With Revelation 13 fully upon us and the Beast emerging anew (unless you count my new short film ‘Dan Haggerty Rising’), the Studios have taken it upon themselves to cause all, small or great, rich or poor, free and bond, to shell out their cash for the encroaching digital doom about to spread across the land. But there is something you can do to combat this.
Flee!
When your kid’s best friend launches a couple of well-placed rounds into an abusive Stepdad, things can go from hunky-dory to X-Men 3 bad. Such is the premise of Running Scared (read Devin’s positive review), where Wayne Kramer (The Cooler) has clunky Paul Walker caught up in disposing of guns that connect Mob killings to their crimes. It just so happens that the recently deceased is the nephew of a notorious Russian Gangster, ensconced in a well-played scheme with Walker. Onward the plot propels, faster and harder than anything you’ve seen in a while, throwing its amorally ignominious characters into darker situations than what’s underneath your Aunt’s moomoo. It doesn’t help that the murderous kid also dives into the shallow side of Earth’s pool, thrusting the scorching gun into the hands of humanity’s worst and Walker’s own wife is pushed well beyond her own limits – until he can ease the pain. If you know what I mean, and you do, having played the game online to take out your own frustrations. Running Scared manages to be equal parts horror and testicle-cradling, considering the amount of testosterone squeezed off. Experience the depravity, but enjoy it first.
Fucking fuck fuck fuck – with:
– Audio commentary from Wayne Kramer
– The featurette Running Scared: Through the looking glass
– Storyboard comparisons
Entourage’s Season 2 divides the boys into little groups, with E and Vinnie doing their own soul-searching at the expense of James Cameron’s Aquaman and Jeremy Piven’s Agent embodiment while Turtle and Drama had their own little mini-misadventures. While still enjoyable, there is something missing, and no, it isn’t Malcolm McDowell’s emergence as an ICM-force to be reckoned with. It’s the sense of camaraderie, slathered all over their masculine trysts out into the seedy nights of Hollywood – from pricey buxom babes to Drama’s years-old feud with Hef and all-out war against Ralph Macchio – the Second Season explodes itself onto a larger canvas with more thorough outcomes (Ari’s especially), making it into a guilty-pleasure scenario that you just can’t pass up (like Cannon Films). Although I would prefer the episodes to last longer (at 30 minutes they’re way too short), the entertaining aspects of the show (ritzy and glitzy – like the MILF websites you prowl for) allow it to succeed far more often than it should.
Tse-tse Fly – with:
– 14 episodes on three discs
– The Mark Wahlberg Sessions: exclusive behind-the-scenes interviews with cast and crew conducted by Wahlberg
Tommy Lee Jones suffered through enough formulaic pap throughout the twilight of his career that I’d almost given up on him. That was until he made his feature directorial debut with the masterful film Three Burials of Melquiades Estrada (read Devin’s positive review). Like Peckinpah, whose films share a similar vernacular, Three Burials transcends almost everything you’ve seen in a while; its sturdy sparseness, Eastwood-esque focus, and terrific core performances help build up one of the best films of last year, top 5 for sure. Jones’ Pete Perkins crosses paths with illegal immigrant Melquiades Estrada, the pair becoming fast friends. Promising to bury him in his hometown in Mexico only further strengthens their bond, which Barry Pepper’s douchebag of a Border Patrol Office shatters when he pumps several bullets into Estrada’s chest. Enraged, Perkins kidnaps Pepper, the duo setting out on horseback across the rugged terrain with the slowly decomposing body. Broken down, Jones’ film is one of weighty power, solidified within its gallant tendencies and search for redemption. I can think of no better words than – see this.
The ants are eating your friend – with:
– Audio commentary with the cast
– Master class with Tommy Lee Jones and Guillermo Arriaga
– A Making-of
– Cannes Film Festival featurette
My one gripe for this DVD would be for the Cover Art. While my vote of confidence means nothing, I would have preferred Sony went with this. While not entirely iconic, it does set an adroit tone.
For basketball movies, it’s tough to top the seminal Hoosiers. Or even Air Bud. Jerry Bruckheimer never needed a reason to remember the past, just to explode it sky-high with his particular brand of feel-good mannish propulsion. Working in the Remember the Titans mold, Bruck refashions the state of b-ball with Glory Road, the inspiring 1966 tale of Texas Western Coach Don Haskins (played with gusto by workaholic Josh Lucas), who you may or may not know started his entire NCAA lineup with an all-Black crew in the National Championship. This coincidentally shocked most bigots as they watched the success all the way to the final game against Kentucky, who is coached, surprisingly by Jon Voight. But sports movies like this have outcomes that are already telegraphed so far in advance it’s not really about how they win but how they got there. If anything, expect a boatload of clichéd pop songs scoring the back of some righteous message of defining all odds, which should have been a given anyway.
