OPERATION CROSSBOW: In Search of Sophia

OPERATION CROSSBOW (1965)

Starring Sophia Loren (sort of), George Peppard, Trevor Howard, John Mills, Richard Johnson, Jeremy Kemp, Anthony Quayle, Lilli Palmer. Directed by Michael Anderson. (116 min).

ON BLU-RAY FROM

WARNER ARCHIVE COLLECTION

Review by Tiger the Terrible😽

One thing is certain: Sophia Loren sure loved her husband, producer Carlo Ponti. She obviously agreed to appear in Operation Crossbow to help him boost its marquee value. Despite appearing for about 10 minutes in an inconsequential role that could have been played by anybody, she’s given top billing over an impressive ensemble cast (none of whom look as striking on a movie poster).

But I get it. It ain’t like George Peppard’s name & face ever had ‘em lining up around the block. He’s the de-facto star of Operation Crossbow, which is loosely based on a mission of the same name that was undertaken near the end of World War II. The Germans are on the verge of obliterating their enemies by developing long range, self-flying bombs. British minister Duncan Sandys (Richard Johnson) investigates and appoints a few agents to assume the identities of Nazi-recruited scientists, then infiltrate the factory in order to alert bombers of its location.

"Sorry...I thought you liked tuna casserole."

The narrative takes an interesting approach, showing both sides of the conflict. The first half of the film balances Britain’s investigation with Germany’s efforts to perfect their weapons through testing. These two storylines converge when the mission itself gets underway, with John Curtis (Peppard) and Phil Bradley (Jeremy Kemp) gathering intel while German agent Bamford (Anthony Quayle), aware of England’s mission, attempts to expose them. By this time, the lovely Ms. Loren has already come and gone, having no impact on the plot whatsoever.

And that’s okay. Operation Crossbow may indeed have garnered less attention without her, but it’s engaging enough on its own terms. While no classic, it’s directed with workmanlike skill by Michael Anderson, who efficiently juggles concurrent narratives and a large cast to tell a fairly solid story that builds to an exciting climax.

EXTRA KIBBLES

"A LOOK BACK AT CROSSBOW” - Vintage featurette.

TRAILER

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

A Return to THE FAR COUNTRY

THE FAR COUNTRY (1954)

Starring James Stewart, Ruth Roman, Corinne Calvet, Walter Brennan, John McIntire, Jay C. Flippen, Harry Morgan, Jack Elam, Robert J. Wilke, Kathleen Freeman. Directed by Anthony Mann. (97 min)

ON BLU-RAY FROM ARROW ACADEMY

Review by Mr. Paws😸

Because of his iconic roles – aided in no small part by his real-life persona – we tend to forget James Stewart was equally adept at playing morally ambiguous characters, even anti-heroes. While Hitchcock exploited that better than anybody, director Anthony Mann was also pretty skilled at tapping into Stewart’s dark side.

Mann and Stewart collaborated on four westerns together, the best being their first, Winchester ‘73. However, Stewart’s character in The Far Country is arguably more interesting. As Jeff Webster, he’s not motivated by revenge or an inherent sense of righteousness. For much of the story, in fact, he’s merely a self-serving opportunist with a past we’re only partially privy to. In some ways, the character could be seen as one of the precursors to the Man with No Name.

In the film, Webster and partner Ben Tatum (Walter Brennan) head to Alaska with a herd of cattle, which they plan to sell in order to buy a gold claim. He runs afoul of corrupt judge Gannon (John McIntire), who runs the town of Skagway and uses his authority to take Webster’s cattle. Local saloon owner Ronda Castle (Ruth Roman) offers Webster a job leading her to Dawson, a booming-but-lawless gold town where she plans to establish another business. Webster accepts, stealing his cattle back from Gannon along the way.

"I'm about to make it a wonderful life, mister."

Though Webster and Ronda share a mutual attraction, not everyone in Dawson is happy at her arrival, especially when she outbids the locals for his cattle, putting their businesses in jeopardy. Things grow worse when Gannon and his men arrive to try and take over, just like he did in Skagway. Webster resists getting involved, but Gannon is practically daring him to.

Stewart is solid, as usual. While outwardly congenial, even laid-back, he also makes it clear Webster is not a man to be crossed. Viewers weened on Stewart’s Frank Capra films might even find his performance somewhat revelatory. Roman is also enjoyable as the strong-willed, fiercely independent Ruth. Her flirty, semi-antagonistic banter with Stewart is highly enjoyable. Walter Brennan is...well, Walter Brennan. But the film’s MVP might just be John McIntire, whose smug performance makes Gannon a wonderfully hateful villain.

