{"id":20770,"date":"2023-09-26T09:00:00","date_gmt":"2023-09-26T16:00:00","guid":{"rendered":"https:\/\/crookedmarquee.com\/stage8\/?p=20770"},"modified":"2024-03-02T21:16:04","modified_gmt":"2024-03-03T05:16:04","slug":"the-best-movies-to-buy-or-stream-this-week-past-lives-elemental-moonage-daydream-and-more","status":"publish","type":"post","link":"https:\/\/crookedmarquee.com\/stage8\/the-best-movies-to-buy-or-stream-this-week-past-lives-elemental-moonage-daydream-and-more\/","title":{"rendered":"The Best Movies to Buy or Stream This Week: <i>Past Lives<\/i>, <i>Elemental<\/i>, <i>Moonage Daydream<\/i> and More"},"content":{"rendered":"\n<p><em>Every Tuesday, discriminating viewers are confronted with a flurry of choices: new releases on disc and on demand, vintage and original movies on any number of streaming platforms, catalogue titles making a splash on Blu-ray or 4K. This twice-monthly column sifts through all of those choices to pluck out the movies most worth your time, no matter how you\u2019re watching.<\/em><\/p>\n\n\n\n<p><strong>PICK OF THE WEEK:&nbsp;<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/48vAEBo\" target=\"_blank\" rel=\"noopener\"><strong><em>Past Lives<\/em><\/strong><\/a><strong>: <\/strong>Celine Song\u2019s feature debut tells a simple story, of two people who knew each other when they were children, reconnected in college and fell into something like love, and have now met again, when one of them is married. The particular majesty of this very modest film is how it tells a story that\u2019s strikingly specific in its particulars, but it tells that story so insightfully and personally that it becomes universal. Not all of us have been that girl, or that guy, or the other one. But we\u2019ve all loved someone when it was too late, or questioned the choices we\u2019ve made, or wondered what our lives would be like if we\u2019d done this one little thing differently. And it\u2019s that universality \u2014 along with the sensitivity of the performances and offhand ease of the dialogue \u2014 that makes it such an <a href=\"https:\/\/crookedmarquee.com\/stage8\/review-past-lives\/\">overwhelmingly, devastatingly emotional experience<\/a>. (Includes audio commentary, deleted scenes, and featurette.)<\/p>\n\n\n\n<p><strong>ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.target.com\/p\/elemental-blu-ray-dvd-digital\/-\/A-89775979?ref=tgt_adv_xsp&amp;AFID=google&amp;fndsrc=tgtao&amp;DFA=71700000012510700&amp;CPNG=PLA_Entertainment%2BShopping%7CEntertainment_Ecomm_Hardlines&amp;adgroup=SC_Entertainment&amp;LID=700000001170770pgs&amp;LNM=PRODUCT_GROUP&amp;network=g&amp;device=c&amp;location=9004167&amp;targetid=pla-311244274998&amp;ds_rl=1246978&amp;ds_rl=1248099&amp;gclid=CjwKCAjw38SoBhB6EiwA8EQVLjjWoGzyNxftESRvK2EfBZxv7CvEEsGFyAG6RPTLDCh30plhTVkPVRoCW7wQAvD_BwE&amp;gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\"><strong><em>Elemental<\/em><\/strong><\/a><strong>: <\/strong>The latest from Disney\/Pixar can feel, in spots, like something of a medley of their greatest hits; <em>Zootopia<\/em> is particularly well-represented, but there are dashes of <em>Inside Out<\/em> and <em>Coco<\/em>, among others. But the character designs are inventive, the dialogue is clever (though some of the puns are pretty dire), and the set pieces are well-executed (especially the big flood at the climax). Most importantly, if the specifics are familiar, there\u2019s an overall movement into new territory, as the central relationship has elements of romantic comedy that feel fresh and unexpected. It\u2019s not one of the great Pixar pictures, but it\u2019ll do. (<a href=\"https:\/\/www.disneyplus.com\/movies\/elemental\/1B2ZQ9GF35W5?irclickid=WdVTCb1MqxyPWhBQSfVUjVdGUkFRsjXJsSG8SI0&amp;irgwc=1&amp;cid=DSS-Affiliate-Impact-Content-JustWatch+GmbH-705874&amp;tgclid=09010049-4775-4bbe-a300-10b8651206fe&amp;dclid=CKzUzZnlxoEDFYcJaAgdxNQGOA\" target=\"_blank\" rel=\"noopener\"><em>Also streaming on Disney+<\/em><\/a>.) (Includes audio commentary, deleted scenes, featurettes, and \u201cCarl\u2019s Date\u201d short.