SPLICE: Some Folks Really Get Into Their Work...Literally

SPLICE (Blu-ray)

2009 / 104 min.

Warner Bros

Available at www.MovieZyng.com

Review by Josey, the Sudden Cat🙀

Vincenzo Natali’s weird, wild and slightly pervy variation of the Frankenstein concept is the closest the he ever came to directing a film as great as his first, 1997’s Cube. Even then, Splice runs a very distant second. It's interesting and sometimes a lot of fun, but often wavers between darkly provocative and unintentionally funny.

Elsa and Clive (Sarah Polley and Adrian Brody) are a couple engaged in cutting-edge gene splicing experiments, combining the DNA of different animals to create new species. The company they work for - Nucleic Exchange Research and Development (N.E.R.D….ha-ha) - sees profit potential in their work. But these two have loftier ideas, namely splicing together human and animal DNA, which Elsa initiates even though she’s directed not to. Despite the moral and legal implications, Clive reluctantly assists her.

The experiment results in a rapidly growing humanoid creature, which Elsa names Dren (Delphine Chanéac). Once they can no longer keep her hidden at the lab, they move Dren to Elsa’s old family farmhouse, keeping her in the barn. Already pretty unlikable from the get-go, Elsa develops maternal instincts, but they tend to be of the abusive variety. Meanwhile, Dren’s hodge-podge of DNA endows her with a venomous stinger, as well as the ability to breathe underwater and sprout wings at will. She also matures sexually and gets the hots for Clive, and if one erotic/horrifying/chuckleworthy scene, the feeling is mutual. Exacerbated by Elsa’s cruelty and the prisonlike environment, Dren soon becomes dangerous.

"Shake! Oh, wait...sorry."

There’s a lot to like about Splice. It’s a neat premise that creatively borrows from Shelley while incorporating elements of genetics-gone-wrong films like The Fly. The CG and practical special effects used to create Dren are generally pretty impressive, as are the overall performances. On the other hand, the main characters are unsympathetic and generally unpleasant to be around. Elsa, in particular, is almost hilariously self-absorbed. Speaking of humorous, while I appreciate Natali’s efforts to create something a bit edgier than the usual sci-fi/horror hybrid, the sexually charged scenes approach a level of camp that I don’t believe is intentional.

Splice mostly favors sensationalism over themes related to ethical questions raised by genetic tampering, but we won’t hold that against it. As big budget exploitation, there’s some nasty fun to be had here, and depending on the viewer’s frame of mind, a few laughs. As for this writer, I’m still waiting for Natali to live up to the potential he demonstrated with Cube.

This is a re-issue of a Blu-ray first released in 2010.

EXTRA KIBBLES

FEATURETTE - A Director’s Playground: Vincenzo Natali on the Set of Splice is a good 35 minute behind-the-scenes documentary.

Litter Box Treasures: THE DRIVER (1978)

In Litter Box Treasures, we focus on a variety of older films which aren’t necessarily classics, but are well-worth discovering.

THE DRIVER (1978)

Starring Ryan O'Neal, Bruce Dern, Isabelle Adjani, Ronee Blakley. Directed by Walter Hill. (88 min).

Essay by D.M. ANDERSON💀

It can strongly be argued that the 1970s was the decade when Hollywood fully did-away with traditional movie-making conventions. Once-radical films of the 60s, such as Easy Rider, Bonnie and Clyde, Rosemary’s Baby and The Wild Bunch, paved the way for a new generation of writers, producers and directors to creatively flourish, no longer bound by long-held genre conventions.

One of those guys was Walter Hill. During his long career, Hill directed a couple of modern classics (The Warriors, 48hrs), some well-regarded action films (The Long Riders, Southern Comfort), as well as a plethora of junk in recent years. One of his often overlooked gems is The Driver, arguably the closest he ever came to making an art film. A combination of kinetic action, narrative minimalism and neo noir, Hill provides a perfect argument that style is sometimes more important than substance (much like The Warriors). Though it has developed a cult following over the years, it remains criminally underseen compered to his more iconic work.

Despite his skill behind the wheel, The Driver never got the hang of parallel parking.

