Not So HOT SPOT

HOT SPOT (Blu-ray)

2026 / 101 min

Universal

Review by Stinky the Destroyer😾

This Polish oddity has a good premise. In the near future, most of the world is an uninhabitable wasteland, save for a city that’s overseen by an AI entity known as The Head, which meets everyone's needs. All humans are required to do is stay telepathically connected to The Head and eat a “jelly bean” each day, otherwise their heads will explode. 

However, Hot Spot squanders that premise from the get go, because someone behind the scenes decided this needed to be an art film. I’m assuming that someone is director Agniescka Smoczyriska, who’s put together an interminable slog of a movie that’s both baffling and pretentious. 

The basic plot has portly detective Jan 623 (Andrzej Konopka) instructed by The Head to investigate the murder of at a refugee camp (where newcomers who refuse to connect to The Head are forced to stay). One refugee is Rana (Noomi Rapace), who is his primary suspect. Unlike others, she’s able to telepathically communicate without connecting to The Head, which really messes with Jan’s mind. Meanwhile, Jan’s wife, Ayka (Reika Kirishima) repeatedly disconnects from The Head, as well as causing citywide “blackouts.”

Sammy Hagar at home.

Oh, and at one point, Jan turns into a tiger. Literally. I don’t know if that’s supposed to symbolize his further detachment from reality, but it seems more symbolic of the “throw-it-at-the-wall-and-see-what-sticks” mentality that a college student might apply to an analytical essay in order to come across as more insightful than they really are. But even that doesn’t explain Jan’s comical costume choices, the preponderance of ‘80s rock songs or any number of isolated sequences that make no narrative sense. 

Don’t get me wrong…I enjoy an artistic, challenging film as much as the next stuffy cinephile, so long as I don’t feel like the filmmaker’s vision is actually just empty calories. As far as I could tell, there’s nothing behind the film’s surreal imagery and bizarre elements. And worst of all, Hot Spot is really boring, the closest I’ve come this year to shutting off a movie before the end credits.

THE END OF OAK STREET: Destined To Be A "Comfort Movie"

THE END OF OAK STREET (Blu-ray)

2026 / 99 min

Warner Bros

#InPartnershipwithWB

Review by Mr. Bonnie, the Brontosaurus😺

In nearly every way, The End of Oak Street offers little that hasn’t been seen before, from the special effects to the characters & narrative structure, right down to its ‘80s suburban setting. This may be the most Spielbergian movie that Spielberg himself had nothing to do with. So why does it feel like such a breath of fresh air?

I suppose part of the reason is that it’s one of the few high-concept audience pictures released this year that isn’t a sequel or remake, nor does it appear to have been made with franchise aspirations. And despite dinosaurs being central to the plot, it doesn’t play like it was calculated to amuse kids or sell tie-in toys (though what kid wouldn’t love to see dinos stomping through their neighborhood?). 

But maybe the bigger reason is the film’s earnestness. While Spielberg’s influence is everywhere (as is a bit of Stephen King), there isn’t a trace of cynicism to be found. With the amount of enthusiasm on display, it’s as though director David Robert Mitchell, the cast and an over-achieving special effects team had never heard of Jurassic Park. And while we’re watching, that enthusiasm is infectious, resulting in a ride that’s more fun than any of Jurassic Park’s sequels.

The story is awesome in its simplicity. The Platt family is your typical middle class family in your typical suburban neighborhood. Denise (Anne Hathaway) and Greg (Ewan McGregor) are going through a typical marital rough patch, which concerns their typical teenage kids, Audrey and Brian (Maisi Stella & Christian Covery). However, those problems are set aside (but not forgotten) after the entire neighborhood gets swallowed by a not-so-typical wormhole and transported back to the dinosaur era. With no power, limited food & water and not much in the way of weapons, the Pratts are forced to fight for their lives to avoid being eaten, unsure if returning to their own time is possible.

"I told the kids to stop taunting the neighbor's T-Rex."

The first act is kind of meandering, mainly because the main characters and their conflicts are pretty familiar (though the performances are good, Hathaway in particular). But the interest level picks up considerably once the narrative shifts to the phenomenon itself, which is gradually revealed, sometimes in amusing ways. It isn’t long before a variety of dinos are chasing down and killing the neighbors. 

