KITTEN KATNIP: The Best Stuff We Reviewed in 2025

We reviewed a slew of Blu-Rays, DVDs and movies in 2024. Time to take a look back at the best of them. While we have seen more movies than the Surgeon General recommends, our list consists strictly of titles which were sent to us for review purposes.

PURR-R-R...THE BEST: We reviewed some good stuff this year, but the following titles were better than taunting a mouse to death (in no particular order):

SINNERS, WEAPONS, COMPANION and FINAL DESTINATION: BLOODLINES (Warner Bros) - It’s been a great overall year for horror, but no studio had the year that Warner Bros did. Sinners is actually Oscar worthy, Weapons proves director Zach Cregger is the real deal, Companion is surprising and thematically timely, while Final Destination: Bloodlines is far better than any fifth sequel ever has a right to be.

THE LONG WALK (Lionsgate) and THE LIFE OF CHUCK (Neon/Decal) - 2025 has also been a pretty damn good year for Stephen King movies. The Long Walk is one of the better King adaptations of the past 20 years, with a grim tone, anti-authoritarian themes prevalent in much of the author’s work, and a well-drawn cast of characters. Some of us waited a long time for this one, but it was worth it. The Life of Chuck defies genre classification, but might be the most emotionally affecting King movie since The Shawshank Redemption (though not always the most uplifting).

EDDINGTON (A24) - Eddington is Aster’s most narratively straightforward effort - it’s certainly his least ambiguous - but might also be his most compelling, to say nothing of polarizing. With healthy amounts of black comedy, none-too-subtle themes and bursts of brutal violence, it perfectly captures the chaos of the most tumultuous era in our recent history. I can imagine just as many people hating it, and any movie capable of such diverse reactions is always worth seeing.

THE CURSE OF FRANKENSTEIN 4K (Warner Archive) - The classic that put Hammer Films on the map has been beautifully restored for 4K in all its gothic glory (in three different aspect ratios), and has never looked or sounded better. But the icing on the cake is the sheer abundance of new and archival bonus material. The movie itself remains wonderfully entertaining all these years later.

SEPTEMBER 5 (Paramount) - Set during the terrorist siege on the Munich’s Olympic village in 1972, this is a dramatic reenactment of ABC’s coverage behind the scenes. We feel like a fly on the wall, watching barely controlled chaos as the coverage is often complicated by conflict, miscommunication, ethically questionable decisions and occasional overreaching ambition. 

SUNSET BOULEVARD 4K (Paramount) - Many classify this classic to be film noir, a label I don't necessarily agree with. But whether it’s considered noir, melodrama, satire or horror, what ultimately matters is that it’s a great film, one of the best of the 1950s and well worth revisiting from time to time for its rich performances, great dialogue and Wilder’s typically brilliant direction. It’s also been given a great 4K restoration.

RE-ANIMATOR 40th Anniversary 4K (Ignite Films) - 40 years later, Re-Animator holds up really well. Like the best horror films of the ‘80s, it has since transcended its decade - narratively and aesthetically - to become a true classic. The movie’s power to shock audiences may have diminished, but it’s still a potent shot of nostalgic nastiness. In addition to an excellent 4K transfer, this set features a ton of substantial new & archival bonus features, along with two cuts of the film.

RELAY (Bleecker Street/Decal) and BLACK BAG (Universal) - It’s a damn shame these two gems came and went in theaters almost unnoticed. In a perfect world, both would have been huge hits, or at least successful enough to remind Hollywood that not everyone goes to the movies for fireworks. Both are superlative adult thrillers driven more by complexity and characters than kinetic kaboom.

CONCLAVE 4K (Universal) - Forget Anora…Conclave was the Best Picture of all the Oscar nominees this year. Beautifully shot and unfolding like a thriller, Ralph Fiennes gives one of his best performances as Cardinal Lawrence, reluctantly overseeing the entire conclave and managing the sequestered cardinals charged with electing a new pope. On paper, it sounds like a dull way to spend two hours, but director Edward Berger makes it extremely engaging and surprisingly suspenseful.

