ANT-MAN AND THE WASP: An MCU Power Ballad

Starring Paul Rudd, Evangeline Lilly, Michael Pena, Walton Goggins, Bobby Cannavale, T.I., Judy Greer, David Dastmalchin, Hannah John-Kamen, Michelle Pfeiffer, Michael Douglas, Laurence Fishburne, Abby Ryder Forston. Directed by Peyton Reed. (2018/118 min). 

AVAILABLE ON BLU-RAY FROM
DISNEY / MARVEL

Review by Stinky the Destroyer😸

When heavy metal was at the height of its popularity, most bands could be counted-on to include at least one power ballad on each album, a relatively quiet song that was seldom the best tune on the record, but got the most radio airplay and had fans whipping out their lighters during a concert.

The power ballad also served an important aesthetic purpose, offering a brief respite from the sonic fury of the rest of the album. For example, smack-dab in the middle of Metallica's Ride the Lightning is a song called "Fade to Black." While still heavier than anything Poison ever recorded, it was sort of a breather from the constant speed and intensity of the surrounding songs.

As films in the MCU grow longer, louder and increasingly epic, the Ant-Man films are sort-of like Marvel's power ballads. The second film, Ant-Man and the Wasp, is more tied to the MCU story arc than the first, but steadfastly maintains the same light, breezy and humorous tone, another welcome break from the serious implications and apocalyptic battle royals where the fate of the world is at stake.

"Guys...I gotta make a stop."

Not that it skimps on spectacle. As power ballads go, Ant-Man and the Wasp is still more Metallica than Poison. But the stakes are more personal, the characters more grounded and realistically flawed. One thing I appreciate about Paul Rudd's amusing take on the title character is that he screws up as often as he succeeds, and most of the supporting characters (Evangeline Lilly as Hope/Wasp in particular) are just as integral to the plot. Most distinctively, the action & visuals are as humorous as they are eye-popping (you haven't lived until you've seen a giant Pez dispenser take-out a henchman).

Other than an ominous MCU-related coda during the end credits, Ant-Man and the Wasp, while not strictly mining for laughs, is never overly serious. It's even shorter than other recent Marvel movies, never outstaying its welcome. Like heavy metal power ballads, the film may not be among the most essential entries in the franchise, but like the first Ant-Man, it's a welcome change of pace. Even fanboys need an occasional breather.

EXTRA KIBBLES

FEATURETTES - "Back in the Ant Suit: Scott Lang"; "A Suit of Her Own: The Wasp"; "Subatomic Super Heroes: Hank & Janet" (These three feature the cast & director talk about the main characters and the actors who played them); "Quantum Perspective"

AUDIO COMMENTARY - By Director Peyton Reed

GAG REEL

OUTTAKES - The outtakes feature Stan Lee and comedian Tim Heidecker, who isn't funny

2 DELETED SCENES

DIGITAL COPY

KITTY CONSENSUS:

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

THE OFFICIAL STORY: A Devastating Dilemma

Starring Norma Aleandro, Hector Alterio, Chunchuna Villafane, Chela Ruiz, Hugo Arana, Analia Castro, Guillermo Battaglia. Directed by Luis Puenzo. (1985/115 min). 

AVAILABLE ON BLU-RAY FROM
COHEN MEDIA GROUP

Review by Fluffy the Fearless🙀

Imagine being unable to have children of your own, so you adopt a baby. For five years, you love, spoil and protect her like any good parent would. For all intents and purposes, she's yours and you never questioned the legitimacy of the adoption. Now imagine coming upon the slow realization that the girl's birth mother may not have given her up willingly, perhaps even murdered after the child was taken away. As a mother, how far would you go to learn the truth? Would you even want to know the truth?

That's the harrowing quandary presented by The Official Story, which won the 1985 Oscar for Best Foreign Language Film. It also won or was nominated for a slew of other awards, all listed prior to the opening titles of this restoration from Cohen Media Group.

