THE LAST BOY SCOUT (4K): Quintessential Bruce

THE LAST BOY SCOUT (4K UHD)

Also available on Blu-ray

1991 / 105 min

Arrow Video

Review by Mr. Bonnie, the Baller😺

In many ways, The Last Boy Scout is the quintessential Bruce Willis vehicle. That’s not to say it was ever one of his best films…far from it. Looking back at it over three decades later, it’s obvious everyone involved had the sole intention of cranking out a flashy, high concept blockbuster. And coming off a string of flops at the time, Willis certainly needed one. 

So why not shape another action film around his quasi-comedic persona, which made Die Hard so memorable? And why not pair him with a currently hot comedian (Damon Wayans)? And why not enlist the services of Tony Scott, the Michael Bay of his day? And why not use the latest screenplay by Shane Black, who certainly knows his buddy comedies? How could it miss?

I suppose it didn't miss, doing okay in theaters but becoming absolutely huge on home video. And I can kinda see why. Big, loud, violent and expertly assembled to pander to fans of that stuff, The Last Boy Scout has always been the movie equivalent of comfort food, the kind of lunkheaded boomfest you pop into your player when you can’t think of anything else to watch. I, myself, have owned the thing in every format, even though it has never been what I consider a great film.

Kinda makes 'Deflategate' seem trivial, doesn't it?

What can I say? Burned-out private detective Joe Hallenbeck (Willis) and ex-quarterback Jimmy Dix are funny together and display a lot of chemistry, even if their quips and comebacks are almost too clever and rapid-fire at times. And God knows the bloodshed, gunplay, car crashes and kaboom gleefully cross the line of plausibility at every turn, but it’s sure fun to watch…and may even be a little cathartic. As usual, Scott and his cohorts display admirable slight-of-hand by glossing over the ridiculous story with enough flash, hyper-editing and dizzying camerawork to make everyone think they’re watching a more substantial movie than it really is.

But who cares? I love empty calories as much as the next junk-food junkie. As Bruce Willis vehicles go, I probably revisit this one more often than any other movie that doesn't have Die Hard in the title. Each time, it gets a little sillier, a little more archaic and a lot more vulnerable to scrutiny. The Last Boy Scout is ultimately as dumb as shooting your way to the endzone, but there are a lotta guys on both sides of the camera working on all thrusters to showcase Bruce at his Bruciest.

All those fans who made the film a latent cult classic will certainly appreciate what Arrow Video has put together for its 4K release. The overall picture quality is excellent, and a big improvement over the old Warner Bros. Blu-ray. There are also three audio options, the original (restored) stereo track, a DTS-HD 5.1 track and Dolby Atmos, the latter of which is new. Finally, there’s a great selection of new bonus features (listed below), the best being interviews with screenwriter Shane Black and child-actor-turned-scream-queen Danielle Harris. 

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. 

INTERVIEWS - All new individual interviews with screenwriter Shane Black and actor Danielle Harris. Both are very entertaining.

THE ART OF TONY SCOTT is an appreciation by author/historian Stephanie Moissakis.

SHANE BLACK AT THE AMERICAN CINEMATEQUE is an on-stage interview/discussion between Black and historian Jim Hemphill. Filmed in 2025.

AUDIO COMMENTARY - By critics Josh Nelson and Martyn Pedler.

EXTENDED/ALTERNATE SCENES

2 TRAILERS

2 IMAGE GALLERIES

ORIGINAL SCREENPLAY - This actually features two drafts of the screenplay.

Revisiting MONEYBALL in 4K

MONEYBALL (4K UHD)

2011 / 133 min

Sony

Available at MovieZyng

Review by Mr. Bonnie, the Bronx Bomber😺

There’s something about baseball and movies that go together like peanut butter & jelly. I generally find the sport as exciting as paying the bills, but slap it on the big screen and something magical happens. In fact, I’m pretty sure I’ve seen more baseball films than actual games, seldom coming across one that wasn’t at least watchable…and re-watchable.

