All Hail KING COHEN

Featuring Larry Cohen, Martin Scorsese, Joe Dante, Michael Moriarty, J.J. Abrams, Mick Garris, John Landis, Traci Lords, Fred Williamson, Robert Forster, F.X. Feeny, Eric Bogosian, Barbara Carrera, Yaphet Kotto, Eric Roberts, Rick Baker, Tara Reid. Directed by Steve Mitchell. (2018/110 min).

FROM DARK STAR PICTURES

Review by Fluffy the Fearless😺

In the climax of the 1982 film, Q - The Winged Serpent, a SWAT team is defending the top of New York's Chrysler Building, firing hundreds of rounds in an effort to kill the title creature. To accomplish this scene as quickly and economically as possible, director Larry Cohen hired the skyscraper's maintenance crew, dressed them as cops and filmed them shooting from windows and baskets outside of the building. Though firing blanks, the guns' shell casings rained on the streets below.

This was all news to the people of New York, who assumed they were under siege (ever the opportunist, Cohen instructed one of his cameramen to capture these scenes of genuine panic, which made it into the final cut of the film). It was also news to John Landis, whose own production of Trading Places was disrupted because police were called to respond to the incident. Typical of his style and approach, Larry Cohen never bothered to inform the appropriate authorities of his intentions, nor did he have the same financial resources as Landis to afford the city's cooperation.

It's my favorite anecdote from a documentary filled with them. King Cohen: The Wild World of Filmmaker Larry Cohen is an affectionate tribute to a writer-producer-director who forged a semi-legendary career by remaining fiercely independent, staying true to his own vision and ignoring the advice and help of others. In the process, he directed a handful of cult classics and is probably best-known in horror circles as the madman behind 1974's It's Alive (though in this writer's opinion, the endearingly-tacky Q is his crowning achievement).

"What's in The Stuff? Michael Moriarty's essence, of course."

But Cohen's story actually begins in New York during the golden age of television, where he began his career as a writer. The film chronicles his rise in television, where he created a few series with varying levels of success. It was out of frustration with studio interference that eventually put Cohen on the path to independent filmmaking, inauspiciously beginning in the blaxploitation genre before moving on to the quirky horror films we know and love him for.

King Cohen tells his story in tremendous detail, with dozens of clips from his most noteworthy movies, interviews with colleagues and actors he's worked with and, of course, plenty of entertaining commentary and anecdotes from the horse's mouth. Cohen's enthusiasm is contagious; it's clear he still loves the business, despite nearly every one of his projects being a financial challenge to complete.

For the uninitiated, King Cohen also does a wonderful job helping one appreciate the man's creativity, not-to-mention loads of sheer audacity. Directors Joe Dante, John Landis, Martin Scorsese and J.J. Abrams have nothing but respect for Cohen's independent spirit, as does frequent collaborator Michael Moriarty (the two did five projects together). On an amusing note, Fred Williamson seems to remember some of their shared history a bit differently than Cohen and isn't afraid to say so, but he's good-natured about it.

The ultimate grassroots auteur, Larry Cohen has had a long, fascinating career, which this film encapsulates with genuine reverence and affection. King Cohen is a must-watch for both his fans and those curious about his unique approach to genre filmmaking.

KITTY CONSENSUS:

MEE-OW! LIKE TAUNTING A MOUSE TO DEATH

Rest in Peace, Larry Cohen

Larry Cohen (1941-2019)

Other Larry Cohen related articles: All Hail KING COHEN; IT'S ALIVE and the Miracle of Birth

KING OF HEARTS: A Cult Classic Comes Home

COHEN FILM COLLECTION TO RELEASE 4K RESTORATION OF DARK COMEDY CLASSIC 

'KING OF HEARTS' ON BLU-RAY, DVD AND DIGITAL

 

Director Philippe de Broca's film, which brought a modern 1960s sensibility to a story set during World War I, laid the groundwork for such dark war comedies as How I Won the War and M*A*S*H. Scottish soldier Private Plumpick (Oscar nominee Alan Bates, The Fixer, Women in Love, Far From the Madding Crowd) is sent on a mission to a village in the French countryside to disarm a bomb set by the retreating German army. Plumpick encounters a strange town occupied by the former residents of the local psychiatric hospital who escaped after the villagers deserted. Assuming roles like Bishop, Duke, Barber and Circus Ringmaster, they warmly accept the visitor as their "King of Hearts." With his reconnaissance and bomb-defusing mission looming, Plumpick starts to prefer the acceptance of the insane locals over the insanity of the war raging outside.