It's 1983, near the end of Argentina's military dictatorship. The country is essentially divided between elitists who support the regime, and liberal protesters, many of whom suspect the government has tortured and murdered thousands that were deemed subversive. Alicia (Norma Aleandro) leads a seemingly idyllic life, married to government official Roberto (Hector Alterio) while teaching history at the local high school. Together, they spoil their adopted daughter, Gaby.

That begins to change when an old friend, Ana (Chunchuna Villafane), returns from exile, who horrifies Alicia with stories of being tortured because she was living with a subversive, as well as other women whose babies were taken and sold to wealthy couples. Alicia asks Roberto for details about their own adoption, but he's dismissive of her concerns. Meanwhile, some of the more rebellious students and staff at school have her questioning not only possible government atrocities, but Roberto's involvement in them. Later, while searching for birth records, she meets Sara, who reveals her own daughter was kidnapped and Gaby may very well be her granddaughter. A scene where she shows Alicia her only remaining family photos is truly heartbreaking (for Alicia and the audience).

"I can't read this...it's written in IKEA."

The Official Story is a slow-burning film that's part family drama, part social commentary, part political thriller. Raising questions that neither we nor Alicia necessarily want answers to, the film grows increasingly unnerving, culminating in a devastating final act. We find ourselves questioning what we would do in the same situation, especially since the ramifications of learning the truth are potentially life-altering. Perfect performances by Aleandro and Alterio underscore the tragic effects on their marriage as it threatens to disintegrate.

While never overtly disturbing or suspenseful in the traditional sense - the film is pretty slow-going at times - it's ultimately engaging because the viewer can't help but put themselves in Alicia's shoes. The empathy we've developed for her renders the climax and resolution particularly distressing.

Considering some current events that have caused similar societal divisions in the United States, The Official Story might be more timely than we'd like to think. Not a cheery thought, but this isn't a film intended to entertain. It's barely-disguised commentary masquerading as a personal drama. By bringing the effects of atrocity to a home that one thinks would be unscathed by it, we ultimately realize none of us are immune.

EXTRA KIBBLES

4-PART INTERVIEW WITH DIRECTOR LUIS PUENZO

FEATURETTE - On the film's restoration process.

2018 RE-RELEASE TRAILER

KITTY CONSENSUS:

TRAGIC & TIMELY

ZOMBIE 40th Anniversary Limited Edition Coming 11/27

Just in time for its 40th Anniversary, Blue Underground is proud to present ZOMBIE in a brand-new 4K Restoration from the original uncut and uncensored camera negative. 

In Italy, it was considered the 'unofficial sequel' to DAWN OF THE DEAD. In England, it was known as ZOMBIE FLESH EATERS and banned as obscene. In America, it was called ZOMBIE and advertised with the depraved tag line "WE ARE GOING TO EAT YOU!" 

Tisa Farrow (THE GRIM REAPER), Ian McCulloch (CONTAMINATION), Al Cliver (CANNIBALS), and Richard Johnson (THE HAUNTING) star in this worldwide splatter sensation directed by 'Maestro Of Gore' Lucio Fulci (CITY OF THE LIVING DEAD, THE HOUSE BY THE CEMETERY) that remains one of the most eye-skewering, skin-ripping, gore-gushingly graphic horror hits of all time.

This is a ZOMBIE release like never seen it before, bursting at the seams with hours of new and archival extras. It includes the Original Motion Picture Soundtrack CD by Fabio Frizzi (with an exclusive bonus track), a collectible booklet with a new essay by Stephen Thrower, and a ton of other killer bonus features.

THE CYCLOPS and the Notorious B.I.G.

Starring James Craig, Gloria Talbott, Tom Drake, Duncan Parkin and Lon Chaney Jr. as the Hammered Horror Has-been. Directed Bert I. Gordon. (1957/66 min).

AVAILABLE ON BLU-RAY FROM

WARNER ARCHIVE COLLECTION

Review by Josey, the Sudden Cat🙀

Bert I. Gordon may not have been what many would consider a great filmmaker, nor did he ever graduate from the type of B-movie drive-in fodder of which he was synonymous. But I'd be willing to bet the man had more fun making his movies than the typical auteur.