Along the way, there are some subplots which vary in interest. Denise and Greg’s relationship ends up being important to the narrative, especially for emotional impact during the final act. Conversely, plot threads involving the kids are underdeveloped and essentially go nowhere. But fortunately, most of the focus is on survival, which isn’t always assured.

Unlike Jurassic Park, the dinos themselves don’t inspire awe (in the characters or the audience), nor are they intended to, which makes sense at this point because that ship sailed back in 1993 and attempting to do it again would be futile. Still, they’re convincingly brought to life with excellent special effects, so it always looks like they’re sharing the same space as the actors. I even found myself rooting for them on occasion, at least when they’re chowing down on some of the secondary characters.

This isn’t to say The End of Oak Street is a great film destined to be a classic. It’s probably a little too derivative for that. But it’s a pretty damned entertaining one and assembled with consummate skill. So perhaps it’s more destined to become one of those “comfort movies,” the kind you pop-in from time to time when all you wanna do is vibe on the sofa with something familiar and reliable.

EXTRA KIBBLES

FEATURETTES - Banding Together: The Making of The End of Oak Street runs about 20 minutes and features interviews with director David Robert Mitchell and most of the main cast; Every Creature Tells a Story: The Dinosaurs of The End of Oak Street focuses on the creation of the various dinosaurs; The Spinosaurus Attack: Driving Fear on Oak Street goes inside the making of one of the movie’s more impressive action sequences.

DIGITAL COPY

FRANZ Is Fittingly Kafkaesque

FRANZ (Blu-ray)

2025 / 127 min

Cohen Media Group

Review by Stinky the Destroyer😽

My knowledge of Franz Kafka and his work is pretty limited. Like a lot of English majors, I’m mostly familiar with The Metamorphosis, a surreal, allegorical tale of a beleaguered salesman who turns into a giant cockroach. It’s also typical of a lot of his fiction, which serves-up gloomy protagonists confronted by bureaucracy and societal expectations, with a side order of self-persecution. 

Such recurring themes prompt one to assume that ol’ Franz was largely writing about himself. When I first read The Metamorphosis, I was mostly disappointed that it didn't end with this giant cockroach slaughtering the whole ungrateful Samsa family, but if Gregor was indeed meant to represent Kafta, I’ll bet his own family couldn’t have been very happy with him.

But in Franz, a (sort of?) biography about the author, Kafka’s surly father (Peter Kurth) is the only one who openly disparages him, disapproving of his son’s dedication to writing over the insurance business. He’s quite a bastard about it, too, displaying little concern over Franz’ goals and/or personal insecurities. As played by Idan Weiss, Kafka is outwardly aloof, socially awkward and only comfortable expressing himself through writing. 

Franz orders an "Unhappy Meal."

The film is a semi-chronological account of the author’s short life, from childhood to his death from tuberculosis. But it’s not a biography in the purist sense, nor is it as cheerless as one might expect. True to the nature of the author’s prose, the narrative throws in a lot of surreal elements (including a gruesome depiction of the story, “In the Penal Colony”), as well as secondary characters frequently breaking the fourth wall, addressing the audience directly to provide exposition. There are also numerous sequences blurring the past and present, with tourists visiting various posthumous attractions dedicated to Kafka.

It’s an interesting approach, though sometimes those elements come across as arty and pretentious…often at the expense of characterization. Weiss plays the title character well, both physically and emotionally, but the screenplay ultimately subverts his dedication to the role. In a way, Kafka ends up being more of a caricature than a protagonist we’re emotionally invested in. And for a biography about a writer, his actual career as one almost feels like an afterthought…with almost no backstory behind his most famous works (not even The Metamorphosis or The Trial).

Still, Franz has some great moments, particularly those where reality and fantasy collide, which are well-realized by director Agniezka Holland. We don’t end up knowing much more about Kafka himself than what a Wikipedia article provides, but considering his legacy as a surrealist, I suppose it’s fitting that a film about the man would be similarly “Kafkaesque.”

EXTRA KIBBLES

INTERVIEW - filmmaker Jeremy Kagan interviews director Agnieszka Holland before a live audience.