The game is inherently cinematic, and Moneyball is a classic example that it can be just as dramatically compelling off the field. Adapted from the bestselling book, it tells the story of Billy Beane (Brad Pitt), a former ballplayer who becomes the general manager of the Oakland A’s. Tasked with rebuilding the roster with a fraction of the resources afforded other teams, he forgoes traditional scouting and begins acquiring overlooked (and affordable) players using unorthodox data created by his new assistant, Peter Brand (Jonah Hill). 

Because none of this sits well with the rest of his staff, including manager Art Howe (Philip Seymour Hoffman), Moneyball ends up being an underdog story both on and off the field. I don’t know how much of the behind-the-scenes drama is accurate (nor do I care), but since the A’s 2002 season really was an underdog story, much of what we’re seeing rings true, as do the nuts and bolts of the trading and recruiting process. 

"Good thing we got here early."

But no amount of authenticity would resonate without engaging characters, which the film provides with its two protagonists. Beane is especially well-developed…smart, ambitious and driven (almost obsessively), yet haunted by his past and somewhat uncertain of his future. He’s well realized by Pitt, as is Brand by Hill, whose performance might be even more impressive because it’s atypical of the roles he was largely known for at the time. 

Like all great sports-themed films, Moneyball remains supremely re-watchable. If not one of the best baseball movies ever made, masterfully capturing the cinematic drama inherent within the game (even outside of the ballpark), it certainly feels like one of the most authentic ones. After years of being available only on Blu-ray and DVD, it’s finally been given a 4K UHD release. There aren’t any new bonus features (the ones included here are carried over from previous editions), but the video transfer is excellent overall, as is the 5.1 DTS-HD audio track. I also gotta say I really like the new slipcover, which nicely reflects the iconoclastic nature of its main character. 

EXTRA KIBBLES

FEATURETTES - Billy Beane: Re-Inventing the Game features director Bennett Miller, screenwriter Aaron Sorkin, original Moneyball author Michael Lewis and Billy Beane; Drafting the Team is about the film’s cast; Moneyball: Playing the Game takes a look at the baseball scenes, locations and sets; Adapting Moneyball covers how the book became a movie.

DELETED SCENES

BLOOPER

TRAILER

F1: THE MOVIE is Fast, Flashy & Familiar

F1: THE MOVIE (Blu-ray)

2025 / 155 min

Warner Bros

#InPartnershipwithWB

Review by Stinky the Destroyer😺

Historically speaking, motorsports haven’t often been given a fair shake in movies, at least in terms of plausibility. Not that there haven’t been some great ones. 1971’s Le Mans was a remarkably realistic depiction of the famous 24 hour race (and you can’t go wrong with Steve McQueen behind the wheel). Despite its soap opera trappings, 1966’s Grand Prix boasts immersive racing sequences that still hold up well today. In balancing action and off-track drama, 2019’s Ford v. Ferrari might be the best one ever made.

But most are to auto racing what Star Wars is to space travel. More often than not, they’re testosterone-driven cartoons anchored by destruction, special effects and rock music. And when not on the track, there’s a soul searching protagonist with something to prove. That ain’t necessarily a deal breaker, since most moviegoers are probably not particularly concerned over a racing movie’s authenticity. After all, Days of Thunder was more Top Gun than Grand Prix, but still a lot of fun.

So to call F1: The Movie this century’s Days of Thunder isn’t intended as total criticism. And comparatively speaking, the racing action in this one makes Tom Cruise’s laps around Daytona look like Talladega Nights. Not only do these sequences feel fast, that’s really Brad Pitt & Damson Idris behind the wheels of those cars and we’re vicariously in the cockpits with them. There’s a greater emphasis on pure speed than crashes & mayhem, and most of it looks like it was done with a minimum of special effects. In terms of pure sensation, the film is a hell of a ride.

