The Unholy [VHS]

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Price: $542.86   

The Unholy [VHS] Review

Set in New Orleans ,this movie centres on a Catholic priest,Father Michael (Ben Cross) who ,despite his vocation does not believe in the devil or in the existence of demons .He comes to see things differently when he takes over a church where the two previous incumbents have been violently killed .It is not long before he finds himself confronting the title entity a super-demon whose speciality is the corruption and murder of priests .At first the creature appears to him in the form of a luscious and ripe young woman ( Nicole Forher) but before too long it takes its altogether more revolting true form and the stage is set for the concluding battle between Good and Evil as the priest and the demon lock horns-so to speak.

The movie drags a tad in the middle but overall this is a neat little movie which does not stint on sights of the demon and the final confrontation is well done .

The effects overall are good and it boasts a pretty decent cast with solid performers like Hal holbrook ,Trevor Howard and Ned Beatty lending their formidable talents to proceedings .Tense ,well made and stylishly directed this is a good B movie for horror lovers

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Dead Ringers [VHS]

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Price: $486.48   

Dead Ringers [VHS] Review

After creating the viscerally charged and bewildering Videodrome, Cronenberg took on a few projects with a bit more mainstream appeal: The Dead Zone, The Fly, and this film: Dead Ringers.

It's not just a clever title (in fact, the movie was going to be called "Twins" until one of Cronenberg's old producers, Ivan Reitman, asked if he could use the title for a movie he was working on with Arnold Schwarzenegger and Danny DeVito). The movie stars -- and stars again -- Jeremy Irons as twin gynecologists, Beverly and Elliot Mantle. Although they are physically identical, their personalities take divergent paths as they grow older. Elliot grows into a confident womanizer, a sponge for the spotlight. Beverly withdraws into books, confident in little else other than his research.

They have a good thing going. Elliot woos the women and whisks them off of their feet, and when he tires of them, he hands them off to his bro Bev. The ladies are, apparantly, none the wiser. None, that is, until they try the stunt on Claire Niveau. Claire is a melodramatic and needy type, who has a steady addiction to pills, but she's also a pretty popular actress -- a student of human actions -- and the difference between the two men's faces are easier to hide from her than the differences between their hearts. It doesn't help matters, of course, that Beverly falls in love with her.

Like many Cronenberg films, a wealth of subtext buoys the plot along, but in this case it's just as easy to enjoy the film even if you don't necessarily "get" it. The surface ripples show two men who struggle against the divisiveness of fear and longing, how they clutch at sanity and each other as if they were the same thing. Addictions to love, to drugs, to success, and to power send them spinning around each other in mutual orbits of decay. Each tries to save the other, but it's like bootstrapping in quicksand. Neither has the ground to stand on.

Those who look close enough will see elements of Cronenberg's typically fetishistic influences: bizarre tools, the polar strategies of lunacy vs. logic, weird biologies (Claire has a mutation that becomes a fixation for one of the brothers). There's more at stake than just school boy crushes becoming grown man crazies. There's also the unity of brotherly love, salvation in sinning, and something that Beverly creepily refers to as "inner beauty."

Most of the subtleties of the film are found in Jeremy Irons, who plays both brothers with a skill that can only be described as phenomenal. With the help of cutting edge special effects techniques (this before the days of CGI and digital enhancement), Irons' brothers are an amazingly convincing pair. His performances shatter into dizzying, multi-facted brilliance as the plot progresses, until it is sometimes hard to tell which brother is which. The stunning sureness of his approach to the two characters is, by itself, enough to make this movie worth watching and owning.

It is also recommended, of course, by Cronenberg's directorial talent for deifying degradation. His sharp-eyed lens is layered with images of blood-shot confusion and the clutter of offices and brains, but without a doubt it spells out something engaging, it pieces together the details of something altogether absorbing. Leave it up to Cronenberg (with the two-fold talent of Irons at his disposal) to mastermind a movie that gives a radiant, uplifting glory to a film that -- like almost all of Cronenberg's -- slowly spirals down the gutter of despair.

