu-ray.com

1981's "The House Where Death Lives" (a.k.a. "Delusion") is often listed as a slasher film, released during a time when every producer was looking for a way to cash-in on mass interest in horror entertainment. There is a killer on the loose, and characters are dispatched one-by-one, but the screenplay by Jack Viertel isn't fully committed to building a fright factory. He's much more interested in developing a psychological and borderline erotic thriller, toying with the ways of obsession as the lead character experiences a different kind of nightmare. Director Alan Beattie also plays the picture very carefully, concentrating on the development of personalities and relationships before murder business begins. "The House Where Death Lives" is competently made, with appreciable efforts in performance and cinematography, but it's a slow-burn thriller, and it's debatable if it ever really starts moving at all. Read the rest at Blu-ray.com

Wartime secrets are explored in "Brooklyn 45," which offers a single location and a cast of characters for a 90-minute examination of death, patriotism, and xenophobia. A supernatural element is included in the tale, which involves a particularly active séance, but writer/director Ted Geoghegan doesn't make a horror feature, going the psychological route with a real-time journey into suspicion. There's a lot to like about the endeavor, with Geoghegan challenged to create a suspenseful viewing experience while the story remains in one position. There's an interesting examination of World War II and all the pain involved with service and intimidation, which is just beginning to spill into civilian life for the players, and while it seems to be headed in an Agatha Christie-like direction in the opening act, "Brooklyn 45" shies away from mystery elements, as Geoghegan shows more interest in character wear and tear, not the capacity for murder. Read the rest at Blu-ray.com

"One Life" is based on the true story of "Nicky's Children," following the experiences of Nicholas Winton and his efforts to rescue Jewish children from Nazi-occupied Czechoslovakia before the outbreak of World War II. Why this tale may be of some familiarity is due to the spread of a viral video on social media channels, which provided a clip from the British show "That's Life," where the real Nichloas Winton was surprised to find himself sitting in an audience mostly comprised of the now-grown children he helped to save. It's an emotional moment, perfect for bite-sized media consumption, and now it's a feature-length film. Director James Hawes and screenwriters Lucinda Coxon and Nick Drake endeavor to inspect the tale in "One Life," looking to understand what drove Nicholas to commit his life to the quest, and how he deals with memories of the time, caught up in recollections of what occurred and could've been during a grim period in world history. Read the rest at Blu-ray.com

Director Joseph Sarno helped to launch the "Inside" series of movies, with each title exploring the lives and talents of specific adult film stars (e.g. "Inside Seka," "Inside Jennifer Welles"), giving fans extended time with their favorites. Dramatic depth wasn't pursued, but certain offerings went above and beyond, with 1981's "Deep Inside Annie Sprinkle" creating an unusual sense of intimacy between the actress and her fans, with Sprinkle offering biographical details from her upbringing, even encouraging viewers to write her, sharing their fantasies with a screen figure. 1984's "Inside Little Oral Annie" generally does away with this level of closeness, finding Sarno going the straightforward route with erotic encounters, focusing on various couplings and displays of physical talent from the star of the show, who's definitely not here to present her acting range. Read the rest at Blu-ray.com

The story behind the making of 1996's "The Island of Dr. Moreau" is much more interesting than the film itself. It was once intended to be a spooky take on the H.G. Wells novel (already explored across all forms of media) from director Richard Stanley, but troubles swarmed the production, turning it from an atmospheric chiller into blunt-edged weirdness from helmer John Frankenheimer, who was hired to complete the project, not necessarily clean up the mess. The moviemaking disaster was recounted in the 2014 documentary, "Lost Soul: The Doomed Journey of Richard Stanley's Dr. Moreau" (a fascinating watch), providing necessary backstory when viewing the Frankenheimer version of the picture. While it begins with some dramatic purpose, it doesn't take long for "The Island of Dr. Moreau" to veer into silliness and general storytelling confusion, openly reflecting a nightmarish shoot that lost its way in a most profound manner. Read the rest at Blu-ray.com

1989's "Lady Reporter" (a.k.a. "The Blonde Fury," "Righting Wrongs II: Blonde Fury") is another step in the Hong Kong cinema exploits of star Cynthia Rothrock. She returns to action duty in a role similar to others she's played, but, once again, her level of martial arts fury supports an otherwise unsteady endeavor that's never precise when it comes to storytelling or tone. Director Hoi Mang (who also co-stars in the feature) aims to turn the crime story into a comedy, while the producers desire something harder than laughs, creating a strange, reshoot-laden effort that does exceptionally well when it concentrates on physical confrontations. Attempts at humor nearly ruin the entire viewing experience. Read the rest at Blu-ray.com