Off the track, F1 takes a road well travelled. Pitt plays Sonny Hayes, an aging driver-for-hire who was once a promising Formula One driver until a horrific accident dashed those hopes. He’s approached by old friend/ex-teammate Ruben Cervantes (Javier Bardem) to join his struggling F1 team, APXGP, as a second driver. There’s a lot at stake. His other driver, Joshua Pearce, is a cocky young rookie who has yet to win a race, which puts Ruben at risk of losing his team to investors at the end of the season. Sonny reluctantly accepts the seat, which doesn’t sit too well with Joshua or the rest of the APXGP.

Brad spots a mirror.

There are the usual plot elements…Joshua doesn’t think he needs a mentor. Sonny’s too old, too reckless. Joshua’s concerned with his public image. Sonny’s older, wiser and ultimately the smartest guy in the room, whose “combat”  approach to racing turns out to be just what the team needs. There are setbacks, including conflicts with team members and the usual soul searching after a terrible crash (twice, actually), as well as a conniving board member pulling the strings in an effort to steal the team from Ruben. And of course, we have a romantic subplot between Sonny and APXGP’s car designer, Kate (Kerry Condon). 

Narratively, there aren’t a lot of surprises, and seldom are we all that convinced this is how the real Formula One world operates (despite countless cameos by famous drivers and team owners). But the characters are engaging and the performances are good, with Pitt being especially enjoyable in his role (though he ain’t really stretching himself here). 

Unsurprisingly, F1 is most entertaining during the racing scenes, which are here in abundance, and the action alone makes the movie worth seeing. Like most sports films - especially motorsports films - this one is best experienced in a theater, as some of its visual and sonic impact is inevitably diminished on the smaller screen. Still, it looks and sounds pretty damn good on Blu-ray.

EXTRA KIBBLES

FEATURETTES - Inside the F1: The Movie Table Read; The Anatomy of a Crash; Getting Up to Speed (The two stars learn how to drive); APXGP Innovations; Making It to Silverstone (Silverstone is one of the racetracks); APXGP Sets and Locations Around the World; Lewis Hamilton: Producer; APXGP and F1: How It was Filmed; Sound of Speed (Hans Zimmer’s score).

GRAND PRIX: The Next Best Thing To Being There

GRAND PRIX (Blu-ray)

1966 / 176 min

From Warner Bros

Available at www.MovieZyng.com

Review by Mr. Paws😺

Of all the classic films I truly wish I could experience in a theater, 1966’s Grand Prix ranks very high on the list. It’s not a masterpiece or a personal favorite, and with the exception of a specific faction of fans, maybe even calling it a classic is a stretch.

But from a purely cinematic standpoint, seeing it on the big screen would be a blast. More specifically, seeing it in 65mm Cinerama on a curved screen, the way audiences enjoyed it nearly 60 years ago. Fat chance of that today. 

Grand Prix is an epic melodrama about the lives and loves of four Formula 1 drivers during a single season, but these days, almost no ongoing discussion or appreciation of the film involves the actual plot. What makes the film memorable are the racing sequences, which thankfully, comprise about a third of its three hour running time. That's why it continues to be held in very high regard by motorporn enthusiasts.

Director John Frankenheimer has made better movies, especially during the ‘60s, but as far as technical achievements go, Grand Prix is his magnum opus. Not only are the groundbreaking racing sequences brilliantly shot & edited to create an immersive experience, they really haven’t been topped since (though 1971’s Le Mans came close). And don’t you dare counter with Days of Thunder.

Hopelessly lost.

Not only that, these sequences are authentic. Over the years, countless motorsports authorities - from drivers to historians - have concurred that Grand Prix’s racing scenes are among the most accurate and realistic ever created. Some of those same experts attest to this in the disc’s bonus features…all of which are about the movie’s action or Formula 1 history itself. Nobody interviewed - not even co-stars James Garner and Eva Marie Saint - discusses the fluff in between.

