Vinnie Jones Stretches Himself in BULLET PROOF

BULLET PROOF (Blu-ray Review)

2022 / 92 min

FROM LIONSGATE

Review by Tiger the Terrible😼

Be aware that Vinnie Jones is not the actual star of Bullet Proof, and unless you’re one of his relatives, that’s a good thing. The guy’s always been just too imposing to be a convincing leading man. And let’s face it, with his relatively limited range, he's always better off playing thugs. 

Fittingly, he’s the bad guy here, playing a vicious druglord named Temple. Glowring, seething and clenching his jaw hard enough to break granite, Jones looks like he’s having a good time, which means we’ll probably have a good time watching him. The real star - and director - is James Clayton as The Thief, who steals a cache of cash from Temple and escapes in one of his gang member’s cars. But stowed in the trunk is Temple’s pregnant wife, Mia (Lina Lecompte), caught trying to escape her abusive marriage. 

In his spare time, Vinnie moonlights as a driving instructor.

With plans to rendezvous with a chartered plane to escape the country, The Thief initially wants to leave her behind, but reluctantly ends up helping her. It’s another one of those movie relationships that begin antagonistically before circumstances have them bonding. Meanwhile, Temple and his crew are hot on their tails, determined to retrieve the stolen money, take back Mia and kill The Thief.

As budget-conscious action flicks go, Bullet Proof ain’t bad. Though the story is predictable and contains more than its fair share of implausibilities, the action sequences are skillfully handled, even suspenseful from time to time. The overall performances are decent, as well. Clayton and Lecompte are an entertaining pair, instilling their thinly-drawn characters with enough likability that we’re sort-of invested in them. Vinnie Jones is…well, Vinnie Jones (which, again, is a good thing).

No one’s gonna walk away thinking they’ve seen a great film, but with tempered expectations, Bullet Proof is an agreeable way to kill 90 minutes. Bereft of surprises and never particularly memorable, it’s nevertheless fun in the moment…with Jones doing more of what he does best.

CINEMATOGRAPHER: Meet Donald M. Morgan

CINEMATOGRAPHER (Blu-ray Review)

2022 / 82 min

FROM LIGHTYEAR ENTERTAINMENT

Review by Fluffy the Fearless😽

Bear in mind that Cinematographer isn’t really an encompassing documentary about “the art of filmmaking” as touted on the cover. Nor is it a retrospective of the history of cinematography. 

In fact, the film is mostly about one guy: Donald M. Morgan, a longtime director of photography and cameraman with a prolific career in both movies and television. Some of the best-known films he worked on include Christine, Starman, Used Cars, Seven, 1941 and a slew of TV productions. However, this is only partially about his time behind the camera. 

While Morgan himself has a lot of entertaining anecdotes about his job - including how he stumbled into the business before he really even knew what he was doing - a good portion of the film focuses on his recovery from alcoholism. Not only that, he used his struggle to inspire friends and associates to battle their own chemical demons, as confirmed through numerous interviews with those who know him well.

"...and there's Bob Zemeckis, whose ass I kicked back in '78."

Everyone interviewed has nothing but gushing praise for the man, both as a cinematographer and a friend. Indeed, Morgan himself comes across as a generous, congenial guy who’s been around the block more than a few times, but can be amusingly cantankerous when it comes to the job. The film also features clips from many of his films, as well as a few from his peers.

But while we learn a lot about Morgan’s inspiration to others - professionally and personally - the film doesn’t have much to offer about the art of cinematography itself, nor does it effectively convey what makes his work distinctive from countless others in the same profession. Film lovers expecting to learn more about the craft are apt to be disappointed. However, if you just want to meet a nice guy from the movie business who successfully conquered his demons, Cinematographer is fairly enjoyable.

The Strangeness of PREMAN: SILENT FURY

PREMAN: SILENT FURY (Blu-ray Review)

2022 / 92 min

FROM WELL GO USA

Review by Tiger the Terrible😽

Strange movie, this one. 

Not the story, mind you. In fact, Preman: Silent Fury boasts the type of solid, reliable plot on which many good action films are built. Khiva Iskak plays Sandi, a deafmute who works as a thug with the Preman, a group of Indonesian gangsters trying to rid an entire village of its inhabitants. He’s also widowed, trying to raise his impressionable young son, Pandu (Muzakki Ramdhan), and doing kind of a piss poor job of it. Still, his heart is in the right place.

