DON’T TORTURE A DUCKLING (4K): The Lucio & Donald Connection

DON’T TORTURE A DUCKLING (4K UHD)

1972 / 105 min

From Arrow Video

Review by Mr. Bonnie, the Duck Hunter😽

I’m pretty sure whenever Lucio Fulci visited Disneyland (which we all know was often), he never bothered with souvenir mouse ears. The guy’s favorite character was obviously Donald Duck, so he probably made a bee line to the blue sailor hats. 

Not only did Fulci’s sicko slasher in 1981’s The New York Ripper imitate the duck’s voice, a doll of ol’ Donald is a prominent component of Don’t Torture a Duckling (decapitated, of course). Italy’s daffiest director certainly had a soft spot for him, and if he had his way, probably would’ve had a guy in a duck suit square-off against the undead in Zombie’s underwater sequence.

That being said, I’ve always had a love-hate relationship with Lucio Fulci. On one hand, I’ve never found him to be a particularly skilled director and he was mostly content to follow in the footsteps of better directors, cranking out exploitation flicks in various genres (mostly horror during the last half of his career). On the other hand, his willingness to push the boundaries of good taste (especially in terms of on-screen violence) makes some of his work morbidly fascinating.

In the early ‘70s, Fulci dabbled in giallo, Don’t Torture a Duckling probably being his best known example. On paper, the premise sounds even more distasteful than The New York Ripper, that of a serial killer who murders children in the superstitious village of Accendura. As the local police investigate, there are numerous suspects, most notably local witch Maciara (Florinda Bolken), and later Patrizia (Barbara Bouchet), a morally ambiguous socialite hiding out in the village following a drug scandal. 

"Blah, blah, blah!"

Though the film involves the brutal murders of children, Fulci demonstrates an admirable amount of restraint. Apparently, even he knows their graphic deaths would put-off audiences. Still, this is the first film where gore begins to creep into his work, in addition to some sleazier elements, such as a nude adult female flaunting herself to a young boy, who gawks in wide-eyed wonder. But even without the nasty accouterments. Don’t Torture a Duckling serves up a fairly compelling mystery, as well as some none-too-subtle jabs at the Catholic church. And though hardly a work of art, it’s pretty well constructed compared to some of Fulci’s flakier films. 

Lucio himself was a notoriously difficult director to work with. As with most of his home video releases I’ve reviewed, this one features plenty of bonus material featuring collaborators who find eloquent ways of confirming he was a dick. Don’t Torture a Duckling is no exception, though some interviewees do profess a little grudging admiration for him. As such, it’s a pretty good batch of extras, though little of it is new. What is new is Arrow Video’s brand new 4K restoration. While I have no basis for comparison, the overall picture and sound quality is pretty good. 

For those who know and love Lucio Fulci for his gore pictures, Don’t Torture a Duckling will seem comparatively benign, though it does boast a few effectively nasty moments. As for his Donald Duck fixation, it’s sort of a shame Lucio didn’t live long enough to see all those Disney characters become public domain. He’d be a shoo-in to turn the duck himself into a serial killer.

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.

ENGLISH & ITALIAN VERSIONS

INTERVIEWS - Who Killed Donald Duck?, with actress Barbara Bouchet (the disc’s only new bonus feature); Those Days with Lucio, with actress Florinda Bolken; The DP’S Eye, with cinematographer Sergio D’Offizi; From the Cutting Table, with editor Bruno Michel; Endless Torture, with make-up FX artist Maurizio Trani.

VIDEO ESSAYS - In Giallo a la Campagna, historian Mikel J. discusses the movie; Hell is Already in Us features critic/historian Kat Ellinger, who defends the film against charges of misogyny. 

LUCIO RULCI REMEMBERS - A two-part audio interview.

AUDIO COMMENTARY - By Troy Howarth.