My way is hard – with:
– Audio commentary with Director James Gartner (sadly no relation to James motherfuckin’ Gardner) & legendary Producer/World Uniter Jerry Bruckheimer, as well as Screenwriters Christopher Cleveland & Bettina Gilois
– Some deleted scenes
– 3 features (Legacy of the Bear: Highlights of Coach Haskins’ illustrious career, Surviving Practice: An inside look into Coach Haskins’ training regimen, and In Their Own Words: Remembering 1966 – Extended interviews with players and colleagues of Coach Haskins)
– Music video by Alicia Keys: Sweet Music
– Trailers
The first Underworld was so underwhelming I kept a safe 10,000 ft distance from the theatre when Underworld: Evolution dropped many things inside my drawers. Apathy being one of them. But if you’re the type of human who doesn’t care about watching good stories told well, you might be interested in a half-baked story about Wizards and Lycans, aka Vampires and Werewolves, in an adequate battle for the middle-aged comic collector in all of us. Kate Beckinsale, who also happens to be married to the Director Len Wiseman (meaning absolutely nothing!), is the latex-sporting Death Dealer/Vampress Selene who teams up with a Lycan hybrid to stop the original Lycan from being released from prison. Turns out he’s the one who started this whole blood feud centuries prior. As it appears, word is the second crazy adventures of the gun toting, form fitting people sparring against some updated CGI is better than the first. While that might mean a lot to some, to me that means it’s more than pedestrian as opposed to being something I keep on the background.
You are unwelcome in my presence – with:
– Audio commentary with Wiseman, production designer Patrick Tatopoulos, second-unit director and stunt coordinator Brad Martin, and editor Nick De Toth
– 6 featurettes (The Hybrid Theory: Visual Effects, The War Rages On: Stunts, Bloodlines: From Script to Screen: Making-of, Making Monsters Roar: Creatures, Building a Saga: Production Design, and Music and Mayhem: Music and Sound Design)
– Music video: Her Portrait in Black by Atreyu
– Trailers
Nick summed everything up with a little ribbon on top in his Firewall DVD review (click here), stating “If I remember correctly, you hold down ALT-Y and [Final Draft] writes Firewall.” The mildly passable “thriller” which neither thrills nor entertains slightly has Harrison Ford putting on his action pants once again, only to not use them properly. His age notwithstanding, he never once uses the patented Ford finger of indignation, a sign to evildoers worldwide that this is a man who is fed up and is sure as fuck not going to take it anymore. You’ve seen it in action numerous times, the pinnacle being in Air Force One, where Gary Oldman received the Kraken’s share of indignation. Firewall, instead, coasts along with a laughably bad premise – thieves (led by dapper Englishman Paul Bettany) kidnap Ford’s family (including the underused female appendage known as Virginia Madsen) in order to steal an untold amount of money from Ford’s own bank, to which he is their security advisor. Point being is that Ford really doesn’t do much security monitoring or advising, preferring instead to mash his teeth and slam fire extinguishers against perfectly placed body blows. On a completely unrelated note, my Grandfather loved this movie, commenting that it was “great because it had no cussin’.” So if you’re looking for a mediocre movie that was one of the worst of the year, Firewall is beckoning for you to flush your time down the drain.
Pack up your shit, and GO HOME! – with:
– 2 featurettes (Firewall Decoded: A Conversation with Harrison Ford and Richard Loncraine and Firewall: Writing a Thriller)
– Theatrical Trailer
Like some, but not many comediennes before her, Sarah Silverman is an equal opportunity offender. Her fire-brand wit is a cross between everything you can’t stand yourself for laughing at, but frequently find guffaws crossing your lips. As such, her Jesus is Magic (read our MB posters thoughts here) lampoons in most of the right places, and some I’m still not quite sure. Essentially a filmed concert interspersed with musical vignettes (songs include ‘You’re Gonna Die Soon’), Silverman takes the social comedy she honed on the road to a more politically incorrect status – lines like “when God gives you AIDS… make LemonAIDS” puncture her dialogue with sardonic tenacity. Like playing a nasty pickup game with your Lord and Savior on the weekends, Silverman keeps the dunks on coming, because she does it with a wink and smile, perfecting it all within boundary-breaking taboos that range from everything. And I mean it. Even if you do end up thinking that you’re turning into your Mother.