TRAILER

Revisiting GONE WITH THE WIND in 4K

GONE WITH THE WIND (4K UHD)

1939 / 223 min

Warner Bros

#InPartnershipwithWB

Review by Mr. Paws😸

I’m have no illusions here. With the possible exception of my wife, absolutely nobody cares about my critical opinion of Gone with the Wind, and even she just nods politely when I hop on my soapbox to blather over the film’s overly-romanticized depiction of slavery in the Civil War era south, to say nothing of questionable elements related to marital rape. 

But even keeping in-mind the context of the era in which it was made, I’ve never been bowled over by its story, characters or performances, and nobody cares about my opinions on that, either. Why would they? Over the course of nearly 90 years, Gone with the Wind has become “critic proof.” So I’ll spare you the usual plot synopsis (which self-respecting classic movie lovers know by heart anyway) and personal assessment of the movie itself. The last thing anyone reading this needs is one guy’s "hot take.” (a stupid, meaningless term that reeks of self-importance).

Besides, I never said Gone with the Wind wasn’t a great film. It remains a stupendously epic cinematic achievement that deserves its status as an inarguable classic. There hasn't been a movie quite like it before or since, and even countless contrarians who’ve enjoyed retro-condemning its themes and misguided nostalgia must concede it’s brilliantly made (if they’re being honest). It’s okay to acknowledge a movie’s greatness without actually loving it.

Here's the part for those who do love the film, who know the dialogue by heart, stay clued to the set whenever it pops up on TCM, or have owned it in every home video format dating back to the VHS days. Gone with the Wind is now available in long-overdue 4K UHD, in three different versions, no less. The film has been released and re-issued countless times in various formats over the years, which of-course prompts the obvious question: Is this upgrade worth owning? The answer to that would be a resounding yes.

*slurp*

There's a version for every level of GWTW fandom, the most elaborate being a Collectors Edition loaded with additional physical swag. But for those whose pockets aren’t quite so deep, it’s also available as a standard 3-disc release, which is the version reviewed here. The most obvious reason to upgrade is the video transfer. The film has always been visually stunning, with (still) jaw-dropping production design, special effects and creative use of color, all of which are beautifully rendered in 4K. Simply put, it has never looked better on home video. Even this ol’ party pooper enjoyed revisiting the film for the image quality alone.

I’m also impressed with the two English audio options, especially the DTS-HD Master Audio 5.1 track, which nicely showcases Max Steiner’s iconic score (always my favorite aspect of the film) without sacrificing other audio elements. A 2.0 Mono mix is also included in three different languages. 

Fans will also enjoy the brand new bonus features, along with some substantial archival material (all outlined below). While the new features are entertaining, they mostly serve to confirm GWTW’s place in movie history without really delving into the controversies it generated. Like it or not, those controversies are definitely a part of its legend and objectively acknowledging them would’ve provided a more complete historical picture without diminishing the film’s importance. 

All that being said, this 4K edition of Gone with the Wind is the definitive version for fans and collectors. Whether it’s your favorite film or you simply appreciate its sweeping cinematic impact, this is a must-own.

EXTRA KIBBLES

NEW KIBBLES - In Gone with the Wind: The Influence The Endures, several critics and historians discuss the movie’s impact on Hollywood and pop culture; Scarlett O’Hara: A Woman Ahead of Her Time features most of the same participants, this time focusing on Vivian Leigh’s iconic character; Gone with the Wind: Restoring and Preserving an Epic is the best of the new kibbles, which takes a look at the film’s 4K upgrade.

OLD KIBBLES - The Making of a Legend: The Restoration of Gone with the Wind is a retrospective making-of doc; Gone with the Wind: The Legend Lives On features many filmmakers and critics discussing the movie’s impact and legacy; MGM: When the Lion Roars focuses on some of the studio’s history.

AUDIO COMMENTARY - By historian Rudy Behlner.

THE 1939 ATLANTA PREMIERE is a vintage newsreel.

FOREIGN LANGUAGE DUBBER CLIP

HISTORICAL DOCUMENT NEWSREEL FOOTAGE

TRAILERS

DIGITAL COPY

HADESTOWN: THE MUSICAL is a Nice Souvenir

HADESTOWN: THE MUSICAL (Blu-ray)

2026 / 141 min

Bleecker Street

Review by Mr. Bonnie on Broadway😽

I’ve never attended a Broadway musical, nor is it on my bucket list. Sure, I’d go to one if invited, but the idea of personally shelling out a few hundred bucks for a single ticket leaves me cold, especially when I could see Iron Maiden for the same price (even then, I’d have to think long and hard about it). And in general, plays aren’t really my thing.

