Rest in Peace, Milos Forman

Milos Forman (1932-2018)

Blu-Ray Review: MOHAWK

Starring Kaniehtiio Horn, Eamon Farren, Justin Rain, Ezra Buzzington, Noah Segan, Ian Colletti, Robert Longstreet, Jon Huber, Sheri Foster. Directed by Ted Geoghegan. (2017/91 min).

DARK SKY FILMS / MPI MEDIA GROUP

One of the cool things about this position is I'm often given the opportunity to review films that would have otherwise escaped my radar. While I had heard of Mohawk, I knew very little about it, thus had no expectations going in.

That being said, Mohawk is unlike anything I've reviewed lately. Ultimately, that's a good thing.

In 1812, two Native Americans, Oak and Calvin, and British officer Joshua Pinsmail are a menage a trois. Joshua is trying to convince the Mohawk tribe (who've been neutral during the ongoing British-American conflict) to go on the offensive, joining the fight against colonial soldiers. After Calvin takes it onto himself to massacre everyone at a nearby soldier fort, the three end up on-the-run from a renegade platoon led by sadistic and increasingly unhinged Colonel Holt, who's hellbent on revenge. Much of the middle act is a bloody game of cat & mouse as the trio try to reach a nearby mission, where more Mohawks (including Oak's uncle) are hiding out.

"Tag! You're it!"

Elaborating much more would kill some of the surprising plot turns, but it's safe to say the story doesn't play out like you think it will (also a good thing). What begins as a tale of survival & revenge evolves into something bordering on ghostly and surreal, with an underlying reminder of the terrible treatment of Native Americans at the hands of colonists. We're given subtle clues that Calvin's initial attack on the fort - while seemingly unprovoked - wasn't completely unwarranted. The protagonists are not portrayed as saints, though, nor are the antagonists depicted as totally hateful (though Holt comes damn close).

Extreme house hunting.

Despite an obviously limited budget, Mohawk is both creatively ambitious and visually arresting. It addition to its deceptively simple story, director Ted Geoghegan (We Are Still Here) makes the most of his wilderness locations, managing to render them foreboding even during daylight. Though sort-of promoted as a horror film - some of it is pretty horrific - the focus is mostly on action, with a plenty of extremely brutal close-quarters conflict. Only during the logic-bending, intriguingly-ambiguous final act does the movie incorporate any real horror elements. The performances are decent, as well. Kaniehtiio Horn (a native Mohawk herself) stands out as Oak with a physical performance that's both sympathetic and menacing, while Ezra Buzzington engages in some enjoyable scenery chewing as her psychotic pursuer.

Fast-moving and unflinchingly violent, Mohawk offers a unique and unconventional vision of the tried & true revenge tale. It's also the kind of film that has the potential to be somewhat polarizing, creating interesting love-it-or-loathe-it debates. In the end, that's always a good thing, too.

EXTRA KIBBLES

TRAILER

KITTY CONSENSUS:

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

News: "Burt Gummer" Recaps the TREMORS Franchise

Spanning nearly 30 years, the Tremors franchise has withstood the test of time now with the sixth installment, Tremors: A Cold Day in Hell, hitting Blu-ray and DVD May 1. For fans who need a quick refresher on all things Tremors, Graboid expert Burt Gummer (played by Michael Gross) is here to help rundown the events from the first five movies!

Learn from the best there is on how to survive every kind of menacing Graboid and check out the Tremors franchise recap here:

Blu-Ray Review: THE GREATEST SHOWMAN

Starring Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya, Keala Settle, Yahya Abdul-Mateen II, Sam Humphrey, Paul Sparks, Austyn Johnson, Cameron Seely, Eric Anderson. Directed by Michael Gracey. (2017/105 min).

20TH CENTURY FOX

My wife, Francie, took our two daughters to see this in theaters, and it was all they talked about after returning home. Since then, they each play the soundtrack incessantly on their phones. So when this Blu-Ray arrived for me to review, Francie was excited to notice a sing-along option listed among the many bonus features. When she told our older daughter about it, Natalie shrugged and said, "I already know all the songs by heart."