Director Anthony Mann keeps the story simple and fast-paced while making great use of his Canadian locations (though some of the sets are obviously soundstages). The Far Country may not rank among Stewart’s greatest films, but as pure popcorn entertainment, it’s certainly one of Mann’s. New to Blu-ray, it’s been given a nice restoration by Arrow Academy, offering the film in two different aspect ratios and including a great batch of all new bonus features (outlined below). As classic westerns go, you can’t go wrong with this one.

EXTRA KIBBLES

"AMERICAN FRONTIERS: ANTHONY MANN AT UNIVERSAL” - An informative 30 minutes documentary in which various historians & writers discuss Mann & Stewart’s collaborations, including those which were not westerns.

"MANN OF THE WEST” - A frequent contributor to Arrow Academy bonus features, critic Kim Newman offers his insights on Mann’s westerns.

AUDIO COMMENTARY – By Adrian Martin.

ALTERNATE ASPECT RATIO (2.00.1) VERSION – On Disc 2

SUPPLEMENTAL BOOKLET – Includes cast/crew & restoration credits, contemporary reviews and an essay, “The Far Country: Western as Legend,” by Phillip Kent.

TRAILER

3 IMAGE GALLERIES – production stills, conceptual art and promotional material.

REVERSIBLE COVER – Featuring new and original artwork (we prefer the original).

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS.

47 METERS DOWN: UNCAGED: Way to Go, Nicole!

47 METERS DOWN: UNCAGED (2019)

Starring Sophie Nèlisse, Corinne Foxx (Jamie’s kid), Brianne Tju, Sistine Stallone (Sly’s kid), John Corbett, Davi Santos, Khylin Rhambo, Nia Long. Directed by Johannes Roberts. (90 min)

ON BLU-RAY FROM LIONSGATE

Review by Josey, the Sudden Cat🙀

47 Meters Down was a reasonably enjoyable little thriller similar to Open Water and The Shallows, though not as deftly crafted as either. While it didn’t leave much room open for a true sequel, nothing sells like a brand name, so this one takes the same basic concept down the bigger-is-better road...bigger production, bigger cast, bigger body count. But is 47 Meters Down: Uncaged actually better? In some ways, yes it is.

Instead of two terrified teenage girls trapped in a shark cage, we have four who are foolish enough to abscond with some conveniently-placed scuba gear and explore the sunken ruins of an ancient Mayan city. But they are not alone. Trapped down there for centuries have been generations of sharks, long-since rendered bleached & blind from being cut-off from the surface. I guess we aren’t supposed to ask how they managed to survive so long without a food source. Or maybe dumb kids simply pop-in on a regular basis.

Speaking of dumb, one big reason Uncaged is fun is because writer-director Johannes Roberts incorporates a few conventions generally associated with disaster movies, such as the access cave collapsing, or better yet, that one stupidly-reckless character whose actions not-only endanger everyone in the first place, her own egocentric sense of self-preservation repeatedly sabotages their chances to escape.

"Hey, girls!"

That character is Nicole, played by Sistine Stallone (yeah, Sly’s daughter). She leads the charge into the cave, is the reason they get stuck and ends up causing people to die. Watching this with my daughter, there reached a point where we’d start shouting “Way to go, Nicole!” However, since no one else has any real personality, she’s also the most entertaining character in the film...besides the sharks, that is.

While the concept – trapped underwater with a finite amount of oxygen – is similar to the first film, the setting of Uncaged is more interesting. With these characters swimming through increasingly deep & narrow passageways, there are some moments nearly as claustrophobic as those in The Descent. Ironically, the tension created by those scenes is often broken by the appearance of the sharks, which are predictably rendered with unconvincing CGI. In fact, one could even argue it might have been a better overall film without them.

But while credibility is often pushed to the breaking point – wait'll you see the climax! - 47 Meters Down: Uncaged is generally more silly fun than the original (which took itself a little too seriously). A brisk-pace, nifty setting and a few amusing critter kills (bye-bye, Nicole!) make some of the “oh, come on!” moments a little more forgivable.

EXTRA KIBBLES

FEATURETTE - “Uncaging 47 Meters Down” (includes some interesting behind-the-scenes footage and interviews with the primary cast).

AUDIO COMMENTARY – By writer-director Johannes Roberts, producer James Harris & writer Ernest Riera.