TRAILER

LADY OF VENGEANCE and the Rambling Red Herring

LADY OF VENGEANCE (Blu-ray)

1956 / 73 min

From MGM

Available at www.MovieZyng.com

Review by Mr. Paws😼

Man, talk about your red herrings! 

I hate red herrings. Hence, 1956's Lady of Vengeance is two-thirds of a decent film noir. I used to teach middle school, and if I were to grade this like an assignment, two-thirds of the possible points is a little over 66%...a D. But if a kid’s work wasn’t quite up to snuff but the effort was there, I sometimes bumped it up to a passing grade (especially if said-kid bestowed me a Starbuck’s gift card at Christmas).

And for a quick & dirty potboiler, this British film reflects some real effort on both sides of the camera. It starts off with a bang, when Melissa Collins (Eileen Elton) commits suicide by throwing herself in front of a train. Before that, she sent a letter to her estranged guardian, newspaper magnate William Marshall (Dennis O’Keefe), asking him to exact revenge on the man who ruined her life, presumably irresponsible, womanizing musician Larry Shaw).

"No need to pack your bags, good sir...I only have One Ticket to Paradise."

Headstrong and accustomed to getting what he wants, Marshall hires/blackmails master criminal Emile Karnak (Anton Diffring) to develop a flawless plan to make Shaw suffer at-length, after which Marshall will shoot the man himself. The scenes with these two men are intriguing, with cool calculating Karnek providing a neat contrast to Marshall’s vindictiveness. Neither character is particularly likable, but since when has that ever mattered in film noir?

Unfortunately, the story dedicates way too much screen time to Shaw, who does little but blow his trombone, belittle women and complain about his life. If it weren’t for a single brief scene he shares with Karnak, he’s not really even part of the ongoing narrative. And when the film reaches its climax, we realize why. Out of the blue, with absolutely no foreshadowing, the story throws in a plot twist that feels more like a suckerpunch.

I don’t want to give anything away because, up to that point, Lady of Vengeance is kind of fun, especially its well-conceived partners-in-crime. But not only does it end with a whimper, we suddenly realize the film didn’t play fair by wasting time on a rambling red herring. Still, two-thirds of a decent movie at least reflects some effort, so I guess I can give it a pass.

JUROR #2: A Living Legend's Swan Song?

JUROR #2 (Blu-ray)

2024 / 114 min

From Warner Bros.

#InPartnershipwithWB

Review by Princess Pepper😺

It’s widely assumed that Juror #2 is going to be Clint Eastwood’s last film as a director. If that does indeed turn out to be the case, he’s going out on a high note. A very high note.

Juror #2 is a compelling courtroom thriller with an irresistible premise. Justin Kemp (Nicholas Hoult) is summoned for jury duty and selected to serve on a murder trial, which seems like a slam dunk case for assistant DA Faith Killebrew (Toni Collette). James Sythe (Gabriel Basso) is accused of murdering his girlfriend following a drunken argument in a local bar. After she stormed out and headed down the road on-foot during a rainstorm, Sythe chased her down in his car and bludgeoned her to death, then pitched her body off a bridge. 

But as the prosecution and defense recount their versions of the crime - along with witnesses - Kemp begins to realize that not only was he in the same bar that night, he might have been the one who actually killed her, albeit accidentally. Driving home, Kemp was briefly distracted (by his phone, of course!), and hit what he thought was a deer. Now, sitting in the courtroom, he realizes Sythe is innocent. However, he’s the only one, and during deliberations, his is the sole ‘not guilty’ vote, much to the consternation of other jurors (leading to moments that echo 12 Angry Men).

Kemp attempts to cast reasonable doubt on the case without revealing his guilt. And in a way, it’s understandable. Kemp has a lot to lose. A recovering alcoholic, he’s worked hard to change his life. Not only that, he and his wife are expecting, which has considerable significance because, just a year before, she miscarried their twins. Conversely, Sythe is depicted as short-tempered, unlikable and, as another juror later explains, has an unsavory history. 

"Change your vote or you don't get any water."