What little story there is, a brash cop obsessed with nailing a nomadic getaway driver, takes a backseat to the film’s imagery, expertly-choreographed car chases and characters who serve more as symbols than flesh-and-blood human beings. In fact, none of the characters are given names; Ryan O’Neal is simply billed as “The Driver,” Bruce Dern as “The Detective,” etc. More impressively, Hill also manages to accomplish something once considered impossible: actually making O’Neal look cool (a pretty amazing feat when one considers the role was originally intended for Steve McQueen).

Like the greatest modern anti-heroes, The Driver himself says very little throughout the film, nor does he need to. One can’t help but assume this character was a considerable influence on subsequent movie mavericks who let their wheels do the talking, like Max Rockatansky and Ryan Gosling’s character in Drive (who, coincidentally, is never named either).

Though still working, Walter Hill’s best years are in the rearview mirror. Aside from Trespass (another underseen banger), he hasn’t directed a truly good movie in at least 40 years and lately appears content to crank out low-wattage thrillers that aren’t too far removed from direct-to-video fodder. But back in the day, Hill delivered a string of gritty, stylish thrillers with a lot of panache, with The Driver being one of his better examples.

TWILIGHT ZONE: THE MOVIE: The Work of a Good Cover Band

TWILIGHT ZONE: THE MOVIE (Blu-ray)

1983 / 101 min

Warner Bros

Available at www.MovieZyng.com

Review by Stinky the Destroyer😼

It’s a testament to Rod Serling’s vision and genius that none of the countless attempts to resurrect The Twilight Zone have come close to matching the original series. Over six decades later, it remains some of the best television ever made. Maybe that’s why, with one lamentable exception, the all-star directing team behind the 1983 film didn’t really try.

Instead - again with one lamentable exception - Twilight Zone: The Movie is more of a big budget homage with filmmakers putting their own unique spin and a shiny ‘80s sheen on a few classic TV episodes. Watching this is like hitting a bar where a crack tribute band covers your favorite songs. It’s fun, even great at times, though slick musicianship doesn’t necessarily improve on the old songs you know and love. 

Like most anthology films, Twilight Zone: The Movie is wildly inconsistent and gets off to a dire start, courtesy of John Landis (the aforementioned lamentable exception). Following a painfully unfunny prologue with Dan Aykroyd and Albert Brooks (which feels improvised), “Time Out” is a Landis-scripted original story about a repugnant racist getting a taste of his own medicine. The late Vic Morrow is the sole bright spot in this heavy-handed segment that Serling himself probably would’ve discarded for being thematically simplistic. Knowing that Morrow and two children were killed in an on-set accident (largely the director’s fault) still casts a dark shadow over the whole thing. 

Things improve slightly with “Kick the Can,” where an old man goes to a retirement home and magically shows its residents how to feel young again. However, sugary sentimentality ultimately overwhelms the story, and this is one of the few times in his career that director Steven Spielberg seems to be going through the motions. Additionally, I can think of dozens of other Twilight Zone episodes more deserving of an update than this one, which was never that great to begin with. 

Happy Easter.

Surprisingly (at the time), Landis and Spielberg are totally outclassed by their less-famous co-directors. Joe Dante’s “It’s a Good Life” is a wild, funny and sometimes very creepy adaptation of a classic episode about Anthony, a young boy who can conjure-up whatever he wants, and wreaks havoc on his terrified family. Though he had yet to direct Gremlins, Dante’s irreverence, cartoon sensibilities and visual touches which made that film a classic can be seen here. It also features fun performances from a company of character actors Dante regularly relied on.

George Miller’s take on “Nightmare at 20,000 Feet” is easily the best of the four segments and arguably improves on the original. Based on one of the show’s most iconic episodes, this features a wonderfully unhinged John Lithgow as an airline passenger with an extreme fear of flying. When he repeatedly spots a gremlin on the wing trying to tear it apart, no one believes him. Thrilling, suspenseful and boasting a creature that makes the beastie from the original look almost cute, this one concludes the film with a bang. 