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/collections\/all-partner-label-releases\/products\/what-doesnt-float\" target=\"_blank\" rel=\"noopener\"><strong><em>What Doesn\u2019t Float<\/em><\/strong><\/a><strong>: <\/strong>It\u2019s not exactly innovative, at this point, to make an ensemble comedy\/drama about a group of casually connected fringe dwellers trying to make their way through the mess of contemporary New York City \u2014 it\u2019s practically become a subgenre. But familiarity doesn\u2019t have to breed contempt, and there\u2019s a lot to like about director Luca Balser\u2019s dark comedy, from the eclectic cast (including such NYC indie standbys as Larry Fessenden and Keith Poulson) to the crisp digital photography (by the similarly prolific Hunter Zimny and Sean Price Williams) to the breezy running time (an unimposing 69 minutes, nice.) (Includes audio commentary and score.)<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE TRIAL | Official Trailer | STUDIOCANAL International\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/ae3-01zSQOs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>ON 4K:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/455L4VF\" target=\"_blank\" rel=\"noopener\"><strong><em>The Trial<\/em><\/strong><\/a><strong>: <\/strong>One of the last of Orson Welles\u2019s features to fight its way out from the gutter of low-quality public domain bargain bins into a first-class HD presentation, this Criterion edition of the master\u2019s 1962 adaptation of Franz Kafka\u2019s novel is a feverish mixture of literary adaptation, paranoid thriller, and neo-German expressionism. Welles is a ideal interpreter of Kafka\u2019s work, tightly integrating and navigating his turns to dark humor, surrealism, and nihilism, while Anthony Perkins\u2019s performance as the persecuted Josef K. feels especially vulnerable in light of what we now know about the secrets he was forced to keep. (Includes audio commentary, archival interviews, trailer, and the feature-length, Welles-directed documentary <strong><em>Filming \u2018The Trial.\u2019<\/em><\/strong>)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/466Mxw6\" target=\"_blank\" rel=\"noopener\"><strong><em>Moonage Daydream<\/em><\/strong><\/a><strong>: <\/strong>This fiercely energetic David Bowie bio-doc (new to the Criterion Collection) is the work of Brett Morgan, one of the few pop culture documentarians who is trying to expand and experiment with the form. By his own admission, Bowie \u201cspent a lot of my life actually looking for myself\u201d; it wasn\u2019t a life that moved in a straight line, so an account of it shouldn\u2019t either. There\u2019s biographical information, sure, and some sense of chronology, but it\u2019s unpacked thematically, in musical and cinematic movements, via scorching concert footage, documentary odds and ends, archival interviews, stock footage, clips from his films, experimental videos, and more. Morgan juxtaposes and manipulates the images in unexpected ways, and does similar magic with the music; Criterion\u2019s 4K disc looks great but <em>sounds<\/em> spectacular, making these timeless songs sound new all over again. (<a href=\"https:\/\/play.max.com\/movie\/2b485cf0-ac93-47ca-aa70-735f6a2776e0\" target=\"_blank\" rel=\"noopener\"><em>Also streaming on Max<\/em><\/a>.) (Includes audio commentary, Q&amp;A, interviews, previously unreleased Bowie footage, and trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/www.bestbuy.com\/site\/fall-includes-digital-copy-steelbook-4k-ultra-hd-blu-ray-blu-ray\/6547482.p?skuId=6547482\" target=\"_blank\" rel=\"noopener\"><strong><em>Fall<\/em><\/strong><\/a><strong>: <\/strong>Our own Bill Bria calls them \u201csingle-issue thrillers,\u201d and <a href=\"https:\/\/crookedmarquee.com\/stage8\/the-return-of-the-summer-movie-single-issue-thriller\/\">describes them thus<\/a>: \u201ca couple of characters encounter A Big Problem, and then over the course of one or two hours (but not more than that), struggle to find a way to solve, escape, or survive it.