Nothing makes a thriller crackle like throwing in a heaping helping of moral ambiguity, which the story has in abundance. Even Killebrew is somewhat motivated by the prospect of this high-profile case cementing her bid for District Attorney. Among the jurors, Harold Chicowski (J.K. Simmons) is a retired cop who also becomes convinced of Sythe’s innocence, but only after violating the judge’s instructions not to do any investigating on his own. 

But it’s ultimately Kemp who gains both the viewer’s sympathy and ire. He’s a wonderfully realized character, tormented by guilt, yet not willing to come clean, especially after his friend and AA sponsor, Larry (Kiefer Sutherland), gravely informs Kemp that, because of his past, no jury in the world would believe he wasn’t drinking that night. Hoult is excellent in the role, and wisely displays growing uncertainty more through expressions than words. If more people had actually seen Juror #2 prior to the Oscar nominations, perhaps he might have even made the cut.

Alas, the film was released in only 50 theaters nationwide before ending up on MAX, which is kinda shocking considering it's supposedly a living legend's swan song. It’s also a little ironic because most of Eastwood’s other recent films were hardly worth seeing at all. But Juror #2 is easily his best since Sully…engaging, tension-filled and well written, with a final scene that packs a wallop. Fortunately, it’s one of those movies that arguably plays just as well at home, and more importantly, is worthy of repeated viewings. Don't miss this one.

THE BEAST WITH FIVE FINGERS and THE WALKING DEAD: Pity The Poor Pianists

THE BEAST WITH FIVE FINGERS and THE WALKING DEAD

(Blu-ray)

FROM WARNER ARCHIVE COLLECTION

Available at www.MovieZyng.com

Review by Josey, the Sudden Cat🙀

Warner Archive serves up a couple of minor classics that, despite the ominous titles, narrative set-ups and creepy aesthetics, I wouldn't consider to be pure horror films. Another common thread is both stories involve musicians getting royally screwed over (and not by their managers).

THE BEAST WITH FIVE FINGERS (1946/88 min) - Eccentric invalid pianist Francis Ingram (Victor Francen), who only has the use of one arm, dies one night. In his will, Francis has left everything to his unhappy nurse, Julie (Andrea King), much to the consternation of his greedy brother & nephew, who contest the will’s validity. Also present at the reading are Francis’ secretary Hilary Cunnins (Peter Lorre), as well as Bruce Conrad (Robert Alda), the pianist’s friend and Julie’s lover. Soon after, a disembodied hand begins stalking people one by one, while Francis’ haunting piano music echoes throughout the mansion.

The Beast with Five Fingers has the tone and atmosphere of a horror film, but ultimately ends up being more of a mystery thriller. But it’s a pretty good one, with an intriguing story and, considering it’s nearly eight decades old, excellent special effects. The characters are well-drawn and feature decent performances all around, with Lorre being a particular standout. The ending, which includes a brief-but-silly shift to comedy, sort of caps things off like a Scooby-Doo episode.

EXTRA KIBBLES

2 CARTOON SHORTS - The Foxy Duckling and The Gay Anties.

AUDIO COMMENTARY - By historians Dr. Steve Haberman and Constantine Nasr.

TRAILER

Play that funky music, white hand.

---------------------------------------------------------

THE WALKING DEAD (1936/66 min) - A variation of the Frankenstein concept with the same star, The Walking Dead is a sci-fi tinged revenge story featuring Boris Karloff as down-and-out musician and ex-con John Elman, who’s framed by gangsters for a judge’s murder and sent to the electric chair. Resurrected by scientists who know he’s innocent, John goes about getting his revenge on those who wronged him.

Like Frankenstein’s monster, Karloff effectively instills yet another undead character with sympathy, and he probably appreciated being able to do it this time around without being buried under a mountain of make-up. Elsewhere, Ricardo Cortez is wonderfully despicable as the crooked lawyer who set him up in the first place. Despite John’s haunting appearance and some life-after-death pondering, The Walking Dead emphasizes revenge over horror. As such, it’s fairly entertaining, though the story is wrapped up rather abruptly.

