THE POOP SCOOP: No Dodging These Arrows!

UPCOMING KIBBLES THAT MAKE US PURR!

SOYLENT GREEN, Proud Owner of the Second Greatest Plot Twist in Sci-fi History, Coming to 4K UHD and Blu-ray July 28 from Arrow Video.  The dystopian science fiction masterpiece, Soylent Green, makes its global debut on 4K UHD. Director Richard Fleischer (Fantastic Voyage) creates a police thriller set within a desolate future where humanity is bursting at the seams. The Limited Edition release features a brand new 4K restoration from the original 35mm camera negative by Arrow Films, hours of special features and newly commissioned extras. A Blu-ray edition will also be available. 

Every militant consverative’s wet dream, FALLING DOWN, Coming to 4K UHD and Blu-ray 7/21 from Arrow Video. Falling Down, a transgressive travelog through post-riots Los Angeles, makes its global debut on 4K UHD. Director Joel Schumacher creates a compelling portrait of an everyday man feeling obsolete in the modern city. The Limited Edition release features a brand new 4K restoration by Arrow Films approved by cinematographer Andrzej Bartkowiak, hours of special features and newly commissioned extras. A Blu-ray edition will also be available. 

The International western classic, THE RED SUN, Coming to 4K UHD & Blu-ray July 14 from Arrow Video. The movie unites four international superstars under the direction of Terence Young (Dr. No, Thunderball) in the rugged Almería region of Spain. The Limited Edition release features a brand new definitive 4K restoration, hours of special features and newly commissioned extras. A Blu-ray edition will also be available. The loaded cast includes Charles Bronson Alain Delon, Tishiro Mifune and Ursula Andress.

KILL BILL: THE WHOLE BLOODY AFFAIR 4K/Blu-ray Combo Pack Coming July 28 from Lionsgate. Quentin Tarantino's KILL BILL: THE WHOLE BLOODY AFFAIR stands as one of cinema's definitive revenge sagas—rarely shown in its complete form, and now presented with a classic intermission. This release also comes with an assortment of physical extras, including posters, collectors cards and a 40 page booklet.

An Underseen Gem from the 70s, THE OUTFIT, on Blu-ray July 28 from Arrow Video. Earl Macklin (Robert Duvall, The Godfather) is a professional thief who begins a private war against the mon to avenge the death of his brother. The Outfit is as tough, taut, and relentless as its protagonist. This release includes numerous new bonus features.

MORTAL COMBAT II on Digital June 9 and Blu-ray, 4K and DVD July 28 from Warner Bros. From New Line Cinema, the latest high-stakes installment in the blockbuster video game franchise in all its brutal glory, debuts digitally at home on June 9. Director Simon McQuoid returns to helm the follow up to his explosive 2021 cinematic adventure, based on the videogame created by Ed Boon and John Tobias. 

MICHAEL on digital June 9 and Blu-ray, 4K and DVD July 17 from Lionsgate. The film tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of The Jackson 5, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world..  

An Underseen Gem from the 70s, THE OUTFIT, on Blu-ray July 28 from Arrow Video. Earl Macklin (Robert Duvall, The Godfather) is a professional thief who begins a private war against the mon to avenge the death of his brother. The Outfit is as tough, taut, and relentless as its protagonist. This release includes numerous new bonus features.

Lee Cronin’s THE MUMMY on Digital May 19 and Blu-ray, 4K and DVD July 4 from Warner Bros. The young daughter of a journalist disappears into the desert without a trace—eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.

THE LAST SHOWGIRL on Bluray + Digital June 23 from Lionsgate. Pamela Anderson shines as a glamorous Vegas showgirl whose 30-year career at Le Razzle Dazzle, the last remaining revue, is coming to an abrupt end.  . 

THE 7TH VOYAGE OF SINBAD on 4K + Blu-ray July 7 from Sony. This release also includes a large selection of bonus material.

A MAN CALLED ROCCA on Blu-ray July 14 from Kino Lorber. We here at Free Kittens have just recently discovered the wonderful world of French thrillers, so when another great comes along on Blu-ray, we gotta meow it out loud! This is a noir gem riding the crest of the radical French New Wave.

DEEP WATER Coming to Blu-ray July 14 from Magenta Light Studios. Of course you’re ready for another shark movie directed by Renny Harlin (Deep Blue Sea). Well, so are we.

CRIME 101 on Blu-ray, 4K and DVD June 30 from Alliance Entertainment. Set against the sun-bleached grit of Los Angeles, Crime 101 weaves the tale of an elusive jewel thief (Chris Hemsworth) whose heists have mystified police.

