Category: DVD/BLU-RAY

The ways of mental manipulation are examined in 2018's "Black Circle," a Mexican/Swedish production looking to creep out viewers with its slow-burn study of control. Writer/director Adrian Garcia Bogliano has something sinister in mind with the picture, trying to replicate a low-budget brain bleeder from the 1970s, merging the ways of exploitation and underground cinema for this exploration of self-help gone horribly wrong. There's a fantastic idea for a freak-out at the center of the endeavor, but Bogliano has some difficulty staying focused on unnerving business in "Black Circle," which often gets lost in its own world-building. It's an interesting feature, but only periodically, eventually diminished by a weak climax, which doesn't carry the kind of payoff invested viewers deserve. Read the rest at Blu-ray.com

There's a world of sin and city streets to explore in 1981's "The Tale of Tiffany Lust," with director Gerard Kikoine (or Radley Metzger, depending on who you ask) overseeing a study of discontent. There's a woman craving a new level of sexual freedom, and her strange journey makes for a loose plot, with the material going episodic as this odyssey takes the main character around New York City, interacting with predators and prey as she begins to understand the possibilities beyond her marriage. There's no deep dive into psychology in "The Tale of Tiffany Lust," with the production mostly out to titillate instead of explore the emotionality during this tour of couplings. And there's walking. So much walking, with Kikoine refusing to pass on any opportunity to photograph actors in motion, making their way around the city, allowing those less interested in amorous activity to enjoy a tour of NYC the way it was in 1980. Read the rest at Blu-ray.com

1995's "Hackers" isn't a vision of the future or a snapshot of the era. It's a study of style and restless adolescent energy working with the technological advancements of the 1990s, merging a comic book sensibility with the internet revolution, emerging with a broad, cyberpunk-y offering of entertainment. It's heightened work from director Iain Softley, who works hard to give the feature a special screen magic, playing with the new frontier of computer-fu and the tried-and-true ways of teen cinema. "Hackers" is immense fun, especially if it's not taken especially seriously, with Softley carefully supplying a steady stream of exaggeration with his characters and environments, giving the whole endeavor a wonderful amplification and sublime soundtrack support, making for a spirited movie. Read the rest at Blu-ray.com

What to do with Scott Valentine? It was a question shared for a moment in Hollywood during the mid-1980s. A dramatically trained actor, Valentine received the career breakthrough when he joined the cast of "Family Ties" as Nick, Mallory's lovably dim-witted boyfriend. Intended to pop in for a single episode, Nick hung around for the rest of the show's run, delighting audiences with his Stallone-ish ways. Valentine the actor wanted more, and he received another major opportunity with 1987's "My Demon Lover," taking the lead role in a horror comedy that's almost entirely dependent on his screen charms. Valentine is handed a juicy part here, tasked with playing a monster, a maniac, and a sensitive soul, and his enthusiasm for the material is welcome, matched by his equally charismatic co-star, Michele Little. It's the rest of "My Demon Lover" that's less enchanting, finding director Charlie Loventhal struggling to settle the complicated tone of the endeavor, which deals with genre additions, madcap comedy, and tender feelings. It's a Tim Burton-ish production without Tim Burton, making for an uneven viewing experience with sometimes questionable characterizations. Read the rest at Blu-ray.com

Co-writer/director Ulli Lommel needed a hit movie, and what better way to create a success than to lift elements of previous box office successes. 1980's "The Boogey Man" isn't too shy about stealing from other titles, with elements of "The Amityville Horror," "Halloween," and "The Exorcist" prominently displayed in the endeavor. One would think such "inspiration" would create a riveting study of evil, but Lommel is in no hurry with "The Boogey Man," keeping the spare effort slow and somewhat uneventful, trying to master some type of cinematic creep that doesn't register as intended. It's a handsome picture though, with unusual focus on lighting and atmosphere that helps to hold attention as the production tries to taffy- pull a small, weird idea into a feature-length haunting. Read the rest at Blu-ray.com