Then Pandu witnesses the murder of a respected elderly villager at the hands of Shandi’s sadistic boss, Hanoeng (David Saragih). Sandi turns out to be a hell of a fighter, though, kicking the shit out of a half-dozen guys to escape with his son. The two go on the run, unable to rely on the police because they're all corrupt. Meanwhile, Hanoeng sends his crew to find and kill them. But since none match Sandi's skills - nor are they very bright - he’s forced to hire notorious hairdressing assassin, Ramon (Revaldo), who always refers to himself in the third person.

When you're surrounded by assholes.

As the film’s best character, Ramon isn’t in it nearly enough, but his arrival and exit are indicative of the constantly shifting tone. Preman is - by turns - violent, gritty, absurd, goofy, surreal, harrowing, metaphoric, heartwarming and probably a few other adjectives I haven’t thought of. However, sometimes the themes and sequences sit uncomfortably next to each other. For example, Ramon is so damn funny that he’s almost endearing…at least until he slaughters an innocent family in his very next scene. And for what’s primarily supposed to be an action film, there are long stretches of family drama and flashbacks depicting how Sandi became a deafmute. 

It’s the jarring shifts in tonal gears that make this a strange viewing experience, especially the scenes which delve into surrealism. Because it can’t quite stick with one mood very long, Preman moves in fits and starts. The fighting scenes are pretty good - Sandi's pretty handy with a flail - though sometimes a little haphazardly edited. Writer-director Randolph Zaini fares much better with dialogue and establishing his characters. Bolstered by good performances, Sandi and Pandu are engaging, with the former’s redemption being integral to the story. In addition to Ramon, some of the other quirky bad guys are pretty amusing, even those who ultimately end up as cannon fodder.

Though arguably trying to do too much in 90 minutes, Preman: Silent Fury is mostly pretty enjoyable. A lot of viewers might actually appreciate how all-over-the-place it is, which admittedly renders it a little different than your usual martial arts fight-fest. So while it’s structurally a little strange, at least it’s seldom boring.

THE WAR OF THE WORLDS (4K) & WHEN WORLDS COLLIDE (Blu-ray): The Perfect Double Feature

THE WAR OF THE WORLDS / WHEN WORLDS COLLIDE (4K UHD/Blu-ray Review)

1951-1953 / 167 min (2 films)

FROM PARAMOUNT

Review by Mr. Paws😸

One of my favorite aspects of the ongoing Paramount Presents series is the packaging. Each slipcase opens to reveal a replica of the film’s original poster art. However, this 2-disc set of The War of the Worlds and When Worlds Collide includes the one-sheet that was created to promote their re-release as a double feature back in the ‘70s. It’s almost as if Paramount had my childhood in-mind, because I was first in line to catch them at the Southgate theater one weekend, even though I'd already seen both on TV a million times.

When Star Wars became a cultural phenomenon in 1977, science-fiction was suddenly cool again. More importantly, it was profitable again and studios clamored to get a piece of the action. In an odd move, Paramount Pictures resurrected two relics from the early 1950s – The War of the Worlds and When Worlds Collide – marketing them with an all-new ad campaign. 

Not everyone loves L.A.

It was rare for a studio to go back two decades and serve-up movies that had been standard afternoon programming on independent TV stations for years, but a genius move when you think about it. Even if they only played for a week or two, all it cost was a commercial and newly-designed one-sheet that touted, “The science-fiction fantasies that started it all in the most spectacular double feature of all time!”  I never previously thought about them in those terms, but as two of the earliest special effects-driven sci-fi films ever made - both courtesy of George Pal, the George Lucas of his time - I suppose they did start it all. It was enough for me to part with my precious lawn-mowing money.

So there I was at the Southgate one afternoon, by myself, watching two movies that were made when my parents were kids. Granted, both were rendered quaint in the wake of Star Wars, but they won visual effects Oscars in their day, and decades later, were still more convincing than most of the Star Wars rip-offs cranked out at the time, such as Starcrash, Battle Beyond the Stars, Laserblast or Message from Space. And you know what? Seeing The War of the Worlds and When Worlds Collide on the big screen made them feel a lot more epic than they did on my tiny black & white bedroom TV. It was almost like watching them for the first time.

"No freaking way am I mowing that."

Sometimes you have to go big to really appreciate a movie, even if you already know it by heart. That afternoon at the Southgate forever-changed how I viewed these particular films. Even today, I almost never revisit When Worlds Collide without following it up with The War of the Worlds immediately afterwards. Personal nostalgia aside, their aesthetic similarities make them two peas in a pod. 