DVD & DIGITAL COPIES

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

The Ocean Remains Undefeated in AQUARELA

AQUARELA (2019)

Directed by Viktor Kossakovsky. (90 min)

ON BLU-RAY FROM 

SONY PICTURES CLASSICS

Review by Fluffy the Fearless😸

Aquarela opens with several unidentified men picking around holes in the ice on a frozen Danish lake. After spotting what they’re looking for, they assemble a customized crane to fish-out whatever sank there. It turns out to be an automobile, at which time we see a second car speeding across the lake in the distance. Then yet-another car gets stuck and slowly sinks beneath the ice. Though the men manage to save two of the passengers, a third one isn’t so lucky.

I’m not sure what’s worse...that drivers are willing to risk their lives and vehicles by taking a shortcut across a frozen lake, or it happens so often that people make a living rescuing these idiots. I laughed in spite of myself.

It’s an unexpected way to open a documentary that’s not-only devoid of any narration, appearances of human beings are few and far between for the remainder of the film. Still, the message is abundantly clear: Do not fuck with water. It is undefeated.

One of Siri's crueler practical jokes.

That message is driven home in scene after scene of ominous, massive and awe-inspiring bodies of water. The first two-thirds of the film are the most effective, which features the movements of glaciers, submerging and resurfacing like titanic whales. Passing boats are mere specs in the foreground. Director Viktor Kossakovsky later works his way south, above & beneath icebergs to the tumultuous sea, which is perpetually churning, rising and falling. He makes ocean movements menacing – almost monstrous – aided in no small part by a metal-tinged score by Eicca Toppinen (of the band, Apocalyptica). A surprising choice of music, but somehow fitting.

The ice and ocean footage is so spectacular that subsequent scenes closer to the equator are kind-of anticlimactic. We see hurricane-ravaged Florida, a deluge spilling over a South American dam and cascading waterfalls from a variety of creative angles. While lovingly shot and visually impressive, these scenes aren’t quite as breathtaking. Had Kossakovsky chosen an opposite course and begun his aquatic journey here, the film could have built to an epic crescendo.

Nevertheless, Aquarela manages to instill wonder with its images, frequently depicting water as though it were a living, breathing entity...and not one to be messed with. It’s a film probably best enjoyed in a theater, but a unique experience regardless. And this much is certain: You’ll think twice before attempting to cross the ice.

KITTY CONSENSUS:

PURR-R-R...LIKE A GOOD SCRATCH BEHIND THE EARS

APPRENTICE TO MURDER: Looks Are Deceiving

APPRENTICE TO MURDER (1988)

Starring Donald Sutherland, Chad Lowe, Mia Sara, Knut Husebo, Rutanya Alda, Eddie Jones. Directed by Ralph L. Thomas. (97 min)

ON BLU-RAY FROM ARROW VIDEO

Review by Stinky the Destroyer😼

The promotional artwork suggests a horror film. The theatrical trailer certainly touts it as a horror film. There are even fleeting moments when it looks and sounds sort-of like a horror film. However, Apprentice to Murder is not a horror film.

If anything, this is a more of a psychological thriller, and a pretty leisurely-paced one at that.

Set in the 1920’s, Chad Lowe (remember him?) plays Billy Kelly, a dim-witted rube living in a tiny village with his drunk, abusive father and beleaguered mother. Through new girlfriend Alice (Mia Sara), he falls-in with John Reese (Donald Sutherland), a self-proclaimed doctor who practices “powwow medicine” (a type of faith healing). Reese is intelligent, compassionate and apparently able to perform medical miracles through pure faith. After Reese seems to cure his dad’s alcoholism, Billy sticks by his side (the “apprentice” of the title).

But Reese has a dark side, which Alice eventually tries to warn Billy of. He was once committed to an asylum, isn’t trusted by many of the locals and displays increasingly bizarre behavior. By now, however, Billy’s allegiance to Reese can’t be broken. So when the doctor claims a local hermit has cursed him, the two of them agree the man needs to die.

"Live to ride, ride to live, kid."

Apprentice to Murder purports to be based on a true story, which of course precludes the idea that the on-screen supernatural occurrences are anything but products of Reese’s imagination. Which is fine, since exploring how easily insanity spreads from one charismatic individual to a gullible recipient is a disturbing – and timely – concept (just look at all the anti-vaxxers roaming the world right now...in the 21st fucking Century).