40+ years later, Twilight Zone: The Movie certainly looks like a product of its era and the distinctive styles of its directors (for better and worse). Taken on its own merits as an anthology horror film, it remains a mixed bag…a terrible first half rescued by a terrific second. But as a tribute to one of the greatest TV shows of all time, it accomplishes what a good cover band does...save for Landis’ godawful contributions  

This is a re-issue of a Blu-ray first released in 2008.

TRON: ARES (4K) is the Best Film in the Franchise

TRON: ARES (4K UHD)

2025 / 119 min

Disney

Review by Mr. Bonnie, the Megabyte😺

There’s an old “Treehouse of Horror” episode from The Simpsons that had Homer sucked into another dimension, becoming a CG version of himself. When trying to describe this weird world to other characters, he asks, “Did anyone see the movie, Tron?” Everyone answers no except Chief Wiggum, but after realizing he’s the only one, he sheepishly changes his answer.

In a way, that amusing exchange kinda sums up the film’s cultural impact at the time. Though ambitious and somewhat groundbreaking for the time, the original Tron wasn’t exactly the blockbuster Disney was expecting, but over the years, it developed enough of a cult following to not-only inspire a great gag at its own expense, but a belated sequel (Tron: Legacy) 28 years later. I caught both movies when they first came out, but right now, I couldn’t recall the plot of either if you held a gun to my head. For their time, however, they were wonderful eye and ear candy…

…so is Tron: Ares, though perhaps the novelty of the Grid’s gorgeous artifice has since worn off a bit, especially in light of digital worlds cooked up by the likes of James Cameron. Maybe that’s why a lot of this movie’s story actually takes place in the real world, which has two competing tech companies racing to find a “permanence code” created by legendary software developer Kevin Flynn (Jeff Bridges) years ago before he disappeared. This code allows programs to enter and interact with the physical world without disintegrating later (their current physical lifespan is only 29 minutes).

The CEO of ENCOM, Eva Kim (Greta Lee), wants the code to benefit humankind (such as ending world hunger). Conversely, the megalomaniacal head of Dillinger Systems, Julian Dillinger (Evan Peters), has created a line of weapons and “expendable” supersoldiers and needs to code to impress shareholders. And for Tron fans with memories longer than mine or Chief Wiggum’s, Julian is indeed the grandson of Ed Dillinger, played in the first film by David Warner. For those who have no idea what I’m talking about, it doesn’t really matter since Tron: Ares works just fine as a standalone film.

"Crap...I've gained five pounds."

When Eva finds the code first, Julian directs his Master Control Program, Ares (Jared Leto), to track her down and take it. And since he and the other programs under his command can only exist in the physical world for a limited time, time is of the essence. This leads to a visually stunning lightcycle chase through city streets, one of the movie’s action highlights. But when finally confronting Eva, she destroys her physical copy of the code. So Julian manages to digitize her into the Dillinger mainframe, where the code can be retrieved from memory, but it also means killing her. Ares defies his directive and saves her, both escaping back into the physical world. Now the only way to get the permanence code is for Ares to enter the original ‘80s mainframe developed by Flynn.

Storywise, this is the best Tron film of the three, unfolding like a chase thriller and featuring several excellent action sequences. Sure, much of it is CGI-driven, but a lot of fun and sometimes genuinely suspenseful. And I gotta say, for a franchise where characters generally seem like an afterthought, both the protagonists and antagonists in Tron: Ares are more engaging than I expected, as are most of the performances. Peters depicts Julian as arrogant, narcissistic and extremely punchable, while Jodie Turner-Smith’s turn as relentless program Athena exudes menace. Even Leto, who I typically find unpleasant to endure, manages to make the title character somewhat endearing. As for Bridges…well, he’s more “Dude” than Flynn here, but for continuity’s sake, his cameo is welcome, as is the brief return to original mainframe from the original Tron.

The film culminates in a destructive climax that some might feel would be more at-home in an Avengers movie. But I gotta concede that watching a massive Recognizer (another familiar Tron vehicle) wreaking havoc on a major city is pretty damned entertaining. The whole film is also given a considerable boost by an outstanding score from Nine Inch Nails, which perfectly fits the aesthetic and tone. 