THEY WILL KILL YOU on Blu-ray, 4K & DVD June 30 from Warner Bros. Director Kirill Sokolov unleashes a blood-soaked, high-octane horror-action-comedy in which a young woman must survive the night at the Virgil, a demonic cult’s mysterious and twisted death-trap of a lair.

Revisiting ERASER in 4K

ERASER (4K UHD)

1996 / 115 min

Warner Bros.

#InPartnershipwithWB  

Review by Mr. Bonnie, the Bodybuilder😼

Eraser never ranked among Arnold Schwarzenegger’s most iconic classics, but does have a certain amount of historical significance. It was his last original action film that was a genuine box office hit, marking the end of a decade-long era where Arnold was the genre’s undisputed king. Terminator 3 notwithstanding, his reign at the top of the heap was essentially over after this one.

Not to suggest that Eraser was the catalyst for his, but after a string of blockbusters that included Predator, Terminator 2, Total Recall, Twins and True Lies, it did feel like a step backwards, a return to the Raw Deal/Commando days where the film got more mileage from his name above the title than anything resembling an intriguing story or concept (even the uber-flop, Last Action Hero, sported a unique premise).

Nor am I suggesting Eraser is a bad movie, either. 30 years later, it remains an enjoyable thriller, the kind where you check-in your brain at the door and enjoy the mayhem, probably forgetting most of the plot shortly after watching. And for action fare tailor made to suit its star’s attributes, the film remains a hell of a lot better (and more slickly assembled) than anything Van Damme and Seagal were cranking out at the time. 

One thing we could never accuse Schwarzenegger of was phoning it in. While he’s not required to try expanding his range here (which he did surprisingly well in stuff like True Lies), the dedication and earnestness he displays in Eraser once again makes him an engaging on-screen presence. Considering U.S. Marshall John Kruger isn’t a particularly well-developed character to begin with, that’s actually a pretty impressive feat.

To Arnold's surprise, that wasn't the restroom door.

Even so, Arnie’s not the whole show. The late, great James Caan steals quite a few scenes for himself, playing partner-turned-arms dealer Robert McGuerin. He makes the most of the opportunity to play such a vicious villain with a scenery-chewing performance. Vanessa Williams as Lee, the witness Kruger’s charged with hiding until she can testify against her former employer, Cyrez, holds her own among her testosterone-heavy co-stars. 

On the technical front, Eraser benefits from solid direction by longtime journeyman Charles Russell and well-constructed action scenes. The story is rife with implausibilities and silly plot elements, but the breathless pace glosses over a lot of them…save for the ridiculous impromptu skydiving sequence and the legendarily bad scene involving CGI alligators. Not only are both narratively absurd, the archaic special effects are a not-so-subtle reminder that Eraser is a product of the 90s, especially as presented in 4K. 

Speaking of which, this 4K restoration is a big improvement over previous home video releases (even if it does render some of the special effects even goofier than they were 30 years ago), with great detail, black levels and vibrant color. There are also two audio options, an all-new Dolby Atmos track and the original theatrical mix, both of which are excellent. A couple of new bonus featurettes are included, and they're kinda superfluous, but fans who consider Eraser one of Arnie’s classics might appreciate them.

EXTRA KIBBLES

FEATURETTES - Reinventing the Modern Action Hero - The Evolution of Arnold and ‘90s Action Thriller Reimagined are a couple of new retrospective featurettes, each running around eight minutes. Both feature director Charles (Chuck) Russell, actor Vanessa Williams and exec producer Michael Tadross, and were shot at the same time.

DIGITAL COPY

A YARD OF JACKALS: Not Your Standard Political Thriller

A YARD OF JACKALS (Blu-ray)

2024 / 108 min

Indiepix

Review by Princess Pepper😺

When I finish a film thinking, “What the hell did I just watch?,” it generally means one of two things. Either it’s two hours of my life won’t get back, or the movie is so weird, surreal and intriguingly perplexing that it resonates long after the credits roll. The Chilean film, A Yard of Jackals is among the latter. 

It’s 1975, and Chile is ruled by a military dictatorship. Raul (Nestor Cantillana) lives in a small apartment where he cares for his ailing mother while earning a living constructing models commissioned by that same military. He’s also kind of sweet on Laura (Blanca Lewin), who operates a nearby shop with her younger sister (Maria Jesus Marcone).