Short of catching them at a revival house, this set (Paramount Presents #35) is the closest I’ll ever get to reliving the childhood experience of seeing them on the big-screen. Both of them look and sound wonderful…with the lights out & curtains drawn, it’s almost like being back at the old Southgate (minus the sticky floor). 

 

While The War of the Worlds was first released on Blu-ray by Criterion just two years ago and featured a great remaster, I gotta say the 4K UHD transfer is a knock-out. But even for those who purchased the Criterion disc, the Blu-ray debut of When Worlds Collide is too tempting for any ‘50s sci-fi fan to pass up (and looks a hell of a lot better than the crusty old DVD). Unavailable separately, one could consider this the greatest bonus feature of all time. Nicely packaged and featuring a smattering of vintage supplemental material - all related to The War of the Worlds - this is one of the best releases of the Paramount Presents series. Whether you grew up in the ‘50s or belatedly discovered them in the ‘70s, these films paired together are a nostalgic blast and the perfect double feature.

EXTRA KIBBLES

THE WAR OF THE WORLDS (4K):

FEATURETTES - “The Sky is Falling: Making The War of the Worlds”; “H.G.Wells: The Father of Science Fiction.”

“THE WAR OF THE WORLDS” - Orsen Welles’ infamous Mercury Theater On the Air Radio Broadcast.

AUDIO COMMENTARIES - 1) By actors Ann Robinson & Gene Barry; 2) By director Joe Dante (Gremlins), historians Bob Burns & Bill Warren.

TRAILER

DIGITAL COPY

WHEN WORLDS COLLIDE (BLU-RAY):

TRAILER

DIGITAL COPY

POLTERGEIST and THE LOST BOYS: Two Decade-Defining Classics in 4K

POLTERGEIST and THE LOST BOYS (4K UHD Review)

FROM WARNER BROS #InPartnershipwithWB

Review by Tiger the Terrible🙀

Not only are they modern classics, Poltergeist and The Lost Boys had a significant cultural impact in a decade when horror was mostly defined by slasher films. They were comparative anomalies in the genre: Two movies aimed at a wide audience - practically family friendly - that still delivered in the thrill department. Now both have been given the well-deserved 4K treatment. No new bonus features are included, but the video/audio upgrades are outstanding. 

POLTERGEIST 

1982 / 114 min

Despite being released with a PG rating at a time when nearly all horror movies were rated R, Poltergeist scared the hell out of everybody in the summer of ‘82. Anyone claiming otherwise was simply lying. And that PG rating didn’t stop Tobe Hooper & Steven Spielberg from showing a guy rip his own face from his skull in lurid, lingering detail! How’d they get away with that? However, the most amazing aspect of the film was that it managed to scare the bejeezus out of an entire generation - exploiting some of our most common fears along the way - without killing a single character. One of the scariest movies of all time had a total body count of zero.

Time for walkies.

For many growing up back then, Poltergeist has since become the perfect gateway drug to introduce their own kids to the visceral joys of horror, probably a big reason why its popularity endures while most slashers of the era have been forgotten by all but nostalgic gorehounds. Some of the Spielbergian touches and special effects haven’t aged all that well - the face-ripping scene looks laughably phony - but its power to scare newbies is undiminished. From a historical perspective, Poltergeist is arguably one of the greatest haunted house films ever made and still a hell of a lot of fun.

While the 4K disc looks and sounds awesome, the accompanying Blu-ray also been given a new transfer, meaning that this one might be worth the upgrade regardless of your preferred format. Other than a digital copy, all the bonus features are carried over from other releases, none of which are very substantial.

EXTRA KIBBLES 

4K, BLU-RAY & DIGITAL COPIES

FEATURETTES - “They Are Here: The Real World of the Poltergeists” (a 2007 doc about people who investigate the paranormal for a living, but has little to do with the actual movie); “The Making of Poltergeist” (vintage featurette). 

TRAILER

THE LOST BOYS

1987 / 97 min

The Lost Boys is a comedic vampire tale with villains infinitely cooler than its heroes, sporting trenchcoats, tons of bling, leather, spandex and totally rockin’ mullets. There must be more mullets on display here than at a Bon Jovi concert. 

The Lost Boys has maintained a pretty large fanbase over the years and remains revered by those who grew up with it. The film is genuinely funny and loaded with some great one-liners ("You're a creature of the night, Michael...wait until Mom finds out!"). It also features terrific performances by its young cast. Some, like Kiefer Sutherland, Jami Gertz and Alex Winter (Bill & Ted's Excellent Adventure) would go on to bigger things. For others, The Lost Boys would be the high point of their careers. 

