Some Peculiar Picks For PARAMOUNT SCARES, VOLUME 2

PARAMOUNT SCARES, VOLUME 2 (4K UHD)

1981-2022 / 393 min (4 movies)

FROM PARAMOUNT

Review by Josey, the Sudden Cat🙀

This is Paramount’s second horror-themed 4K collection following last year’s stellar boxed set, which featured an eclectic selection of five classic and recent titles. With a beautifully designed box, loads of additional collectible goodies and creative new slipcovers, it was one of 2023’s best releases.

Paramount Scares Volume 2 offers another great batch of physical goodies (outlined below), some similar to Volume 1, some different. This set is also nicely packaged, the box sporting a similarly designed collage representing the four included titles (no ‘mystery title’ this time), as well as great new slipcovers. But this time around, I’m a little perplexed over some of the films chosen for this collection.

Though it has its naysayers, including World War Z is kind of a no-brainer. Famously bastardizing Max Brooks’ original novel - essentially tossing everything but the title - the film is a superlative example of the zombie film elevated to epic proportions. Dark, serious and smartly written, what the film lacks in the usual gore is compensated by its overall intensity, believable characters and an excellent performance by Brad Pitt. From a box office standpoint, it’s Paramount’s most successful horror film, as well as the biggest of the entire zombie subgenre. Additionally, the Blu-ray features the unrated version. Running seven minutes longer, the differences appear minor, though the violence seems to pack more of a punch.

Roger Ebert once said his negative review of Friday the 13th Part 2 could apply to any other film in the franchise, and he wasn’t entirely wrong. But I’m still at a loss why Part 2 was selected for this set. The original Friday the 13th was no great shakes either, but was the one that started it all and is widely considered the classic. Part 2 is similarly artless, but also the blandest of the entire franchise. Though the body count remains high, it’s largely bereft of the graphic, gory kills that made the first such a hit with teenagers. And while it marks the first appearance of Jason as the killer, this is before he donned his iconic hockey mask. So…why?

1997’s Breakdown is the best film in the collection and you can read our summary & review HERE. It’s also one of most underappreciated thrillers Paramount has released over the past 30 years. However, calling it a horror film is really a stretch. This tension-filled thrill ride features a great story, some excellent action sequences and a supremely sinister batch of antagonists led by the late J.T. Walsh, to say nothing of Kurt Russell’s dedicated performance in the lead role. But while there certainly are some anxiety-loaded moments, Breakdown is more of an action thriller along the lines of Duel. 

Rounding out the set is Orphan: First Kill (you can read our original review & summary HERE). For a prequel to 2009’s sleeper hit, at least it manages to justify its existence. Sure, we’re aware of Esther’s secret (the big reveal in the original), but without giving too much away, other characters are hiding much worse skeletons in their closet…enough to turn Esther into sort-of an anti-hero. While not a great film - and more of a black comedy - its inclusion makes a little more sense than Friday the 13th Part 2 (since the original Orphan was distributed by Warner Bros). Still, I can think of some true classics that would better round out this collection (such as Don’t Look Now, The Dead Zone or Cloverfield, to name a few). Oh well…there’s always Volume 3.

Every film looks and sounds great in 4K, However, it’s all the physical swag that sells this set and its another fun batch. As for the films themselves, Paramount Scares Volume 2 is worth picking up for World War Z and Breakdown if you’ve never added them to your collection. 

EXTRA KIBBLES

4K, BLU-RAY & DIGITAL COPIES

FANGORIA MAGAZINE - Features new and reprinted articles/reviews.

COLLECTIBLE POSTER - A colorful collage of all four films.

IRON-ON PATCHES - One for each film.

“PARAMOUNT SCARES” LOGO PIN - A green one his time.

“PARAMOUNT SCARES” DOMED STICKER

WORLD WAR Z

THEATRICAL (4K) AND UNRATED VERSIONS (Blu-ray)

FEATURETTES - Origins; Looking to Science.

WWZ PRODUCTION - A four-part behind-the scenes doc.

FRIDAY THE 13TH PART 2

FEATURETTES - Inside “Crystal Lake Memories” (the book's author discusses putting it together); Friday's Legacy: Horror Conventions; Lost Tales from Camp Blood Part II is a horror short inspired by the franchise (others are available on other F13 titles); Jason Forever is a Q&A featuring four guys who’ve previously played Jason Voorhees.

