THE BLOODHOUND and the Road Trip

THE BLOODHOUND (Blu-ray Review)

2020 / 71 min

FROM ARROW VIDEO

Review by Fluffy the Fearless😼

They say the journey matters more than the destination. In the case of The Bloodhound, the adage definitely applies, especially since it often doesn’t appear to have a destination...much like every spontaneous road trip I've ever taken.

That isn’t necessarily meant as criticism. Whenever I’ve listened to Pink Floyd’s Dark Side of the Moon, I cared less about Roger Waters’ metaphorical cynicism than kicking back to let the music carry me away. If you’re similarly able to focus on the music over the message, The Bloodhound isn’t without its rewards.

Wealthy-but-reclusive J.P. (Joe Adler) invites displaced childhood friend Francis (Liam Aiken) to the home he inherited after his parents died. J.P. is an oddball, to say the least...sickly, agoraphobic and distrusting of outsiders, he hasn’t left the house in two years, content to live off his inheritance while taking care of his sister, Vivian, who’s even more reclusive, almost never leaving her room. In fact, since we only ever see her when she ventures into Francis’ room at night, we entertain the notion she might already be dead.

J.P. and Francis’ conversations are interesting, if often one-sided, with J.P.  doing much of the talking. It’s immediately clear he ain’t quite right in the head, nor does Francis turn out to be the trusted lifelong friend we first assume (though he obviously cares for both J.P. and Vivian). There’s also conflict, sometimes subtle, sometimes violent. Meanwhile, the house may or may not be haunted, or possessed, or alive (we’re never sure), exacerbated by a hooded figure that comes-and-goes, crawling on all-fours from the house to a nearby pond and back again...

Now taking requests.

...or something like that. Writer/director Patrick Picard seldom provides answers and may not even know them himself, which will probably frustrate the hell out of some viewers. Though never particularly scary, there’s a definite horror vibe throughout the proceedings from the very first scene. It may be all for naught, but in the moment, The Bloodhound manages a quietly unnerving tone, even when we’re not always sure why we’re creeped out. 

The film is aided considerably by its characters and setting. With the exception of a late-inning moral dilemma, Francis is mostly a casual observer, but J.P. is uncomfortably compelling - right down to his appearance and expressions - and he’s well played by Adler, who conveys menace even when displaying generosity. The house itself is a bizarre creation, massive-yet-claustrophobic, with ‘70s-style architecture, narrow rooms, dim lighting and stark decor. It's practically a secondary character. 

Though The Bloodhound does come to an interesting conclusion, I imagine some viewers will walk away unimpressed - perhaps irritated - with a denouement that doesn’t tie-up loose ends into a tidy bow or answer nagging questions (of which there are plenty). But Picard is far less concerned with narrative clarity than creating a singular mood, which he manages to do quite well. He also knows not to test the viewer’s patience for too long. Running a relatively brief 71 minutes, The Bloodhound is like a quick road trip with no real destination in-mind and coming to a conclusion just before everyone gets tired of sitting in the car.

EXTRA KIBBLES

“ON THE TRAIL OF THE BLOODHOUND”- An entertaining making-of doc, featuring behind-the-scenes footage and cast & crew interviews.

AUDIO COMMENTARY - By director Patrick Picard and editor David Scorca

4 SHORT FILMS BY DIRECTOR PATRICK PICARD - “Bad Dream”; “The Muffled Hammerfall in Action”; “The Mosaic Code”; “Wiggleworm” (If you think The Bloodhound is weird...)

SUPPLEMENTARY BOOKLET - Includes an essay, cast, crew & transfer credits, “director’s statement.”

REVERSIBLE COVER

KITTY CONSENSUS:

NOT BAD...but not for everybody.

Movie Night with Dave & Stinky: STAR WARS EPISODE III: REVENGE OF THE SITH (2005)

Getting Witchy with THE RECKONING

THE RECKONING (Blu-ray Review)

2020 / 111 min

FROM RLJE FILMS

Review by Josey, the Sudden Cat😸

One might understandably assume this is a welcome return to horror by director Neil Marshall. But while The Reckoning is certainly his best film since 2005’s The Descent, I’m not sure I’d classify it as horror.

Set in England during the 17th Century, the country is besieged by the Black Plague, which claims the husband of Grace (Charlotte Kirk). Alone to maintain the farm and take care of an infant daughter, she owes rent to Pendleton (Steven Waddington), the powerful local squire who owns the land and is indifferent to her circumstances.