"Who's ready for 'Smores?"

Though certainly a product of its time - often amusingly so - the most enduring aspect of The Lost Boys would be its lasting impact on how vampires are depicted in both movies and television, from Buffy, the Vampire Slayer to the Twilight series, True Blood to The Vampire Diaries. No longer monsters - or even villains, in some cases - contemporary creatures of the night may not be sporting trenchcoats or rockstar hair, but they're nearly always young, sexy and have exemplary fashion sense. So while The Lost Boys probably doesn’t rank among the greatest vampire films ever made, a strong case could be made that, aesthetically, it might be one of the most influential. Not bad for something originally conceived as a children’s movie.

Like Poltergeist, this one features great new transfers for both 4K and Blu-ray, making it worth the upgrade for videophiles. The bonus features are also carried over from previous releases, but unlike those included with Poltergeist, they’re substantial and entertaining. In fact, The Lost Boys’ back-story is just as interesting as the movie itself.

EXTRA KIBBLES 

4K, BLU-RAY & DIGITAL COPIES.

FEATURETTES - “The Lost Boys: A Retrospective” (an excellent 20-minute look back, with cast & crew interviews); “Vamping Out: The Undead Creations of Greg Cannom”; “Haimster & Feldog: A Tale of Two Coreys”; “A World of Vampires” (a history of vampire lore around the world)

“INSIDE THE VAMPIRE’S CAVE” - Multi-part making-of doc, with interviews with various cast & crew.

AUDIO COMMENTARY - By director Joel Schumacher.

MULTI-ANGLE VIDEO COMMENTARIES - Scene-specific, featuring Corey Haim, Corey Feldman & Jason Newlander.

MUSIC VIDEO - “Lost in the Shadows”

DELETED SCENES

A FUGITIVE FROM THE PAST is a One-Movie Marathon

A FUGITIVE FROM THE PAST (Blu-ray Review)

1965 / 183 min

FROM ARROW VIDEO

Review by Fluffy the Fearless😺

For some, A Fugitive from the Past is probably one of those films it’s easier to admire than enjoy. Not that it isn’t often fascinating, but at 183 minutes, it’s an exhausting one-movie marathon, especially considering the basic plot. And if you think the movie is long, its source novel, Kiga Kaikyo, is 1700 pages. So we should actually be grateful that director Tomu Uchida managed to be this concise.

Speaking of which, Tomu Uchida is no Akira Kurosawa, and by that I mean his work is not widely known on this side of the pond. In fact, this is the first time A Fugitive from the Past has ever been released on home video outside of Japan. But not only did Uchida have a lengthy career dating back to the silent era, this one is considered by some to be his magnum opus and one of the greatest Japanese films of all time. While I’m not sure I concur with the latter, it’s certainly a movie any self-respecting cinephile should see at least once before they die.

Despite the epic length, it is not an epic journey. On the surface, it’s a fairly straightforward story presented in three distinct acts. After robbing and killing a pawnbroker, Takichi Inukai (Rentaro Mikuni) and two partners escape on a small boat during a storm which sinks a ship. He apparently kills the other two, so when their bodies are discovered, authorities will think they’re one of the hundreds of ship passengers who perished. However, the police quickly determine the men were murdered ex-cons, leading to a manhunt headed by Yumisaka (Junzaburo Ban). 

Though he’s able to follow Inukai’s trail, Yunisaka is not only one step behind, Inukai is aided by local prostitute Yae Sugito (Sachiko Hidari). Since he’s weary and starving, she takes him in and tends to his needs (in more ways than one). To show his gratitude, Inukai gives Yae enough money for her to start a new life in Tokyo. Meanwhile, Yunisaka’s obsession with catching Inukai ultimately ends his career.

Then the film takes an unexpected narrative turn with a middle act that focuses on Yae’s life after relocating to Tokyo. Though she tries to escape her old life, she ends up being a prostitute again, though making a lot more money and therefore happier. Yae has never forgotten Inukai’s generosity and dreams of thanking him in person one day. Ten years later, she gets her chance.

Spotting his picture in the paper - he’s now a wealthy businessman known as Kyoichiro Tarumi - she goes to his home. He claims not to know her, but not only is Yae obsessive, she is persistent. Inukai ends up killing her, as well as a servant who happens to enter the room. He quickly disposes of both bodies, which the police discover and initially assume is a mutual suicide. However, it isn’t long before the police, led by Detective Ajimura (Ken Takakura), begin to suspect Inukai/Turami, and after coaxing Yunisaka out of retirement, Ajimura is able to make the connection between Yae’s murder and the robbery a decade earlier.