 

Since its 1966-67 release, KING OF HEARTS has become a worldwide cult favorite and stands out as one of the most memorable films by Philippe de Broca (That Man From Rio, Dear Inspector). The superb cast also includes Oscar nominee Geneviève Bujold, Jean-Claude Brialy, Michel Serrault, Adolfo Celli and Pierre Brasseur. The score is by Oscar winner Georges Delerue (Contempt, Jules and Jim).

News: THE OUTER LIMITS: SEASON ONE Coming to Blu-ray & DVD March 27

We don't always feature Blu-Ray news of television shows. But when we do, it is a CLASSIC.

Kino Lorber Studio Classics is proud to announce the Blu-ray and DVD release of Season One of The Outer Limits, the hit television anthology series, created by Leslie Stevens, that became a benchmark for science-fiction shows to follow. This seven-disc collection contains all 32 episodes of Season One, newly restored in HD.

The Outer Limits: Season One will be released on Blu-ray and DVD March 27, with a SRP of $99.95 for the Blu-ray and $79.95 for the DVD. Special features include "There is Nothing Wrong With Your Television Set", a 40 page booklet essay by David J. Schow, and audio commentaries by David J. Schow (The Outer Limits Companion), Tim Lucas (Mario Bava: All the Colors of the Dark; Video Watchblog), Craig Beam (My Life in the Glow of the Outer Limits), Dr. Reba Wissner (We Will Control All That You Hear: The Outer Limits & The Aural Imagination), Gary Gerani (Fantastic Television), Michael Hyatt (film historian), and Steve Mitchell (King Cohen: The Wild World of Filmmaker Larry Cohen).

Marathon MAID

JOAN THE MAID (1994)

Starring Sandrine Bonnaire, André Marcon, Jean-Louis Richard, Olivier Cruveiller, Baptiste Roussillon. Directed by Jacques Rivette. (336 min)

ON BLU-RAY FROM COHEN MEDIA GROUP

Review by Fluffy the Fearless😸

My first experience with director Jacques Rivette was reviewing Cohen Media’s restoration of La Belle Noiseuse, a 4-hour film about a frustrated artist painting a nude. A daunting task, but it turned out to be surprisingly compelling (and not because of the nudity). Marathon movies are sort-of a trademark of Rivette’s and his next, Joan the Maid, is even longer. But even at five-and-half-hours – to say nothing of a complete lack of traditional action one typically associates with historical epics – this is an interesting film, though it does require some serious commitment by the viewer.

Originally released as two separate films – and presented on Blu-ray as such – this is another re-telling of Joan of Arc, dominated by an impressive, dedicated performance from Sandrine Bonnaire as the titular character.

JOAN THE MAID 1: THE BATTLES - The subtitle is a little misleading, with only one actual battle depicted on-screen. Even then, it’s a fleeting skirmish, and a rather clumsily-executed one at that. However, one also gets the impression that, with the armies' lumbering armor and unwieldy weapons, this is probably a pretty accurate depiction of reality. The film focuses primary on Jeanne d’Arc’s journey. Driven by her godly visions, she appeals to Charles, Dauphine of France (Andre Marcon), to lead a French revolt against the British so he can assume the throne as the rightful king. She faces a lot of opposition, of course, but also earns a loyal following along the way, particularly from those who choose fight alongside her.

Joan the Emo.

JOAN THE MAID 2: THE PRISONS - Part 2 gets off to a shaky start with the crowning of Charles as the new king, which isn’t recognized by the British still occupying the country. Running over 20 minutes, the ritual is depicted in excruciating detail, essentially bringing the narrative to a grinding halt. It’s the only time the film is truly boring and could have easily been trimmed to a few short minutes without impacting the story whatsoever. The remainder unfolds sort-of like the final act of Braveheart without the blood & body parts. Jeanne is captured, betrayed, imprisoned and...well, we know the rest. The trial is sort-of a kangaroo court, where her faith and womanhood are questioned, yet even with the prospect of a horrible death, Jeanne remains steadfast in her beliefs. Following the trial, her incarceration in a British prison is by-far the most emotionally harrowing part of the film.

Jeanne herself is not depicted as the deified historical figure we grew up reading about. She’s sometimes stubborn, confrontational and maybe even a little over-confident. While there are many moments when the viewer thinks her unshakable faith is simply the product of a delusional mind, she’s a remarkably complex character, sympathetically portrayed by Bonnaire, who’s in nearly every scene.