This is also the age when running afoul of the wrong person can get you branded as a witch, which Grace does when she refuses to provide sex in-lieu of rent and fights back as he attempts to rape her. Because of his power and influence, she’s separated from her baby and imprisoned to face charges of witchcraft. Pendleton sends for John Moorcroft (Sean Pertwee), who’s notorious for using extreme methods to get confessions out of those accused. 

What follows is a middle act in which Grace is repeatedly subjected to horrific torture. Yet to Moorcroft’s chagrin, she clings to the truth of her innocence and refuses to confess. This turns into a battle of wills between the two. Meanwhile, Pendleton appears to take perverse pleasure in her suffering. When she’s not enduring torture, Grace experiences dreams and hallucinations, some of her dead husband, others of the devil himself. 

"Just one more thing...love your suit!"

Any actual horror elements are regulated to Grace’s visions. Instead, a good portion of the story plays like the ending of Braveheart. The Reckoning is smaller in scope, but nearly as brutal and some of the torture sequences are tough sledding. By the final act, however, the film begins to take shape as a revenge fantasy, and after all that Grace has endured thus far, we’re more-than-ready for it.

Considering its limited budget, The Reckoning is effective in depicting the 17th Century through authentic-looking locations, creative set design and occasionally obvious CGI.  While it often has the aesthetic of horror, including Marshall’s penchant for bloodletting (though he shows admirable restraint at times), the film is ultimately driven by the escalating conflict between Grace and Moorcroft. As such, it’s often gripping. With Grace, Marshall creates another strong-willed female protagonist, well performed by Kirk. Pertwee, however, steals the movie, deftly conveying Moorcroft’s belief that, despite his atrocities, what he’s doing is righteous.

While not quite the horror film one might have been hoping for, The Reckoning tells an interesting story, features a couple of despicable antagonists and comes to a satisfying conclusion. It may not have werewolves, cave-dwelling mutants or cannibal road warriors, but it’s certainly Neil Marshall’s best work since those days.

EXTRA KIBBLES

DELETED SCENES

KITTY CONSENSUS:

PURR-R-R...

Movie Night with Dave & Stinky: THE TIME MACHINE (1960)

NOSFERATU IN VENICE: Come for Klaus, Stay for His Story

NOSFERATU IN VENICE (Blu-ray Review)

1988 / 88 min

FROM SEVERIN FILMS

Review by Josey, the Sudden Cat😼

Back in the day, I went to a W.A.S.P. concert with a few friends. The opening act was a little band called Metallica, who none of us ever heard of. Loud, fresh and unbelievably fast, they pretty-much blew W.A.S.P. off the stage that night. When their set was done, we briefly considered cutting-out early because, 1) No way was any band gonna top that, and 2) Our weed was in the car. But since W.A.S.P. was the band we actually paid to see, we decided to stick it out, though their show was anticlimactic.

This disc is kind of like that concert. Nosferatu in Venice - an unofficial sequel to Werner Herzog’s classic - may be featured on the cover, but it’s the accompanying feature-length documentary, pretty-much the sole bonus feature, that makes it worth picking up.

For cultists, classic film lovers and B-movie aficionados alike, Klaus Kinksi needs no introduction. Sure, he was Herzog’s muse, being both brilliant and bombastic, but saying he was difficult to work with is an understatement. Toward the end of his long career, his behind-the-scenes behavior became the stuff of legend...tormenting directors, sexually harassing female co-stars, refusing to perform, often to the point where he negatively impacted how these films turned out.

“Creation is Violent” chronicles those years, as told by the directors, producers and co-stars - including former girlfriend Debora Caprioglio - who endured him. Some have grudging respect, while others make their contempt pretty apparent, but all of them offer fascinating anecdotes about the difficulty of working with him. Nosferatu in Venice appeared to be the pinnacle of his belligerent behavior and that film’s tumultuous shoot - entirely Kinski’s doing - is discussed at-length. When all is said and done, it’s a minor miracle the film got made at all.

I highly recommend checking-out the doc first, sort-of like an opening act. Sordidly compelling and far more entertaining, it tends to render Nosferatu in Venice anticlimactic, but also provides valuable context for the cinematic trainwreck you’re about to see.

"Holy shit, that was today???"

A sequel to Herzog’s Nosferatu in-name-only, Kinski returns as everyone’s favorite bug-eyed, boob-squeezin’ bloodsucker, making his way to Italy after being summoned awake from a 200 year slumber. Christopher Plummer is on-hand as vampire hunter Paris Catalano, while Donald Pleasence plays a histrionic priest similar to his role in Prince of Darkness. Most of the female cast stands at-the-ready to get naked and be groped by Kinski, who naturally buries himself in the part (and their necks...and their nether regions).