Well, maybe fluff is too strong a word. I guess those subplots are necessary for us to invest in these characters (however slightly). And admittedly, it’s pretty fun seeing Garner play a guy who isn’t particularly likable. The soapier aspects (such as Saint & Yves Montand’s romantic affair) are sometimes an endurance test, but our patience is more than rewarded when the drama takes a backseat to the driving.

But alas, I’ll probably never get to experience Grand Prix they way God intended. The next best thing is this Blu-ray, which features a nice digital transfer, with better overall video quality and sound (DTS-HD Master Audio) than the original DVD. The aforementioned bonus features are also very interesting, though none were created specifically for this particular release. Since the movie is unlikely to ever be a Fathom event or show up at your local revival house, this’ll have to do. 

This is a re-issue of a Blu-ray first released in 2011.

EXTRA KIBBLES

FEATURETTES - Pushing the Limit: The Making of Grand Prix; Flat Out: Formula 1 in the Sixties; The Style and Sound of Speed; Brands Hatch: Behind the Checkered Flag; Grand Prix: Challenge of the Champions. 

TRAILER

A Bizarre BODY ODYSSEY

BODY ODYSSEY (DVD)

2023 / 103 min

From IndiePix Films

Review by Stinky the Destroyer🙀

In the real world, Jacqueline Fuchs is a world famous bodybuilder, so for the most part, playing one in a movie isn’t too much of a stretch. Like most athletes-turned-actors, she’s decent in scenes conducive to her profession, sometimes a bit wooden in those requiring anything more.

Still, her performance in Body Odyssey is nothing short of brave. Not because her chosen profession and appearance could be considered freakish to a lot of viewers. And it isn't because she frequently appears nude and engages in graphic sex scenes that are not only intentionally unerotic, they’re contextually disturbing. Fuchs seems perfectly comfortable being presented as an object of morbid fascination.

What’s brave about her performance is that it serves a bizarre, twisted film that at-no-point depicts the sport in a positive light, especially the alarmingly dangerous steps its participants take to achieve what they view as perfection (including steroid use). In fact, one competitor drops dead right in the middle of a competition. In a way, Fuch’s participation almost seems akin to a confessional.

On the surface, Body Odyssey is about Mona (a fictionalized version of Fuchs?) as she prepares for a world championship under the relentless supervision of her trainer, Kurt (Julian Sands, in one of his last performances). The defacto antagonist, Kurt appears even more obsessed with body perfection than Mona, controlling every aspect of her life and goading her into using illegally imported steroids (even though her own doctor insists she’s causing irreparable harm to herself).

Mona shows Kurt where she last saw her watch.

However, this is more of a surreal psychological/body horror film with an aesthetic similar to David Cronenberg's work. Mona’s internal conflict between her desire for perfection and needs as a woman (exacerbated by frequent trysts with a fetishistic young man) is often depicted through dreamlike sequences and imagery. Her own body develops a “voice” of its own, ominously spouting a lot of ambiguous gobbledegook whenever Mona attempts to assert own will.

For awhile, all this is kind of interesting. Mona’s sympathetic vulnerability nicely counters Kurt’s objectification of her (though we do get the impression he ultimately does care about her). Director Grazia Tricarico also keeps things aesthetically engaging (sometimes voyeuristically so), aided by moody cinematography and ethereal visual effects. But the film’s deliberate pace and increasing pretentiousness eventually grow a little tiresome (as does the camera’s unceasing exploration of Fuch’s body).

By the third act, the narrative dives headlong into bleak, baffling artiness and doesn’t resurface. That would be fine if the climax appeared to have anything resembling a resolution to Mona’s conflict (or maybe it does and I was just too dumb to catch it). Either way, Body Odyssey is one of those what-the-hell-did-I-just-watch movies that might be worth checking out for adventurous viewers (and perhaps late-career Cronenberg fans), but once is probably enough.