JAMES BOND: SEAN CONNERY 6-FILM COLLECTION (4K) (Warner Bros) - Bond. James Bond. In 4K. This is obviously a great batch of classic, influential films, which Bond fans probably don’t need to be reminded of. If you’re one of those Connery purists seeking technical upgrades (and a great looking package), this set is a must-own. 

IN THE HEART OF THE MACHINE (Rising Sun Media) - The basic story of convicts attempting to free a pigeon from a piece of machinery is just scratching the surface. This stunning Bulgarian film achieves a tone similar to The Shawshank Redemption and The Green Mile…often harrowing and brutal, but ultimately life-affirming & inspirational, with characters we grow to love. Fans of either of those films owe it to themselves to check this one out. I can't imagine them being disappointed.

HONORABLE MENTION: .

Se7en 4K (Warner Bros); Antiviral 4K (Severin); Outland 4K (Arrow); Side Street (Warner Archive); Amadeus (Warner Bros); The Monkey (Decal); Juror #2 (Warner Bros); Bring Her Back (A24); Together (Neon); The Day of the Jackal - Season One (Universal); Airport - The Complete 4-Film Collection (Kino Lorber); The X Trilogy (A24); When We Went MAD! (Gravitas Ventures)

THE BLADE CUTS DEEPER: Almost an Homage

THE BLADE CUTS DEEPER (Blu-ray)

2024 / 84 min

Leomark Studios

Available at www.MovieZyng.com

Review by Josey, the Sudden Cat🙀

Well, at least director/co-writer Gene Dolders did some of his homework…

In The Blade Cuts Deeper, John Abbott (John Tueart) is the sleazy creator and host of “Light, Camera, Kill,” a sensationalistic TV show that exploits tragedy by flippantly reenacting real life murders. However, his latest episode, depicting a serial killer’s handiwork, pisses off the wrong guy, who commences killing off everyone associated with that episode. In true giallo fashion, the killer isn’t revealed until the end, but the viewer ain’t gonna need a slide rule to immediately know who’s doing the carving.

As an intended giallo homage, there are some other similarities, primarily its aesthetic. There's a mysterious black-gloved killer, extended stalking sequences that are emblematic of the genre, and of course, plenty of death by cutlery, including a jaw-dropping scene where one victim is repeatedly - and convincingly - stabbed in the face. On occasion, the film manages to generate some genuine tension . 

When someone brings donuts to the staff meeting.

However, there’s typically more to giallo than pure murder and mayhem. They’re generally structured like a mystery, even those that are more style over substance. Most of this film consists of Abbott being a dick while the killer picks off everyone around him. Storywise, this is just a slasher film filled with characters whose entire narrative purpose is to die.

That doesn’t mean The Blade Cuts Deeper isn’t enjoyable. Dolders is no Argento or Bava, but considering what appears to be a low budget, this is a pretty good looking film. Additionally, the death scenes are mostly well-executed and extraordinarily brutal. As slasher movies go, trust me, you’ve seen far worse. But while it sometimes resembles giallo, the spirit just ain't there. Maybe Dolders should've actually finished his homework.

Catnip Reviews: DEADMAN'S BARSTOOL, TMNT TRILOGY (4K) and HARLEY FLANAGAN: WIRED FOR CHAOS

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

DEADMAN’S BARSTOOL (Blu-Ray) - This ain’t your daddy’s Anchor Bay. Those of a certain age might fondly recall this boutique label was renowned as purveyors of B-movie horror and cult classics. These days, the label’s been putting out quirky, low-budget indies, most of which are an acquired taste. The black comedy, Deadman’s Barstool, is no exception. This one involves the disgruntled wife of a philandering televangelist who plots with his mistress to rob him blind, only to have their plans go up in smoke when he turns up dead. And that’s just the beginning of their problems. Not bad for a microbudgeted film by a writer-director (Dean Dempsey) with obvious cult aspirations, though he clearly loves his eclectic assortment of  characters more than you’re likely to. (2018/78 min/Anchor Bay). KITTY CONSENSUS: 😼😼

