7 items from 2017
Scream Factory wasted no time kicking their week into high gear, as today they announced six upcoming Blu-ray releases that are sure to scratch the cult horror and sci-fi itch for home media collectors.
Coming to Blu-ray this summer from Scream Factory are Alienator, Vicious Lips, The Bat People, The Four Skulls of Jonathan Drake, The Man From Planet X, and Windows. Specific release dates and special features have yet to be announced, and you can be sure that we’ll keep Daily Dead readers updated on all six of these releases.
From Scream Factory: “Some of you may remember last year that we asked you to vote on some obscure titles we had existing rights on and if you wanted to see them come to the Blu-ray format. Since then we already announced several from that list and now we can confirm that we have even more planned »
- Derek Anderson
Raising Cain, 1992.
Directed by Brian De Palma.
The wife of a respected child psychologist starts to suspect that her husband’s obsession with their daughter’s behaviour may not be very healthy.
Returning to the well of Brian De Palma movies to give their meticulous treatment the wizards at Arrow Video have turned their attention to his 1992 thriller Raising Cain, a movie sandwiched between the disappointing The Bonfire of the Vanities and the brilliant Carlito’s Way in the director’s filmography and a film that was possibly his most blatant nod to Hitchcock – and Psycho in particular – since Dressed to Kill back in 1980.
- Amie Cranswick
Michael Caine had an interesting run of genre flicks starting in the late ‘70s. The Swarm (1978) was laughed off the screen, Dressed to Kill (1980) was enjoyed by audiences and critics alike, and The Hand (1981) dropped his batting average once again. Nestled in between all those was The Island (1980), a killer pirate movie from the author of Jaws and directed by the man behind The Bad News Bears. What could go wrong? Well, everything, according to most folk. It’s an odd one to be sure, but the wild tonal shifts that prevent the ship from staying on a clear course make it a fascinating treasure that gets better with each viewing.
Released in June by Universal, The Island had a surefire pedigree for success; the Jaws juggernaut of producers Zanuck and Brown and author Peter Benchley (here, adapting his own novel) promised a good time to be had by all. »
- Scott Drebit
“The Wicked Die Young” will be released on April 14 via Milan Records, and it will provide an insight into the sounds that inspired the film.
The compilation spans disco, punk and electro, and features tracks by Giorgio Moroder, Sparks, Suicide, Electric Youth, Dionne Warwick and others. It also includes music by Refn’s previous collaborator Cliff Martinez, who has scored the writer/director past three films, as well as his son Julian Winding, who contributed to “Only God Forgives” and “The Neon Demon.”
The 46-year-old Danish filmmaker has been releasing his “Refn Presents” series through Milan Records since 2015, including the scores to “Old Boy, »
- Yoselin Acevedo
With The Neon Demon now (almost completely) exorcised from Danish auteur Nicolas Winding Refn‘s system, he is already deep into preparing his next project. On the docket for the director is The Avenging Silence, which will apparently sate Refn’s desire to make a “big extravagant action film.” Refn also said over the summer it is loosely inspired by “Dr. No,” Ian Fleming‘s classic Bond novel, as well as William Burrough‘s “Nova Express.” An extended synopsis has now been released for the feature, which hopefully will make its way to screens by 2018.
While he has dipped into action in sections of Drive, Bronson and The Pusher Trilogy, The Avenging Silence sounds like a big step for Refn into pure spy/action genre fare. However, fans of Refn’s stylistic choices should rest assured as he has already stated his protagonist won’t say much. This time, that »
- Mike Mazzanti
The last movie I watched in 2016 was Brian De Palma's Dressed to Kill, which was almost a random selection from the numerous discs I've bought but haven't watched yet. I first watched the movie on broadcast television, sometime in the 1980s, and even all cut up and edited and interrupted with advertising, its fundamental power shook me up. Since then I've seen the theatrical release version multiple times, on cable and on DVD, and so when I popped it into my Blu-ray machine, I thought it might serve as a comfortable horror blanket, a bulwark against the expected gunfire and fireworks of a typical New Year's Eve in my low-budget apartment complex. I was wrong. Not only about New Year's Eve -- it was...
[Read the whole post on screenanarchy.com...] »
By Todd Garbarini
William Friedkin’s To Live and Die in L.A., which opened on Friday, November 1, 1985 to lukewarm notices and underwhelming box office despite being championed by Roger Ebert’s four-star review, is a highly stylized, dark, and uncompromising crime thriller that boasts a then-unknown cast with a story and a pace that feels more suited to the 1970’s. It also contains what I consider to be the greatest car chase ever filmed and edited for a major motion picture, which took no less than five weeks to plan and shoot. Having seen Mr. Friedkin’s brilliant East Coast police thriller The French Connection (1971) on VHS in 1986, I made it a point the following year to catch up with his West Coast-based story of a Secret Service agent, Richard Chance (William Petersen), whose best friend and partner Jim Hart (Michael Greene) has been murdered by artist/currency counterfeiter Rick Masters »
- firstname.lastname@example.org (Cinema Retro)
7 items from 2017
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