The film itself is a mixed bag. There’s good attention to period detail and several scenes are wonderfully atmospheric. Even the deliberate pace is effective at times, especially when we slowly begin to question these so-called miracles. However, the story grows rambling and disjointed during the final act. The performances range from dull (Lowe) to amusingly overwrought (Sutherland) and with the exception of Reese and Billy’s dad (Eddie Jones), none of these characters are particularly engaging.

But for awhile, anyway, Apprentice to Murder is certainly watchable, even quietly unnerving at times, though it definitely isn’t a horror movie, despite being punctuated by a shrill synth score typical of the genre in the ‘80s. While not exactly a cult classic, this relatively forgotten obscurity has been given a decent restoration by Arrow Video, who throw in a few interesting bonus features (surprisingly light by their standards).

EXTRA KIBBLES

FEATURETTES - “Original Sin” (Interview with author/editor Kit Ellinger, who discusses the history of religion in horror films and literature); “Colour Me Kelvin” (Interview with cinematographer Kelvin Pike); “Grantham to Bergen” (Interview with make-up artist Robin Grantham, though I didn’t notice anything extraordinary about the film’s make-up work).

SUPPLEMENTARY BOOKLET – Cast/crew & restoration credits; Essay: “Spellbound: Ralph L. Thomas’ Apprentice to Murder,” by author Paul Corupe.

REVERSIBLE COVER – Featuring new and original artwork (we like the new one, though it also gives the impression of a horror film).

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

THE POOP SCOOP: Early Oscar Contenders Edition

VIEW THE TRAILER

AD ASTRA on Digital 12/3 & Physical 12/17

Brad Pitt gives a powerful performance in this “absolutely enthralling” (Peter Travers, Rolling Stone), sci-fi thriller set in space. When a mysterious life-threatening event strikes Earth, astronaut Roy McBride (Pitt) goes on a dangerous mission across an unforgiving solar system to uncover the truth about his missing father (Tommy Lee Jones) and his doomed expedition that now, 30 years later, threatens the universe. Certified-Fresh on Rotten Tomatoes, critics have hailed AD ASTRA as "a thrilling interstellar epic" (Rodrigo Perez, Playlist). Add AD ASTRA to your digital collection on Movies Anywhere December 3 and buy it on 4K Ultra HD, Blu-ray and DVD December 17. 

 

VIEW THE TRAILER

JUDY on Digital 12/10 & Blu-ray, DVD and On Demand 12/24

Directed by Tony nominee Rupert Goold (2019, Best Direction of a Play, Ink) and written for the screen by Tom Edge, Judy stars Oscar winner Renée Zellweger (2003, Best Supporting Actress, Cold Mountain), Jessie Buckley (Beast, Wild Rose, TV’s “Chernobyl”), Primetime Emmy nominee Finn Wittrock (2018, Outstanding Supporting Actor in a Limited Series or Movie, “The Assassination of Gianni Versace”), Primetime Emmy nominee Rufus Sewell (2019, Outstanding Guest Actor in a Comedy Series, “The Marvelous Mrs. Maisel”), and Golden Globe nominee Michael Gambon (2003, Best Actor in a Miniseries or a Television Motion Picture, “Path to War”). Shedding light on the iconic Judy Garland’s final years, the film features timeless music including performances of classic songs like “Over the Rainbow,” “For Once In My Life,” and “Come Rain or Come Shine.”

 

ONCE UPON A TIME…IN HOLLYWOOD Comes to Digital 11/25 and 4K Ultra HD, Blu-ray & DVD 12/10

Premium collectible packaging will contain a 7” vinyl record with two of the soundtrack’s grooviest tunes (complete with turntable adapter), a collectible vintage poster for the Rick Dalton film Operazione Dyn-o-mite! and an exclusive new MAD Magazine parody of the Rick Dalton TV series “Bounty Law,” Lousy Law. The collector’s edition is available for pre-order today from Amazon.com, Walmart.com, BestBuy.com and Target.com.

The 4K Ultra HD, Blu-ray, DVD and digital releases come loaded with even more sights and sounds of the ‘60s, featuring over twenty additional minutes of footage that delves deeper into world of Rick Dalton’s Hollywood. The 4K Ultra HD, Blu-ray and digital include an additional behind-the-scenes look at the film’s production design, cinematography, costume design, cars and more.

Collectors will also be delighted by exclusive packaging and gifts-with-purchase offered at retail for the film’s Blu-ray release. These include “Rick Dalton” movie poster cards available at Walmart, a vintage-style film magazine with over 26 never-before-seen production photos available at Target and a collectible steelbook available at Best Buy. All exclusive offerings are available for pre-order today.