Gordon's heyday was during the 1950, cranking out budget-conscious sci-fi/horror flicks with concepts indicative of his initials. He directed, wrote, produced and even created a lot of his own special effects. One of his earliest efforts, The Cyclops, established a style and work ethic that he'd more-or-less adhere to throughout his career. From a visual effects standpoint, there's little to differentiate this one from his final film of behemoth beasts, 1977's Empire of the Ants.

One-too-many tanning sessions.

As no-frills fear-fests go, The Cyclops is enjoyable and amusing, often at its own expense. Susan Winter (Gloria Talbott) puts together a small group to search for her husband, Bruce, whose plane disappeared in an irradiated region of desert a few years earlier. Of course, they run into a variety of equally-irradiated critters the size of city buses. Poor Bruce is out there, too, now a disfigured, one-eyed giant running around in a loincloth.

Marty detects a road apple.

The visuals probably weren't convincing even in the 50s, but they serve what little plot there is just fine. But the best part of the film involves no special effects at all: Lon Chaney as Marty, a greedy prospector in search of uranium who basically exists to repeatedly put everyone's lives in jeopardy. At one point, his character punches their charter pilot during the flight, knocking him out and nearly causing the plane to crash. In the very next scene, everyone - including the pilot - acts as though nothing happened. Ya gotta love that.

While it's doubtful anybody would mistake The Cyclops for a good movie, one has to appreciate what the notorious Bert I. Gordon and friends were able to do with such a tiny budget while still putting-up with Chaney, who was allegedly drunk most of the time. Every mini-mogul had to start somewhere, and it was ultimately this tacky treat which led to bigger things (no pun intended), like Beginning of the End, The Amazing Colossal Man and Gordon's groovy Gortner-fest, The Food of the Gods.

This Blu-ray from Warner Archive Collection is sadly lacking in bonus features, but the film itself has been given a great Blu-ray transfer.

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

Disney's CHRISTOPHER ROBIN on Digital and Blu-ray 11/6

This entirely new take on the Winnie the Pooh stories will transport parents back to the imaginative, carefree days of childhood and allow them to share their love of Pooh and friends with their own children. “When you are able to make people laugh and cry in the same movie and you are able to tell the story with integrity and ground it in reality and have the magic realism on top of it, it lifts your spirits and connects you with the people you love,” says director Marc Forster. “We could all use a little bit of Pooh’s heart and wisdom right now.”

Bonus features provide a heartfelt look at the making of “Christopher Robin,” showcasing the magical artistry that brings the classic characters to life, the human actors’ techniques for interacting with stuffed animals, and the filmmakers’ passion for their project. Bronte Carmichael, who plays Christopher Robin’s daughter Madeline, takes viewers on an exciting journey from the drawing board to film locations throughout the United Kingdom. Features flash back to highlight Walt Disney’s fondness for Winnie the Pooh and recall the voice actors who lovingly portrayed the unforgettable voice of the iconic character. An exclusive digital bonus feature explores the actual teddy bear, given to Christopher Robin Milne 98 years ago, which inspired the original Pooh stories that have been shared and adored by families around the globe.

RODIN: Sorry...No Flying Reptiles

Starring Vincent Lindon, Izia Higelin, Severine Caneele, Edward Akrout. Directed by Jacques Doillon. (2017/119 min).

AVAILABLE ON BLU-RAY FROM

COHEN MEDIA GROUP

Review by Fluffy the Fearless😸

I know for a fact you can make a compelling movie about artists and their craft. Reviewing La Belle Noiseuse earlier this year showed me that. Despite being longer than The Ten Commandments, not-only did that film effectively capture one man's obsession with his muse, one couldn't help but develop an appreciation for the artistic process. Rodin isn't nearly as long, but sure feels like it, without a single flying reptile to liven things up.