While the film has a few decent death scenes, it’s narratively disjointed, clumsily executed and laughably pretentious. At its center is the man himself...over-emoting and gobbling scenery like a ravenous dog. There’s a lot of fun to be had at the film’s expense, especially by watching the documentary first. Knowing Kinski bears most of the blame for turning Nosferatu in Venice into a dumpster fire - he allegedly directed a few scenes himself - really ups its entertainment value.

So this might be the first time I’ve recommended a disc for the supplemental material alone. “Creation is Violent” would be worth a purchase all by itself, as it’s a fitting coda to an eccentric actor’s wild career. Not only does it enhance the experience of watching Nosferatu in Venice, I’d argue that most folks might end up revisiting it more often. After all, Metallica is still a great band, but who really listens to W.A.S.P. anymore?

EXTRA KIBBLES

“CREATION IS VIOLENT” - Kinski’s final years and the best bonus feature ever.

“CREATION IS VIOLENT” OUTTAKES

TRAILER

KITTY CONSENSUS:

PURR-R-R...FOR THE DOCUMENTARY ALONE.

THE POOP SCOOP: Messiahs, Missions & Monkeys

JUDAS AND THE BLACK MESSIAH - Available on VOD 4/2, Digital HD 4/27, DVD & Blu-ray on 5/4 

Academy Award-nominated dramatic thriller “Judas and the Black Messiah” arrives on Premium Video on Demand (PVOD), Blu-ray, DVD and Digital. The film is directed by Shaka King, marking his studio feature film directorial debut, and stars Oscar nominee Daniel Kaluuya as Fred Hampton and Oscar nominee LaKeith Stanfield as William O’Neal. The film also stars Dominique Fishback, Jesse Plemons, Ashton Sanders and Martin Sheen.  “Judas and the Black Messiah” features the Academy Award-nominated song “Fight For You”, sung by H.E.R. “Judas and the Black Messiah” made history this year by being the first film with an all-black producing team nominated for an Academy Award in the Best Picture category. “Judas and the Black Messiah” is nominated for six Academy Awards, for Best Picture, Best Actor in a Supporting Role (Daniel Kaluuya, LaKeith Stanfield), Cinematography (Sean Bobbitt), Original Song (“Fight For You,” music by H.E.R. and Dernst Emilie II, lyrics by H.E.R. and Tiara Thomas), and Original Screenplay (screenplay by Will Berson & Shaka King, story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas).  Kaluuya also won a Golden Globe for Best Supporting Actor - Motion Picture.

MISSION: IMPOSSIBLE 25TH ANNIVERSARY EDITION on Blu-ray 5/18

Paramount Home Media Distribution will celebrate the 25th anniversary of Mission: Impossible (1996) with a brand new Blu-ray release of the film, which will be available for purchase on May 18th. Originally released on May 22, 1996, MISSION: IMPOSSIBLE thrilled audiences with its breathtaking and action-packed story of secret agents and international espionage. Tom Cruise ignites the screen as IMF agent Ethan Hunt, a character that continues to capture the imaginations of fans around the world as the franchise builds toward the highly anticipated seventh installment. Directed by Brian De Palma (The Untouchables), with a screenplay by David Koepp (Jurassic Park) and Robert Towne (Chinatown), MISSION: IMPOSSIBLE will return to select theaters for a limited run in May through Fathom Events and Paramount Pictures. Details about the theatrical run will be announced in April.

RAYA AND THE LAST DRAGON on 4K, Blu-ray & DVD on 5/18

Raya and the Last Dragon takes us on an exciting, epic journey to the fantasy world of Kumandra, where humans and dragons lived together long ago in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it's up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she'll learn that it'll take more than a dragon to save the world—it's going to take trust and teamwork as well. Raya and the Last Dragon features an outstanding voice cast, including Kelly Marie Tran as the voice of the intrepid warrior Raya; Awkwafina as the legendary dragon, Sisu; Gemma Chan as Raya's nemesis, Namaari; Daniel Dae Kim as Raya's visionary father, Benja; Sandra Oh as Namaari's powerful mother, Virana; Benedict Wong as Tong, a formidable giant; Izaac Wang as Boun, a 10-year-old entrepreneur; Thalia Tran as the mischievous toddler Little Noi; Alan Tudyk as Tuk Tuk, Raya's best friend and trusty steed; Lucille Soong as Dang Hu, the leader of the land of Talon; Patti Harrison as the chief of the Tail land; and Ross Butler as chief of the Spine land.

