Category: DVD/BLU-RAY

No matter what type of business "Hearts Beat Loud" does with Blu-ray sales, the film is guaranteed to find its audience one way or another. It's a sensitive endeavor about the communicative aspects of musicianship and songwriting, and it's similar to smaller movies like "Once" and "Sing Street," which also mixed troubled souls with the power of performance. The bonus here is that while constructed out of familiar working parts, "Hearts Beat Loud" is a lovely picture unafraid to touch on real emotions, using music to explore the fears of people on the precipice of enormous life changes. Co- writer/director Brett Haley has a terrific cast to help him achieve such tricky vulnerabilities, and for those who crave the musical arts, the feature delivers a rich sense of craftsmanship and passion behind the creation of songs. Read the rest at Blu-ray.com

Throughout his career, actor Leland Orser hasn't made much of an impression. He was hit with typecasting for a long time, always the go-to guy to play twitchy, screechy types on the verge of a nervous breakdown. He's been wallpaper as well, playing one of the background characters in the "Taken" trilogy. "Faults" is the first truly substantial Leland Orser performance I've seen, asking more of the man than other productions would, and he's up for the challenge, providing a riveting depiction of frayed respectability and financial desperation colliding with professional responsibility. "Faults" is lucky to have such an unusual presence, as the rest of Riley Stearns's directorial debut tends to deflate when he's not around. Read the rest at Blu-ray.com

In 2012, Steve Guttenberg released a memoir, with "The Guttenberg Bible" detailing his quest to become a working actor in Hollywood, with dreams of achieving stardom. The book is attentive to the lean years of the 1970s, and his rise to screen prominence in the 1980s, but information beyond that isn't available, with Guttenberg trying to end on a slightly happier note of experience and fame. He made his mark with hits such as "Police Academy," "Cocoon," and "Three Men and a Baby," and he shares the strange ride of success, with particular attention to monetary offers, showing little shame when it came time to accept money gigs during his most in-demand years. The 1990s were less kind to Guttenberg, with 1990's "Don't Tell Her It's Me" (also known as "The Boyfriend School") a good example of a thespian chasing a paycheck instead of paying close attention to the material. Guttenberg (reportedly paid a million dollars to commit to the project) joins Shelley Long and Jami Gertz in an adaptation of a Sarah Bird novel (the author takes on screenwriting duties), working to conjure some kind of romantic comedy magic with an idiotic plot that's often far too cruel to register any warmth. That Guttenberg, or anyone, agreed to take part in this hopeless endeavor is amazing, triggering more post-screening conversation than the movie itself. Read the review at Blu-ray.com

Writer/director William Sachs is quick to remind fans of 1977's "The Incredible Melting Man" that the final cut of the feature doesn't represent his original vision. Sachs was hoping to create a comedic take on Atomic Age horror/sci-fi offerings, looking to pants a serious subgenre from the 1950s with a goofy approach from the 1970s. The helmer's vision was denied by studio executives, who wanted a more serious take on the birth of a screen monster, ordering reshoots to help transform a deliberately exaggerated effort into a more sinister one. "The Incredible Melting Man" is a confusing movie to watch due to this tinkering, but it doesn't seem to work in its original form either, as Sachs doesn't have the greatest imagination for anything he's attempting here, and his sense of pacing is abysmal, slowing the picture to a crawl, which does nothing to help build suspense. A man melts, no doubt, but he often takes forever to do so. Read the review at Blu-ray.com

From the depths of drive-in cinema comes 1973's "Terror Circus" (also known as "Nightmare Circus"), which is credited to director Alan Rudolph. Every career has to start somewhere, and the "Trouble in Mind," "The Moderns," and "Mrs. Parker and the Vicious Circle" helmer gets some early time behind the camera with this offering of Z-grade schlock. A true artist touch isn't present in the picture, which is mostly focused on the prolonged suffering of women, using the cover of a monster and missing persons movie to deliver some screen sadism for curious viewers. Those expecting something more substantial are left with a thin viewing experience that features no suspense or horror. It's crude exploitation without excitement. Read the review at Blu-ray.com

"Superior" opens with a visit to a crime scene, but the picture isn't committed to exploring the details of violence. Co-writer/director Erin Vassilopoulos is more invested in the story of twin sisters reuniting after a lengthy period of estrangement, examining the thawing ice between siblings who don't fully understand each other. "Superior" is really two stories trying to become one, but Vassilopoulos can't connect the different sides of the movie, making the human elements of the feature far more interesting than any thriller offerings. Read the review at Blu-ray.com

After exploring a world of folktale and spectacle in 1956's "Ilya Muromets," director Alexander Ptushko attempts to go deeper into an artful representation of fantasy with 1959's "Sampo," which was transformed into "The Day the Earth Froze" for its American release, arriving with 24 minutes of cuts, neutering the original version. The Blu-ray release of "Sampo" delivers Ptushko's initial vision for the feature, with the helmer delivering an impressive offering of cinematic imagination, once again showing outstanding commitment to a widescreen experience that's filled with magic, emotions, and surreal imagery. Read the review at Blu-ray.com

