Technical accuracy is not necessarily what makes science fiction satisfying; more important is storytelling, as illustrated by two older, and one recent, movies released on Blu-ray: Byron Haskin’s Robinson Crusoe on Mars (1964), Joseph Sargent’s Colossus: The Forbin Project (1970) and Denis Villeneuve’s Arrival (2016)..
The BFI Blu-ray release of Arthur Robison’s The Informer (1929) offers a fascinating glimpse of the sometimes rocky transition from silent cinema to sound, with restorations of the original silent version and the partial Talkie made simultaneously.
Some brief comments on several recent movie-related deaths, plus random observations about an eclectic group of recently watched Blu-rays in various different genres.
Severin’s Blu-ray showcases the low budget art of independent filmmaker Frederick R. Friedel with excellent transfers of his two mid-’70s movies, Axe (aka Lisa, Lisa) and Kidnapped Coed (aka The Kidnap Lover).
Four Twilight Time releases showcase exceptional acting in a variety of styles: Spencer Tracy and Frederick March in Stanley Kramer’s Inherit the Wind (1960); Jeff Bridges, John Heard and Lisa Eichhorn in Ivan Passer’s Cutter’s Way (1981); Sean Penn and Christopher Walken in James Foley’s At Close Range (1986); and David Thewlis in Paul Greengrass’ Resurrected (1989).
A pair of made-in-Germany genre-bending thrillers are well-served by excellent Blu-ray editions: Sam Fuller’s Dead Pigeon on Beethoven Street (1972) from Olive Films and Wolf Gremm’s Kamikaze ’89 (1982) from Film Movement.
A collection of random thoughts about recent viewing and reading, including an ambivalent excursion into Netflix streaming.
With HMV Canada going bankrupt and closing down, a disk addict gets a couple of months of increasingly cheap deals, leading to some great and some not-so-wise purchases.
A round-up of recent Blu-ray viewing, with some classics, an occasional dud, and a few old favourites.
Hammer Films are, of course, best known for launching the modern era of horror with their late ’50s colour reworkings of the Universal classics from the ’30s, beginning with Curse of Frankenstein (1957) and Dracula (1958). These movies, colourful, somewhat perverse for the time, and more graphic than earlier films in the genre, inspired Roger […]