His efforts to keep a low profile are put to the test when mysterious new neighbors move into the apartment next door, one of whom always seems omnipresent, watching Raul through windows or from his car on the street. Though never named, he’s played with subtle menace by Rodrigo Perez. It soon becomes clear that the apartment is being used to torture members of a political resistance movement.

Raul fiercely guards his laundry.

While that’s the nutshell plot, A Yard of Jackals does not unfold like a standard political thriller. In fact, it largely achieves the tone of a slow burning horror film, punctuated by an overall aesthetic that feels downright claustrophobic at times. The narrative is presented entirely from Raul’s point of view, which includes surreal sequences and imagery that kind of establish him as an unreliable narrator.

However, this isn’t a difficult story to follow, and for patient viewers, the way writer-director Diego Figueroa slowly builds dread is pretty impressive. But what really makes the film memorable is the climax and denouement, which I can almost guarantee you won’t see coming. If nothing else, it’s a shocker of a plot-twist, yet ultimately makes complete sense within the context of what’s previously transpired. 

At the same time, I can imagine some viewers considering that same twist to be a frustratingly ambiguous way to end a movie, perhaps feeling they just endured a two-hour bait & switch. I’ll also concede there are moments where the pace could’ve been just a little bit snappier. A Yard of Jackals is expanded from a short film also directed by Figueroa, and it sometimes kinda shows. Aside from that, it’s a quietly unnerving experience.

EXTRA KIBBLES

MAKING-OF FEATURETTE - Features director and cast interviews.

IN-PICTURE COMMENTARY - By writer/director Diego Figueroa and filmmaker Inti Carrozo-Ortiz.

TRAILER

THE MASTERMIND: A Different Kind of Heist Film

THE MASTERMIND (Blu-ray)

2025 / 110 min

MUBI

Review by Mr. Bonnie, the Burglar😸

You know what’s worse than losing everything? When it’s all your fault you’ve lost everything, and everyone who used to bail you out (family and friends) has finally bailed on you. Worse still , you remain oblivious to the enormity of the problems you’ve created for yourself. That’s JB (Josh O’Connor) in a nutshell.

Maybe part of the reason The Mastermind resonated with me was because, in some ways, I was once kind-of like JB before finally pulling my head out of my butt and growing up a little. But at least I didn’t resort to robbery.

Set during 1970, JB is the mastermind of the title, an unemployed designer with a wife, Terri (Alana Haim), and two sons. Not only is he an irresponsible father, we immediately get the impression Terri, who works to support them, isn't all that happy with him. As the film opens, he plans a museum heist of four valuable paintings, enlisting a few local thieves to carry-out the robbery…and borrowing money from his exasperated mother in order to pay them (though he tells her it's for a job he’s been hired for).

JB is so confident in his “meticulous” plan that it doesn’t occur to him that anything could go wrong. In reality, it’s a pretty foolish idea not too far removed from a smash & grab, and it’s pretty clear he didn’t really think things through (an amusing observation later made by a couple of other characters). Things go as planned until one of his accomplices is caught and fingers JB as the mastermind behind the crime. Soon, the FBI is looking for him. To make matters worse, local mobsters find JB and force him to give them the stolen paintings.

JB traded the paintings for that sandwich. But in his defense, it was a really good sandwich.

Leaving his family behind, JB goes on the run with no real plan other than visiting old friends in hopes that they’ll help him. What’s fascinating (at least to me) is that at no time does JB appear aware of the gravity of his situation. He’s thrown his entire life away, and as we watch his downward spiral, he expresses no remorse over the people he’s affected. Even during a phone call to Terri, he offers a half-hearted apology before asking her to wire him money. Everything culminates in a conclusion that’s both ironic and bleakly amusing.

Though obstinately a heist film, The Mastermind is no Rififi. In a way, it’s kind of an anti-Rififi with an overly-confident slacker who isn’t nearly as brilliant as he thinks he is (and his cohorts are even dumber). We don’t sympathize with JB, either. After all, the guy just took a massive crap in his own nest and some viewers might find perverse pleasure in watching his life fall apart. Whatever we think of him, JB is a brilliantly conceived character and played with an effectively low-key performance by O’Connor. Because I saw a bit of the old me in him, I was simultaneously engaged and uncomfortable. 

Some might be put-off by the film’s tone and glacial pace. The Mastermind is definitely a slow burn, its narrative growing increasingly episodic, with scenes that seem pretty meandering if taken at face value. But there’s actually a lot going on in those scenes, even the ones without dialogue, all of which shape JB’s character and other people’s feelings about him. Afterwards, I briefly wondered what the hell I just watched, but as someone who’s seen more heist films than the Surgeon General recommends, it was refreshing to see the genre turned on its ear. 