My girls aren't alone, of course. A lot of folks seem to know them by heart...already. And The Greatest Showman isn't just a musical. It's a !!MUSICAL!! in the classic tradition...big & bright, colorful & catchy, flashy & fun. Cynics might have to accept The Little Sleeper That Could is shaping up to be one of those musicals that transcends its decade, much like Grease did in the 70s. Critical consensus notwithstanding, the general public will probably still be singing along to "This is Me" and tapping their toes to "From Now On" long after they've forgotten La La Land.

"Here's to swimmin' with bow-legged women."

I had two takeaways after finally watching the film myself. First, I get the feeling Hugh Jackman (as P.T. Barnum) would be perfectly happy doing musicals for the rest of his career. His enthusiasm is infectious, too. Not only does the sincerity of his performance effortlessly manipulate the audience, the entire supporting cast rises to the occasion. Second, while I'd never presume to declare anyone's opinion wrong, I do believe some critics missed the point of the film.

Hugh loves to catch snowflakes with his tongue.

Loosely based of the rise of P.T. Barnum, The Greatest Showman makes no pretenses of being biographical, nor should anyone look for much depth or substance. On the surface, the movie might even seem narratively slight, just an excuse to link numerous flashy musical numbers. Sure, that's one way to look at it. Another way is to look at the music as the narrative. There isn't a single song that doesn't advance the plot or embellish a particular character. One of the disc's bonus features allows access to the musical numbers only; viewed in sequence, I would argue that you'd still be able to follow most of the story.

And fortunately, it is a good story, albeit a familiar and predictable one, told with a lot of panache. Despite some modern trappings, the film's ultimate intent is obvious: the kind of pure, old school musical Hollywood used to make before we all became too jaded for our own good. There may not be a lot of depth, but with deliberately artificial production design, insanely-catchy songs, a consistently upbeat tone and stunning choreography, you'd have to work real hard not to be swept along.

EXTRA KIBBLES

SING-ALONG VERSION

FEATURETTES: "The Family Behind The Greatest Showman"; "The Spectacle"

"THE SONGS" - Though listed as a featurette, at 70 minutes, it's practically its own feature-length documentary.

MUSIC MACHINE - Access the songs directly in sing-along mode

ART & STORYBOARD GALLERIES

AUDIO COMMENTARY - By Director Michael Gracey

TRAILERS

DVD & DIGITAL COPIES

KITTY CONSENSUS:

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

News: THE MEG Trailer & Poster

Well, here it is...the long-awaited first official trailer for Warner Bros', THE MEG. Ever since discovering Steve Alten's wonderful novel 20 years ago, we here at FREE KITTENS MOVIE GUIDE have been looking forward to this (the film was in development hell nearly as long). First Impressions: It looks like it significantly strays from its source, but at least it doesn't look like a SyFy Channel cheapie. And judging from the song choice & poster art, the film might also have a hefty sense of humor. You be the judge.

DVD Review: DORIS DAY - A SENTIMENTAL JOURNEY

Starring Doris Day (of course), Betty White, Tony Randall, Kaye Ballard, A.E. Hotchner, Ross Hunter, Clint Eastwood, Kirstie Alley, Terry Melcher, Les Brown; Narrated by Roger Ebert. Directed by Dick Carter & Steve Norman. (1991/80 min).

MPI MEDIA GROUP

Sentimental indeed...

As of this writing, Doris Day is 96 years old and has now been out of the limelight longer than she was ever in it. The fact that she's still a household name is a testament to her talent and status as a legend. Even today, mention her name and we immediately picture the funny, sunny blonde who lit up the screen in countless comedies and melted the hearts of her male co-stars. Admittedly though, I used to get her confused with Debbie Reynolds when I was a kid.