TRAILER

BREAKDOWN

FEATURETTES - Filmmaker Focus features director Jonathan Mostow; Victory is Here features actress Kathleen Quinlan; A Brilliant Partnership features producer Martha De Laurentis.

AUDIO COMMENTARY - By director Jonathan Mostow and actor Kurt Russell.

ISOLATED SCORE

ALTERNATE OPENING - With optional commentary by Jonathan Mostow.

TRAILERS

THE MILLION EYES OF SUMURU: Crazy & Campy

THE MILLION EYES OF SUMURU (4K UHD)

1967 / 89 min

FROM BLUE UNDERGROUND

Review by Mr. Paws😺

Crazy, campy and comedic - intentionally & unintentionally - The Million Eyes of Sumuru is a movie that could only have sprung from the ‘60s, when spy spoofs were as plentiful as the spies they were spoofing. Better yet, Blue Underground has once again resurrected this British relic with a sparkling new 4K transfer.

But best of all, a RiffTrax version is also included. The movie is nothing if not riff-worthy, and Mike Nelson, Bill Corbett & Kevin Murphy are in fine form here. For their fans, including Mysties, this feature alone (included on the Blu-ray disc) makes the set worth picking up.

In the film, former Bond beauty Shirley Eaton stars as the title character, who commands an army of skilled and lethal sexpots. They’re plan is to assassinate the most powerful men in the world and take over. As if The Million Eyes of Sumuru didn’t already have enough cult credentials, one of their targets is Hong Kong’s playboy president, played by none other than kooky Klaus Kinski.

"That's two references. I asked for three."

All that stands in their way are two devil-may-care CIA agents, Nick West (George Nader, he of Robot Monster fame) and Tommy Carter (the Beach Party boy himself, Frankie Avalon). Though top billed, Avalon is mostly on hand for comic relief and to trade wisecracks with Nader, though this film does provide the opportunity to witness the guy who crooned “Venus” lobbing grenades. Meanwhile, Nader has the more enviable job of making out with most of the female cast.

I wouldn't necessarily say the cast delivers great performances, but they all look like they’re having a great time. And their mood is kind of infectious. Only a curmudgeon wouldn’t have fun with its silly plot, cartoony characters, goofy dialogue and bevy of babes. The Million Eyes of Sumuru is undoubtedly a product of groovy decade from which it sprang, but that’s also part of its charm.

Not only does the film look and sound great in 4K, Blue Underground provides a wonderful introduction to its relatively unknown director, Lindsay Shonteff, with a feature length documentary that showcases his lengthy career (and affection for James Bond rip-offs). But really, this one had me at RiffTrax.

EXTRA KIBBLES

4K & BLU-RAY COPIES

THE SCHLOCK-CINEMA LEGACY OF LINDSAY SHONTEFF - This feature length documentary might be the longest, most comprehensive and affectionate tribute to an obscure director I’ve ever seen. Great fun.

RIFFTRAX EDITION

2 AUDIO COMMENTARIES - 1) By David Del Valle & Dan Marino (not the guy you’re thinking); 2) By Nathaniel Thompson & Troy Howarth.

TRAILER

GALLERY - A collection of posters and stills.

REVERSIBLE COVER

BLACKOUT and the Sad Werewolf

BLACKOUT (Blu-ray)

2023 / 103 min

FROM DARK SKY FILMS

Review by Josey, the Sudden Cat🙀

As classic movie monsters go, werewolves haven’t been terrifying in decades. Perhaps writer/director Larry Fessenden is aware of this, opting to make Blackout more of a tragedy than a horror film. However, it's not very interesting as a tragedy either.

Charley Barrett (Alex Hurt) is a depressed alcoholic artist who's been transforming into a werewolf on full moon nights and killing some of the small town locals. This is an ongoing crisis as the film begins and Charley already knows he's the monster. However, most of the town suspects Hispanic construction worker Miguel (Rigo Garay), a rumor perpetuated by greedy, racist resort developer Jack Hammond (Marshall Bell). 

Since he’s aware that the only solution to his - and the town’s - problem is to die, Charley is getting his affairs in order. This includes making peace with ex-girlfriend Sharon (Addison Timlin) and arranging for his buddy, Earl (Motell Gyn Foster), to shoot him with silver bullets. Meanwhile, the local sheriff (Joseph Castillo-Midyett) is stymied by the killings while trying to keep the locals from taking the law into their own hands with Miguel.