"Killer Condom" was born in comics created by German artist Ralf Konig, with such insanity free to be explored on the page, without creative limitations. Co-writer/director Martin Walz looks to take a shot at the material in a 1996 cinematic adaptation, trying to sell the absurd horror of a monstrous prophylactic on the loose in New York City without leaning too hard into frenzied camp. It's a tonal tightrope walk few filmmakers would attempt, giving Walz points for bravery, and "Killer Condom" isn't a slapdash endeavor, highlighting some attention to detail and a love for weirdness. At two hours in length, the feature is demanding a lot of patience from viewers, with Walz refusing to create a more direct hit of peculiarity and character, making the offering more plodding than giddily outrageous. Read the rest at Blu-ray.com

As explored in the supplementary material on this release, 1987's "Night Screams" had a lot of difficulty in the editing room. The first cut of the film came up short, inspiring some to attempt to add padding to the feature to help bring it to a sellable run time. However, instead of using more footage from the original shoot to do so, outside sources were utilized, including sequences from 1981's "Graduation Day" and, weirdly enough, adult movies, with John Holmes, Seka, and Honey Wilder suddenly showing up in the endeavor. Delivery of these additions isn't completely clunky, sold as television and VHS viewing for couples trying to entertain themselves, but it's an odd creative choice, and would probably be more intrusive in a more exciting picture. "Night Screams" hopes to add some bloodshed to the slasher genre, but there's little effort to really dig into suspense, with director Allen Plone failing to inspire a more heated understanding of horror with this meandering attempt at violent entertainment. Read the rest at Blu-ray.com

Madness is the subject of 1972's "Delirium," and messiness is the style employed by writer/director Renato Polselli. Giallo doesn't typically welcome hospital corners when it comes to storytelling, but even with lowered expectations, Polselli remains all over the place with this tale of a serial killer on the move, combating insanity while playing dual roles in the investigation to find him. It's a neat premise, but dramatic clarity isn't readily available in the picture, with the helmer playing with dreamscapes and emotional breakdowns, going more for style and hysteria than the lure of a strange whodunit. "Delirium" isn't without some pleasures, but it doesn't fully live up to its early promise, getting lost in unreality to a point where Polselli can't find a way out of the tale. Read the rest at Blu-ray.com

1986's "Psycho Girls" is a few different movies competing for screen time. Normally, this would result in an interesting film of various tones and creative paths, but co-writer/director Jerry Ciccoritti doesn't have the seasoning to really manage whatever he ultimately wants from the feature. It begins as a detective story and ends with extended scenes of torture, with the core appeal of the picture difficult to discern while watching it. There's some flair in visual design choices, with the production going to war against a limited budget. And performances are strong, but they're committed to the endeavor's sense of insanity. "Psycho Girls" isn't really much fun, with the harshness of violence too abrasive to enjoy on a pure horror level, and editorial slackness isn't helping the cause, with Ciccoritti more determined to reach a sellable run time than deal honestly with his prolonged showcase of campy madness. Read the rest at Blu-ray.com

1992's "The Demon Rat" is a low-budget offering of future world horrors, with the star of the show a mutated beast that's out to feast on human prey. However, there's a little more to the production, as co-writer/director Ruben Galindo Jr. is also very concerned about the state of the planet, working in a message on ecological ruin while managing bloodier events highlighting monster movement. It's refreshing to see a B-movie try to bum out its audience with reminders of planetary collapse, and while "The Demon Rat" isn't successful landing the severity of the atmospheric situation, it wins points for trying, with Galindo Jr. better off exploring the state of a polluted nation than trying to mount a creature feature with little monetary support. Read the rest at Blu-ray.com

Director Charles B. Pierce had a dream to make movies, putting in the effort to bring 1972's "The Legend of Boggy Creek" to life. It was a regional creation intended for a small audience, but the feature managed to capture viewer imagination, with ticket-buyers choosing to believe in the "true" story of the "Foulke Monster," caught up in a mild horror show created for the drive-in circuit. The docudrama was a hit for Pierce, but he wasn't interested in jumping right into a sequel, with another creative team eventually leaping on the opportunity with 1977's "Return to Boggy Creek," offering the acting services of Dawn Wells and Dana Plato instead of a fierce Bigfoot adventure. After feeling around a helming career throughout the 1970s and early '80s (including "The Norseman" and "The Town That Dreaded Sundown"), Pierce finally gave in, returning to the saga with 1984's "Boggy Creek II: And the Legend Continues," out to make sure everything goes his way by writing, directing, and starring in the endeavor (joined by his son and wife). "Boggy Creek II" is a homegrown effort, with Pierce trying to solidify himself as a cinema star without paying attention to the realities of acting, letting the picture slowly slide into goofiness, which isn't entirely unappealing, especially for those aware of the film's silliness and vanity-driven production goals. Die-hard "Boggy Creek"-ers may find themselves horribly disappointed by this nutty follow-up. Read the rest at Blu-ray.com