TEENAGE MUTANT NINJA TURTLES TRILOGY (4K UHD) - I’m still trying to wrap my head around the fact there are people pushing 50 who grew up watching Teenage Mutant Ninja Turtles on TV, then dragged their beleaguered parents to theaters to catch these - the original live-action trilogy - on the big screen. If you’re one of them, here’s a big ol’ box of nostalgia. This set collects Teenage Mutant Ninja Turtles, Teenage Mutant Ninja Turtles II: The Secret of the Ooze and Teenage Mutant Ninja Turtles III, all given good 4K restorations. These films are definitely products of their time, and their crude charm will likely be lost on anyone raised on the later (and better) films. However, if they were a part of your childhood, it’s an enjoyable trip down memory lane. You also might end up chuckling at what you used to think was awesome (like Vanilla Ice). This three disc set also comes with a generous selection of new and archival bonus features, as well as some physical goodies to re-establish your fandom.  (1990-1993/278 min min/Arrow Video). KITTY CONSENSUS: 😺😺😺

HARLEY FLANAGAN: WIRED FOR CHAOS (Blu-ray/DVD) - Though I’ve occasionally enjoyed my share of punk rock over the years, I never really delved into the hardcore stuff, and prior to watching this film, had never heard of Harley Flanagan (founder of the band, Cro-Mags). But it’s also been my experience that the most interesting music docs have been those about artists I’m not familiar with. That being said, Wired for Chaos is a fascinating (and sometimes harrowing) look at the life of a guy who has lived, eaten and breathed the genre all his life. Flanagan himself candidly tells his own story, which includes a childhood I wouldn’t wish upon anybody. The film also features interviews and testimonials from a variety of musicians, artists and people who know him well. The movie didn’t make me want to rush out and buy a Cro-Mags record, but Flanagan’s perseverance and dedication to his craft is admirable. We also get the impression he’s lucky to still be alive. (2025/99 min/Lightyear Entertainment). KITTY CONSENSUS: 😼😼😼😼

HOUSE ON HAUNTED HILL: Castle's Classic Creepfest

HOUSE ON HAUNTED HILL Limited Edition (Blu-ray)

1959 / 75 min

Film Masters

Available at www.MovieZyng.com

Review by Josey, the Sudden Cat🙀

Wasn’t it great being little, when damn near everything scared you, like skeletons dangling from tethers? 

I wasn’t around when cinema’s greatest carnival barker, William Castle, was turning schlock into gold with such gimmicks as theater seat buzzers, fright insurance policies and, of course, “Emergo,” which was used to help turn House on Haunted Hill into one of his biggest hits. This was where a red-eyed skeleton would ‘float’ over the audience on a wire. Cheap and tacky, to be sure, but it put butts in seats.

Still, I remember the onscreen (also tethered) skeleton scaring me as a kid when I first watched this on TV, along with other ghostly figures lurking in dark closets. Then there was that dreaded pool of acid, which was used to destroy the bodies of murder victims, though one poor sap gets thrown in alive. Back then, acid ranked just behind lava and quicksand on my list of the most horrible ways to die and it seemed like a lot of horror villains had a vat of the stuff in their basement.

But who is the actual villain in House on Haunted Hill? When revisiting the film years later, I appreciated how the narrative’s surprising twists kept the viewer guessing, an aspect that elevated this one above the usual tacky treasures Castle was making at the time. And despite some imagery that’s still kinda spooky, one could even argue that it isn’t really a horror movie at all. The story itself unfolds more like a Scooby Doo mystery…with booze…and guns.

"Sounds like the couple upstairs have made up again."

