Catnip Reviews: THE MASK (4K), MS. 45 (4K) and 7 SINS

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

THE MASK Limited Edition (4K UHD) - If Ace Ventura: Pet Detective established Jim Carrey as a bankable star, The Mask cemented it. Back then, his brand of over-the-top, rubber-faced comedy was either endearing or obnoxious, depending on the viewer. Either way, this film certainly showcased his ability to become a living cartoon (with considerable help from FX and make-up artists, of course). But if you squint hard enough, beyond the kinetic comic mayhem are traces of the range Carrey would display in later films. Still, his physical performance is the most memorable aspect of The Mask, which remains an amusing hybrid…part slapstick comedy, part musical, part horror, with maybe even a bit superheroism tossed in. On the other side of the camera, this may not be director Chuck Russell’s best movie (I think The Blob gets that honor), but it’s arguably his best looking movie. Arrow’s 4K release features a great restoration and comes with plenty of new and archival bonus features. A must-own for Jim Carrey fans. (1994/101 min/Arrow Video). KITTY CONSENSUS: 😼😼😼😼

MS. 45 Limited Edition (4K UHD) - Though his headspace appears to have found permanent residence in the ether these days, there was once a time when New York’s nuttiest auteur, Abel Ferrara, enjoyed pushing people’s buttons with provocative exploitation (sometimes with a side order of Catholic guilt). Of those early films, Ms. 45 is probably his most entertaining, though still tough to watch on occasion. Drawing obvious inspiration from the likes of Death Wish, the story of mute teenager Thana (Zoe Tamerlis) going on revenge-fueled killing spree after being raped (twice in one day) is a tidy piece of catharsis. In addition to a 4K transfer that nicely preserves the film’s grimy aesthetic, the disc features a decent selection of new and archival bonus material.  (1981/80 min/Arrow Video). KITTY CONSENSUS: 😺😺😺

7 SINS (DVD) - This is a low budget anthology film with seven different directors serving up their own takes on the Seven Deadly Sins. Like others of its ilk, consistency is an issue, though one common thread is an overall air of arty pretentiousness coupled with obvious attempts to shock and repulse the viewer. Some stories are incomprehensible, others are narratively straightforward, but all of them wallow in visual depravity, including plenty of wince-inducing violence (some of it sexualized). Would be thrillseekers might get a kick out of these directors’ efforts to push the envelope of good taste, but overall, 7 Sins is more of an exercise in self-indulgence masquerading as a horror film. (2020/93 min/IndiePix). KITTY CONSENSUS: 😼😼

OUTLAND and RED PLANET in 4K: Arrow Goes to Space

OUTLAND and RED PLANET (4K UHD)

Arrow Video

Review by Mr. Bonnie, the Butt Nugget😸

In addition to taking place in the near future on distant worlds, these two films have something else in common: We here at Free Kittens feel they remain underappreciated and undeservedly forgotten (at least compared to other sci-fi films of their eras). But Arrow Video does right by both titles with a couple of new 4K editions.

Sean gets sassy.

OUTLAND (1981/109 min) - I always hated the term, “lost classic,” because it’s basically an oxymoron. But if I were to ever use it, 1981’s Outland would certainly make the list. This is gritty, violent, adult sci-fi that’s often been called High Noon in space. Sean Connery plays a weary law-enforcer assigned to keep the peace on a mining colony on Io, one of Jupiter’s moons...only nobody really wants him to enforce the law. This becomes clear after several miners go apeshit and kill themselves due to their addiction to a synthetic drug created to boost production, but the powers-that-be (led by Peter Boyle) send assassins to kill Connery. 

Outland is similar to Alien in look and tone, but essentially a cop drama that happens to be set in outer space. Like a lot of equally-underrated movies written and directed by Peter Hyams, it's fun, fast-paced junk food with decent special effects, witty dialogue and well-conceived characters. It also features a terrifically understated performance by Connery.

I’m of the opinion that Hyams has never really gotten the accolades or respect he deserves. But in addition to the outstanding 4K restoration, this set boasts bonus features that spotlight his quietly impressive film career (including a great interview where we hear it from the horse’s mouth). Other material includes a few commentaries (one that’s new), a critical analysis and an interview with the FX supervisor who discusses the process known as “Introvision,” which was new and innovative at the time. However, whoever designed that godawful new slipcover deserves to be fired.