 

KING KONG COLLECTOR'S EDITION on Blu-ray 5/18

Scream Factory is releasing the Collector's Edition of John Guillermin's King Kong (1976), starring Jeff Bridges, Charles Grodin, Jessica Lange, Rene Auberjonois, and Jack O'Halloran. The release will be available for purchase on May 11. The Petrox company's search for new oil reserves on a strange island unleashes a terror unseen by civilized man—KING KONG! The timeless story of a "beauty" (Jessica Lange, making her feature-film debut) and a "beast" comes to the screen in this ambitious production from Dino De Laurentiis. Charles Grodin is the scheming oil company shark out to exploit the giant beast to his fullest. And Jeff Bridges is the desperate hero, Jack Prescott, who attempts to wrest the beautiful heroine from King Kong's grasp. New York City trembles with each echoing footstep of the towering ape set loose in the streets!

BREAKING NEWS IN YUBA COUNTY and the Foul Balls

BREAKING NEWS IN YUBA COUNTY (Blu-ray Review)

2021 / 96 min

FROM WARNER BROS

Review by Stinky the Destroyer😾

#InPartnershipwithWB

Man, what a line-up...Allison Janney, Mila Kunis, Wanda Sykes, Regina Hall, Matthew Modine, Clifton Collins Jr., Ellen Barkin, Awkwafina, Juliette Lewis, just to name a few. All of them have impressive stats as terrific actors, funny comedians, or both.

Then there’s manager Tate Taylor. His shelves may not be lined with trophies, but he’s directed some pretty decent - and successful - films in a variety of genres, such as The Help, The Girl on the Train, Ma and Get on Up. With such a diverse filmography, it stands to reason he’d be equally adept tackling a black comedy.

With a team like that on both sides of the plate and a premise rife with satiric opportunities, Breaking News in Yuba County should have been a home run, or at-least a ground rule double. Instead, it mostly hits foul balls.

Sue Bottoms (Janney) is a timid middle-aged woman who’s ignored both at home and work. When she catches husband Karl cheating - during the act - he drops dead of a heart attack. Inspired by the media attention a distraught couple is receiving over their daughter’s disappearance, Sue buries Karl and reports him missing. Now everyone notices her…, neighbors, co-workers and, of course, the media, like sister Nancy (Milas Kunis), who's a local reporter, and eventually national talk show host Gloria Michael (Juliette Lewis).

However, Sue also raises the suspicions of Detective Cam Harris (Regina Hall), who keeps finding holes in her story. Additionally, it turns out Karl and his ex-con brother, Petey (Jimmi Simpson), were coerced into laundering $3 million for local gangster Mr. Kim. But now that Karl’s missing, so is the money. So he sends two violent thugs on the trail, which eventually leads to Sue. 

When you don't bring enough gum for everybody.

The basic plot is actually pretty well mapped-out, with complications that, in capable hands, could have turned this into another Fargo. However, the whole thing is torpedoed by ham-fisted attempts at dark humor and awful characters painted in depressingly broad strokes. Good black comedy - always difficult to pull off successfully - isn't simply swinging away with extreme behavior and sudden bursts of violence. The cast is ready to play ball, though there’s a hell of a lot of scenery-chewing and their characters are largely defined by their actions, much of which is obnoxiously juvenile. Janney is actually quite good, but even Sue comes across as an empty caricature.

Ultimately, Breaking News in Yuba County squanders a good cast and premise because there’s no point where we feel like we’re watching real people. These characters simply exist to behave badly, spout outrageous dialogue and occasionally kill each other. The plot might hold interest for a while, but all attempts at black comedy and satire fall flat. Too bad, really...a team like this should have knocked it out of the park.

KITTY CONSENSUS:

MEH.

Japan's Own INVISIBLE MAN

THE INVISIBLE MAN APPEARS / THE INVISIBLE MAN VS. THE HUMAN FLY (Blu-ray Review)

1949 & 1957 / 178 min (2 films)

FROM ARROW VIDEO

Review by Fluffy the Fearless😽

To be honest, I didn’t know either of these films existed, and since this marks the first time they’ve ever been released on home video outside of Japan, chances are most of you didn’t, either. So this double-feature disc from Arrow Video is sure to pique the curiosity of classic horror lovers.

As one might suspect, the two films are Japan’s answer to the popular series of American films and - obviously - H.G. Wells original novel. But they aren’t remakes. Instead, both films incorporate the concept into original stories that play more like sci-fi tinged crime capers than pure horror.