Considering Joan the Maid is almost like binge-watching an entire season of a Netflix series, it helps to know in-advance that Rivette’s prolonged narrative tendencies are here in abundance (and this isn’t even his longest film). The story is filled with so much exposition – often directed right at the audience by various characters – that it requires your constant attention. But as exhausting as that can be at times, it’s ultimately worth the effort. A unique and interesting presentation of a revered historical figure.

KITTY CONSENSUS:

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

THE BEST (and worst) STUFF WE REVIEWED IN 2018

We reviewed a slew of Blu-Rays, DVDs, books and CDs in 2018. Time to take a look back at the best & worst of them. While we have seen more movies than the Surgeon General recommends, our lists consist strictly of titles which were sent to us for review purposes.

PURR-R-R...THE BEST: We reviewed some good stuff this year, but the following titles were better than taunting a mouse to death:

10. SOLO: A STAR WARS STORY (Disney) - If Rogue One is the classic war film in the Star Wars universe, then Solo is its classic western. We may not have needed a Han Solo origin story, but in the tradition of the coolest westerns, the film gives a true anti-hero as its main protagonist, a first for the franchise. I'm still surprised at some of the negativity aimed at this film.

9. SORRY TO BOTHER YOU (20th Century Fox) - Sorry to Bother You is full of surprises, never once unfolding like we expect it to. That alone keeps it at-least interesting, whether you end up liking the film or not (I suspect many viewers definitely won't). That it's also wickedly funny, completely original and features a charming, relatable protagonist makes it one of the best films of the year.

8. ZOMBIE (1979) and MANIAC (1980): 3 DISC LIMITED EDITIONS (Blue Underground) - Both of these polarizing cult classics have been released numerous times over the years. While one may question the quality of the films themselves, there's no arguing that Blue Underground has put together two of this year's most comprehensive, fan-friendly Blu-ray releases. Beautifully restored in all their gruesome glory, both are loaded with hours of entertaining bonus features (new and old), along with soundtrack CDs and lenticular covers.

7. THE INSULT (Cohen Media Group) - As The Insult so effectively demonstrates, sometimes it takes just a few words for things to spin wildly out of control. In addition to its thematic relevance, the movie's massively entertaining, with outstanding performances. Karam, in particular, stands out among the great cast, doing a masterful job of making us empathize with someone we initially despise. The Insult is an all-around terrific film, not to be missed.

6. THE SEA HAWK (Warner Archive Collection) - Nearly 80 years later, The Sea Hawk is still loads of fun, belying its age with this terrific Blu-ray transfer. And by carrying-over one of the greatest bonus features ever concocted, we can once again experience it just as filmgoers did in 1940, when "a night at the movies" was just that. As classics go, this one is irresistible.

5. MISSION: IMPOSSIBLE - FALLOUT (Paramount) - This is the only current franchise that seems to improve with each entry. There's never a moment where we suspect Tom Cruise is going through the motions. I don't know how long he can keep this up, but here's hoping he'll crank out at least one or two more without killing himself. The best action film of the year.

4. DEEP RED (Arrow Video) - Revisiting Deep Red for the first time in 30 years, I've come to the realization that Suspiria may not be Dario Argento's best film after all, and this new Blu-ray from Arrow presents this giallo classic the way it should be seen, in glorious widescreen with a 4K restoration and the original Italian audio track. The masterful murder sequences achieve a level of artistry - and savage beauty - Argento only hinted at in The Bird with the Crystal Plumage.

3. BOUND (Olive Films) - Bound is an exceptional directorial debut and arguably the Wachowskis' second-best film. Bereft of the bells and whistles they'd later depend on, it tells a compelling story with little more than a smart screenplay, a bit of dazzling camerawork and a perfect cast. This disc, however, has a lot of bells and whistles, making it another great Olive Signature release.

2. THE DAY OF THE JACKAL (Arrow Video) - A "perfect" film is one that is technically, conceptually & creatively flawless. No throwaway scenes, redundant characters or questionable casting decisions. The direction, performances, pacing, editing, writing, cinematography and score are all spot-on. The i's are all dotted; the t's are all crossed. By that reckoning, I can't think of a single aspect of The Day of the Jackal that doesn't meet the criteria. How come it took this long for a proper Blu-ray release?