Get raped by a Doctor – with:
– Audio commentary with Silverman and Director Liam Lynch
– Featurette – Behind the Scenes with Sarah
– Sarah’s performance from The Aristocrats
– Music Video – Give the Jew Girl Toys
– Trailers
Richard Linklater’s Dazed and Confused rings truthful after all these years, even though McConaughey’s powerhouse extraordinaire Wooderson has been demeaned into a pop-culture footnote by those in comedic power. The minimalist plot has the last day of High School upon our who’s who of Generation X brethren – remember the parading cast? Jason London, Milla Jovovich, Adam Goldberg, Anthony Rapp, Parker Posey, Cole Hauser, Nicky Katt, and even Kim Krizan get in on some freshman paddle-ass time. Linklater never goes for pretension, slathering his anti-ostentatious musings deep in more realistic events – like buying beer, smoking drugs on high, and dealing with the tribulations of starting up their own slog down into adult life, or as I refer to it – destruction on an epic scale. Criterion doesn’t do pedestrian, though, and their treatment of Linklater’s previous films and films in general should have you revisiting for the wealth of quotables, enjoyable characters, and general Texan insanity.
Be honest about being a misanthrope – with:
– All new high-definition digital transfer, supervised by director Richard Linklater and cinematographer Lee Daniel
– Audio commentary with Linklater
– "Making Dazed," a 50-minute documentary by filmmaker Kahane Corn
– Rare on-set interviews and behind-the-scenes footage
– Footage from the 10-year anniversary celebration
– Audition footage
– Some deleted scenes
– Original trailer
– A 72-page book featuring new essays by Kent Jones, Jim DeRogatis, and Chuck Klosterman, plus character profiles, and memories of the film from cast and crew. And the original film poster designed by Frank Kozik
I knew I shouldn’t have purchased Butch Cassidy and the Sundance Kid a while back, as now their 2-Disc Collector’s Edition blows the previous one right out of its shellacked hideout. Notable for the – duh – inspired team-up of Redford and Newman, George Roy Hill/William Goldman’s film hasn’t rusted into a former shell of itself, other than the out of place Raindrops song. Flashing pearly whites and moustaches that make femininity quiver, Redford and Newman defined what it is to make a buddy movie, and all others have paled in comparison. You knew that. There are too many good moments for these muted blurbs of mine – the shootouts, the donkey show on the Cliffside, the running and the jumping into our hearts, minds, and rising goiters of growling ferocity. Completely on the opposite end of Peckinpah’s The Wild Bunch to which it opened against, Butch Cassidy and the Sundance Kid’s humor within the piercing moments of impending doom equals one rip-roaring time through anyone’s imagination. Even the Devil, who commanded the pair from beyond their iconic freeze-frame.
Theoretically know what you’re doing – with:
– Audio commentary (held over from previous release) with George Roy Hill, Lyricist Hal David, Associate Producer Robert Crawford and Cinematographer Conrad Hall
– Audio commentary with Screenwriter William Goldman.
– 2005 documentary All Of What Follows is True: The Making of Butch Cassidy and the Sundance Kid
– History Through the Lens: Butch Cassidy and the Sundance Kid: Outlaws Out of Time documentary
– 1994 documentary: The Making of Butch Cassidy and the Sundance Kid
– 1994 Interviews with Paul Newman, Robert Redford, Katherine Ross, writer William Goldman, and composer Burt Bacharach
– The Wild Bunch: The True Tale of Butch & Sundance featurette
– Production Notes
– Alternate Credit Roll
– Some deleted scenes
– Production notes
– Trailers
John Wayne’s Batjac Productions pumped out some genius films – rent 7 Men from Now for its artistry on display. Plus it’s a masterpiece. Now comes a bunch of titles pushed-back, reshuffled, and delayed. Enter The Batjac Suspense Collection. Each film is worthwhile in their own right – Track of the Cat experimenting in splotches of color across a black & white spectrum while Robert Mitchum hunts down a nefarious Panther who has emaciated his own Brother. Plunder of the Sun has its John Huston elements of treasure hunting in the Aztec, shouting “we don’t need no stinkin’ morality” as quasi-hero Glenn Ford is no different than those plundering the Mexican countryside alongside his thirst. Ring of Fear puts famed hard-boiled crime novelist Mickey Spillane right in Carney territory, since he’s playing himself investigating a homicidal maniac out to sabotage a traveling circus led by Clyde Beatty. Finally, Man in the Vault is most notable for Wayne working with Andrew V. McLaglen (who’d he’d use again) as William Campbell gets caught up in a high-stakes game of adequacy (the lesser of the set) as a locksmith forced to copy the keys to a safety deposit box with loads of loot. Something I’d love to be a part of someday. Swimming in loot, that is. And not quarters for laundry.