But my daughter, Natalie? Stage musicals are most definitely her thing and thinks nothing of plunking down a fortune for the likes of Mamma Mia and Les Miserables. She loves the experience so much that she doesn’t even mind going alone. Hey, you do you, kid. 

So when I asked her if she’d heard of Hadestown…well, of course she had. In fact, it’s one of the musicals she plans on attending when it comes to Portland next year. When I told her I’d be reviewing a live stage recording of it, she was initially excited, but ultimately passed on watching it with me because, according to her, seeing it on television can’t possibly match the thrill of seeing it live.

"Smoooooke on the Waaaater...a fire in the sky..."

After viewing Hadestown: The Musical myself, I concur she has a point. The show is largely a love story and the reimagining of a couple of Greek myths, specifically Hades & Persephone and Orpheus & Eurydice. Presented almost entirely through song, the music itself reflects jazz & folk influences, and some of the songs are terrific. The opening number, “Road to Hell,” sung by the god Hermes (who addresses the audience directly) is a hell of a way to introduce all the characters. In fact, most of the songs are pretty enjoyable. 

But despite great production values and an engaging cast, even I could see that Hadestown’s impact is greatly diminished on video. It’s well filmed and you’re certainly up close to these characters, but I suspect both the stage and choreography are a lot more spectacular when viewed in their entirety. Watching the thing from the comfort of my sofa tends to exacerbate the thin story and overall lack of characterization. Obviously, stage plays are not movies, and by their very nature, aren’t really conducive to home video…

…unless you’ve already seen it on the stage and want to relive the experience to some degree. In that case, Hadestown: The Musical comes highly recommended. In fact, Natalie still plans on watching it, but only after catching the musical in person, which'll make it a nice souvenir.

BLACKBOARD JUNGLE Confirmed My Decision To Retire

BLACKBOARD JUNGLE (Blu-ray)

1955 / 101 min

Warner Archive Collection

Available at MovieZyng.com

Review by Mr. Paws😺

When I was earning my teaching degree back in the ‘90s, there was one particular class where we were required to select a book related to education and write an analytical essay after reading it. I chose Evan Hunter’s 1954 novel, The Blackboard Jungle, which turned out to be really good. However, my instructor was less impressed with my choice and the paper I turned in, saying she intended us to read something more contemporary and relevant to today’s classroom. 

I wanted to snap back, “I’m not a teacher yet…how the hell would I know what today’s classroom looks like? I haven’t set foot in one in 15 years!” Instead, I humbly requested the opportunity to try again with a different book (which was a lot more boring, by the way).

But I never actually saw the movie until just now. I’ve since retired after teaching for 26 years, the last 10 being particularly tough. While I don’t trust my memory enough to stake my life on it, I believe the movie is fairly faithful to the book…if not the plot, then certainly the spirit. Though there have been occasions when I’ve second-guessed the decision to retire when I did, it only took the first 20 minutes of Blackboard Jungle to confirm I made the right decision.

I was also reminded that my college instructor was full of shit. Sure, some of Blackboard Jungle looks, sounds and feels like a product of its time, such as the copious amount of ‘50s teen slang and a somewhat sensationalistic approach to the problem of juvenile delinquency. At the same time, the film perfectly captures what it’s like trying to lead a class full of (too many) students who are not-only blatantly disrespectful, they don’t give a damn about you or their own education.

"I'm gonna have to mention this at parent conferences, you know."

Watching hopeful new English teacher Richard Dadier (Glenn Ford) forced to deal with a reality that college didn’t prepare him for, I frequently felt a lot of second-hand anxiety. While I was never beaten up by a gang of punks during my career, I experienced things similar to what Dadier did…threats of violence, accusations of racism, verbal harassment, and despite earnest efforts to “reach” my kids, the depressing realization that some of them cannot be reached. How Dadier deals with both the internal and external conflicts of his chosen profession is the crux of the narrative, and as someone who’s been there, he more than earned my empathy. That wouldn’t be the case if the themes in Blackboard Jungle weren’t still relevant.