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Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

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Price: $647.44   

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Review

Regarding the review cited as the "most helpful critical review," in which the main criticism is that the aspect-ratio of this DVD is 1.66 throughout instead of "variable" (some shots 1.33, some 1.66), I'd like to put to rest the unfortunate idea that Kubrick ever intended this film to be seen with a "variable aspect ratio."
Yes, the film was photographed that way; but no, it was not meant to be seen that way. Let me explain:
"Variable aspect-ratio" seems to be a term invented to market an early DVD release of "Dr. Strangelove." The term has no meaning in the film industry because no film has ever been released that way (except for that misguided "Strangelove" DVD -- a mistake which has now been corrected).
Much of "Dr. Stangelove" was photographed with no matte in the camera, thus exposing the entire 1.33 film frame. Many shots, however, were filmed with a 1.66 matte in the camera, reflecting Kubrick's intention to release the film to theaters in 1.66. Therefore, if you transfer this movie to tape using an unmatted film element, and you take the whole 1.33 frame for every shot, the aspect ratio will vary between 1.33 (shots filmed with no matte in the camera) and 1.66 (shots filmed with a 1.66 matte). But it seems self-evident that this is not the way any movie was ever intended to be seen, with the shape of the frame randomly bouncing around from shot to shot for no reason.
So why shoot it that way? Because Kubrick (and his cameraman) knew that the theatrical printing negative, and therefore every release print sent to theaters, would have the 1.66 matte printed-in from start to finish, making the entire film 1.66 for theatrical presentation.
Is it possible Kubrick shot it "variable" so that the eventual 1.33 DVD release could have a meandering frame-line? I know Kubrick was smart, but it's unlikely he was thinking of the DVD release in 1964.
In those days, movies were made for theaters; televised movies were mainly 16mm prints, edited for time and sold in syndication. The TV market as it existed in 1964 did not influence any film director's compositions. The theatrical release was all that mattered; and the theatrical release of "Dr. Strangelove" was 1.66. All of it.
Therefore, if one wants to see this film the way Kubrick meant it to be seen (and a new, matted 35mm print is not available), the film-to-tape transfer must recreate the matted 1.66 theatrical aspect-ratio throughout -- which is what the "40th Anniversary" DVD and of course the BluRay do (thank you, Sony Home Video).
I oversaw film restorations for a major Hollywood film studio for more than a decade, so I know the subject of aspect ratios pretty well. Hope this info is helpful.

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Army of Darkness [VHS]

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Army of Darkness [VHS] Review

Confused by all the Army of Darkness DVD releases (some in print, some out of print, some lingering halfway between)? I know I was. But I've done some research and figured it out, and here's how it breaks down:

1. The original DVD release-- was the original theatrical version of the movie with few extras. Good picture, good sound, S-Mart ending. If you just want to watch the best available version of the movie, you might get this one (if you can still find it; it's out of print now). It also has the familiar movie poster cover with an overly muscled Bruce and the hokey "Low on gas" slogan.

2. The director's cut-- with the silly Molly Hatchet cover and the original ending. There are many minuses: key lines are changed (not necessarily for the better). Much of the footage looks really horrible, including the entire concluding battle. All the deleted scenes have the feel of an eBay-purchased bootleg. Bottom line: AOD fans will like to see the material, but this is hardly the movie's best presentation. It's still circulating but they're not making any more of them.

3. The special edition-- probably the best DVD release of the movie to date. The 2 disc version (which, like the director's cut, is nearing the end of its availability) is great. It features both the watchable theatrical version and the borderline-unwatchable director's cut. It has commentary, unlike every other release, although the commentary is only available when viewing the director's cut. It has a making-of featurette.

The single disc version (now the primary version of AOD available) is only a slight downgrade; basically, it's the theatrical release, lookin' and soundin' fine, with the original ending as an extra, and the making of featurette also included. (The commentary is sadly missing.)