EXTRA KIBBLES

FEATURETTE - Michael Curtiz: The Greatest Director You’ve Never Heard Of is an excellent 30-minute retrospective appreciation of Curtiz by several noteworthy modern directors.

2 CARTOON SHORTS - The Cat Came Back and Let It Be Me.

2 AUDIO COMMENTARIES - 1) By historian Greg Mank; 2) By historian Alan K. Rode.

TRAILER

The Walking Drunk.

Both films are interesting little curios, though neither are creative milestones for anyone involved. The Blu-ray transfers for each are good and come with some enjoyable bonus material, especially the affectionate Michael Curtiz tribute accompanying The Walking Dead.

A SIMPLE PLAN and the Damn Shame

A SIMPLE PLAN (Blu-ray)

1998 / 121 min

FROM ARROW VIDEO

Review by Princess Pepper😺

Sam Raimi never really had much of a chance to demonstrate his diversity as a director. For a brief time, he did branch out into genres other than horror or fantasy, but with the exception of some critics, no one seemed to care.

Which is too bad, because 1998’s A Simple Plan is an excellent neo-noir crime thriller and his best overall film. With an aesthetic similar to Fargo and tone non-unlike No Country for Old Men, it sometimes feels like Raimi is channeling his good buddies, the Coen Brothers, while incorporating 

his own familiar flourishes…albeit with more subtlety than he’s generally known for.

Based on a novel Scott B. Smith (who also wrote the screenplay), A Simple Plan tells a familiar tale that, when done right, never gets old. In this case, brothers Hank and Jacob Mitchell (Bill Paxton & Billy Bob Thornton), along with the latter’s brash buddy, Lou Chambers (Brent Briscoe), find $4.5 million in a crashed, snowcovered plane. Hank initially wants to turn it in, but the other two convince him otherwise. Still, Hanks insists on hanging onto the money until spring, when they’ll know for sure whether or not it’s unreported drug money.

In classic fashion, the prospect of instant wealth changes these men, each making foolish, sometimes terrible spur-of-the-moment decisions that threaten their plans. Hank warns the other two to tell no one about the money, but he’s the first to spill the beans to his wife, Sarah (Bridget Fonda), who has some (questionable) ideas of her own to assure the plan is successful. Though he’s the sole voice of reason at first, Hank undergoes the biggest transition for the worst, such as an attempt to blackmail Lou (who keeps demanding his share), as well as a couple of situations that escalate to murder. Despite cover stories to explain things to the local sheriff, the plan begins to spin out of control.

"Olive Garden here we come!"

While elaborating further would ruin some of the film’s surprises, it’s a compelling, clever story, beginning to build tension the minute the plan goes into motion, much like classic film noir where the main characters are their own worst enemy (Lee J. Cobb in The Man Who Cheated Himself comes immediately to mind). The characters in this one are just as compelling, and in the case of Hank and Jacob, even likable, despite committing some horrific acts.

Sure-handed direction keeps things briskly paced and there's great use of snowy and sparse Minnesota locations. But it’s the performances that make it truly memorable, especially Paxton and Thornton, who are excellent in their roles. It’s just too bad A Simple Plan didn’t get much attention from anyone but critics at the time, because Sam Raimi returned to his comfort zone soon afterwards and never looked back. Not to disparage his later work, but this is the closest he ever came to a masterpiece.

In addition to a great 4K remaster, Arrow Video has included a smattering of entertaining bonus features, most of them brand new.

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.

NEW INTERVIEWS - Of Ice and Men features cinematographer Alar Kivilo; Dead of Winter features Chelcie Ross (Sheriff Jenkins); Standing Her Ground features Becky Ann Baker (Nancy Chambers).

ON-SET INTERVIEWS - Individual archival interview with Bill Paxton, Sam Raimi, Billy Bob Thornton, Bridget Fonda and producer James J. Jacks.