"Believe it or not, I found silver bullets on Amazon."

Fessenden’s attempts to work themes of racism, environmental issues and corporate greed into his story are admirable (and unfortunately timely). Considering what looks like a limited budget, the death scenes and make-up effects are fairly impressive. However, in between are long, rambling passages of characters engaging in dull banter, much of which sounds like the actors are improvising. And despite a few earnest performances, none of these characters are particularly engaging, including Charley. It's hard to sympathize with a protagonist's plight if you don't really care about him to begin with.

From a technical standpoint, Blackout is well made and sometimes delivers the gore goods. And I suppose Fessenden should be lauded for adhering to horror conventions first established by Universal’s The Wolf Man (this film’s most obvious inspiration). That he manages to accomplish it with such limited resources is commendable. However, the erratic pace, bland characters and drab dialogue undermine his good intentions.

EXTRA KIBBLES

BLACKOUT BEHIND THE SCENES - This is an excellent 75 minutes documentary with an introduction by writer/director Larry Fessenden. Features extensive behind-the-scenes footage and plenty of interviews.

FEATURETTES - Larry Fessenden’s Monsterverse (a montage of clips from three of the director’s horror films); Monster Mash Photoshoot Timelapse.

AUDIO COMMENTARY - By writer/director Larry Fessenden.

BLACKOUT AUDIO DRAMA

TRAILERS

SUPPLEMENTAL BOOKLET

LONGLEGS: Good...Almost Great

LONGLEGS (Blu-ray)

2024 / 101 min

FROM NEON/DECAL RELEASING

Review by Josey, the Sudden Cat🙀

My daughter and I are big horror fans, especially those which offer something more unique and challenging than your typical high-concept Blumhouse film. So it was with some anticipation that we checked out Longlegs in theaters this past summer. The moody, disturbing trailer made it look right up our alley.

We left the theater a few hours later, not quite sure what to think. Disappointment is too strong a word, since we both enjoyed the dark tone and beautifully bleak aesthetic, both which certainly suited the story. We also appreciated the deliberate pace and effective performances, especially Maika Monroe as protagonist Lee Harker, a young FBI agent with a talent which suggests a little psychic ability.

While we both agreed Longlegs was a good film, we were oh-so-slightly underwhelmed. But what exactly were we expecting it to be? Something more? Something less? Or was it one of those films that gets better upon repeated viewings? Well, we got that chance for this review.

Longlegs is about an ongoing FBI investigation into a series of brutal murders that have been committed over the years, all involving families. Their primary suspect is mysterious man who calls himself “Longlegs” (Nicholas Cage), yet he’s not actually present for these killings. The only thing these families have in common is that the daughters in each one share the same birthday.

Lead investigator Agent Carter (Blair Underwood) recruits Harker to study the evidence. She quickly decodes Longlegs’ cryptic messages and finds further clues, including some related to Satanism. Longlegs also seems to be aware of Harker herself, who not only begins to believe he’s a literal monster, but she and her eccentric mother (Alicia Witt) are somehow connected with his actions.

When you hate what's on TV but can't find the remote.

Refreshingly, much of the story is told through Harker’s investigation and several hallucinatory sequences, which could either be interpreted as supernatural or products of her imagination. If nothing else, the film is filled with truly haunting imagery, imaginatively captured by writer/director Osgood Perkins (this is arguably his best film). 

But upon second viewing, I think I’m able to determine why Longlegs isn’t entirely successful. Despite a cavalcade of unnerving imagery and unexpected plot turns, these elements sometimes feel forced into the story, and not always seamlessly. For example, the point when Longlegs’ dolls become key to the narrative seems to belong in another movie…and to be honest, is somewhat derivative. Speaking of which, the film occasionally wears its influences almost too proudly. More-than-a-few moments - and characters - draw obvious inspiration from such classics as The Silence of the Lambs and Se7en (albeit with supernatural overtones).

As for Nicholas Cage…with the unique quirkiness he brings to most of his roles, casting him as a demonic serial killer should be a slam dunk. However, he’s not in the film nearly as much as the promotional campaign suggests, and despite a couple of scenes where he does let loose, he’s buried under so much prosthetic make-up that Longlegs could have been played by anybody capable of screaming.

But I did enjoy Longlegs more with a second viewing, catching certain visuals and subtleties that escaped me the first time. I also have a greater appreciation for the overall look of the film, which certainly enhances its grim, ominous tone. While the whole ultimately doesn’t equal the sum of its parts (or its influences), it is a good horror film…almost a great one.