In summary: You can't go wrong with the single disc special edition or the even better double disc special edition. Avoid the director's cut unless you already own the original DVD and just want to see all the new footage in all its grainy glory. The original DVD is a fine purchase if you just wanna watch the movie, already.

2009 edit: to clear up some confusion in comments on this review, I wrote this eight long years ago. "Army" probably has five new DVD editions since then, and I'm sorry to report that I don't care enough to keep buying and comparing them. My experience so far has been that they keep releasing new versions with little regard for what people really want. In my eyes, a definitive version would be:

1. The main feature would be the theatrical version, fully restored and anamorphic.

2. Deleted scenes and the alternate ending would be cleaned up and well-presented as extras - I know this is possible because I own an Australian DVD of the movie that has them looking a lot cleaner than I've seen on all the older American versions. It would be also great if they had a menu option to watch the theatrical cut with some of the deleted scenes added back in - in particular the longer (and more cohesive) windmill battle with the mini-Bruces should never have been trimmed down; I'd love to see that in full as part of the movie. There's a cut that plays on some TV channel (AMC maybe?) that includes this scene, but unfortunately other parts are changed to their detriment - not a great trade-off. I think most fans of the movie prefer the original version of the movie - the S-mart ending, the original one-liners, etc. - but don't mind seeing some additional scenes thrown in.

3. Commentary, making-of featurette, etc. all included. The track record of this stuff on previous releases has been very spotty.

4. And finally do it right - put this version (probably a 2 DVD set) in print and get rid of the other ones, and KEEP it in print. Fans are tired of re-buying this movie just to find out that it's the same damn thing with a line or scene changed... if that. Let's tie a neat bow on this thing and be done with it. I'm as big a fan as they come and I stopped buying the new DVDs a couple versions ago.

2011 edit: Go to this page for a detailed look at all the notable Army DVD editions, including the ones I have not covered (be they Boomstick, Screwhead, or whatever else Anchor Bay/MGM/whoever has decided to foist upon this movie's beleaguered fanbase): [...]

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Mad About the Boy

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Price: $272.63   

Mad About the Boy Review

This is not the hottest soft porn movie I have ever seen, but it is definitely one of the best. The fact that the movie is made up of four stories--based on real letters telling the stories of how these four different relationships began and what their status was at the time the letter was written--adds a real human element that is sadly lacking in many of the soft porn films out there. Out of the four stories only one of them had a sort of unhappy ending, so that made me happy because I am a romantic and love happy endings. One of the stories was a gay version of "Pretty Woman," which makes me wonder if the person, who sent the letter in, was just having fun writing a short story, but that is totally irrelevant, it was a very sweet story and I enjoyed it very much. I would definitely recommend this movie to anyone who is interested in this kind of movie. Mike Esser, who directed the movie and narrated the stories, has made some of the best soft pornography I have ever seen. Out of all the soft porn videos that I have seen, I have, by far, enjoyed his the best.

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Livia [VHS]

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Price: $529.01   

Livia [VHS] Review

One of Luchino Visconti's top four or five masterworks. This baroque but magnificent evocation of the Garibaldi period of Italian Revolution in late 19th century is truly one of the great Italian masterpieces of 1950s. The film brilliantly delineates the erotically charged love story between Alida Valli (her best performance ever) and Farley Granger, and the bitter legacy of the revolution. History and Romance merge in a way only Visconti knew how. And the result is an operatic realism at its highest order. Despite the great, heart-renching performances, though, the film's fascination and power lies the sumptuous "look", the realistically accurate detail of that period. Visconti's unique attention to detail is breathtaking. Some may find SENSO crudely melodramatic and is certainly a notch below Visconti's best film, THE LEOPARD (which also features Burt Lancaster's greatest performance); still, it cannot be ignored. It is a must-see if you want to find out why Visconti was one of the great film artists who ever lived.

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