More ULTRAMAN for Ultrafans

ULTRAMAN: TOWARDS THE FUTURE and ULTRAMAN: THE ULTIMATE HERO (Blu-ray)

1990 & 1992 / 650 min

Alliance Entertainment

Review by Nick Lyons, from DVDCorner.net

For years now, Ultraman Blu-ray releases have been frequent. This time around, Alliance Entertainment is giving Ultraman enthusiasts a double feature of the complete series of Ultraman: Towards The Future and Ultraman: The Ultimate Hero.

Ultraman: Towards The Future is a 13 episode series from 1990. Traditionally, Ultraman shows are Japanese productions, but this one is an English language series that is also a Tsubaraya and South Australian Film Corp. production. The series revolves around Jack Shindo, an astronaut who was on a mission to Mars. Jack encounters Ultraman Great fighting a monster (Gudis). Gudis manages to escape and transform into a virus to wreak havoc on Earth. Ultraman Great, meanwhile, merges with Jack, who returns back to Earth. Jack/Ultraman Great team up with Earth’s UMA organization, which battles monsters. The series is big on environmental messages as the plots tend to involve the Gudis virus infecting and corrupting Earth’s winds, volcano, ocean oxygen, etc. Of course, there’s plenty of monster action, including Kilazee and Kodalar in the grand finale. 

"Leave him alone! He's sensitive!"

An English Tokusatsu series may sound weird to Ultraman persists, but Ultraman: Towards The Future does at least have a unique vibe instead of feeling like another formula retread. The show plays like a cross between an 80s British sci-fi series and an Ultraman series. Admittedly, the action is a bit clunky. The Ultraman spandex suit looks supremely cheap and actor Dore Kraus (Jack) just might be the worst lead in the entire Ultraman franchise, but there’s an attention to story here and the environmental messages (and the integration of Australia into the story) prove effective. 

Ultraman: The Ultimate Hero is a 1992 follow-up to Ultraman: Towards The Future. The 13 episode series was a Japanese-American production. The series was essentially an American remake of the 1966 original. The story centers around the WINR defense team who discover an alien race (the Baltans) are invading earth. One of the WINR members (Kenichi Kai) becomes Ultraman Powered’s host. Aside from the Baltans plotlines, there are plots involving other monsters (Zumbolar, Dada, Gomora to name a few). 

From a production value standpoint, Ultraman: The Ultimate Hero dazzles. This series features better sets, lighting, special effects, direction, and especially the Ultraman and monster costumes. Alas, the costumes are so good that the production team was clearly too worried about damaging them. As a result, the fight sequences are profoundly disappointing. If you can look past that though, this is an exciting English language series that certainly benefits from higher production values. Sure, the stories are essentially retreads, but as a one-off it is at least an entertaining Tokusatsu series.

HOPPERS (4K) is Prime Pixar

HOPPERS (4K UHD SteelBook)

2026 / 105 min

Disney/Pixar

Review by Princess Pepper😸

While reviewing Hoppers, it suddenly dawned on me that this is the first Pixar film I’ve ever watched in 4K. If this is indicative of how they all look in the format, I might have to invest in a little upgrading…of the great ones, anyway. And I’m happy to say that Hoppers ranks among the great ones, something I haven’t said about a Pixar film in a long time. While the studio’s never produced a pooch (Cars 2 came dangerously close), this is easily their best, most original effort since Inside Out…and the flat-out funniest since the Monsters Inc & Finding Nemo days. 

The story has young, idealistic college student Mabel trying to save a local forest glade and its wildlife from Beaverton’s self-absorbed mayor, Jerry Generazzo, who plans to clear it out to make way for a new freeway. He argues that the animals have since left, so he can do as he pleases. When Mabel later stumbles upon her professor’s experiment, which enables humans to transfer their minds into robotic animal bodies, she seizes the opportunity (without permission) and “becomes” a beaver, then ventures into the forest hoping to bring animals back to the glade.