The appropriately titled Doris Day - A Sentimental Journey is a long, loving look at a remarkable career that spanned several decades, which began with her stints as traveling singer with Les Brown's orchestra and ended with a successful television series. In between, she starred in dozens of films in a variety of genres, but was best known for her romantic comedies (particularly those with Rock Hudson). Interspersed among loads of film clips are comments by friends and colleagues, all of whom have nothing but praise for her, both personally and professionally.

Made in 1991 and narrated by Roger Ebert, Day tells most of her own story, detailing a humble childhood, early career setbacks, marriages (loving or otherwise) and financial hardships, such as briefly ending up bankrupt after her third husband's death (her TV series, The Doris Day Show, kept her afloat and paid her legal fees). The film ends by briefly showing what Day has been up to since retiring from acting, living in Carmel and getting involved in animal activism.

Doris Day - A Sentimental Journey doesn't dig too deeply or offer any revelations about its subject, but does anyone really want "dirt" on Doris Day? Ultimately, this film is an affectionate - and sentimental - tribute to a legend and her remarkable career.

BONUS FEATURES

APPEARANCE ON THE MERV GRIFFEN SHOW - From 1976

EPISODE FROM THE DORIS DAY SHOW - "The Job" (1968)

DORIS DAY MOVIE TRAILERS

KITTY CONSENSUS:

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

Blu-Ray Review: THE CITY OF THE DEAD (a.k.a. HORROR HOTEL)

Starring Christopher Lee, Dennis Lotis, Patricia Jessel, Tom Naylor, Betta St. John, Venetia Stevenson, Valentine Dyall, Ann Beach. Directed by John Moxey. (1960/79 min).

VCI ENTERTAINMENT

You know what's really weird? Hearing someone with a voice as distinctive as Christopher Lee speaking with an American accent.

Fortunately, he's more convincing as an American college professor in The City of the Dead than Dick Van Dike was as a cockney chimney-sweep Mary Poppins. Unfortunately, despite top billing, Lee is just a supporting character (albeit a pivotal one) in this Lovecraftian little piece of gothic horror.

In 1692, the witch-fearing villagers of Whitewood burn Elizabeth Selwyn (Patricia Jessel) at the stake. Centuries later, on the recommendation of her professor, Alan Driscoll (Lee), young college student Nan Barlow visits Whitewood to do research for a term paper. After she disappears, her brother and boyfriend follow her trail to Whitewood, only to discover a coven of witches led by Selwyn, who've made a satanic pact to regularly sacrifice virgins in exchange for eternal life.

"Sorry, but we're not hiring right now."

Though quite revered in some circles, The City of the Dead is a slight but atmospheric film that isn't particularly memorable, save for one thing: Without going into specifics that would spoil the party, from a structural standpoint, the way the story unfolds is remarkably similar to Psycho. A mere coincidence, of course, being that both films were released around the same time.

While most of the performances and characters are merely perfunctory, Christopher Lee is his usual sinister self, even with an American accent. The City of the Dead is narratively unremarkable, though the (deliberate?) artificiality of the set design gives it a uniquely surreal quality. The film has been nicely restored for this Blu-Ray, which includes a few vintage bonus features from the original DVD release. Fans of the actor will especially enjoy the video interview, where Lee recalls his experiences working with a variety of legendary directors.

EXTRA KIBBLES

CHRISTOPHER LEE INTERVIEW

AUDIO COMMENTARY - By Christopher Lee

TRAILER

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

Blu-Ray Review: A STUDY IN TERROR

Starring John Neville, Donald Houston, John Fraser, Anthony Quayle, Barbara Windsor, Adrienne Corri, Frank Finlay, Judi Dench, Robert Morley. Directed by James Hill. (1965/95 min).

MILL CREEK ENTERTAINMENT

A Study in Terror is one of many films over the years that plopped Arthur Conan Doyle's iconic detective into an original story. In this one, the world's most famous detective is on the hunt for the world's most famous serial killer, Jack the Ripper, a concept so obvious that it's surprising Doyle never thought of it himself.