Extras include:
– Audio commentary with William Wellman, Jr., Tab Hunter and Frank Thompson Track of the Cat
– 4 featurettes (A New Kind of Western: The Writing of Walter Van Tilburg Clark, Remembering William Wellman, Black Diamond, and Tracking the Cat) (Track of the Cat)
– Audio commentary with Peter Ford and Frank Thompson (Plunder of the Sun)
– The feature Plundering History (with subsets Introduction, The Oaxaca Valley, The Codex, The Ball Court, The Great City of Monte Alban, and The Hall of Columns at Mitla) (Plunder of the Sun)
– 2 featurettes (On Location with Glenn Ford and The John Wayne Stock Company: Sean McClory) (Plunder of the Sun)
– Photo Gallery (Track of the Cat and Plunder of the Sun)
– Original Theatrical Trailer (Track of the Cat and Plunder of the Sun)
– Batjac Trailers (Track of the Cat and Plunder of the Sun)
– Previews (Ring of Fear and Man in the Vault)
Filmmaker John Ford, largely considered to be the greatest American Director (besides Orson Welles, who you might recall on Citizen Kane said he studied the three masters, by which he meant Ford, Ford, and Ford), was also cinema’s most notorious curmudgeon. Preferring to leave the so-called art out of filmmaking, he’d often comment that he made movies, plain and simple. His painterly images, a by-product of his formalism throughout his career in silents through the late 60’s, still informs filmmakers today (look at the effect The Searchers has on Saving Private Ryan), which makes me giddy as a schoolboy to see The John Ford Collection. While the genesis of Ford started way before he rolled a foot of film on classics like The Lost Patrol, with Boris Karloff experiencing adventure in World War I, and Producer Merian C. Cooper, whose partnership informed Patrol through their Argosy films and The Informer, Ford’s first major stab at Awards with the seedy tale of Victor McLaglen’s dim-witted IRA member who sells out his best friend for a measly amount of money, Ford continued to hone his skills as a master craftsman. But then there’s also missing titles like Mary of Scotland with Katherine Hepburn, and the latter films of Ford’s life like Sergeant Rutledge and his final Western Cheyenne Autumn, wherein Ford had grown quite comfortable making seemingly pedestrian outings with his health in disarray. Ford still commands some mighty respect around my house, and with the set we’re going to discuss (briefly below), there’s no reason not to check these out.
Have a queer feelin’ – with:
– The new featurette – The Informer: Out of the Fog
– Audio commentary with Ford biographer Joseph McBride (Cheyenne Autumn)
– New digital transfer from restored roadshow length picture and audio elements (Cheyenne Autumn)
– Vintage featurette "Autumn Trail" (Cheyenne Autumn)
– Theatrical Trailer (Informer, Sergeant Rutledge, and Cheyenne Autumn)
NOTE: Click on the Cover Art for amazing savings, as Amazon is offering this set for only $55.46 + free super-saver shipping.
I grew up with the John Wayne/John Ford Westerns running rampant throughout my dreams, tales of Cowboys and Indians adrift in a sea of democratic ideals – morality, honor, courage, loyalty, and even the most traditional caveats of family life. This is why The John Wayne/John Ford Collection (await Devin’s DVD reviews) is my most anticipated boxed set of the year, considering there’s an updating of one of the greatest films ever made. The Searchers: Ultimate Edition is that title, with Wayne’s Ethan Edwards discovering the inner and outer trappings of what Ford referred to as a “psychological epic”, lambasting America’s insistence upon racism at all turns. Edwards is a man for whom society has grown larger and more unaccommodating, his predication destroying what made him; prodding him into a deep-seeded inner conflict almost without apology. Ford relishes these touches with his signature brand of qualities coupled with heartbreakingly gorgeous visuals to make his greatest film. Gaze at the last shot where Ford denies Ethan redemption, an amazingly bold statement. Those who cannot stomach it or remain insensible need to stop watching movies altogether, since you probably hate them.