The movie remains very entertaining, though perhaps aesthetically quaint compared to the bloody-but-joyless 1999 remake. The great Vincent Price shines as Frederick Loren, a cynical millionaire who invites a group of carefully chosen strangers to spend the night at a supposedly haunted mansion, offering $10,000 to each who takes him up on the offer. The house, of course, has a dark past, as ominously explained by its owner, Watson Pritchard (Elisha Cook Jr). That’s when the fun begins.

House on Haunted Hill is William Castle’s one true classic. In addition to atmospheric direction, an engaging story and interesting characters, the overall performances are quite good for a film of this type (though all that’s really required of Carolyn Craig is to scream every ten minutes). Even without “Emergo,” it remains one of the better haunted house movies of the 1950s. Having been released on Blu-ray before (most notably, in one of Shout Factory’s Vincent Price collections), I don’t know if this new edition from Film Masters is a significant technical upgrade, but the overall video/audio quality is pretty good. Kinda light on bonus material, though.

EXTRA KIBBLES

AUDIO COMMENTARY - By Heath Holland.

SUPPLEMENTAL BOOKLET - Includes an essay by Jason A. Ney.

BEAST OF WAR: A Solid Slab of Sharksploitation

BEAST OF WAR (Blu-ray)

2025 / 87 min

Well Go USA

Review by Mr. Bonnie, the Bigger Boat😸

Ah…another day, another low budget shark movie.

I generally don’t mind reviewing these things, because even the bad ones (which is most of ‘em) are usually good for a few shits & giggles, often at their own expense. And like many of you, I never go in expecting another Jaws because that’s never gonna happen.

Beast of War hails from Australia and purports to be “based on a true story.” Fans of ferocious fish probably don’t care how much of the “true” part ends up in the movie, as long as there’s plenty of shark action, which this one eventually serves up in abundance.

I say eventually because the first act takes time to introduce its main characters. Set during World War II, a squad of new recruits are training for an upcoming mission. Leo (David Coles Smith) is an indigenous Australian haunted by a past tragedy involving a shark, Will (Joel Nankervis) is a smart but inexperienced young man who Leo takes under his wing, and Des (Sam Delich) is a racist, self-aggrandizing bully. Though other characters mostly exist to be fish food, the narrative does an excellent job fleshing out these three, assuring that we’re invested in their survival…or horrible deaths. 

A Farewell to Arm.

On the way to the mission, the troop’s ship is torpedoed by Japanese forces and sinks, stranding a half-dozen survivors on a slab of debris in the middle of the Pacific. They have little food and no fresh water, but their more immediate concern lurks under the surface: a great white shark that might just be the hungriest fish in movie history, relentlessly stalking these guys and putting the bitedown on anyone unfortunate enough to end up in the water.

Because bad shark movies far outweigh the good ones, I kept waiting for Beast of War to descend into silliness or stupidity, but it never does. Though there are lapses in plausibility, it was around the halfway point that I found myself thinking, Hey, this is actually pretty good. Sometimes really good, in fact. In addition to engaging characters and decent overall performances, writer-director Kiah Roache-Turner manages to create plenty of tension and atmosphere despite obvious budgetary limitations. Best of all, this one doesn’t appear to rely too much on CGI. The shark isn’t always convincing, but at least we feel it’s physically sharing the screen with the cast. Additionally, the attack scenes are brutal and bloody, punctuated by pretty realistic gore effects. 

I don’t know much much of this true story is actually true, nor do I care. What ultimately matters is that Beast of War is a surprisingly solid slab of sharksploitation. Running a lean 87 minutes, it benefits from a brisk pace, and other than an amusing aside depicting how these guys manage to solve their thirst problem, a mostly serious approach to its premise.