Being inside the robot also allows Mabel to communicate with the wildlife, and vice versa. This is where Hoppers is at its most, whimsical, charming and funny. Mabel meets another beaver, King George, who (sort of?) rules over the local displaced wildlife. Not only does she learn about “pond rules,” she implores everyone to stand up to Jerry. However, when the Animal Council of other kings is informed, they decide Jerry should be “squished” (i.e. die). Newly crowned insect king Titus leads the charge, while Mabel and some of her new friends end up trying to save Jerry.

"I never thought I'd say this, but perhaps you're a little too eager."

That’s the nutshell plot, which is interesting, timely and sometimes subversively satirical. But where Hopper really shines is with its animal and human characters. Not only are they creatively rendered (I really liked the touch of the wildlife appearing expressively different when seen through robot eyes), they’re well conceived and engaging. The film is also loaded with humor, both clever and broad, as well as the usual heartfelt moments we always expect from Pixar, but are especially effective here. In fact, the only times Hoppers threatens to stumble is during a couple of “musical” asides that would be more at home in an Illumination Studios flick. Fortunately, those moments are brief.

Of course, the movie is visually stunning. All Pixar movies are, but this is the first one I’ve seen in a long time that also feels immersive, making me regret not seeing it on the big screen. Both the human and animal worlds are vividly depicted, stopping just short of photorealism. Even if one isn’t invested in the characters and story (what’s wrong with you?), Hoppers is wonderful just to look at. Perhaps part of that gushing praise is due to the 4K transfer. With an outstanding overall picture and three audio options (Dolby Atmos, 7.1 Dolby Digital and 5.1 Dolby Digital), 4K was made for movies like this. 

Also included are several bonus features. Like most Disney/Pixar releases, most of them are pretty short, but entertaining. For this review, we were sent the SteelBook edition, which features nice artwork both inside and out. I personally think it’s cool that the cover has no actual text, just a few of the characters “bursting” from the box. A nice touch. 

With the creative packaging, superlative transfer and a film that’s certainly worth repeated viewings, Hoppers is so-far one of the best physical media releases of the year

EXTRA KIBBLES

4K, BLU-RAY AND DIGITAL COPIES - The bonus material is on the Blu-ray disc and digital copy.

FEATURETTES - The Critter Diaries covers the research director Daniel Chong and crew undertook to create the characters; Hopping In: The Making of Hoppers features numerous interviews with the cast and crew; “Meet King George” Scene Breakdown takes a behind-the-scenes look at the creation of the Superlodge; Beaverton Revealed contains Easter Eggs and various filmmaking facts.

DAM GOOD BLOOPERS - Featuring the voice actors

7 DELETED SCENES

D.O.A. and BORDERLINE: A Great Collection...Save For One Thing

FILM NOIR CLASSICS: D.O.A. and BORDERLINE (Blu-ray)

1950 / 171 min (2 movies)

VCI Entertainment

Review by Mr. Paws😺

On one hand, this Blu-ray double feature from VCI Entertainment is a must grab for film noir fans, since it pairs an influential classic with a forgotten gem. On the other hand, the bonus features raise a huge red flag that one can hope isn’t an ominous sign of things to come.  

The influential classic is D.O.A., which boasts one of the greatest premises in noir history, that of a hapless man trying to solve his own murder with the time he has left. Frank Bigelow (Edmond O’Brien) is an accountant on vacation in San Francisco. Visiting a doctor after a night of drinking, he learns he’s been deliberately poisoned and will die in a day or two. With his time running out, Frank sets out to find out who wants him dead and why. 

Ingeniously plotted, D.O.A. serves up plenty of suspense, plot twists and questionable characters as Frank uncovers a connection between his predicament, the alleged suicide of a local importer and a stolen chemical called iridium. After a somewhat languid opening act, the film is urgently paced and atmospheric, anchored by a tour-de-force performance from O’Brien (no stranger to the genre). Though remade several times since, this remains the definitive version and still darkly thrilling after all these years. 

On the more obscure side of the spectrum is Borderline, which might be the closest the genre ever came to a film noir romantic comedy. This one stars Fred MacMurray and Claire Trevor as a couple of cops, working independently, trying to bring down a drug smuggler in Mexico. Both are deep undercover, yet do not know the other is also a cop, which leads to plenty of interesting moments when they’re tasked with posing as a married couple to smuggle dope across the border.