And Another THING...

THE THING (2011)

Starring Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Eric Cristian Olsen, Adewale Akinnuoye-Agbaje, Jorgen Langhelle. Directed by Matthijs van Heijningen Jr. (103 min)

ON BLU-RAY FROM

MILL CREEK ENTERTAINMENT

Review by Josey, the Sudden Cat😼

After first seeing 2011’s The Thing, what I mostly felt was relief.

Not only was John Carpenter’s 1982 classic the best sci-fi-horror film of the decade, its unnervingly ambiguous conclusion was perfect. So I was relieved that those involved with the 2011 film realized simply continuing the story would be blasphemous. After all, what self-respecting horror fan actually wanted to know the fates of MacCready and Childs?

But a prequel? Hey, what exactly did happen to those Norwegians who found the thing in the first place? Though it probably wasn’t really necessary, having that question answered could be interesting. And if nothing else, the reverence director Matthijs van Heijningen has for the original film is obvious in every frame.

One could argue too much reverence, since The Thing often plays more like a remake than a prequel. However, the film is seldom as tension-filled and atmospheric as the original. Part of that is due to relying too heavily on story elements we’re already familiar with, but also because of the dubious decision to use CGI for the transformation scenes. Since Rob Bottin’s legendary practical effects were a huge part of what made the original a classic and you've already gone to such lengths match its look and tone, why not go completely old school?

Extreme peer pressure.

But while this version doesn’t measure up to the first film, it’s doubtful anyone really expected it to. That being said, The Thing isn’t without merits. There’s still some impressive moments of good ol’ fashioned goopy gore and Mary Elizabeth Winstead is solid in the ‘MacCready’ role, playing a paleontologist forced to take charge. The final act is especially enjoyable, when the film not-only ends on a similarly ominous note, it ingeniously sets-up some of the events that would unfold in the 1982 film (enhanced greatly by utilizing Ennio Morricone’s original theme during the end credits).

So while Carpenter’s film didn’t need a sequel, prequel, reboot or whatever you wanna call it, I was relieved. The Thing is as imitative as the title creature, but at least it’s conceptually faithful and leaves the original’s unresolved denouement alone. With hindsight, the film is probably the best prequel one could hope for. It should also be noted that, other than the cover art, this re-issue from Mill Creek Entertainment is the exact same as Universal’s 2011 Blu-ray release, including the supplemental material. No real need to double dip here.

EXTRA KIBBLES

FEATURETTES - “The Thing Evolves”; “Fire & Ice”

AUDIO COMMENTARY – By director Matthijs van Heijningen & producer Eric Newman.

DELETED/EXTENDED SCENES

TRAILER

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

UNIVERSAL SOLDIER 4K: Dolph Makes History

UNIVERSAL SOLDIER (1992)

Starring Jean-Claude van Damme, Dolph Lundgren, Ally Walker, Ed O’Ross, Leon Rippy, Eric Norris (Chuck’s kid), Jerry Orbach, Tiny Lister. Directed by Roland Emmerich. (103 min)

ON 4K ULTRA HD FROM LIONSGATE

Review by Tiger the Terrible😾

Back in 1992, Universal Soldier was just another dumb sci-fi-action flick riding the coattails of bigger and better films (most notably, the Terminator franchise). Sure, it was a pretty big hit and spawned several sequels of varying quality (mostly on the shitty side), but was destined to be forgotten by all but the staunchest Jean-Claude van Damme disciples. Superficially revisiting the film 27 years later might confirm that it’s little more than an archaic product of its time.

But while Universal Soldier is hardly a milestone, it does have some noteworthy historical importance. The film has-since become something of a cult classic over the years, as the aforementioned slew of sequels will attest. And on closer inspection, consider this:

This is the first teaming of Roland Emmerich and Dean Devlin, who’d obviously go on to much greater things. If not for their initial success with Universal Soldier, we may not have gotten Stargate, Independence Day or The Day After Tomorrow. That would have been a shame. Even with a comparatively low budget, the duo’s penchant for over-the-top spectacle is apparent.

Bros before clothes.

Universal Soldier was also Jean-Claude van Damme’s first film with enough cross-over appeal to rank him – however briefly – among action A-listers. Not only did he demonstrate he was capable of more than roundhouse kicks, the best films of his career (Hard Target, Timecop) followed right afterwards.