1. INVASION OF THE BODY SNATCHERS (Olive Films) - One of the coolest things about the original Invasion of the Body Snatchers is that it's conceptually timeless. Social commentary and themes notwithstanding, the original still holds up as a smart slice of provocative sci-fi horror, certainly belying its minuscule budget and drive-in fodder title. It's been released on Blu-ray before, but this time Olive Films has thrown-in a plethora of new and vintage bonus features, all of which are entertaining and informative. Along with a great video & audio transfer, this is the best Blu-ray of the year. A must own for any cinephile, even if they own a previous version.

Honorable Mention: A Taxi Driver, Avengers - Infinity War, King Cohen, Abomidable (MVD Rewind Collection), A Trip to the Moon, The Man Who Haunted Himself, The Swarm (really!), Birdman of Alcatraz, Village of the Damned (1960), La Belle Noiseuse, Snowflake, Chasing the Dragon.

BLEH...THE WORST: As much as we love movies, there are times when reviewing them feels like an actual job. The following titles deserve to be buried in the litter box:

10. CRACKDOWN BIG CITY BLUES (The Film Detective) - While the late Paul DeSilva's message and sincerity are admirable, this previously unreleased relic from the 90s is a heavy-handed mess. Home-movie production values and amateurish performances are the least of its problems. Much of the time, Crackdown Big City Blues wavers uncomfortably back and forth between social commentary and gratuitous action, often with little or no transition. Worst of all, it's plodding, preachy, poorly executed and not nearly as relevant as it would have been three decades ago.

9. CALL OF THE UNDEAD (Wild Eye Releasing) - A slapdash mishmash of poor acting, dumb writing, hyperactive editing, a deafening metal soundtrack, gratuitous nudity and unimpressive zombie mayhem. It manages to be unintentionally humorous, compounded by the overly serious tone. But the piéce de résistance for bad movie lovers is the atrocious dubbing.

8. SUBURBICON (Paramount) - Considering the talent involved on both sides of the camera, Suburbicon was easily the most massively disappointing movie of the year. What should have been a creative home-run (or at-least an RBI double) is disjointed and dull, not helped by clumsy satire and failed attempts at black comedy.

7. TREMORS: A COLD DAY IN HELL (Universal) - They should've stuck a fork in this franchise after two movies. Instead, this sixth installment continues milking a once-amusing premise to death. Dreadful and embarrassing, even by direct-to-DVD standards. Is this the only work Michael Gross can get?

6. AFRAID (Well Go USA) - Excruciatingly slow "thriller" in which we're forced to watch two dull characters almost exclusively through surveillance cameras. Much of what transpires is seen from a distance, from the point-of-view of their stalker, which negates a lot of the suspense and makes it more of an endurance test than your typical found footage film.

5. SUPERCON (Sony) - Considering the premise, this is a sadly-squandered opportunity that might amuse undemanding middle school boys, but anyone looking for wit, clever satire or even well-staged physical gags will likely feel short-changed. An interminable parade of obnoxious characters, cheap gags, idiotic slapstick and overall mean-spiritedness.

4. STREETS OF VENGEANCE (Slasher Video) - From an aesthetic standpoint, the film looks and sounds exactly like the titillating, low budget erotic thrillers that cash-strapped Brian DePalma wannabes used to crank out in the 80s. Unfortunately, it unfolds exactly like one, too, just as dull, dumb and exploitative as those old films.

3. CRAZY SIX (MVD Marquee Collection) - With a cast like this, Crazy Six should have been 90 minutes of mindless fun. While there's mindlessness in abundance, the fun is conspicuously missing, even for fans of any of these actors. Dull and forgettable, the film has earned its anonymity.

2. GIRLS VS. GANGSTERS (Well Go USA) - Girls vs. Gangsters is not-only laugh free, it's narratively vapid and offensively stupid. Every attempt at humor is labored and desperate, with an abundance of scatological humor, leering shots of cleavage and even a rape joke for those who think that shit is funny. The three lead characters are shrill, obnoxious and irritating caricatures who generate zero empathy and even less likability.

1. DIAMONDS OF KILIMANDJARO (MVD Classics) - While there's plenty of unintentional humor, Diamonds of Kilimandjaro is kind-of monotonous and almost perversely voyeuristic. Star Katja Bienert (who's nearly naked throughout the entire film) was only 16 years old when she made this...and looks more like she's 14. Maybe some Jess Franco fans out there are willing to defend such a questionable casting choice, though I'm not sure I'd want to hear their argument.