In the early 1990s, environmental education was beginning to take hold in both schools and pop culture, with a particular emphasis on the plight of the rainforest, largely viewed as a core problem for Mother Earth's woes. "FernGully: The Last Rainforest" emerged as a sensitive call to arms from a major movie studio (debuting two months after Disney's deeply flawed but interesting rainforest adventure, "Medicine Man"), hoping to entertain family audiences while emphasizing a harsh message of deforestation and pollution threatening to destroy the magic of the world. The feature was met with some success, but didn't exactly create awareness the producers hoped for, reaching a sizable but not astronomical collection of young minds looking for a little guidance on the issue of planetary protection. Three decades later, the endeavor has managed to hang on to relevance by its fingernails, growing into a cult hit with thirtysomethings raised on repeated VHS screenings, now introducing the animated production to their own kids. Thankfully, "FernGully" retains its power and magical might all these years later. While the craftsmanship is a little rough around the edges, the effort to bring a vivid message of destruction is appealing, captured with a lively voice cast and the creation of a colorful pint-sized world for viewers to explore. Read the review at Blu-ray.com

In the fading days of the television movie industry, Universal was still cranking out product for the small screen, with 1989's "High Desert Kill" presented as a genre exercise in line with an extended episode of "The Twilight Zone," offering a low-stakes mystery with touches of sci-fi. Director Harry Falk has the unenviable task of trying to make an extremely small budget work for a slightly ambitious idea, putting his faith in the cast to sell the pressure points of hunters in the wilds of New Mexico discovering that something not exactly human has joined them. If "Predator" went to therapy, that would be close to the tone of "High Desert Kill," which spends most of its screen time dealing with tough emotions and cartoony male bonding before slowly switching over to a more generic situation of survival. Read the review at Blu-ray.com

Director Gareth Maxwell (sharing a co-writing credit with Rex Pilgrim) attempts to bring a little bit of Dario Argento to New Zealand in 1993's "Jack Be Nimble." It's an extremely bizarre endeavor about abuse, psychic powers, and revenge, with Maxwell making a distinct effort to strip away formula when dealing with combustible characters on a mission of rage. He creates a stylish, gothic picture, but not always the most compelling one, getting a little lost with his big ideas, trusting the hysteria of the material will help support the viewing experience. Read the review at Blu-ray.com

The Yeti. The fantasy creature has been apart of myth and entertainment for a very long time, with filmmakers drawn to the strangeness of details about the creature and the mystery of its movements. It's a big, scary looking beast that roams the wild, making it an easy fit for genre endeavors, especially ones looking to save a few bucks on the manufacturing of an elaborate monster. 1974's "Shriek of the Mutilated" features almost no mutilation, but it does hope to sell the fear factor of the Yeti, pitting a team of academics against the wrath of a behemoth. "Shriek of the Mutilated" holds some potential for horror, and it ends with some degree of weirdness, but suspense hasn't been invited to this big screen party, making for a periodically painful sit as director Michael Findlay mistakes lengthy, static conversations for riveting cinema.  Read the rest at Blu-ray.com

1974's "Satan's Children" is a Floridian production, with director/producer Joe Wiezycki looking to enter the drive-in marketplace, coming up with his own take on the horrors of the Devil and followers who will do anything to gain favor with the Lord of Darkness. As it usually goes with this type of quickie endeavor, there's no filmmaking finesse present, with the production generating a collection of random moments and loose characterizations, with the glue of the feature homophobia in many forms. The legitimacy of such hostility is up to the viewer to decide, but Wiezycki is not skilled in the art of genre entertainment, creating an exceedingly boring viewing experience that has no suspense or surprises, mostly registering as a curious installment of Z-grade cinema from the murky depths of 1970s.  Read the rest at Blu-ray.com

1976's "Rollerbabies" is presented as a parody of 1975's "Rollerball," but director Carter Stevens is really doing his own thing with the endeavor. The film eventually gets around to roller skating, but the ride there is a strange one, filled with puns, vaudeville-inspired comedy, an act of telepathic oral sex, and a most bizarre use of ice cream to jazz up a bedroom encounter. One doesn't expect hospital corners when it comes to storytelling efforts in an adult movie, but "Rollerbabies" is all over the place at times, and while it's entertaining, the feature isn't quite as fun as it initially promises to be.  Read the rest at Blu-ray.com

1975's "The Mount of Venus" tries to have plenty of adult film fun on a shoestring budget. There's very little here to go on, with director Carter Stevens merely using some corners of a stage, trying to turn a few spaces into a visitation from Roman gods trying to make sense of humanity. Stevens favors comedy, his first love, while heated couplings are as limited as set design money, keeping the feature low on visual power, hoping to get by on occasional charms and the rare bit of weirdness.  Read the rest at Blu-ray.com