Even if the story, characters and performances don’t matter to you (and in this franchise, they may not), Tron: Ares looks and sounds outstanding in 4K. Fans for the format might even want to grab this one for the sensory experience alone. As for the film itself…I’ve personally never been a huge fan of the franchise, though I don’t dislike it, either. That being said, Tron: Ares is the only one I’d probably ever feel compelled to revisit, mainly because buried under its vivid aesthetic is a pretty solid action film. 

EXTRA KIBBLES

4K, BLU-RAY & DIGITAL COPIES

FEATURETTES - The Journey to Tron: Ares is a making-of featurette that includes interviews with cast & crew members; Lightcycles on the Loose focuses on the chase sequence featuring the franchise’s most iconic vehicles; The Artistry of Tron: Ares is an interview with director Joachim Rønning and actor Jared Leto; Cast Conversations consists of cast interviews; The Legacy of Tron is a fun retrospective.

3 DELETED SCENES

ILLUSTRIOUS CORPSES: There Goes the Judge!

ILLUSTRIOUS CORPSES (Blu-ray)

1976 / 120 min

Radiance Films

Review by Mr. Paws😺

I’m gonna say the quiet part out loud…

The 1976 Italian thriller, Illustrious Corpses, is about powerful supreme court judges being bumped off by a mysterious killer. Considering the bang-up job our current U.S. Supreme Court is doing, it did cross my mind that an American remake could be a real crowd pleaser. If only!

Though I don’t think such an awful thought crossed director Frencesco Rosi’s mind, he does paint a fairly negative picture of these judges. What they have in common (besides being corrupt) is presiding over three cases where innocent men were found guilty. Feeling that being falsely imprisoned is a good motive for revenge, the lead investigator, Inspector Rogas (Lino Ventura), tracks down two of them. The third one is a recluse named Cres, who was apparently framed by his conniving wife. But since he’s now missing, he becomes Rogas’ number one suspect.

However, Rogas’ bullheaded police chief (Tino Carraro) refuses to believe that. Convinced the judges are being targeted by communist radicals during this time of political unrest, he’s constantly undermining Rogas, as is the Security Minister (Fernando Rey). In fact, his only ally seems to be Cusan (Luigi Pistilli), a childhood friend who works for a leftist newspaper. As judges keep dying (including Max von Sydow in a brief-but-memorable appearance), Rojas begins to suspect a conspiracy involving the very people he works for.

"Stop grilling that dog, Stubinski. His alibi checks out."

I’ve only seen a few movies starring Lino Ventura, but find him an interesting actor (nicely countering Richard Burton’s scenery chewing in The Medusa Touch). Rojas isn’t exactly a complex character, but Ventura brings an earnestness to the role that makes him engaging. While Illustrious Corpses is light on action, it’s mostly pretty interesting, even with a couple of meandering asides that might almost qualify as red herrings. The final act comes to a memorable climax that reminded me in some ways of The Parallax View.

The film may or may not have a political agenda, but sometimes it seems like there is. Whatever the case, that was 50 years ago and all that matters now is that Illustrious Corpses remains a solid detective story with a good performance by its star. Though fairly obscure on this side of the pond, it’s highly recommended for fans of ‘70s-era thrillers…or anyone afraid to say the quiet part out loud.

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.

ARCHIVAL INTERVIEWS - Both are from 1976. One features director Francesco Rosi, the other features Roxi and actor Lino Ventura. 

NEW INTERVIEW - Rosi biographer Gaetana Marrone discusses the film.

AUDIO COMMENTARY - By filmmaker Alex Cox, who made a good movie once (Repo Man).

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IMAGE GALLERY

THE POOP SCOOP: Purrfect New Year's Kibbles

UPCOMING KIBBLES THAT MAKE US PURR!

PREDATOR: BADLANDS on Digital January 6 and Blu-ray, 4K and DVD February 17 from 20th Century Studios. Director Dan Trachtenberg steers the Predator franchise into bold new territory, with audiences enthusiastically embracing his vision. Predator: Badlands has emerged as the highest-grossing entry in the franchise’s 38-year history, earning $183 million worldwide. Predator: Badlands deepens Yautja lore by introducing new characters Dek (Dimitrius Schuster-Koloamatangi) and Thia (Elle Fanning), following them on an underdog hero’s journey shaped by an unlikely alliance. Blending themes of survival and self-discovery with intense combat, striking visual effects, and moments of humor, the film delivers a high-stakes action adventure on both a visceral and emotional level. Fans can explore the world of Predator even further with exclusive bonus features, including behind-the-scenes featurettes that spotlight the film’s bold production design and visual effects, along with deleted scenes and additional insider content.