I suppose one can say Blackboard Jungle only addresses its issues on a superficial level, and they wouldn’t be entirely wrong. Other than Gregory Miller (a young Sidney Poitier), the students are all caricatures of high school bad boys (though certainly rougher than those you’d see in most teen-centric drive-in fodder of the time). And despite a tension-filled climactic stand-off between Dadier and his worst student, Artie West (Vic Morrow), most conflicts are resolved a little too succinctly to be entirely plausible, resulting in the usual hunky-dory resolution, but at least the film largely refrains from romanticizing the job. 

All that being said, Blackboard Jungle remains an entertaining film with excellent performances and worthwhile themes. Comforted by the knowledge those days are behind me, I enjoyed the film more now than I would have if I were still in the classroom. 

EXTRA KIBBLES

AUDIO COMMENTARY - by actors Paul Masursky & Jamie Farr, assistant director Joel Freeman and Peter Ford (Glenn Ford's son).

MGM CARTOON - “Blackboard Jumble,” featuring Droopy.

ORIGINAL TRAILER

SURF NAZIS MUST DIE...So They Might As Well Die in 4K

SURF NAZIS MUST DIE (4K UHD)

1987 / 83 min

Troma Team Video

Review by Stinky the Destroyer & Fluffy the Fearless😼

For a certain fringe crowd, Troma Entertainment needs no introduction, nor does the company’s loony landlord, Lloyd Kaufman (the world’s oldest 12-year-old). They’ve been prolific purveyors of sleazoid cinema for decades and are probably best-known for the Toxic Avenger franchise, the absolute closest the studio ever got to releasing anything considered mainstream.

Die-hards know what to expect…lots of blood, sex, nudity and good natured immaturity, generally presented with a big middle finger to the PC crowd. However, anyone curious about what they’ve been missing all these years need to know that there’s a distinct difference between a Troma film and one simply distributed by them.

For example, 1987’s Surf Nazis Must Die certainly has a Troma-worthy title, but most similarities end there. Unlike the cultivated crassness of, say, Class of Nuke ‘Em High, this film squanders its whacked-out premise. Despite that tastelessly tantalizing title, the whole thing is not-only cheap, meandering and amateurish, it’s actually pretty tame. If Kaufman were minding the store, there’d be gobs more blood, boobs and buffoonery.

King Crimson's biggest fan.

Most damning of all, it's almost never funny. Not on purpose, anyway. Some humor might be found in the godawful performances, lame writing and director Peter George’s superficial, heavy-handed attempts at cult hipness. But other than getting it onto video shelves, Lloyd Kaufman and his Troma team played no part in this…and it shows. 

However, the movie certainly has a cult of chemically imbalanced fans who simply love it (I mean that affectionately, by the way). I’m also assuming many of them already own the Blu-ray released back in 2022, which boasted a pretty good overall picture and was packed with Tromacentric bonus features. Now it’s being served up in 4K and the video quality is excellent, so if some of you sickos (again, meant affectionately!) just gotta experience this stuff in super HD, here you go. In addition to most of the “Tromatic Extras” from the original Blu-ray, this one throws in an all new interview with director Peter George. 

So even though Surf Nazis Must Die has never made us purr, we believe fans will appreciate the technical upgrade and new kibbles enough for the 4K disc to earn our recommendation. Cool new slipcover, too.

EXTRA KIBBLES

WHO OWNS THE BEACHES? is a new interview with director Peter George.

“TROMATIC EXTRAS” (Archival Kibbles) - Lloyd Kaufman’s Autobiography is not a bio, but a promo for Lloyd’s book); Radiation March is a weird dance number; Scenes from the Tromaville Cafe is mostly a batch of skits; Indy Artists vs.Cartels is Lloyd Kaufman’s diatribe against the big studio system...which I kinda get; Soul of Troma is more Kaufman vs. Hollywood; Toxic Avenger in Ukraine features Lloyd Kaufman taking Toxie to a film festival; Waves are a War Zone is an interview with director Peter George and producer Robert Tinnell; Production Booth Podcast is an audio-only interview with the filmmakers. 

MUSIC VIDEO - “Innards” 

DELETED SCENES

TRAILER