While The Searchers: Ultimate Edition is the steamy sexiness in the set, the other Wayne/Ford collaborations bear more repeating, as their partnership helped inform a whole generation imbibed with their ideals. Stagecoach, made in 1939 (along with other Ford masterpieces like Drums Along the Mohawk – buy that here, and Young Mr. Lincoln – buy that here), cemented the Wayne/Ford tagteam of illustriousness and launched Wayne into the stratosphere of moviestardom. Remolding the then B-genre into the A, Stagecoach’s (and ultimately, Ford’s own) favorite theme of regular people under the most stressful of situations makes for an amazing adventure. It’s not hyperbole or pandering to call it one of the greatest Westerns ever made, simply because Ford and his stock company (along with Wayne and Ward Bond) elevate the film into a story of the individual alone against a sea of hostiles (Arizona’s own Monument Valley and the Indians themselves), or even because its influence on Orson Welles’ Citizen Kane is undeniable. If you’re the type of hooligan for whom black & white movies mean nothing and gain no spec of insight into cinematic history, then please do not venture into a career in filmmaking. Audiences have no use for you.
Even moreso is the rest of the set, which is packed to the masculine gills with Fort Apache, She Wore a Yellow Ribbon, The Long Voyage Home, They Were Expendable, Wings of Eagles, 3 Godfathers, A Turning of the Earth: John Ford, John Wayne and the Searchers, and John Ford/John Wayne: The Filmmaker and the Legend, Sam Pollard’s massive PBS documentary that I missed and flogged myself nightly for not TiVo’ing. Thankfully I can now rectify that. Fort Apache and She Wore A Yellow Ribbon represent Ford’s Calvary Trilogy (with Rio Grande left out mysteriously), each one improving upon the rest with tales of Wayne’s own discovery of acting, to which Ford remarked positively (especially after Red River). I might be copping out here, but the other films, while absolutely correctly entertaining in their own right, would cause me to write pages and pages upon Ford’s use of Western Mythology in our own society and his favorite themes infringed upon them. For the uninitiated, the massive fun you’ll garner from watching these films with fresh eyes will remain unparalleled for the rest of your life. I cannot, and will not, recommend any set more highly than The John Wayne/John Ford Collection for the year so far.
That’ll be the day – with:
The Searchers: Ultimate Collector’s Edition
– 1.75 Anamorphic Widescreen
– Newly remastered and restored from original VistaVision film elements
– Introduction by Patrick Wayne
– Audio commentary with Director Peter Bogdanovich, a Ford friend
– The Searchers: An Appreciation
– A Turning of the Earth: John Ford, John Wayne, and The Searchers
– Behind the Cameras: Meet Jeffrey Hunter, Monument Valley, Meet Natalie Wood, and Setting Up Production
– Reproduction of 1956 Dell comic book
– Reproduction of original 1956 Warner Bros. press book
– Reproductions of filmmaker memos and correspondence
– 10 postcards with behind-the-scenes photos
– Theatrical Trailer
– Movie poster offer
Stagecoach: Two-Disc Special Edition
– Newly remastered from best available film elements
– Audio commentary with Scott Eyman, author of "Print the Legend: The Life & Times of John Ford"
– New feature-length American Masters profile: John Ford/John Wayne: The Filmmaker and the Legend
– New documentary "Stagecoach: A Story of Redemption"
– Audio-only bonus: radio adaptation with Claire Trevor and Randolph Scott
– Theatrical Trailer
Fort Apache
– Digitally remastered and restored from original nitrate elements
– New featurette Monument Valley: John Ford Country
– Theatrical Trailer
The Long Voyage Home
– New featurette "Serenity at Sea: John Ford and the Araner"
Wings of Eagles
– Theatrical Trailer
She Wore a Yellow Ribbon
– John Ford home movies
– Theatrical Trailer
They Were Expendable
– Theatrical Trailer
3 Godfathers
– Theatrical Trailer
Extended Edition 3-UP
There’s this alarming trend we’re being subjected to, the Extended Edition. I don’t know why in the George Roy Hill you’d purchase Black Hawk Down: Extended Edition with 7 minutes of extra footage when the Black Hawk Down 3-Disc Deluxe Edition (click here) came out and fellated it Lexington Steele-style many moons ago. Ron Howard made The Missing, which I enjoyed and many raise eyebrows at me for subjective quality, saddles up with 17 extra minutes of footage from beyond and with a new snazzy Cover Art. While I won’t be picking it up, maybe it makes it a little more tolerable for those with hate in their cinematic hearts. And finally, there’s Mr. and Mrs. Smith: Unrated Edition, which essentially I feel fits perfectly into this category because it splices in 5 more minutes of footage (although I cannot confirm if it is indeed the talked-about tricycle sequence towards the end) and new commentaries and featurettes. Spend wisely, or wisely shall rape you with its prison hands.