\u201d The single-issue thriller has fallen rather out of favor these days, thanks to the multi-media, \u201cuniverse\u201d-spanning tentpoles that studios increasingly hang their hats on, but last summer yielded a handful of sturdy, solid examples, and the best of the bunch was this killer thriller from director Scott Mann, now hitting Best Buy in an exclusive 4K steelbook edition. It\u2019s a gripping piece of work (often literally), as two thrill-seeking best friends (Grace Caroline Currey and Virginia Gardner) climb a 2,000 foot radio tower and end up stuck at its top with no clear escape in sight. If you\u2019re afraid of heights (hello!) proceed with caution, but this is a taut little nail-biter, and its leads have charisma to burn. (Includes audio commentary, featurettes, music video, and trailer.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3ZxX8h5\" target=\"_blank\" rel=\"noopener\"><strong><em>The Exorcist<\/em><\/strong><\/a>: The recently-departed William Friedkin\u2019s 1973 horror smash is the latest Warner Bros classic to get the 4K treatment as part of their 100th anniversary series, but those who follow Friedkin\u2019s work know that his home video releases can be a dicey proposition; save George Lucas, there are few filmmakers who like to tinker with their work more (with similarly diminishing returns). But, some minor color timing issues aside, he hasn\u2019t monkeyed with this one much, and certainly not in a manner that the casual viewer might note \u2014 unlike, say, <em>The French Connection. <\/em>(That new cover art, though, P.U.) As for the movie itself, well, there\u2019s a reason it\u2019s still considered by many to be the definitive horror movie, more than 40 years after its release: a combination of terrifyingly convincing special effects, harrowing set pieces, and well defined characters that ground the whole thing in a relatable reality. (Includes original theatrical version and extended director\u2019s cut, both in 4K, plus audio commentaries and introduction.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3LDObgK\" target=\"_blank\" rel=\"noopener\"><strong><em>The Train<\/em><\/strong><\/a><strong>: <\/strong>Between 1962 and 1966, John Frankenheimer directed <em>Birdman of Alcatraz<\/em>, <em>The Manchurian Candidate<\/em>, <em>Seven Days in May<\/em>, <em>The Train<\/em>, and <a href=\"https:\/\/crookedmarquee.com\/stage8\/classic-corner-seconds\/\"><em>Seconds<\/em><\/a>, a run of first-rate movies that some of our best filmmakers haven\u2019t matched. This is one of the less-discussed of that bunch, but it\u2019s <a href=\"https:\/\/crookedmarquee.com\/stage8\/classic-corner-the-train\/\">no less impressive<\/a>, a blistering WWII heist picture in which Burt Lancaster leads a team to stop a German colonel (Paul Scofield) from transporting a priceless cache of stolen artworks. Frankenheimer executes the breathless action and taut suspense with aplomb, and Lancaster (though suspiciously accent-less) is rock-solid in the leading role. (Includes audio commentary, isolated score, featurette, TV spot, and trailers.