CRIME 101 (4K): You Da Mann!

CRIME 101 (4K UHD)

2026 / 139 min

Alliance Entertainment

Review by Mr. Bonnie, the Burglar😺

If I were a betting man, I’d probably be willing to wager a year of my pension that writer-director Bart Layton has a shrine to Michael Mann in a back room somewhere. His heist flick, Crime 101, has Mann written all over it, both narratively and aesthetically. That’s not intended as criticism, either. If you’re gonna cop another director’s moves, why not the guy responsible for such modern classics as Thief, Heat and Collateral?

While you’re at it, why not set yours in L.A., too, showcasing the city like it’s another character? And don’t stop there. Surely casting a couple of Mann alumni, Chris Hemsworth (Blackhat) and Mark Ruffalo (Collateral), will provide some good karma (though the film’s box office ultimately proved otherwise). Still, I wouldn’t quite call Crime 101 a ripoff. Though nothing particularly original, it’s very entertaining, arguably the best Michael Mann film that Mann didn’t make.

Hemsworth plays Mike, a high-end jewel thief who pulls off large heists without ever killing anyone. After turning down a job offered by his usual fence, Money (Nick Nolte), he plans a job on his own, which will hopefully be his last. When Money gets wind of this, he recruits violent psychotic Orman (Barry Keoghan) to tail Mike and rob him of the score afterwards. Mike solicits help from frustrated insurance broker Sharon Combs (Halle Berry), whose client is the wealthy jerk he plans on robbing. Ruffalo plays Lt. Lubesnick, the only cop who’s convinced the recent string of robberies up and down Highway 101 are being committed by the same guy.

"Flip you for the check?"

While there aren’t a lot of surprises, the story and characters are well conceived and engaging. A heist film isn’t worth its salt without detailing the perpetrator’s meticulous methods, and Layton convincingly presents Mike as a cool and calculating thief, sharply contrasting Orman’s reckless smash & grab approach. Additionally, the film boasts some well-executed action sequences, including a couple of nifty car chases through L.A. streets. Speaking of which, there are numerous moments that definitely recall Mann’s own infatuation with L.A. Aesthetically, Crime 101 sometimes plays like it exists in the same cinematic universe as Heat and Collateral.

But continuing to draw comparisons is selling the movie a little short. Aside from a somewhat superfluous romantic subplot that occasionally stalls the momentum, Crime 101 is a lot of stylish fun, with solid performances by the entire cast. It may not rank among the greatest crime thrillers ever made, but fans of the heist genre will find a lot to love. It also looks and sounds excellent on 4K, much better than what you’ll see and hear streaming it on Amazon (who distributed this one).

Catnip Reviews: DAY OF THE DEAD (4K), SOLO and MARLOWE

Snack-sized opinions from the frisky felines at Free Kittens…

DAY OF THE DEAD (4K + Blu-ray) - Largely maligned when first released 40 years ago, George A. Romero’s Day of the Dead has since become a beloved cult classic and has even gone under critical reassessment in many circles. Today, it stands alongside Night of the Living Dead and Dawn of the Dead as one of the most influential zombie films ever made. Arguably Romero’s darkest, most nihilistic film, it isn’t as “fun” as Dawn, but as usual, the director has more on his mind than simple gut-munching (though this remains the most ferociously gory entry in the entire franchise). Shout Factory has pulled out all the stops for this 4K boxed set. Wonderfully packaged inside and out with new and vintage artwork, this 4-disc set includes the restored film on 4K and Blu-ray, both with an excellent overall picture and four audio options. The remaining two discs feature a huge selection of new and archival supplemental material. With a set of 12 lobby card replicas thrown in for good measure, this is a must-own for horror fans. Now could someone please do the same thing for Dawn of the Dead? (1985/101 min/Shout Factory).

KITTY CONSENSUS: 😼😼😼😼😼

SOLO (Blu-ray) - Solo begins with an orgy and ends with a shoot-out. All that’s missing in between is Alain Delon, whose French thrillers from the ‘60s and ‘70s have been some of our favorite watches lately. Instead, Jean-Pierre Mocky directs himself as Vincent, an international thief who returns to Paris to stop his little brother from committing terrorist attacks on various wealthy people, occasionally pausing to boink most of the female cast. Mocky is certainly no Delon, he’s a reasonable facsimile and does a decent job carrying the film. Behind the camera, he stays on-point and keeps the pace lively, though the screenplay (which he co-wrote) could have put a bit more effort into making the other characters a little more interesting (or likable). Solo doesn’t rank among the greatest French thrillers of the era, but it’s entertaining in the moment. Also included with this disc are interviews with Mocky and co-star Anne Deleuze. (1970/83 min/Radiance Films).

KITTY CONSENSUS: 😺😺😺

MARLOWE (Blu-ray) - Private detective Philip Marlowe has been played by a wide variety of actors over the years. Bogart did it best, of course, but there’s been some other good portrayals before and after. Even James Garner took a stab at it back in the ‘60s, and while he’s not terrible, his performance feels like a dry run for his Jim Rockford character. In fact, the whole thing plays like an extended Rockford Files episode, only with more violence and boobs (and less laid-back humor). Watchable without ever being memorable, at least it sports a good cast, including none other than Bruce Lee in a small role (doing what he does best). This disc includes a nifty video history of the Phillip Marlowe character by Howard S. Berger, which runs almost an hour and is actually more interesting than the movie itself. (1969/96 min/Arrow Video).

KITTY CONSENSUS: 😼😼

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, 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 afterwards. 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 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.