EXTRA KIBBLES

INTERVIEWS - A Corridor of Accidents is an excellent 50-minute interview with writer/director/cinematographer Peter Hyams, who discusses his career from his beginnings through the early ‘80s. This is easily the best of the bonus features; Introvision: William Mesa on Outland features the FX artist discussing his use of Introvision; Outlandish is an interview with cinematographer Stephen Goldblatt, who’s candid about his mostly symbolic film credit.

NO PLACE FOR HEROES - This is a visual essay by Josh Nelson, who goes into detail about Outland being a western (not really all that revelatory, since most of us already knew that).

HOLLYWOODLAND OUTLAND - A visual essay about Peter Hyams, by Howard S. Berger.

2 AUDIO COMMENTARIES - 1) By Peter Hyams; 2) By critic Chris Alexander.

2 TRAILERS

IMAGE GALLERY - Mostly stills from the film, with a bit of promotional artwork.

"Based on what I just stepped in, I think a dog beat us here."

RED PLANET (2000/106 min) - This was a critical and box office bomb back in 2000, which also contributed to Val Kilmer’s freefall as a bankable leading man. Further sealing its fate was another sci-fi film released just a few months earlier (Mission to Mars) that was conceptually similar. While Brian De Palma would go on to find more work (sort of), Red Planet remains director Atony Hoffman’s only film. 

But it ain’t that bad. Sure, the thing’s got its share of narrative issues, such as waaay too much upfront exposition offered by voice-over narration, and perhaps more plot than the film actually needs. In the future, Earth is slowly dying, so efforts are being made to terraform Mars by growing oxygen-producing algae. But when the experiment begins to fail, a mission is sent to investigate. However, a solar flare damages the ship, so most of the crew are trapped on the surface and running out of air.

You could actually jettison most of the Earth-in-peril stuff and still have a fairly gripping survival tale. In addition to suffocation, the landing partly must deal with a scary-ass rogue robot that’s turned homicidal and is hunting them down. Those scenes are pretty cool, but sometimes undermined by the episodic nature of the story, which presents one new crisis after another. Still, the performances and cast are decent (including Kilmer, Carrie-Anne Moss, Tom Sizemore and Benjamin Bratt), while the special effects and production design are excellent. If nothing else, this is a great looking film that’s been nicely restored on 4K and comes with a smattering of bonus features.

EXTRA KIBBLES

INTERVIEWS - The Martian Chronicles is an interview with FX supervisor Jeffrey A. Okun; Suit Up is an interview with helmet & suit designer Steve Johnson.

ANGRY RED PLANET - A visual retrospective by critic Heath Holland, who discusses the good and bad aspects of the film.

DELETED SCENES

TRAILER

A NIGHTMARE ON ELM STREET: 7 FILM COLLECTION: A Fistful of Freddy in 4K

A NIGHTMARE ON ELM STREET: 7 FILM COLLECTION (4K UHD)

1984-1994 / 650 min (7 movies)

Warner Bros.

Review by Josey, the Sudden Cat🙀

I don’t consider the ‘80s to be the “golden age” of horror, as many middle-aged fanboys love to gush. Sure, there were some great ones - as there are from every decade - but most of what was spoonfed to indiscriminate teenagers consisted of assembly line slashers cut from the same cloth as Halloween and Friday the 13th. 

Of those that became beloved franchises, the Nightmare on Elm Street films were arguably the most creative, both aesthetically and in the various means of murdering kids (which didn’t always involve gore). Though certainly products of their time, they were always more visually interesting than most of their ilk and Freddy Krueger (Robert Englund) had the most amusing personality of all the other horror icons of the era (sometimes to the franchise’s detriment). 

Last year, Warner Brothers released a 4K restoration of the first film, which featured a good video upgrade, though the biggest improvement was the Dolby Atmos audio mix. Now all seven films are being given the same treatment with this boxed set (also available on Amazon as a more elaborate SteelBook). The restorations for the sequels are just as good, and again, they feature outstanding Dolby Atmos audio tracks.

As for the movies themselves, A Nightmare on Elm Street remains the best one, largely because it was unique at the time and possibly the first supernatural slasher film (but don’t quote me on that). The intelligent story (for the genre), imaginative set-pieces and an overall serious tone are still engaging all these years later. It also presents Freddy Krueger as mysterious, malevolent and menacing…before he became horror’s Henny Youngman. Maybe not Wes Craven’s best film, it’s easily his most culturally significant. The National Film Registry thought so, too.  

