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 yet, 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 plan that isn’t 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 those without dialogue, all of which shape JB’s character and other people’s feelings about him. As for this writer, 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.

SCREAM 7 (4K): Sydney's Back for More

SCREAM 7 (Blu-ray)

2026 / 114 min

Paramount

Review by Josey, the Sudden Cat🙀

I actually stopped paying attention to the Scream franchise a long time ago, more or less checking out after the third film. In the interim, a lot has changed. Director Wes Craven has since passed on, while original screenwriter Kevin Williamson became far less involved. And of course, lots of different actors & characters have donned the Ghostface mask to assume the slashing duties.

But the biggest change? After checking out Scream 7, it’s painfully clear that it has become the very type of franchise those first few films cleverly poked fun at. Gone is the self-awareness, sly satire and much of the humor. A few allusions to past classics pop up here and there, but they feel shoehorned into the script, and aside from some of its characters and a truckload of Ghostfaces, this plays like just another slasher film…

…or maybe a greatest hits album. Williamson is back to write and direct, while Sydney (Neve Campbell) returns after sitting out of Scream VI, this time with a snarky teenage daughter to be put in peril. Then there’s Courtney Cox as Gale Weathers, who doesn’t serve much of a purpose other than continuity. Additionally, plenty of familiar faces we thought were dead are squeezed into the plot, mostly in glorified cameos (so don’t get too excited over Matthew Lillard’s return). Most of the younger new characters seem calculated to appeal to a new generation of Scream fans, while Joel McHale is wasted as a police chief and Sydney’s husband.

Sydney shares her cat pix.

Then it’s business as usual…Ghostface’s creepy phone calls, lengthy stalking sequences and lots of gory violence. It’s all competently executed, but aside from an amusing death-by-beertap scene, never particularly memorable because we’ve seen it all before. Even the prerequisite twist revealing Ghostface’s identity is underwhelming, partially because we know a twist is coming, but also because there’s no trope more boring than yet-another slasher who feels compelled to explain while they’re slashing.

On the plus side, Scream 7 doesn’t really require the viewer to be familiar with previous installments (except maybe the first one). The film may have forgotten most of what initially made Scream unique among slasher franchises, but at least the story won’t be lost on newcomers (who might actually appreciate this one more than longtime fans). Additionally, it’s been given a pretty solid 4K transfer, with excellent picture and sound.

EXTRA KIBBLES

4K, BLU-RAY & DIGITAL COPIES

FEATURETTES - Scar Tissue: The Making of Scream 7 features interviews and clips; Building Tension is about the film’s production design; Dance of Death covers the film’s stuntwork.

MUSIC VIDEO - “Twisting the Knife,” by Ice Nine Kills.

DELETED SCENES

THE POOP SCOOP: Lionsgate Father's Day Sale

Celebrate Dad with an epic lineup of landmark LIONSGATE films during our Father’s Day Sale, June 9-23, with 40% off retail prices on all eligible titles. Whether they’re a fan of edge-of-your-seat thrillers, cult classics, action-packed favorites, or award-winning cinema, there’s something for every movie-loving dad.

Available only at LionsgateLimited.com

Just in time for Father’s Day comes a sale from Lionsgate Limited to help stock Dad’s library. This year’s featured titles include the fan-favorite Dogma, the stylish crime classic Knives Out, the adrenaline-fueled The Home, the action-packed Den of Thieves Collection, the cult sensation Battle Royale, the acclaimed horror hit The Descent, the gripping vampire thriller Daybreakers, and the suspenseful psychological thriller The Surfer. These standout releases offer the perfect excuse to expand Dad’s collection while taking advantage of significant savings. Additional sale titles include: The Conversation, Freaky Tales, Ghoulies Go to College, Hider in the House, High Tension, King of New York, Knock Knock, May, Meatballs, The Way of the Gun, and You’re Next.

DESTINATION INNER SPACE: Everybody Hates Wayne

DESTINATION INNER SPACE (Blu-ray)

1966 / 82 min

Leomark Studios

Available at MovieZyng.com

Review by Stinky the Destroyer😼

Poor Commander Wayne (Scott Brady). Sent to investigate a mysterious object buzzing around an underwater laboratory, he dutifully goes down there in a diving bell, only to get nothing but flak from the staff. 