EXTRA KIBBLES

THE MASTERMIND: UNWINDING THE HEIST FILM is an interesting analytical video essay.

SIRÂT and the Arduous Journey

SIRÂT (Blu-ray)

2025 / 115 min

Neon

Available at MovieZyng.com

Review by Princess Pepper😸

Two of my favorite films are 1953’s The Wages of Fear and 1977’s Sorcerer, which were both adapted from the same novel. Though aesthetically different from each other, they beautifully (and bleakly) depict a harrowing journey by a group of people driven by desperation. While not based on Georges Arnaud’s book, Sirât immerses the viewer in a narratively similar odyssey and could almost be considered a spiritual remake. Or maybe reimagining is a better word. Either way, if another perilous drive into the heart of darkness is what you seek, look no further.

But since the narrative doesn’t involve a suicide mission transporting explosives, it initially doesn’t seem like a hell of a lot is at stake. Taking place in a Moroccan desert, concerned father Luis (Sergi Lopez) arrives at a drug-fueled rave in search of his missing daughter. He and his son, Esteban (Bruno Nunez Arjona), pass her photo around, but no one recognizes her. However, a small group of ravers, more-or-less led by Jade (Jade Oukid), suggest she may have moved on to a second rave about to take place some distance away. Jade's group is heading there, too, in a couple of heavy-duty off-road vans. Though they discourage him from doing so, Luis and Esteban follow along in their ill-equipped minivan across rugged desert.

It’s an arduous journey, during which time the father and son develop something of a bond with these ravers. However, little is actually revealed about any of the characters beyond their unwavering drive (no pun intended) to reach their destination. In fact, we don’t even know the circumstances surrounding the daughter’s disappearance. So it’s a credit to director/co-writer Oliver Laxe that we become invested in them anyway.

"That's the last time I ask Siri for directions."

As they venture deeper into the desert, the trip becomes more dangerous, the overall tone increasingly dark. Periodically, it’s even subtly suggested that something terrible (maybe even apocalyptic) might be occurring outside of this circle of friends. If that’s the case, it certainly exacerbates the growing desperation among the ravers themselves. That aspect of the narrative remains as ambiguous as the daughter’s whereabouts, which might frustrate some viewers, but Laxe wisely focuses almost entirely on the journey, which turns tragic at one point and includes a stunning sequence where the group discover they’ve driven into a minefield. It's a scene as nerve-wracking and tension filled as the classic bridge episode in Sorcerer.  

Like the films from which it draws obvious inspiration, Sirât is beautifully shot, its bleak, nearly surreal aesthetic befitting the overall tone and enhanced by a pulsing electronic score by Kangding Ray (similar to what Tangerine Dream’s music did for Sorcerer). The performances are uniformly solid, which is impressive considering the cast of ravers consists of non-actors. Laxe struggles with finding closure to his story, but until then, Sirât is an outstanding film, not to be missed. It was nominated for Best International Feature at this year’s Oscars…and should’ve won.

EXTRA KIBBLES

FEATURETTES - The Actor’s Work; The Invisible Family; Electric Matter; Sirât and Oliver Laxe; Sergi Lopez as Luis; Bruno Nunez Arjona as Esteban. These pieces are pretty short, running 3-5 minutes each, and mostly feature interviews with Laxe and his cast.

TEASER & TRAILER

RETRO VHS COLLECTION Is Back With 6 More Titles

YOU LIGHT UP MY LIFE (Blu-ray)

LOVELINES (Blu-ray)

SUNSET (Blu-ray)

WHITE PALACE (Blu-ray)

FAST FORWARD (Blu-ray)

COLD STEEL (Blu-ray) 

Alliance Entertainment

Review by Stinky the Destroyer😺

In an era when vinyl records can make a comeback, I suppose it was inevitable that nostalgia for the days of VHS tapes would rear its ugly head. But I don't think anyone actually misses the format itself. Comparatively speaking, the picture quality was never that great and they wore out pretty fast, especially rental copies. What we truly miss is the ritual...venturing to the nearest mom & pop video store and perusing shelf after shelf of battered boxes covered in stickers reminding us not to leave the tapes in the sun. 

Several years ago, Mill Creek Entertainment tapped into that nostalgia with a wonderfully packaged series of Blu-ray releases with slipcovers resembling old VHS boxes, complete with creases, frayed stickers urging us to rewind, and glimpses of the cassettes themselves. We’ve been periodically getting them ever since, only now Alliance Entertainment is doing the honors. True to form, most of the films in the series are those which more-or-less found their audience in the pop & pop video stores. The latest batch is no exception…six titles, mostly from the 80s, that have been largely forgotten over time (often for good reason), though some viewers might have fond memories of renting them back in the day.