With hindsight, it was inevitable these two would hook up someday...if not by Doyle's pen, then by numerous creative opportunists who saw the conceptual potential that apparently escaped him. Holmes has squared off against Jack the Ripper several times over the years, in movies, novels and even video games. A Study in Terror may not have done it best, but it did do it first.

Following several violent murders (three in the film's first 15 minutes!), Holmes (John Neville) receives a package containing a surgical kit with one scalpel conspicuously missing. He learns it belonged to Michael Osborne, the ostracized eldest son of an aristocratic family who disappeared two years ago. As the murder spree continues, Holmes and Dr. Watson (Donald Houston) follow clues in hopes of discovering the identity of Jack the Ripper.

"Get the hell out of my chair."

Along the way, we're thrown lots of suspects, though the killer's identity ultimately isn't all that surprising. There's plenty of congenial banter between Holmes & Watson, the latter of whom is constantly - and comically - flabbergasted by Holmes' deductive skills (you'd think he'd be used to it by now). Neville is fine in the lead role, though he doesn't put any kind of memorable stamp on the character. In fact, the movie is mostly free of creative aspirations beyond its unique concept, content to move from point A to B with minimal fuss or flair.

Still, A Study in Terror is a lot of fun. It's fast moving and competently-acted by a reliable cast of recognizable Brits (including a very young Judy Dench in a supporting role). Perhaps taking a cue from the Hammer Films popular at the time, the movie also throws in welcome bits of humor, a dash of titillation and a few scenes of jarring violence (for the 60s, anyway). It may not be an artistic milestone, but I think Doyle would have been pleased.

EXTRA KIBBLES

None

KITTY CONSENSUS:

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

2001: A SPACE ODYSSEY - 10 Facts You May Not Have Known

50th Anniversary of 2001: A Space Odyssey — 10 Facts You May Not Have Known About Kubrick’s Epic

by Brittany K. King from FilmDaddy.com

DVD Review: KILLING FOR LOVE

Featuring the voices of Imogen Poots & Daniel Bruhl. Directed by Marcus Vetter & Karin Steinberger. (2016/124 min).

MPI MEDIA GROUP

Jens Soring and Elizabeth Haysom are currently serving life sentences for the brutal murders of Haysom's parents. Tried and sentenced separately, their court appearances are somewhat noteworthy today as being the first which were publicly televised.

The story goes that Elizabeth hated her parents so much she wanted them dead. She meets Jens in college, who falls so head-over-heels in love with her that he's happy to oblige. Both of their stories change significantly before, during and after the trials. Speaking from prison 30 years later, Jens candidly claims he was simply a lovesick rube duped by Elizabeth into taking the fall, when if fact it was she and someone else who committed the murders.

Killing for Love is a documentary that looks back at this sensational case through old trial footage, interviews with people involved and written correspondence between Elizabeth & Jens (voiced by Imogen Poots & Daniel Bruhl). Though Elizabeth declined to be interviewed, Jens is more-than-willing. He doesn't paint himself as a saint, but still maintains his innocence.

Jens' real crime? That haircut.

Though both sides of the case are presented, the film leans toward the notion that Jens may have unwittingly been a patsy and Elizabeth herself committed the actual murders (perhaps you shoulda showed up to defend yourself, huh, lady?). Killing for Love is an interesting-if-overlong film that treads similar ground to various murder docs typically shown on cable TV, though hearing the tale from Jens himself (who does appear remorseful) raises this a bit above the usual academic account of horrific events. The admission that he threw away his entire life for a woman is the most compelling part of the film.

Whether or not we believe Jens, he makes Killing for Love is worth checking out, but probably only once. Though never lurid or sensationalistic, the film is sometimes pretty disturbing, and not just the frequent images of the crime scene (which are graphic). Bruhl’s readings of Jens’ letters are creepy as hell.

EXTRA KIBBLES

ALTERNATE INTERVIEWS

TRAILER

KITTY CONSENSUS:

NOT BAD...LIKE CAT CHOW.