Lynne Ramsay’s emotionally devastating first feature, Ratcatcher (1999), is given a superb new 4K transfer on Criterion’s Blu-ray, which includes all the extras from their 2002 DVD with the addition of new interviews with Ramsay and cinematographer Alwin Küchler.
Criterion showcase a key ’50s sci-fi movie with their extras-loaded Blu-ray of Jack Arnold’s The Incredible Shrinking Man. The 4K restoration makes this the definitive visual presentation of the film, while the numerous special features – commentary, interviews, documentary – cover the production and the critical importance of the movie in detail.
Indicator’s sixth box set of Hammer movies, Night Shadows, is a bit of a mixed bag, with a silly but entertaining Old Dark House throwback in John Gilling’s The Shadow of the Cat (1961), an overwrought psycho thriller in Freddie Francis’ Nightmare (1964), a historical adventure in Peter Graham Scott’s Captain Clegg (1962), and a pseudo-Gothic horror in Terence Fisher’s The Phantom of the Opera (1962).
Thanksgiving weekend brought an excess of eating and drinking (but no turkey!) and three great movies – plus one dud.
Severin introduces the work of Eloy de la Iglesia, a little-known Basque filmmaker with three releases spanning the period from the end of the Franco regime to the transition to democracy in Spain. Two thrillers with a satirical edge made in the early ’70s give way to a trilogy of violent, neo-realist depictions of youth crime and drug addiction in the early ’80s. Dynamic and visceral, these films are deeply empathetic to members of the underclass – workers and dispossessed adolescents – and unflinching in their treatment of addiction and homosexuality in a repressive society.
Criterion’s new Blu-ray presents Luchino Visconti’s darkly perverse The Damned in a new 2K restoration whose dense colours emphasize the gloom hanging over a powerful German industrial family collapsing under the weight of its own decadence as the Nazis consolidate their political power in the early 1930s.
The latest releases from Cauldron Films are a pair of little-known found-footage horror movies which both have their moments, but suffer from the genre’s frequent shortcomings. Mike Costanza’s The Collingswood Story (2002) was the first movie to use on-line video chat as a storytelling medium, while Victor Dryere’s 1974: La posesión de Altair (2016) goes back to pre-video times, using super-8 home movies to show a young married couple under supernatural attack in rural Mexico.
In addition to all the movies I’ve reviewed here in the past three or four months, I’ve watched many more; here I acknowledge more than seven dozen movies and television series I’ve seen over the summer.
Vinegar Syndrome distributes a number of smaller labels which offer a wide range of genre releases, from the ultra-low-budget Wakaliwood productions of Nabawana I.G.G. in Uganda to the impressively polished small-budget sci-fi of Chris Caldwell and Zeek Earl’s Prospect (2018), from the gritty ’80s exploitation of Norbert Meisel’s Walking the Edge (1983) to the mythic spaghetti western-noir of Roland Klick’s Deadlock (1970).
I recently spoke with Chicago-based podcaster McKenzie Wilkes about my experiences with David Lynch in the early 1980s. That conversation can now be heard on McKenzie’s On Lynch podcast.