Frank defends his parking space.

Though not a comedy per se, Borderline is often pretty amusing, mostly due to its overall tone and the interplay between Johnny McEvoy (MacMurray) and Madeleine Haley (Trevor). At the same time, the action and noir elements keep things lively. Also no stranger to the genre, MacMurray makes an entertaining tough guy, while Trevor has fun with a character that holds her own amongst her male foes and colleagues. This isn’t film noir in the purest sense, but it’s highly enjoyable.

Sharing the same disc, both films are given pretty good Blu-ray transfers, with Borderline boasting slightly better picture and sound. But alas, I must take issue with the supplemental material. If something seems off about all four of these rudimentary career summaries, that’s because it’s painfully obvious they were created with ChatGPT. What exactly is the point of using AI to belch out generic histories containing no insights beyond what it liberally steals from other sources? Surely these films deserve a little more effort (and respect) than that, and I can’t imagine physical media enthusiasts thinking this qualifies as any kind of bonus.

Still, the movies themselves are well worth adding to your collection.

EXTRA KIBBLES

BLU-RAY & DVD COPIES

FEATURETTES - Edmond O’Brien: The Man Who Made Every Second Count; Rudolph Mate: The Eye Behind the Shadows; Fred MacMurray: From noir Shadows to Disney Light; William A. Seiter: Hollywood’s Hidden Craftsman. Sorry, but AI ain’t gonna make anyone appreciate these two films more than they already do.

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OUR 10 FAVORITE FILM COMPOSERS

BY THE FRISKY FELINES AT FREE KITTENS🐈‍⬛

We won’t bother catsplaining the importance of music to a movie. Instead, we’ll just sugeest you try watching Halloween without John Carpenter’s urgent keyboard-driven score. That being said, Carpenter didn’t make our list, but the legends who did are responsible for diverse bodies of work that not only greatly contribute to the films they were composed for, most of them are also impressive pieces of stand-alone music. 

The following consists of 10 composers, along with 10 of the scores that best represent their range and talents (from iconic to underrated), as well as the one we feel is their greatest overall and has us purring the loudest. Feel free to disagree, but like your dog, you’d be wrong.😸

10) HANS ZIMMER - Thelma & Louise; The Lion King; Broken Arrow; Crimson Tide; Gladiator; Pirates of the Caribbean: Curse of the Black Pearl; Black Hawk Down; Inception; Dunkirk; Dune. BEST SCORE: Interstellar

9) JOHN BARRY - From Russia with Love; Goldfinger; Thunderball; You Only Live Twice; The Lion in Winter; Midnight Cowboy; Mary, Queen of Scots; The Black Hole; Dances with Wolves; Chaplin. BEST SCORE: Raise the Titanic (it’s almost the sole thing that makes the movie watchable)

8) DIMITRI TIOMKIN - The High and the Mighty; Gunfight at the O.K. Corral; High Noon; The Alamo; Duel in the Sun; The Old Man and the Sea; The Fall of the Roman Empire; The Thing from Another World; Dial M for Murder; Lost Horizon. BEST SCORE: The Guns of Navarone

7) JAMES HORNER - Star Trek II: The Wrath of Khan; 48 Hrs.; Aliens; An American Tail; Willow; Field of Dreams; Braveheart; Titanic; Deep Impact; Avatar. BEST SCORE: Apollo 13

6) MAX STEINER - King Kong; Gone with the Wind; Angels with Dirty Faces; Jezebel; Dark Victory; Sergeant York; Now Voyager; Rhapsody in Blue; The Caine Mutiny; The Searchers. BEST SCORE: Casablanca

5) ELMER BERNSTEIN - Sweet Smell of Success; To Kill a Mockingbird; Birdman of Alcatraz; The Magnificent Seven (1960); The Great Escape; Hawaii; Thoroughly Modern Millie; National Lampoon’s Animal House; Airplane!; Cape Fear (1991). BEST SCORE: The Ten Commandments

 

4) JERRY GOLDSMITH - Planet of the Apes; Papillon; Chinatown; The Wind and the Lion; Logan’s Run; Alien; Star Trek: The Motion Picture; Gremlins; Total Recall; L.A. Confidential. BEST SCORE: The Omen 