EXTRA KIBBLES

INTERVIEWS - Individual promotional interviews featuring director Osgood Perkins, actors Blair Underwood, Maike Monroe & Alicia Witt.

AUDIO COMMENTARY - By writer/director Osgood Perkins.

"THE CLUES" - A few half-minute segments from the film related to the narrative puzzle. Weird but superfluous.

“EVIDENCE” - I far as I’ve been able to figure out, this is just a single still of the farmhouse where some of the movie takes place. 

3 TRAILERS - Including a really strange one subtitled “Dirty/Sweet.”

A DOG CALLED…VENGEANCE: One Persistent Pooch!

A DOG CALLED…VENGEANCE (Blu-ray)

1978 / 115 min

FROM SEVERIN FILMS

Review by Mr. Bonnie, the Bastard😼

A weird-ass mash-up of prison escape film, animal attack movie and political thriller, A Dog Called…Vengeance (on-screen title, The Dog) is narratively all over the place, but sometimes outrageously entertaining. It also shows (literally) a lot more of actor Jason Miller than we might be prepared to see.

The only American in this Spanish production (and dubbed by another actor), Miller plays Ari, a political prisoner languishing in a Venezuelan prison run by a cruel warden at the behest of fascist dictator Omar Romero (Aldo Sambrell). After escaping, he’s hunted by tracker Zancho and his vicious dog. But even though Ari manages to kill Zancho, the dog continues the pursuit. This leads to several violent clashes as Ari makes his way cross-country, including a lengthy segment where he’s fighting the pooch completely naked (pretty ballsy on Miller’s part, in more ways than one).

Romero is apparently a very unpopular president indeed, because damn near everyone Ari meets is ready to help him avoid capture, including a resistance group who already know of his escape. I’m still not sure how protecting Ari fits into their assassination plans, but it does afford him the opportunity to hop between the sheets with a few ladies, including old girlfriend Muriel (Lea Massari), who fathered Romero’s son while he was incarcerated. We’re also treated more of Miller in the buff. He’s a pretty hairy guy, by the way.

Giving the dog a bath is always an ordeal.

Meanwhile, he’s relentlessly stalked by the dog, which has the uncanny ability to stay on his trail even after Ari is miles away in the big city. My absolute favorite scenes have the dog trotting around town looking for Ari, like something straight out of The Incredible Journey. In fact, the best parts of the film are those featuring the dog, whether attacking others or seeking out his quarry. Less interesting are the story’s political aspects, but they do set up a surprise ending I didn’t see coming.

A Dog Called…Vengeance is kind of a crazy film, but well assembled and fast paced (though a few superfluous sex scenes briefly stall the momentum). In addition to the animal action, there are a couple of well-executed shoot-outs and bursts of violence. As the protagonist, Miller delivers a solid - and somewhat brave - physical performance, relying on a minimum of dialogue. However, it's kinda weird seeing him smile on occasion. He usually looks so damn solemn.

EXTRA KIBBLES

A FILM AHEAD OF ITS TIME - I know if I necessarily agree with that, though Sitges Film Festival’s programming director states his case with a entertaining appreciation.

INTERVIEWS - Memories of a Guerrilla Woman features actress Marisa Paredes, who was married to director Antonio Isasi for eight years and offers affectionate anecdote about him and the film; Daughter of Titans features the director’s daughter, Maria Isasi, as well as Marisa once again.

SPANISH & ENGLISH VERSIONS

TRAILER

PAYCHECK: John Woo's Forgotten Film

PAYCHECK (DVD)

2003 / 118 min

FROM PARAMOUNT

Available at www.MovieZyng.com

Review by Princess Pepper😼

Legendary Hong Kong director John Woo certainly made a splash when he came to America, bringing his unique, over-the-top style to such action movies as Broken Arrow, Face/Off and Mission Impossible 2. Hell, he even managed to make Jean Claude Van Damme look good. 

Then came Paycheck, loosely based on a Phillip K. Dick story, which was not only a box office disappointment, it was met with negative reviews and has been largely forgotten. Even Woo himself wasn’t entirely happy with it. Maybe that’s why he wouldn’t direct another American film for 20 years.

But it ain’t that bad.