"Not only do I think he killed her, I'm pretty sure he's the guy who stole my bike."

As a police procedural, A Fugitive from the Past is very engaging, especially during the initial manhunt. What makes it interesting is that Inukai doesn’t really do anything particularly smart to elude the police. Conversely, Yunisaka is incredibly intuitive and intelligent…it’s just a turn of fate that torpedoed his career. While I appreciate what Uchida’s trying to do with the second act, Yae’s portion of the story is far less compelling…and pretty pokey, at times. However, I suppose it’s necessary, since her death has more impact on the viewer and sets the stage for the second investigation (which reclaims the urgency established in the first hour).

Could the same story have been told in two hours? Probably, but one can argue it wouldn’t have been as immersive, nor could there be much room for social commentary and themes of karma, redemption and guilt (to name a few). Uchida juggles his ideas and characters extremely well, working with a story that’s apparently atypical of the types of films he was known for at the time. He’s aided considerably by excellent performances - Mikuni, in particular - and stark black & white cinematography that reflects a film noir influence, appropriate for the somber tone.

Speaking of which…though interesting, A Fugitive from the Past isn’t what anyone would consider a “fun” film. It does test the viewer’s patience at times, especially since the denouement is practically a forgone conclusion. And considering its length, the film’s unexpectedly abrupt climax - if you can even call it that - is pretty jarring. I can imagine a lot of neophytes thinking, “Well, that was much ado about nothing.”  But as someone new to Uchida, I don't know how often I’d feel compelled to revisit this one, but was intrigued enough to seek out some of his other films. 

EXTRA KIBBLES

INTRODUCTION - At nearly 30 minutes, this is more like an appreciation by writer Jasper Sharp. 

SCENE SPECIFIC AUDIO COMMENTARIES - 6 different audio commentaries covering various parts of the film by several scholars. Very academic in their discussions.

SUPPLEMENTAL BOOKLET - Includes two essays, “A Tale of Guilt and Dread,” by David Baldwin, and Tomu Uchida’s Salvation from Evil,” by Inuhiko Yomota; cast, crew & restoration credits.

ORIGINAL TRAILER

IMAGE GALLERY

TOMU UCHIDA FILMOGRAPHY

REVERSIBLE COVER - Featuring new and original artwork.

CAVE RESCUE Doesn't Dive Deep

CAVE RESCUE (Blu-ray Review)

2022 / 100 min

FROM LIONSGATE

Review by Stinky the Destroyer😾

Cave Rescue is the third film released within a year that tells the same true story: The efforts to save a Thai youth soccer team trapped in a flooded cave. The first was The Rescue, a documentary, followed by Thirteen Lives, Ron Howard’s big budget dramatization with an impressive cast. 

Though actually produced first and re-edited for a 2022 release, Cave Rescue tries to offer the best of both worlds…the authenticity of a documentary and the dramatic urgency inherent within the situation. Unfortunately, the film ends up being a dull exercise in redundancy and it's the viewer that needs to be rescued...from boredom.

The promotional campaign touts casting many of the same divers who participated in the rescue, playing themselves as they reenact their heroism. While none of them embarrass themselves, it’s obvious acting is not their forte. Historically, hiring people to play themselves in a movie has never worked out very well. Just ask Clint Eastwood.

Real-life rescue diver Jim Warny learns his new SAG card will get him a Denny's discount.

But not even Viggo Mortensen could do anything with the screenplay, which is devoid of anything resembling characterization. We learn almost nothing about anyone involved beyond on-screen text providing their names and occupations. In fact, when one of them dies, instead of feeling a sense of loss, we’re just wondering which guy it was. It’s damn tough to become emotionally invested in any rescue when characters simply exist to swim, shiver or provide exposition. 

Speaking of which, the narrative dutifully documents events inside and outside of the cave. Each step of the rescue is preceded by a title card explaining things further. It’s all competently shot, but coasts on the conceit that meticulous attention to detail will manufacture all the drama and conflict the story needs. That may be true for documentaries, but in movies “based on true events” where the outcome is a given, some dramatic embellishment is expected. Otherwise, you might as well watch a documentary.

Despite honorable intentions and solid technical merits, Cave Rescue is a repetitive, redundant and tedious endurance test that practically dares the viewer to stick with it to the end. You’re better off seeking out one of the other films depicting the same event, both of which are far more compelling.

EXTRA KIBBLES

MAKING OF FEATURETTE

TRAILER

DIGITAL COPY