BEHIND THE SCENES FEATURETTE

2 AUDIO COMMENTARIES - 1) By Glenn Kenny and Farran Smith Nehme; 2) By Patrizia von Brandenstein and Justin Beahm.

TRAILER

TRUE DETECTIVE: NIGHT COUNTRY (SEASON 4): Murder in the Arctic Circle

TRUE DETECTIVE: NIGHT COUNTRY (Blu-ray)

2024 / 379 min (6 episodes)

FROM WARNER BROS / #InPartnershipwithWB

Review by Mr. Bonnie, the Blizzard😺

Free Kittens doesn’t spend much time reviewing TV programs. Exceptions tend to be when the show in question possesses certain cinematic qualities or prominently features actors or filmmakers typically associated with movies. In this case, that person is the great Jodie Foster, and True Detective: Night Country marks her first role in a TV series since her childhood days.

Night Country is the fourth season of HBO’s anthology series, True Detective, each season featuring a different cast and story. I have not seen the previous ones, so I don’t know if this one is similar in structure, pace or tone. But I certainly haven’t seen a mystery thriller quite like this.

Taking place in the fictional town of Ennis, Alaska (way north of the Arctic Circle), a team of scientists at a research station suddenly disappear. A few days later, most of them are found dead in a twisted, naked pile, with various wounds on their bodies. Police chief Liz Danvers (Foster) is in charge of the investigation, though her immediate supervisor/casual lover, Captain Connelly (Christopher Eccleston), keeps threatening to hand the complex case to the better equipped Anchorage police.

Concurrently, Danvers’ ex-partner, now a state trooper, Evangeline Navarro (Kali Reis) remains obsessed with an old unsolved case, in which a native Alaskan woman was stabbed to death and her tongue cut out. Since that same tongue was just found at the research station, Navarro thinks the cases are connected. The problem is Danvers & Navarro really hate each other, stemming from an incident that resulted in both of them being demoted to the positions they now have.

Liz regrets not splurging for that filing cabinet.

The case is only about half the story. There’s also an escalating conflict between Alaskan natives and a corporate mining company accused of contaminating the water. Danvers’ native teenage step-daughter gets involved, further straining an already volatile relationship. In fact, Danvers has a volatile relationship with damn near everybody. She’s blunt, mean, bossy and indifferent to how her demands affect the marriage of beleaguered young deputy, Peter Prior (Finn Bennett). Meanwhile, Navarro is tasked with looking after her emotionally unstable sister, Julia (Aka Niviăna), who’s prone to complete breakdowns. 

Other interesting characters drift in and out of these episodes, some relevant to the primary story, others who remain part of subplots related to the main characters, both of whom are loaded with emotional baggage. In a way, Night Country unfolds like a season of the Fargo TV series, only much bleaker (though Foster is often a real hoot as Danvers). Speaking of bleak, the entire show takes place during the perpetual night Ennis experiences during winter. That, coupled with the constantly shitty weather, had me repeatedly asking why anyone would choose to live there.

The mystery itself intriguing and extraordinary bizarre. In fact, certain scenes and revelations suggest a narrative turn toward the supernatural, exacerbated by sequences and imagery that would be right at home in a horror film. But the complexities of the case, scenes of teasing ambiguity and mounting tension eventually give-way to an underwhelming finale, with one or two plot details left unresolved. Until then, Night Country is dark, moody and pretty compelling, punctuated by excellent performances from Foster (as usual) and Reis (who’s sort of a revelation).

EXTRA KIBBLES

FEATURETTES - Meet the True Detectives & Inkblots Challenge feature stars Jodie Foster and Kali Reis swayed at a table asking each other questions; Exploring Indigenous Themes discusses native Alaskan culture that’s prevalent in the series; New Chapter features director/co-writer Issa Lopez discussing the fourth season.

RECAPS OF EACH EPISODE