And just prior to becoming a household name with Law & Order, the late, great Jerry Orbach shows up in a brief-but-pivotal scene. The film’s alternate ending – included in the bonus features – reveals his character as a villain, sort-of a rarity on his resumé.

But the real rediscovery is Dolph Lundgren, who’s never been taken too seriously. Looking back at his performance in Universal Soldier might just suggest he’s always been a bit been underused. I wouldn’t go as far as to say he was overlooked during Oscar season, but Lundgren’s actually quite good here, and not just when he’s snapping limbs. Given the opportunity, he’s capable of some prime scenery-chewing and is easily the best part of the entire film. Unfortunately, no one appeared to appreciate his efforts because Universal Soldier is, so far, the pinnacle of his career.

Though certainly quaint compared to what passes for action today, Universal Solder remains a fun film, perhaps a bit more historically significant than previously credited for. Of course, whether or not it’s worthy of the 4K upgrade treatment depends on one’s lasting reverence for it. Though bereft of any new bonus features, Lionsgate has given the film a pretty impressive video facelift. The audio transfer, however, is nothing to write home about.

EXTRA KIBBLES

FEATURETTES - “A Tale of Two Titans” (Lundgren & van Damme discuss their careers leading up to this film); “Guns, Genes & Fighting Machines” (making-of featurette); “Behind the Scenes” (promotional featurette consisting of on-set production footage).

2 AUDIO COMMENTARIES – #1: Roland Emmerich, Dean Devlin, Jean-Claude van Damme & Dolph Lundgren; #2: Roland Emmerich & Dean Devlin.

ALTERNATE ENDING – The climactic fight is pretty-much the same, but the resolution (and twist ending) is much darker.

TRAILER

BLU-RAY & DIGITAL COPIES

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

IT'S A WONDERFUL LIFE...Not Christmas-y Enough?

IT’S A WONDERFUL LIFE (1946)

Starring James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers, Beulah Bondi, Frank Faylen, Ward Bong. Directed by Frank Capra. (130 min)

ON BLU-RAY FROM PARAMOUNT

Review by Mr. Paws😸

Is It’s a Wonderful Life the greatest Christmas movie of all time? That’s debatable, of course. As holiday classics go, I’m more of a Miracle on 34^th Street man, with A Christmas Story coming in a close second. Perhaps it's because those are Christmas movies through and through, the yuletide season being the driving force behind their plots.

In that context, It’s a Wonderful Life doesn’t quite qualify. To elaborate, my oldest daughter, Natalie, eats, lives and breathes Christmas throughout the year (taking a brief respite during January in honor of her birthday). She’d heard of It’s a Wonderful Life and was happy to join me while I reviewed this disc. However, Natalie ended up calling it quits after about an hour. Not that she hated the film, but it wasn’t “getting Christmas-y” fast enough.

"This is going right up my nose."

In a way, Natalie has a point. Without delving into specifics of a story most of us are familiar with anyway, Christmas doesn't even figure into the plot until the final act. Until then, It’s a Wonderful Life is a series of flashbacks of George Bailey’s (James Stewart) tumultuous life, as viewed by his guardian angel in preparation for preventing George from killing himself. In fact, much of the film is actually pretty downbeat. But as anyone who’s seen it knows, the preceding scenes of financial hardship and clashes Mr. Potter (Lionel Barrymore) are what make George’s newfound appreciation for life – on Christmas Eve - so inspiring.

So while it may not get to Christmas fast enough for Natalie’s liking (much like real life), It’s a Wonderful Life is still quintessential Frank Capra, which of course means it’s...well, wonderful. Imitated but never duplicated, the film’s themes and imagery remain as timeless as ever. And it has never looked or sounded better than it does with this wonderfully-restored Blu-ray from Paramount, which also includes a smattering of interesting - and brand new - bonus features.

EXTRA KIBBLES

FEATURETTES - “Restoring a Beloved Classic” (includes a lot of before/after comparisons and interviews with those at Paramount in charge of the restoration); “Secrets from the Vault: It’s a Wonderful Life” (contemporary filmmaker-historians discuss Frank Capra and the story behind the film); “It’s a Wonderful Wrap Party” (home movies of the cast & crew picnic).

COLORIZED VERSION – On Disc 2...but why bother?

DIGITAL COPY

KITTY CONSENSUS:

MEE-OW! LIKE ATTACKING THE CHRISTMAS TREE.

Rest in Peace, John Witherspoon

John Witherspoon (1942-2019)