Vincent Lindon is the titular character in this biographical film of the famous French sculptor. Though commissioned to create a piece based on Dante's Inferno, much of the film centers on his relationship with Camille Claudel (Izia Higelin). Not only is she an artist in her own right - though fame is not forthcoming because she's a woman - Camille is also his muse, model and lover. It's a complicated relationship because even though Rodin is obsessed with her, he can't bring himself to leave Rose (Severine Caneele), the woman he actually lives with (and mother of his son).

Auguste Rodin accidentally sculpts another ashtray.

While aesthetically interesting, Rodin is seldom very involving. The episodic nature - often with little in the way of transition - doesn't help, but Auguste Rodin himself isn't presented as someone we should really care about. He talks an awful lot about his craft and the inherent beauty of the human form (mostly to Camille). But unlike the subject of 2014's Mr. Turner, who managed to be likable despite being sort-of a pig, Rodin mostly comes across as arrogant, narcissistic and pretentious.

In the end, we don't walk away with a greater appreciation for the man's craft than we did coming in. Rodin looks wonderful, the sculptures themselves are interesting and the performances are good, but this same story was presented with more sincerity - and less pretension - in 1988's Camille Claudel.

EXTRA KIBBLES

FEATURETTE: "Sculpting Rodin"

TRAILERS

KITTY CONSENSUS:

MEH.

Rest in Peace, Scott Wilson

Scott Wilson (1942-2018)

PSYCHO-BIDDY DOUBLE FEATURE: A Collection of Creepy Crawford

STRAIT-JACKET

Starring Joan Crawford, Diane Baker, Leif Erickson, George Kennedy, Howard St. John, Edith Atwater, Lee Majors. Directed by William Castle. (1964/90 min).

BERSERK!

Starring Joan Crawford, Ty Hardin, Diana Dors, Michael Gough, Judy Geeson, Robert Hardy. Directed by Jim O'Connoly. (1967/96 min).

AVAILABLE ON BLU-RAY FROM

MILL CREEK ENTERTAINMENT

Review by Mr. Paws😹

There was always something unnerving about Joan Crawford, particularly during her post-Mildred Pierce career. Sure, that could be partially attributed to posthumous character-shredding at the pen of her own daughter (who wrote Mommie Dearest), which cemented her in pop culture as a monster. But there was also something about her general onscreen appearance that looked increasingly artificial...like she was waging all-out war on the ravages of time with every weapon in her arsenal. By the 1960s, Crawford and her considerable eyebrows were the stuff of nightmares.

Maybe that's why she was cast in more "hagsploitation" movies than most of her peers. The two films in this collection aren't quite as much freaky fun as the subgenre's magnum opus, Whatever Happened to Baby Jane?, but Ms. Crawford's unique brand of over-emoting is here in abundance.

"I can trim those eyebrows for ya."

1964's Strait-Jacket is the better crafted of the two, featuring Crawford as Lucy, who's released from an asylum 20 years after axing her philandering husband and his lover to death. Shortly after moving in with her daughter (Diane Baker), the ax killings begin again. Naturally, we suspect Lucy might be resuming her old ways. For a William Castle film, this is actually a pretty subdued affair, though both Crawford and Baker unleash some prime scenery chewing at opportune moments.

The other film, 1967's Berserk!, has a trainwreck quality that's hard to resist. Crawford plays Monica Rivers, the ruthless owner and ringleader of a traveling circus (and sporting some of the most embarrassing costumes of her entire career). When performers starting dying in a variety of gruesome ways - usually during their act - foul play is suspected. Since the deaths result in increased ticket sales, Rivers becomes a suspect, as does hunky new trapeze artist Frank Hawkins (Ty Hardin). There's a lot of fun to be had at the movie's expense...the wildly out-of-place music score, lengthy scenes of circus performances that don't advance the plot one iota and the weirdest non-Rocky Horror musical number you'll ever see.

Just...yuck.

By far, though, the horrific highlight is the affair between Rivers and Hardin. Crawford looks like that scary old aunt you're afraid to kiss because she reeks of cigarettes and cold cream. Watching her vamp-it-up while a shirtless Hardin - 30 years her junior - lusts after her is as morbidly fascinating as witnessing a one-sided fist-fight. You want to intervene, or at least turn away, but just can't.