If you haven’t scrambled your internal memory yet, you’ll also see these on shelves Tuesday. Robert Stack can cry all over again during Dumbo: Big Top Edition, although Belushi might be madder than hell. The old fogies who visit the site are probably smiling that Wild Wild West: Complete First Season wikki-wikki-wilds it way into their daily debaucheries, and provides a fun diversion from popping Viagra with gusto.
The Touch
The year 2005 has come and gone, yet the Decepticons haven’t captured or destroyed Cybertron into the ground. Thankfully we’ve never had to see the Autobots stage an elaborate vestige of firepower to retake their home land. But that’s about to change. Celebrating 20 years of being a terrible animated film, Transformers: 20th Anniversary Edition arrives in November of this year (the date is being finalized as we speak). I thoroughly cannot understand anyone who harbors the same nostalgia as they did when they were little towards the film now. It’s a mish-mash of good intentions gone horrendously awry, with voice talent all over the place and your favorite main characters dispatched to the junk bin within the first thirty minutes, showing you how much they cared for your own memories. What’s even sadder is the film is Orson Welles’ last, and those who speak highly of it don’t understand at all how wrong they are. Tragedy seemingly sought out everything about this movie and pummeled it into whatever was left after hearing Stan Bush’s memorably ruin your ear drums. Yet I still find myself watching it hoping it gets better.
Me Grimlock no like you – with:
– To be determined as the release date stalks our way.
When I was younger and leaping onto the ground every time I attempted to break free from my bicycle training wheels, my Mother promised me she’d give me Super Mario Brothers 3 when I was able to ride on my own; her gift. I vaulted and leapt and scraped every shin and pre-pubescent hair but the time was within my grasp. I saw her place the NES cartridge in the glove box of her car, where I quickly convinced her that some playtime would improve my cycling skills. She bit, and I was off exploring the infinite 8-bit worlds. I never learned how to ride my bike. I always remember the fun times I had indoors, considering I’d been exposed to the Fred Savage piece called The Wizard. You’ve seen it as well, and all I seem to remember from the memories not blocked out by depression and strife is that Jenny Lewis can throw a mean punch, and the Powerglove is bad, man. Very bad. Those giant screens glowing in triumph, Christian Slater reconciling with his own fatherly issues, and me not caring about the emotional discoveries since they limited the amount of awesome NES gameplay. On August 29th, discover your own lives once again and see how far you’ve regressed yourself. But like Captain John H. Miller, “earn this.”
Corey’s so thick – with:
– Nothing. This might be a travesty for some, so make sure to write to Universal to share your thoughts.
Pipe Up!
The end is nigh? Nah, it’s just our Region Free section. Hail Satan!
You probably have no idea who Matthew Sweet is, but the guy wrote a terrific biography on the history of early British cinema, one to read if you’re truly interested in the subject. In Silent Britain, Sweet focuses his own energies into retelling the first three decades of British cinema (from 1859 to Hitchcock’s Blackmail in 1929) in a period of tremendous upheaval not told quite this thorough ever. The British cinema machine churned out thousands of films pre-sound and odds are that only 1/5th of those have actually survived, with stories of prints of popular films being worn out and re-shot dozens of times while others, like Battle of the Somme being seen by over 20 million people in its heyday. Sweet allegedly leaves no stone unturned in his quest, interviewing thousands knowledgeable on the subject, splicing in historical footage, other interviews and even discussing Blair, the world’s first canine movie star. The point remains that we all have to know where we’ve been to know where we’re going, and Silent Britain is as good as place to start as any.
Roll ‘em! – with:
– Interview with Neil Brand, one of the world’s foremost silent film composers
– Short film spoof of 1920s film censorship – Cut It Out (Adrian Brunel, 1925) – 1918
– Stills gallery
This is a Region 2 PAL DVD, requiring you to power it with your mind.
Captain America and Mexico’s own doppelganger Santo are vacationing in Turkey when they’re called upon to stop the evil Super Villain Spider-Man from decimating the whole entire globe. My first response? A hearty WHAT THE FUCK?!?! Then I realized this was an entirely Turkish production, meaning a pop-goes-the-weasel fun time through the annals of head-scratchville. 3DevAdam goes by several names: The Three Mighty Men aka The Three Giants aka