Former Navy man Hugh Maddox (Mike Road) absolutely hates him. Photographer Sandra Welles (Wende Wagner) hates him mostly because Maddox does. And both of them like to remind Wayne they don’t take orders from him. The object turns out to be a ship that touches down and unleashes an amphibious monster, which wreaks havoc on the station. Wayne wants to kill it, but Dr. LaSatier (Gary Merrill) poos-poos his decision, preferring to study it (even after the beast has killed a few people). 

The guy can’t get a break. Even the diving suit they provide for him is obviously two or three sizes too small. In fact, there’s a hilarious scene where he’s arguing with everyone while spending at least a couple of minutes trying to squeeze into the thing (with Brady himself looking exasperated). Still, he leads the charge to defeat the creature and blow up its ship before the station runs out of air. 

Directed by James Cameron

Destination Inner Space is a daffy, ultra-cheap underwater thriller that still manages to be entertaining, largely at its own expense. The basic concept of being trapped underwater with a monster is actually pretty solid, and has been used in such later (bigger) movies as Leviathan and Deep Blue Sea. But here, the special effects are gloriously bad, especially the shots of this ‘50 foot wide’ ship hovering over the ocean floor (which would make the clearly visible tiny fish swimming around it the size of Great Whites). Elsewhere, the creature is certainly colorful, but obviously a guy in an ill-fitting rubber suit.

The dialogue is often chuckleworthy, too, such as an early scene where Wayne flirts with Dr. Peron (Sheree North), as well as the priceless moment where Maddox’s confession of being a coward makes Sandra love him even more. In fact, all of the manufactured romance here is pretty damn funny. Ultimately, this makes Destination Inner Space an endearingly tacky must-see for bad movie lovers. Be advised, however, that this Blu-ray release sports a picture loaded with film damage and artifacts (unlike a restored version served up by Kino Lorber a few years ago). Additionally, there are no bonus features, chapters, language options or even a main menu. Great cover, though.

Revisiting AUDITION in 4K

AUDITION Limited Edition (4K UHD)

1999 / 115 min

Arrow Video

Review by Josey, the Sudden Cat🙀

I first saw Takashi Miike’s Audition a few years ago when I reviewed Arrow Video’s Blu-ray edition. My main takeaway was that it was very good, though not a film I’d want to experience again. For me, it wasn’t the film’s notorious violence and repellent imagery I found tough to take (those scenes are actually few and far between). However, an overall air of sorrow hangs over the entire film, with stretches of sadness that are downright claustrophobic, though beautifully rendered. 

But with this new 4K Limited Edition, it looks like I’ll have to dive into despair one more time.

Shigeharu Aoyama (Ryo Ishibashi) is a widower whose loneliness is overwhelming. When he decides he'd like to start dating again, producer-friend Yasuhisa suggests setting up fake auditions for a non-existent film. Though he has ethical misgivings, Shigeharu goes along with it and becomes fixated with Asami (Eihi Shiina), a young ex-dancer whose resume reflects a kindred spirit. The two begin seeing each other, Asami's affection for him growing with each encounter. But after Shigeharu promises to love nobody else during a weekend getaway, Asami disappears. 

Unfortunately, this friendship comes with strings attached.

Asami turns out to be batshit crazy and her eventually retribution on Shigeharu is twisted, vicious and graphic. But I stand by my original assessment that what renders the entire sequence truly harrowing is the first half of the film. Miike takes great care in establishing Shigeharu as a supremely sympathetic family man we care deeply about. Similarly, Asami is a victim herself, a product of an abusive upbringing. This renders the climax more mournful than terrifying, its violence merely amplifying the overall tone of despair.

Arrow’s 2019 Blu-ray was an impressive release with good picture and sound, along with a load of bonus features. Those features are ported over for his limited edition version, with some good new ones added (see below). The film itself has been given an impressive 4K restoration for an improved overall image, especially regarding the color. There are also three audio options, lossless stereo, 4.0 audio and DTS-HD MA 5.1 surround. All three are solid, though the latter is arguably the most immersive. 