Dishonorable Mention: Daddy's Home 2, Blast, The Exorcist Limited Edition Soundtrack (CD), Golden Temple Amazons, Flora, Rodin, Fanchon the Cricket, Blockers, The Hallelujah Trail

KITTY KUDOS: 

Thanks to the various studios, PR groups and distributors who've provided Free Kittens Movie Guide with the opportunity to feature their products and share our fickle opinions, including: Paramount Pictures, Walt Disney, Universal Pictures, 20th Century Fox, Mill Creek Entertainment, Sony Pictures, Olive Films, Warner Archive, Well Go USA, Lionsgate, Blue Underground, VCI Entertainment, Arrow Films, MPI, MVD Entertainment, Eagle Vision, Cohen Media Group, Oscilloscope Labs, Wild Eye Releasing, Dark Sky Films, Flicker Alley, HBO, MPRM, Cohn & Wolfe, Click Communications, Justin Cook Public Relations, Vicki Greenleaf & Associates, Thinkjam, Rowan & Littlefield, Schiffer Publishing.

The Original INVASION OF THE BODY SNATCHERS: Olive Signature Edition

Starring Kevin McCarthy, Dana Winter, Larry Gates, King Donovan, Carolyn Jones, Jean Willes, Ralph Dumke, the ever-reliable Whit Bissell and the ever-eccentric Sam Peckinpah. Directed by Don Siegel. (1956/80 min).

AVAILABLE ON BLU-RAY FROM

OLIVE FILMS

Review by Mr. Paws😸

One of the coolest things about the original Invasion of the Body Snatchers is that it's conceptually timeless, which is probably why the film has been remade three times since its inauspicious 1956 release (with another one reportedly in development). And let's not forget countless others - big & small, good & bad, classic & obscure - that have drawn obvious inspiration from it.

Social commentary and themes notwithstanding, the original still holds up as a smart slice of provocative sci-fi horror, certainly belying its minuscule budget and drive-in fodder title. Despite the film's iconic climax - when Miles (Kevin McCarthy) breaks the fourth wall to warn us we're next - its most effective moments remain the subtle ones. The scene where Miles (Kevin McCarthy) realizes Becky (Dana Wynter) is no longer Becky is still one of horror's most quietly chilling moments, while the pod people "gathering" at Santa Mira's town square is truly unnerving.

Everyone loves Mr. Bubble.

Then there's those seed pods. They may appear quaint compared to their horrifically-gooey counterparts in the 1978 remake, but a strong argument can be made that the greenhouse scene is one of cinema's earliest examples of the type of "body horror" David Cronenberg would make a career from decades later. It's amazing what you can do with a few soap bubbles, and the sequence remains a wonderful early example of gross-out entertainment.

Invasion of the Body Snatchers has been released on Blu-ray before, but this time Olive Films has thrown-in a plethora of new and vintage bonus features (outlined below), all of which are entertaining and informative. Along with a great video & audio transfer, this is, so far, the best release in Olive's ongoing Signature series and one of the best Blu-rays of the year. A must own for any cinephile, even if they own a previous version.

EXTRA KIBBLES

NEW FEATURETTES:

"The Fear is Real" - Directors Larry Cohen and Joe Dante recall their first experience seeing the film and its influence on thier own careers.

"I No Longer Belong: The Rise and Fall of Walter Wagner" - Author Matthew Wanger discusses the career of the producer, who derailed his own career by shooting a man.

"The Stranger in Your Lover's Eyes" - Director Don Siegel's son reads from the director's autobiography, along with vintage photos.

VINTAGE FEATURETTES:

"Sleep No More: Invasion of the Body Snatchers Revisited" - The best of all the bonus features, with commentary from its two stars, contemporary directors and historians.

"The Fear and the Fiction" - A feature about the movie's cultural impact.

"What's in a Name?" - An amusing look at some alternate titles that were considered.

"Return to Santa Mira" - A look at the various shooting locations.

2 AUDIO COMMENTARIES - One by historian Richard Harlan Smith, the other a vintage commentary by Kevin McCarthy, Dana Winter and director Joe Dante.

VINTAGE KEVIN McCARTHY INTERVIEW

IMAGE GALLERY

TRAILER

ESSAY - "At First Glance, Everything Looked the Same," by Kier-La Janisse

KITTY CONSENSUS:

LIKE BEING TURNED LOOSE IN A BIRD SANCTUARY