Granted, Paycheck largely eschews most of Dick’s high-minded themes and ideas to make room for all the gunplay, chases, explosions and destruction Woo’s known for. But the basic plot is still there, with Ben Affleck playing Michael Jennngs, a freelance reverse engineer who’s regularly hired by companies to infiltrate rivals’ existing technologies, then make improvements. Afterwards, he’s contracted to have any knowledge of the job erased from his memory.

Then old friend James Rethrick (Aaron Eckhard), the powerful CEO of Allcom, offers Michael a job to tempting to pass up. It will take three years, and all his memories accrued during that time will be erased, but he’d collect $92 million afterwards. However, when the job is finished, not only is he screwed out of the money, all he receives is an envelope of random objects he’s never seen before. Worse yet, he’s wanted by the FBI, while Rethrick has sent men to try and kill him.

Ben passes a kidney stone.

With no memory of the past three years, including a relationship with Allcom biologist Rachel Porter (Uma Thurman), all he has is the envelope, which he sent to himself and contains clues to what’s happening, as well as just the right things he needs to get out of various situations. He’s also plagued by visions…not of the past, but the future, all related to whatever he was hired to design, which Rethrick plans to use for nefarious purposes.

The whirlwind plot throws a lot at us, but it isn’t all that hard to follow. Still, the story often takes a backseat to the action sequences. Typical of John Woo, they’re slick, loud, flashy and frequently presented in slow-motion. Some are exciting and well-choreographed, others are distractingly ridiculous (such as a car/motorcycle chase at a construction site that’s set up like an obstacle course). As for the performances, Affleck is pretty bland, but Thurman has some good moments, while Eckhart’s inherently punchable face makes him a decent antagonist without having to try that hard. 

With it’s PG-13 rating, Paycheck feels kind-of benign compared to the director’s more hard-hitting films. But while it’s no Face/Off - arguably John Woo’s best American film - it’s certainly watchable (if somewhat forgettable). 

This is a re-issue of a previous released DVD. There are no technical upgrades or additional bonus features.

A WORLD WITHOUT THIEVES: Expect The Unexpected

A WORLD WITHOUT THIEVES (Blu-ray)

2004 / 113 min

FROM SHOUT! FACTORY

Available at www.MovieZyng.com

Review by Stinky the Destroyer😽

In reviewing a considerable number of Chinese films over the years, I’ve become a fan of Andy Lau. Aside from House of Flying Daggers, he hasn’t done much that has made any real impact on this side of the pond. Nor has Hollywood had the good sense to take advantage of his talents like they have with Donnie Yen.

But Lau has has starred in some outstanding action films during his lengthy career. If you haven’t seen the likes of Firestorm, Internal Affairs, The Adventurers or Chasing the Dragon (his once-in-a-lifetime pairing with Yen), drop what you’re doing and seek these movies out. You won’t be disappointed.

That being said, I’m still not quite sure what to think about 2004’s A World Without Thieves. Most Lau films I’ve seen are from the action genre, but his one his completely different in pace and tone. That’s not to say he isn’t excellent in his role as Pang Bo, a smart, cocky thief who teams with partner/lover Wang Li (Rene Liu), traveling around the country to rob and fleece others. 

My Breakfast with Andy.

Their personal and professional relationship changes when Wang meets “Dumbo” (Wang Baoqiang), a gullible, naive young rube who simply wants to return home with money earned from a construction job, buy a house and get married. Charmed by his innocence, Wang becomes protective of him, while Pang initially sees him as just another mark, at least until another gang of expert thieves, led by “Uncle” Li (Ge You), conspire to steal Dumbo’s stash of cash. A battle of wits ensues.

The film is set primarily on a train, with both sides trying to one-up and outwit each other. But while there is some action, it arrives in fits & starts and mostly seems like an afterthought. The focus is more on light comedy, as well as the strange relationship between Dumbo, Pang and Yang, which is sometimes engaging, but just-as-often meandering. Lau is easily the best part of the film, but I’d argue he’s not even the primary protagonist. That would be Wang, who’s well-played by Liu, but her character isn’t nearly as interesting, despite being more sympathetic and complex.

A World Without Thieves is not the movie I was expecting, which is certainly a disappointment. But that could simply be because I simply haven't seen Andy Lau in anything but action flicks. Going into it without such assumptions arguably makes it a better film, or at least an interesting curio in the actor’s lengthy filmography. Though maybe a little too long and leisurely paced, it’s still worth checking out.