But that’s enough for this guy. Enduring Audition twice is plenty, so please Arrow…no 8K version. However, fans of the film should certainly consider upgrading.

EXTRA KIBBLES

NOTE: Free Kittens Movie Guide was provided with a promo disc for review purposes. Physical supplemental material included with the final product (booklets, artwork, inserts, etc) were not available for review.  

INTERVIEWS - Individual interviews with director Takashi Miike, actor Ryo Ishibashi.

2 AUDIO COMMENTARIES - 1) By biographer Tom Mes; 2) by director Takashi Miike.

INTRODUCTION BY TAKASHI MIIKE

DAMAGED ROMANCE - An appreciation by film historian Tony Rayns (the guy's quite knowledgeable and interesting to listen to). 

DEEPER DEEPER INTO AUDITION - Audio essay by author/critic Alexandra Heller-Nicholas.

ARCHIVAL INTERVIEWS - With actors Ryo Ishibashi, Eihi Shiina, Renji Ishibashi, Ren Osugi.

TRAILERS

IMAGE GALLERY

DI’ANNO: A Harrowing Journey

DI’ANNO: IRON MAIDEN’S LOST SINGER (Blu-ray)

2026 / 96 min

Cleopatra Entertainment

Review by Mr. Bonnie, the ‘banger😺

In this case, the ‘lost’ of the title does not mean forgotten…at least among die hard Maidenheads. Not to date myself, but yours truly has been one since high school, when I spotted Iron Maiden’s second album, Killers, at a local record store, its gloriously hideous cover practically daring me to listen to it. Which I did, and…mind officially blown. 

These were the days before Bruce Dickinson (if that name doesn’t ring a bell, why the hell are you reading this?). Until then, it was a lean & mean Paul Di’Anno belting out the songs. And he was good, too.

Then he was gone, just as Maiden was about to break big. Di’Anno didn’t just lose-hold of the brass ring. Mostly by his own hand, he chucked that ring so far he’d never find it again. Following his firing, he spent the rest of his life shitting in his own nest with one lousy decision after another, both musically and personally. Unrecognizable from his glory period, Di’Anno spent his final years in a wheelchair before dying in 2024. But God bless him, he never stopped trying to make music, even if few were actually listening anymore.

Di’Anno: Iron Maiden’s Lost Singer is an unflinching documentary that’s sometimes difficult to watch, yet undeniably fascinating. The film largely focuses on his final years and the severe health problems he was dealing with. By this time, he’s financially strapped, grotesquely overweight and, most significantly, in dire need of a knee surgery he can’t afford on his own. Di’Anno candidly talks about his situation, while holding out hope that he’ll someday be able to walk again. He doesn’t come across as particularly sympathetic, nor does he try. He’s well aware of his personal shortcomings and makes no apologies for them.

Di’Anno’s past is summarized throughout the narrative, from his brief time in Maiden through numerous other failed musical projects and personal problems, which mostly serve to confirm that he’s always been his own worst enemy. Friends, ex-bandmates and relatives are interviewed as well, offering their own insights and experiences with the singer’s volatile personality (which, of course, was often fueled by drugs). All he’s lost over the years makes his present predicament all the more tragic. Concert footage of Di’Anno in his wheelchair, croaking out Maiden classics in small clubs with a band of hired hands speaks volumes about his determination, but it’s also kind of depressing.

However, the most shocking parts of the film are those focusing on his health, which are really tough to watch. With financial help from a dedicated fan and Iron Maiden themselves, Di’Anno finally gets the surgery he needs, which is shown in gruesome, graphic detail. My stomach even did a couple of flip-flops during those scenes. I’ll say one thing…it was certainly brave of him to allow filmmakers to document what a trainwreck he’d become.

For Maiden fans such as myself, seeing his final years documented in such grim detail is a harrowing experience. Di’Anno: Iron Maiden’s Lost Singer is easily the most disturbing music doc I've ever seen, but compulsively watchable for the same reason.

EXTRA KIBBLES

DELETED SCENES