Didi is offered some Skittles.

YOU LIGHT UP MY LIFE (1977/91 min) wasn't just a home video staple. Released in theaters in 1977, this was actually a pretty big hit, largely because of its syrupy title song that was inescapable on AM radio (and also won an Oscar that year). The movie itself is the perfunctory but largely unremarkable story of a young woman, Laurie (Didi Conn), who dreams of being a singer. We’ve all seen this stuff done better before, though Conn is quite good in the role. Still, most of us probably remember the song more than the film. It might also horrify you to learn that the creator of both, Joseph Brooks, was eventually arrested for being a serial rapist, which certainly casts a dark shadow while revisiting this thing today. 😺😺

LOVELINES (1984/93 min) is a silly teen comedy about two young rock singers from different bands who fall in love right before the town’s local battle-of-the-bands competition. Featuring a primary cast who don't remotely look like teenagers and largely went on to do little else noteworthy (save for Michael Winslow), this one predictably reeks of the decade from which it sprang (more so than any of the other films in this review). And even though I’d never actually seen this one before, I felt like I had. For viewers who think the ‘80s were Hollywood’s greatest decade, I guess that could be considered praise. Look quick for a very young Miguel Ferrer as a guy who goes by the name of Dragon. 😺

SUNSET (1988/102 min) was released just before Die Hard instantly turned Bruce Willis into an action star. Before that, he did some forgettable comedies (and a couple of real pooches) which capitalized on his popularity on the hit series, Moonlight. Of those, Sunset is one of the better ones, which is largely due to his co-star James Garner, who has fun playing Wyatt Earp alongside Willis as Tom Mix, a famous actor during the silent era. The two find themselves running afoul of a gangster, a concept with comic potential that legendary director Blake Edwards surprisingly struggles to exploit (considering his resume of comedy classics). Still, the story is fairly engaging and this one has the distinction of being the last decent movie Edwards would make.😺😺😺

"You like it? It's grape flavored."

WHITE PALACE (1990/103 min) is another one of those erotic dramas that were certainly popular rentals back in the day. Narratively, it’s the derivative story of a young well-to-do guy falling in love with an older working class woman, a relationship that’s predictably beset by the usual complications of the two being from totally different backgrounds. However, what lifts this one above the mediocrity of other movies it shared shelf space with are the excellent performances by its two leads, James Spader and Susan Sarandon. This one also boasts a pretty good supporting cast, including Jason Alexander and Kathy Bates before they became household names.😺😺😺

FAST FORWARD (1984/113 min) is directed by none other than the late, great Sidney Poitier. But being legendarily great in front of the camera doesn’t always transfer behind it. Despite his reputation as a serious actor responsible for many iconic characters, most of the movies he helmed were either dumb comedies or derivative dramas. Fast Forward is a distressingly bland and predictable underdog story about a talented batch of teenagers dedicated to winning a dance competition. The anonymous cast struts from one familiar scene after another, culminating in…well, you know the rest. There’s nothing particularly bad about the film itself (the dance sequences are good), just nothing noteworthy that hasn’t been shown in countless other movies. However, it’s Citizen Kane compared to Poitier’s next (and last) directorial effort, Ghost Dad.😺😺

COLD STEEL (1987/90 min) is the one title of this latest collection I have absolutely no memory of. I don’t recall it being released in theaters, nor did I ever notice it at the video store. But ironically, this is the one I probably enjoyed the most. Part of that might be because I can’t resist a good revenge story, but also because I didn’t have my expectations all that high to begin with. Cold Steel ain’t gonna make anyone forget Death Wish, but as low budget action movies go, I’ve seen far worse. It’s got a pretty good cast led by Brad Davis as a cop looking to avenge his dad’s murder, only to square off against Iceman (Jonathan Banks), who wants revenge on him. There ain’t a lotta depth (or brains) to be found here, but the action is kinda fun and the film boasts Sharon Stone in a pre-stardom early role. 😺😺😺

In terms of actual content, these are bare-bones Blu-rays, but I suppose you could look at it this way: None of the old VHS copies had bonus features, either. The purpose of these re-releases is purely aesthetic, meant for collectors of a certain age who didn't grow up on Netflix and its generic title descriptions. For them, these are a fun way to retro-fit your video shelves.