Though somewhat underwhelming when first released, A Nightmare on Elm Street 2: Freddy’s Revenge at least deserves props for trying something a little different with the concept, though it’s mostly remembered today for its unintentional homoerotic undertones. While A Nightmare on Elm Street 3: Dream Warriors remains a fan favorite, this is where the horror began to take a backseat to special effects and Freddy’s quotable one-liners. Still, it’s visually engaging, with some elaborate death scenes.

Soul food.

A Nightmare on Elm Street 4: The Dream Master sometimes plays more like a big-budget MTV music video than a horror film, but it also features some of the best dream sequences and special effects (Freddy’s ‘meatball’ pizza is an icky highlight). The inevitable law of diminishing returns rears its ugly head with A Nightmare on Elm Street 5: The Dream Child, where it seems like more effort was put into the soundtrack album than the story (though Bruce Dickinson’s “Bring Your Daughter to the Slaughter” is a killer tune).

Freddy’s Dead: The Final Nightmare is the series’ nadir and a desperate attempt to squeeze blood from a turnip. Gratuitous stunt casting and 3-D (for the final ten minutes) don’t mask what is essentially a cash grab. Not even those involved in making it liked this one. And yes, the 3-D version is included in this set, with glasses. Then just when we thought the franchise was dead, along came Wes Craven’s New Nightmare. As the title indicates, the guy who created Freddy in the first place returns to conclude the series on a high note. A clever, self-aware meta movie, it can be seen as the precursor to Craven’s Scream franchise. Most importantly, it made Freddy scary again.

Keep in mind that none of the sequels are available separately. That means Freddy fans who purchased A Nightmare on Elm Street last year are gonna have to do it again, and those who prefer to pick and choose are still gonna be stuck with Freddy’s Dead. Additionally, only Wes Craven’s New Nightmare includes new bonus features. The rest feature supplemental material that’s been around for awhile (the first film having the most). Still, the technical aspects might be worth the upgrade those longtime fans of the franchise.

EXTRA KIBBLES

DIGITAL COPIES OF ALL 7 FILMS

A Nightmare on Elm Street:

THEATRICAL & UNCUT VERSIONS

FEATURETTES - The House That Freddy Built is a look at New Line Cinema’s horror history, primarily its ‘08s output and largely focused on the Elm Street Series; Never Sleep Again: The Making of A Nightmare on Elm Street is an excellent 50-minute retrospective documentary; Night Terrors: The Origins of Wes Craven’s Nightmare features the late director discussing the real life inspiration for the film.

2 AUDIO COMMENTARIES - 1) By writer-director Wes Craven, actors Heather Langenkamp & John Saxon, cinematographer Jacques Haitki. 2) By several members of the cast & crew, as well as historian David Del Valle.

FOCUS POINTS - Various behind-the-scenes segments and alternate takes of scenes.

3 ALTERNATE ENDINGS

A Nightmare on Elm Street 2: Freddy’s Revenge:

FEATURETTES - Freddy on 8th Street; Heroes and Villains; The Male Witch; Psychosexual Circus (where we learn all the gay subtext was unintentional).

A Nightmare on Elm Street 3: Dream Warriors:

BEHIND THE STORY - A multi-part look at the making of the film.

MUSIC VIDEO - “Dream Warriors,” by Dokken. About as ‘80s as videos get.

A Nightmare on Elm Street 4: The Dream Master:

FEATURETTES - The Finnish Line; Krueger, Freddy Krueger; Hopeless Ghost; Let’s Makeup.

 A Nightmare on Elm Street 5: The Dream Child:

THEATRICAL & UNCUT VERSIONS

BEHIND THE STORY - A five-part look at the making of the film.

Freddy’s Dead: The Final Nightmare:

3-D GLASSES - For the 3-D segments, which are the best part of the movie.

FEATURETTES - 86’D; Hellraiser; Rachel’s Dream; 3D Demise. Some of those interviewed are surprisingly candid about this one’s shortcomings.

Wes Craven’s New Nightmare:

NEW FEATURETTES - Boiler Room Confessional features several people discussing the series’ longevity; Freddy’s Footnotes features more of the same people discussing classic Freddy moments; Becoming a Filmmaker is technically new, since it features the late Wes Craven discussing his humble beginnings, but it’s new to home video.

FEATURETTES - Filmmaker; An Insane Troupe; The Problem with Sequels; Two Worlds.

AUDIO COMMENTARY - By writer-director Wes Craven.

WELCOME TO PRIME TIME - Running about 50 minutes, this multipart features of short pieces about several aspects of the entire series.

CONCLUSION - Similar to the feature above, this one focuses more on the series’ aesthetic and cultural impact.