In 1949’s The Invisible Man Appears, a respected doctor has created a serum that can render people invisible, with two unfortunate drawbacks. First, there’s no way for the subject to return to normal, and second, the serum makes the subject increasingly violent. The basic story features the titular character’s reign of terror as he attempts to steal a valuable necklace. In the effort to keep his identity a mystery for much of the running time, the narrative throws in too many plot complications, but it’s fast-paced and the special effects aren’t half bad for a 72 year old film. On a personal side-note, we here at FKMG particularly enjoyed the invisible kitty's own little reign of terror.

"Lemme tell you what 'Like a Virgin' is about..."

I’m not sure The Invisible Man vs. The Human Fly can be considered a sequel. In addition to a completely new cast of characters, the method with which someone is rendered invisible is different. But since one character fleetingly mentions the Invisible Man as a potential suspect in a series of seemingly-random public murders, perhaps it’s a shared universe. The real culprit is the Human Fly, who takes an addictive serum to render himself instantly tiny. Citywide panic ensues, so the cop in charge decides becoming invisible is the only way to catch the killer. This one’s a lot goofier than the first, especially the daffy scenes of the Human Fly in action. Still, it’s pretty entertaining.

Pre-title cards before both films state upfront that time hasn’t been all that kind to the prints used for this Blu-ray transfer. It’s especially noticeable in the first film, but not a major distraction. With a release like this, it’s probably enough that we’re able to see these two Japanese obscurities at all. Neither film will make anyone forget James Whale and Claude Rains, but it’s kinda cool seeing how they did it on the other side of the pond.

EXTRA KIBBLES

TRANSPARENT TERRORS - The only substantial bonus feature, but critic/historian Kim Newman is always enjoyable, this time providing a wealth of information about the entire history of the Invisible Man in movies.

THE INVISIBLE MAN APPEARS TRAILER

IMAGE GALLERIES

REVERSIBLE SLEEVE - A cover for each film with new artwork.

KITTY CONSENSUS:

NOT BAD.

Movie Night with Dave & Stinky: KING KONG (1933)

ISLE OF THE DEAD: Karloff in Quarantine

ISLE OF THE DEAD (Blu-ray Review)

1945 / 72 min

FROM WARNER ARCHIVE COLLECTION

Review by Josey, the Sudden Cat🙀

If nothing else, Isle of the Dead is a darkly beautiful horror film. Of all the low-budget flicks producer Val Newton pumped out in the ‘40s, this one is easily the best looking. There’s nary an image that wouldn’t make a great black metal album cover. 

Additionally, if one looks hard enough, there’s even some contemporary relevance to be found in the story.

Set during the Balkan War, the island of the title is where General Pherides (Boris Karloff) buried his wife years before. After a particularly bloody battle, he takes a boat to the island to visit her grave, accompanied by reporter Oliver Davis (Marc Cramer). However, the tomb has been desecrated. They also discover an old house where several people have been living. One of them, an archaeologist named Dr. Aubrecht (Jason Robards, Sr) tells him the locals raided the graves for artifacts years ago, while housekeeper Madame Kyra (Helen Thimig) believes it was the work of a volvolaka, an undead monster in Greek folklore.

One at a time, people begin to die, succumbing to sickness later identified by Pherides’ doctor as a plague. He recommends they quarantine themselves on the island until the winds blow the virus clear. Kyra believes a volvolaka is responsible, personified by Thea (Ellen Drew). Initially dismissive of such superstition, Pherides demands everyone to remain on the island and for the dead to be swiftly buried, going as far as to destroy the only boat to insure no one spreads the plague to his troops on the other shore. Later, however, he also begins to believe Thea is indeed responsible for the deaths.

"We charge by the hour, soldier."

Despite the title and overall aesthetic, Isle of the Dead is not-so-much about the supernatural as it is a descent into madness, namely Pherides and Mary, the latter driven insane after mistakenly being buried alive. Deliberately paced and featuring effectively understated performances, the film emphasizes atmosphere and slow-burning dread over simple shocks and scares.

Because of this, Isle of the Dead holds up pretty well for a 76 year old horror film, belying its age with a great Blu-ray transfer and, considering the ongoing pandemic, an underlying theme that’s surprisingly timely. Pherides may indeed be the film’s primary antagonist, but even though his pragmatic decisions for dealing with the plague don’t sit well with everyone, he is thinking beyond himself for the safety of others. That’s more than you can say about a lot of people right now.

EXTRA KIBBLES

AUDIO COMMENTARY - By film historian Steve Haberman, who’s written a few screenplays, as well.

KITTY CONSENSUS:

PURR-R-R...