SPRINGSTEEN: DELIVER ME FROM NOWHERE on Digital Now and Blu-ray & 4K January 20 from 20th Century Studios. Springsteen: Deliver Me from Nowhere chronicles the making of Bruce Springsteen’s 1982 “Nebraska” album. Recorded on a 4-track recorder in Springsteen’s New Jersey bedroom, the album marked a pivotal time in his life and is considered one of his most enduring works – a raw, haunted acoustic record populated by lost souls searching for a reason to believe. The musician and songwriter is portrayed with great heart and sound by Jeremy Allen White, who authentically plays guitar and sings in this artful performance that has garnered critical acclaim. Equal parts intimate and inspiring, Springsteen: Deliver Me from Nowhere explores the personal history and creative drive behind Bruce Springsteen’s work, offering longtime fans deeper insight while inviting viewers into a universal story of ambition and self-discovery. Centered on a young musician wrestling with the moments when “the quiet gets a little loud,” the film deepens appreciation for the sacrifice and emotional truth that shaped Springsteen’s work resonating with anyone drawn to honest, personal

storytelling.

ALL THE PRESIDENT’S MEN on 4K February 16 from Warner Bros. Academy Award winners Robert Redford and Dustin Hoffman star in this true story as Washington Post reporters Carl Bernstein and Bob Woodward, whose investigation of a seemingly minor hotel room break-in uncovers the greatest political scandal in United States history and leads to the downfall of President Richard Nixon (though what Tricky Dick tried to pull off seems like small potatoes now, doesn’t it?). Directed by the legendary Alan J. Pakula, the cast also includes Jason Roberds, Hal Holbrook and Jack Warden. In additiona to a 4K restoration of the film, this release includes new and vintage bonus features.

It’s about damn time! Martin Scorsese’s KILLERS OF THE FLOWER MOON on Blu-ray, 4K and DVD March 24, 2026 from Criterion Collection. An epic elegy of greed, betrayal, and murder, Scorsese brings a dark chapter of American history to the screen with gripping narrative power and a profound feeling for the weight of systemic injustice.

The Sobering Nuclear War Classic, TESTAMENT, on Blu-ray March 17 from Criterion Collection Taking a hauntingly intimate approach to an often sensationalized subject, the singular Testament depicts one family’s daily life in the wake of nuclear devastation. 

The Original 3:10 TO YUMA on 4K, Blu-ray and DVD February 3, 2026 from Criterion Collection. Based on a story by Elmore Leonard, 3:10 to Yuma is a thrilling, humane action movie, directed by the supremely talented studio filmmaker Delmer Daves with intense feeling and precision.

NETWORK on 4K and Blu-ray February 24 from Criterion Collection. This media satire, directed by Sidney Lumet from a brilliantly incisive script by Paddy Chayefsky, is a no-holds-barred New Hollywood classic remains as fearlessly funny as it is unnervingly relevant. 

TRON: ARES on Digital now and Blu-ray, 4K & DVD January 6, 2026 from Disney. Get ready for the electrifying action and adventure of Tron: Ares. When a highly sophisticated Program named Ares is sent from the digital world into the real world on a dangerous mission, it marks humankind’s first encounter with AI beings. 

SNAKES ON A PLANE is Coming to 4K and Blu-ray January 6, 2026 from Arrow Video. This features a brand new 4K restoration of the film, hours of special features, and newly commissioned extras. 

ONE BATTLE AFTER ANOTHER on Digital 11/14 and Blu-ray, 4K & DVD 1/20/2026 from Warner Bros. Written, directed and produced by Paul Thomas Anderson and starring Academy Award and BAFTA winners Leonardo DiCaprio, Sean Penn and Benicio Del Toro, and Regina Hall, Teyana Taylor and Chase Infiniti.