With the heyday of giallo productions coming to a close in the late 1970s, filmmakers were still hunting for blood in the subgenre during the early 1980s. For Lamberto Bava, the chance to once again toy with death and suspense arrived in 1983's "A Blade in the Dark," which is a thriller contained to a single location, forcing the production to generate some excitement while staying close to familiar surroundings. "A Blade in the Dark" isn't a striking chiller from Bava, who's stuck trying to find ways to surprise viewers with writing that's less committed to the cause, inspiring lengthy scenes of property tours where screen stillness is mistaken for nail-biting exploration. Despite some troublesome inertia, Bava manages to score some decent unease with acts of violence, getting a little bloody with horrible things happening to innocent people, and the whodunit has some snap to it, but only when there's interest in pursuing tension. Read the rest at Blu-ray.com

Like so many horror movies from the 1980s, "Terror at Tenkiller" was inspired by the success of "Friday the 13th," the genre hit that gave producers everywhere the idea that they could also assemble a cheap picture, fill it with gore, and send it out to an audience hungry for more. The 1986 feature is directed by Ken Meyer, who makes his helming debut with the endeavor, and it really shows, with "Terror at Tenkiller" a glacial offering of suspense, working with thin characters and a limited vision for grisly happenings. There's a woodsy setting, a killer on the loose, and young victims, but even with the basics in slasher cinema, Meyer puts this baby to sleep almost immediately, visibly struggling with even the most basic of scenes. Read the rest at Blu-ray.com

When people talk of the "Evil Dead" franchise, they usually reference the top players in the series, with director Sam Raimi, producer Rob Tapert, and star Bruce Campbell understandably credited for creative successes. 2018's "Invaluable: The True Story of an Epic Artist" seeks to add another name to the list: Tom Sullivan. The man responsible for makeup effects and design work on 1981's "The Evil Dead," Sullivan's imagination helped to define the horror show the production was pursuing, bringing life to grisly imagery and haunting moments. Director Ryan Meade doesn't have much more than an appreciation for Sullivan to help put together this low-budget documentary, but that's enough to charm. "Invaluable" isn't a sharply made picture, but there's a lot of enthusiasm for the subject, and the "Evil Dead" fanbase is treated to a tour of inspiration and location, with Sullivan reflecting on his early achievements, surprising turns of life, and the endurance of the brand name. Read the rest at Blu-ray.com

Little was expected of 1995's "Billy Madison." It represented Adam Sandler's first starring vehicle, making use of his goofball screen presence and love of juvenile absurdity. The "Saturday Night Live" star wasn't exactly the typical big screen comedian, but Sandler found his way to a decent moneymaker in a delightfully weird endeavor, building on that momentum with 1996's "Happy Gilmore." Sandler had a fanbase, but he turned into a bankable star after the releases of "The Wedding Singer," "The Waterboy," and "Big Daddy," amassing a following that delighted in his bizarre sense of humor, forcing Hollywood to notice the actor and his A-list potential. Such incredible success and studio faith was put to the test in 2000's "Little Nicky," where Sandler and his Happy Madison Productions were entrusted with a large budget for the first time, aiming to create a dark comedy with extensive visual effects while still retaining Sandler's love of stupidity. "Little Nicky" was Sandler's first major bomb when it was released, with its extremity too much for audiences at the time, but the film isn't a creative washout. It's noisy, and the screenplay is too permissive with lame Sandler- isms, but the feature holds together as an interesting experiment in overkill, going for a wild take on hellacious happenings with unpleasant characters, occasionally returning to the comfort of weirdness. It's a tonal gamble that doesn't entirely pay off, but there's some enjoyable anarchy and swift pacing to this ridiculous picture. Read the rest at Blu-ray.com