In 1986, filmmakers Jeff Krulik and John Heyn made their way to the Capital Centre arena in Largo, Maryland, paying a small fee to enter the parking area and record fan activity present before a Judas Priest concert. The short "Heavy Metal Parking Lot" was born, with the footage taking the slow road to cult fame, building a reputation as a comedy gem and delightful time capsule of an age when metal ruled the music scene, giving the faithful something to scream about as Judas Priest (and opening act Dokken) arrived to shred faces and blow minds, playing to what appears to be a mostly inebriated audience of enthusiastic locals ready for their time in front of a camera.  Read the rest at Blu-ray.com

Director David A. Prior has never been accused of being a perfectionist. During his career (he passed away in 2015), the helmer churned out product, working during the video store glory days, happy to create genre entertainment capable of filling shelves for renters who weren't too fussy when selecting their evening's entertainment. Prior created "Killer Workout," "Future Force," and "Deadly Prey," maintaining a steady stream of employment for 15 years. 1991's "Raw Nerve" is part of this dented legacy, with Prior and co-writer Lawrence L. Simeone attempting to cook up a murder mystery with some defined elements of psychological exploration, hoping to keep viewers off-balance with damaged characters long enough to deliver a few surprises along the way. The ambition is there, but execution isn't for most of "Raw Nerve," which tries to make a mess of the players in this deadly game, only to get lost in snoozy melodrama and half-hearted detective work.  Read the rest at Blu-ray.com

In 1984, film critic Gene Siskel covered "Heartbreakers" on the review show, "At the Movies," tearing into the picture for its lack of likable characters, making for a deeply unsatisfying sit. It's one of those great Siskel moments when he latches on like an angry dog to one idea and won't back down, determined to decimate the feature as a wholly unpleasant viewing experience. Such a take isn't entirely wrong when examining "Heartbreakers," as it does highlight the actions of extremely self-absorbed people refusing to step back and think about their actions, running purely on soured instinct. However, writer/director Bobby Roth doesn't remain fixated on toxic behavior, making a noticeable effort to get past it to better understand what makes the main characters tick, providing an interesting psychological study with difficult men and their self-made problems.  Read the rest at Blu-ray.com

Gaspar Noe is a director with an addiction to making provocative films ("Irreversible," "Into the Void"). Some have suggested he hates his audience, looking to punish them with impossibly bleak material and hostile visuals, aiming to create tortuous viewing experiences strictly out to satisfy his malicious intent. His moviemaking modus operandi is up for debate, but Noe isn't the most consistent storyteller, and his last endeavor, 2018's "Climax," played like a parody of his previous efforts, identifying a defined limit to his corrosive mischief. For 2019's "Lux Aeterna," the helmer gets back on track with what's basically a short film about a production disaster, exploring explosive personalities and technical mishaps, keeping his cameras on the move as they capture the disintegration of what was meant to be a simple day of creative collaboration. "Lux Aeterna" is Noe's version of a valentine to cinematic experimentation and philosophy, and while he eventually drives it into the ground with tributes to the avant-garde highlights of his early education, he manages to have some fun for a change, toying with the fragility of personalities involved in the creation of art.  Read the rest at Blu-ray.com

The exploration of virtual reality during the early 1990s opened a lot of opportunities for Hollywood to use the technology for storytelling purposes. At the time, little was understood about the practical uses of VR, giving moviemakers a chance to exaggerate technological might. We had big screen efforts such as "The Lawnmower Man," "Disclosure," and "Virtuosity." Many other titles pursued the same level of in-the-moment advances with sci-fi touches, which supplied viewers with extreme visuals but not a lot of dramatic power. The video store was also stocked with swings at VR-themed adventuring, with 1995's "Cyber Vengeance" going the low-budget route with its vision of digital destruction. Director J. Christian Ingvordsen and writer Josh Weiner turn to "The Most Dangerous Game" formula to support their endeavor, which pits a team of convicts against a pack of hunters in a battle through history. It's an ambitious take on time travel and action cinema, with Ingvordsen managing to provide periodic excitement as the characters jump around time periods, but he's less capable when summoning tension. "Cyber Vengeance" is a bottom-heavy film that takes too long to get going, and when VR mayhem finally arrives, monetary limitations repeatedly throttle the natural pace of what's trying to be an epic battle across centuries. Read the rest at Blu-ray.com

1986's "Righting Wrongs" is a furious actioner about the pursuit of justice, but director Corey Yuen only gets so far with his attention to berserk fight sequences. The Hong Kong production isn't terribly attentive to storytelling needs, with dismal comic relief prioritized at times, but when it shakes off distractions and focuses on the primal battle of martial arts, the effort packs quite a punch, helped along by starring turns from Biao Yuen and Cynthia Rothrock. These two carry enough ferocity to power the endeavor through several droopy scenes, keeping up with the helmer's vision for a major stunt showcase. Read the rest at Blu-ray.com