Revisiting HOWARDS END in 4K

HOWARDS END (4K UHD)

1992 / 142 min

Cohen Media Group

Reluctantly reviewed by D.M. Anderson😸

I saw Howards End back in the day. To be honest, this kind of stuff ain’t exactly in my wheelhouse, but it was up for a slew of Oscars and I always enjoy catching as many of the nominees as possible. The film was more entertaining than I expected - quite a bit more, actually - and if it weren’t for the Academy turning that year’s Oscar night into a belated Clint Eastwood love-fest, I suspect this would’ve nabbed more statues than it actually did.

Still, I’ve never felt compelled to revisit Howards End again, or any other Merchant Ivory movie, for that matter. When it comes to period dramas, once is generally enough, even for the good ones. Perhaps I’d change my tune if an occasional car chase or dinosaur attack were thrown in. 

So when the 4K UHD remaster of Howards End arrived, I hailed the rest of the Free Kittens staff: “Here, kitties! Howards End is here! Who’s up for a classic Edwardian drama about contrasting class cultures? Kitty-kitty-kitty!” Grabbing their treat bag, I shook it loudly. “I’ll throw in some snacks. Pepper! Bonnie! Stinky, I know you’re a big Anthony Hopkins fan, and I promise you’ll like it better than Solace!” 

Crickets. *sigh*

Looks like I’m revisiting Howards End, after all. That’s okay…it could be a lot worse (like rewatching Solace). And again, it isn’t that I don’t like Howards End. So I’ll get to it right after this Donnie Yen action flick I need to review…and maybe also that Australian shark movie that arrived yesterday. After all, it’s Friday, so I have all night.

When the Wifi goes down.

The next day:

You know what? I’d forgotten most of this movie in the 30+ years since I last watched it. More specifically, I’d forgotten how aesthetically gorgeous it is, so if nothing else, Long-time Merchant Ivory cohort Tony Pierce-Roberts’ cinematography really shines with this 4K disc, which is apparently remastered in its original aspect ratio (2.39:1) for the first time. For purists, that’s probably a big plus. This one also features two audio options DTS-HD Master Audio 5.1 and 2.0. Both sound really good, though the former is superior, especially with regard to Richard Robbins’ lush score.

Elsewhere, the performances carry the movie. Even someone whose tastes don’t lean toward period drama has to concur that Emma Thompson deserved her Oscar for Best Actress. As Margaret Schlegel, she’s totally engaging. And like Stinky, I’m also a big Anthony Hopkins fan, and rewatching him here reminded me of how effectively he embodies his characters, whether he’s playing psychos, gentlemen or conservative jerks like Henry Wilcox (and he still instills Henry with a complexity that’s occasionally relatable). I won’t go so far as to say he was robbed of an Oscar (not even being nominated), but this another example of Hopkins’ ability to elevate any movie (well, maybe not Solace). Looks like Stinky missed out on another great performance.

One might think I’m the wrong guy to review a movie like this. Then again, I did enjoy revisiting it more than I thought I would, at least enough that it no longer felt like an obligation (slowly but surely, the story drew me in once again). So maybe that’s a testament to how well Howards End transcends its genre, kind like how my horror-hating wife got sucked into Train to Busan. But fans of the film should keep in-mind that this new 4K release is just a technical upgrade. There are no new bonus features. 

EXTRA KIBBLES (most of this is from the 2016 Cohen Media Blu-ray release)

4K & BLU-RAY COPIES

FEATURETTES - Returning to Howards End is a 20 minute conversation between director James Ivory and film curator Laurence Kardish; Interview with James Ivory and Vanessa Redgrave; Q&A with James Ivory takes place following a 2016 screening; Behind-the-Scenes is a featurette from 1992; James Ivory Remembers Ismail Merchant has the director recalling his longtime professional and personal partner; Building Howards End is the longest, and in many ways, the best of the bonus features; The Design of Howards End is about the costuming and production design.

AUDIO COMMENTARY - By critics Wade Major and Lael Lowenstein.

ORIGINAL AND RE-RELEASE TRAILER