1993's "Undefeatable" is a highly bizarre fight film starring Cynthia Rothrock, who brings a special energy to most of her endeavors, capable of handling action choreography and at least a rudimentary offering of dramatic skills, doing well with limited thespian demands. However, she's practically Streep-esque in this feature, which is a remarkably clumsy effort from director Godfrey Ho, a shockingly prolific helmer with limited interest in production refinement. He's breezing through "Undefeatable," putting zero attention on pace and performance, leaving Rothrock to do the heavy lifting while surrounded by astonishingly wooden actors, placing all of his concentration on fight sequences, which often lose intended ferocity, sliding right into campiness. Read the rest at Blu-ray.com

To understand what's going on in 1981's "Ninja in the Claws of the C.I.A." requires a level of concentration most movies wouldn't dare demand from viewers. It's another offering of confusion and directorial indifference from martial arts star John Liu ("New York Ninja"), who assigns himself a James Bond-esque role in this actioner, which takes viewers around the world as the helmer madly scrambles to assemble something close to comprehensible. "Ninja in the Claws of the C.I.A." tries to approximate the atmosphere of a superspy thriller, blending in plenty of physical fights and betrayals to keep things interesting. However, Liu can only do so much with the picture, which looks like it was stitched together from three different features, keeping up on eye-crossing moves in plot and tone to a point where nothing registers as intentional anymore. It's a big mess, but Liu's enthusiasm for it all is something to see. Read the rest at Blu-ray.com

Released in 1990 to low box office and critical disinterest, Clive Barker's "Nightbreed" (an adaptation of his novel "Cabal") went on to achieve a modest cult following, tempting those used to the helmer's passions for violent imagery and fantastical storytelling. However, Barker was outspoken in his distaste for the theatrical cut of the movie, which underwent editorial butchery and extensive reshoots to turn a sophisticated monster mythology into a run-of-the-mill slasher film, though one that retained a great deal of Barker's personality due to intricate creature design and gothic overtones. The Theatrical Cut of the picture was the public's first taste of "Nightbreed," but in 2014, creative forces pulled together a "Director's Cut," building on the success of the "Cabal Cut," which was a crude but effective organization of a 1989 VHS workprint, finally exposing Barker's original intent for the endeavor. However, for its debut on UHD, "Nightbreed" only offers a 4K version of the Theatrical Cut, which is not the optimal way to experience this epic effort. Read the rest at Blu-ray.com

1993 was meant to be a major year for Mike Myers. The tremendous success of 1992's "Wayne's World" brought the "Saturday Night Live" player to the attention of Hollywood, who wanted to turn him into a leading man. The year hastily pushed a messy but hilarious "Wayne's World" sequel through the system, and there was also "So I Married an Axe Murderer," with Myers offered a chance to prove his stuff as a romantic lead. There's a certain air of indecision with the feature, which was originally written as more of a chiller and neurotic comedy before Myers and studio demands attempted to change course, creating a softer, broader movie to help the star shine. "So I Married an Axe Murderer" isn't carried along by a defined vision, but it holds together with comedy, with Myers working to make something charmingly silly with the tale of a serial killer, playing to his strengths as a goofball with a fondness for weird character work. Read the rest at Blu-ray.com

Matt Stone and Trey Parker are fully committed to the world of "South Park," the iconic animated show they created in the 1990s. "South Park" has been exceptionally good to the men, making them a fortune and creating a legacy of up-to-the-minute production that's unrivaled, with such speed, creative autonomy, and lucrative reward understandably impossible to give up. However, when Stone and Parker elect to make movies, they do really well when manufacturing memorable entertainment, with the pair partnering on 1993's "Cannibal! The Musical," 1997's "Orgazmo," and 1998's "South Park: Bigger, Longer & Uncut." Stepping out of the cartoon womb for a rare visit to the big screen, Stone and Parker try to make a puppet-based action extravaganza with 2004's "Team America: World Police," inhaling Jerry Bruckheimer fumes as they pants the state of the world in the early 2000s, creating their own take on "G.I. Joe," but with marionettes and a healthy disdain for Hollywood actors and North Korean dictators. "Team America: World Police" is certainly unwieldly at times, but it's impressively mounted, with the production refusing to go cheap and easy with this valentine to action cinema and screwball patriotism of the day. Read the rest at Blu-ray.com