Interestingly, Strait-Jacket has also been recently released by Shout Factory as a stand-alone Blu-ray. While that disc comes with a batch of bonus features, it's also a lot pricier. Not only is this Mill Creek release cheaper and sports a decent picture as well, the inclusion Berserk! makes this set preferable for those who enjoy high-camp hilarity.

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.

MAMMA MIA! HERE WE GO AGAIN Blu-ray Giveaway!

TO ENTER: Simply drop us a message using the 'KITTY KONTACT' form at the top of our side column. CONTEST ENDS 10/23.

Bring family and friends together and have the time of your life with MAMMA MIA! HERE WE GO AGAIN Sing-Along Edition, the all-new smash-hit romantic comedy based on the songs of ABBA, for a one-of-a-kind at home experience. MAMMA MIA! HERE WE GO AGAIN arrives on Digital and the digital movie app MOVIES ANYWHERE on October 9, 2018, as well as on 4K Ultra HD, Blu-ray, DVD and On Demand on October 23, 2018 from Universal Pictures Home Entertainment. Ten years after MAMMA MIA! The Movie, MAMMA MIA! HERE WE GO AGAIN invites you to return to the magical Greek island of Kalokairi to continue the story’s emotional journey of family and friendship whilst discovering just how those life-changing relationships were formed and includes hit songs such as When I Kissed The Teacher, Fernando and Dancing Queen.

BUYBUST: A Case of Deja Boom

Starring Anne Curtis, Brandon Vera, Victor Neri, Arjo Atayde, Nonie Buencamino, Lao Rodriguez. Directed by Erik Matti. (2018/127 min). 

AVAILABLE ON BLU-RAY FROM
WELL GO USA

Review by Tiger the Terrible😸

Based on an informant's tip, an elite squad of narcotics cops infiltrates Gracia, a crime-laden district in the Philippine city of Malate. Hoping to finally nab notorious druglord Biggie Chen (Arjo Atayde), instead they are double-crossed by a crooked agent and find themselves surrounded by countless thugs. Making matters worse...this grungy district, a labyrinthine maze of shacks and alleys, is mostly closed-off to the surrounding community. Now the team must fight their way out, a mission made more difficult by the community itself, most of whom have had enough of this ongoing drug war and commence attacking both sides.

After a prolonged set-up, the rest of BuyBust chronicles the team's attempts to escape against almost insurmountable odds. Aside from new recruit Nina (Anne Curtis), whose troubled past makes her sort-of interesting, there isn't much depth to any of these characters. They're simply here to shoot, fight and serve as cannon fodder. The villains are all equally disposable, though Levi Ignacio has a few impressively-vicious moments as head-thug Chongki.

Staff meetings without doughnuts are a somber affair.

What BuyBust has in abundance is action and violence. Highly reminiscent of 2011's The Raid, the film is a non-stop barrage of guns, knives, chases, bloody beat-downs and snapped limbs. Like players in a video game, most characters sustain multiple wounds before finally staying down for good. Viewers who value quantity over quality will find a lot to like here, since the mayhem is brutal, well-executed and features a few lengthy, unbroken fight sequences (such as an impressive rooftop brawl pitting Nina against a few dozen bad guys).

But unlike The Raid, which was continuously inventive, repetition sets-in after awhile. Unless a major character dies, there's little to distinguish one alley chase or close-quarters clash from another, not helped by hyperactive editing and over-reliance on shaky-cam. At 127 minutes, the film stops just short of being an endurance test.

Hard core action fans probably won't have too many complaints, though. As a visceral exercise in flamboyant filmmaking, BuyBust certainly delivers. But aside from some fleeting commentary near the end about the current state of The Philippines' ongoing drug war, don't expect much depth.

EXTRA KIBBLES

MAKING-OF FEATURETTE

2018 COMIC-CON PANEL

ENGLISH LANGUAGE OPTION

TRAILERS

KITTY CONSENSUS:

NOT BAD. LIKE CAT CHOW.