3) ENNIO MORRICONE - For a Few Dollars More; The Good, the Bad and the Ugly; Once Upon a Time in the West; The Bird with the Crystal Plumage; Exorcist II: The Heretic (the movie is balls, but the score is wonderfully eclectic); The Thing (1982); Once Upon a Time in America; The Mission; Bugsy; The Hateful Eight. BEST SCORE: The Untouchables

2) BERNARD HERRMANN - Citizen Kane; The Day the Earth Stood Still (1951); North by Northwest; The 7th Voyage of Sinbad; Journey to the Center of the Earth; Psycho; Mysterious Island; Cape Fear (1962); Obsession; Taxi Driver (the guy certainly left on a high note). BEST SCORE: Vertigo

1) JOHN WILLIAMS (who else?) - The Poseidon Adventure; The Towering Inferno; Jaws; Star Wars (and its sequels); Close Encounters of the Third Kind; Superman (1978); E.T. the Extraterrestrial; JFK; Schindler’s List; Saving Private Ryan. BEST SCORE: Raiders of the Lost Ark

GEORGE STEVENS: A FILMMAKER’S JOURNEY (4K): Heard of This Guy?

GEORGE STEVENS: A FILMMAKER’S JOURNEY (4K UHD)

1984 / 112 min

Warner Archive Collection

Available at MovieZyng

Review by Mr. Paws😺

George Stevens may not be a household name like the Hitchcocks and Capras of the world, but chances are you’re familiar with his work. If the likes of Shane, A Place in the Sun (my personal favorite of his), The Diary of Anne Frank and Giant don’t ring a bell, you clearly need to see more movies. Maybe you could start with this one.

Stevens had a long and interesting career, beginning in the silent era and anti-climactically concluding with 1970’s The Only Game in Town. In between are a slew of classics, not-so-classics and should-be-classics…a filmography to be envied, to be sure. Who better to chronicle that career than his own son, George Stevens Jr.? And if that name doesn’t ring a bell, he’s the guy we can thank for the American Film Institute and the Kennedy Center Honors (long before a certain flatulent, orangutan-haired, behemoth turned it into a joke).

Stevens Jr narrates the film, offering insights into his father’s filmmaking approach, ambition and creativity, a director always striving to try something new (as his eclectic filmography certainly demonstrates). Along the way, many of his biggest films (and one of his most notorious flops) are showcased in lengthy segments with key scenes, production footage and interviews with those he worked with. Regarding the latter, it reads like a who’s-who of Hollywood stars and power players, some in archival interviews, others who participated for the sake of this film. 

"Hey guys...what does this button do?"

However, the most interesting (and harrowing) aspect of A Filmmaker’s Journey chronicles the World War II years, when Stevens enlisted to document America’s involvement, particularly the liberation of France. His camera also vividly captured the horrors of war in footage that’s often unnerving. And according to George Jr., this is the only American war footage shot in color, and wasn’t publicly available before. Affected by his experiences, Stevens turned to more serious themes upon returning to Hollywood and created some of his greatest films.

At first, I was kinda curious why Warner Archive would choose a documentary from 1984 for a 4K restoration. However, the stunning transfer does underscore Stevens’ aesthetic gifts (and made me want to watch Shane again). Not only do the lengthy clips from his movies look and sound great, the WWII footage looks almost brand new. The disc’s bonus features also offer testimonial and personal insights from three modern masters (Martin Scorsese, Christopher Nolan, Guillermo del Toro). Revealing, affectionate and very entertaining, George Stevens: A Filmmaker's Journey is a must-watch for film buffs.

EXTRA KIBBLES

4K & BLU-RAY COPIES

3 ACADEMY MUSEUM LECTURES - In three separate lectures, directors Martin Scorsese, Guillermo del Toro and Christopher Nolan offer analysis and appreciation of specific films. Del Toro, discussing The Greatest Story Ever Told, and Nolan, discussing Shane, speak before an audience at the museum. Scorsese also discusses The Greatest Story Ever Told, but shot in 2026, presumably for this release.