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/45eKVzq\" target=\"_blank\" rel=\"noopener\"><strong><em>Thunderbolt and Lightfoot<\/em><\/strong><\/a>: The directorial debut of Michael Cimino (who would go on to rise with <em>The Deer Hunter<\/em> and fall with <em>Heaven\u2019s Gate<\/em>), this is a freewheeling opposites-attract buddy picture, pairing Jeff Bridges (young, talkative, hyper) with Clint Eastwood (old [already], taciturn, laid-back) as a pair of run-and-gun criminals. The first half is the best, with their attraction for each other playing as <a href=\"https:\/\/crookedmarquee.com\/stage8\/thunderbolt-and-lightfoot-and-love-without-nickname\/\">barely-concealed subtext<\/a>, placing the picture in the grand tradition of <a href=\"https:\/\/crookedmarquee.com\/stage8\/whole-worlds-coming-to-an-end-generation-xs-obsession-with-lovers-on-the-run-movies\/\">lovers-on-the-run movies<\/a>. It\u2019s less fun in the back half, when it moves into more standard heist movie territory, though that stuff is enjoyable as well. KL Studio Classics\u2019 new 4K transfer does right by the striking landscapes and dusty country roads \u2014 and by Bridges, who was rarely more beautiful. (Includes audio commentary, featurette, trailer, and radio and TV spots.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/456ZYuR\" target=\"_blank\" rel=\"noopener\"><strong><em>Natural Born Killers<\/em><\/strong><\/a><strong>: <\/strong>Quentin Tarantino followed up his <em>True Romance <\/em>screenplay with another <a href=\"https:\/\/crookedmarquee.com\/stage8\/whole-worlds-coming-to-an-end-generation-xs-obsession-with-lovers-on-the-run-movies\/\">lovers-on-the-run flick<\/a>, this one more deliberately over-the-top and satirical\u2014qualities cranked up to 11 by eventual director Oliver Stone, whose rewrite (Tarantino ultimately took only a story credit) made affectionate serial killers Mickey and Mallory Knox into an avatar for \u201890s-era monsters-as-celebrities. Woody Harrelson and Juliette Lewis have rarely been better, leaning into their hillbilly accents and pure blood lust (and, for each other, just plain lust), while Tommy Lee Jones has never been more cartoony, and yes, that includes <em>Batman Forever; <\/em>Shout Factory\u2019s new 4K disc gives Robert Richardson\u2019s distinctive, multi-media cinematography its full range of richness and depth. It\u2019s not a subtle picture (unsurprising, considering its director), but it is a bluntly effective one, tossing the narrative and visual bookmarks of the sub-genre into a multimedia blender and slamming down the puree button. (Includes director\u2019s and theatrical cut, audio commentary, introduction, new interviews, featurettes, deleted scenes, alternate ending, and trailer.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3ZxlGHd\" target=\"_blank\" rel=\"noopener\"><strong><em>Halloween H20<\/em><\/strong><\/a><strong>: <\/strong>When the David Gordon Green-helmed reboot-quel of <em>Halloween<\/em> came out in 2018, it was tempting to look back and dismiss Jamie Lee Curtis\u2019s twenty-years-earlier attempt to reappropriate the character (and, in doing so, her scream queen past). But now that Green\u2019s two follow-ups have absolutely <a href=\"https:\/\/www.vulture.com\/article\/every-movie-in-the-halloween-franchise-ranked.html\" target=\"_blank\" rel=\"noopener\">sucked on toast<\/a>, let us praise <a href=\"https:\/\/crookedmarquee.com\/stage8\/harveys-hellhole-halloween-h20-20-years-later\/\">the small pleasures<\/a> of <em>H20<\/em>: Steve Miner\u2019s atmospheric direction, the fresh-faced cast (including early turns by Michelle Williams, Joseph Gordon-Levitt, and Josh Hartnett), the slender running time (86 minutes baby!), the winking cameo from Curtis\u2019s mom and fellow scream queen Janet Leigh, and Curtis\u2019s compelling work as a haunted woman who\u2019s trying her very best to keep it together.&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/48FenS2\" target=\"_blank\" rel=\"noopener\"><strong><em>The Last Dragon<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>From the music to the fashion to the action to the dancing, Michael Schultz\u2019s 1985 hybrid of kung-fu movie and musical looks like it was made to go into a time capsule, and now it plays as one. It\u2019s all very silly on the surface (and its mostly surface), as Leroy Green \u2014 aka \u201cBruce Lee-roy\u201d \u2014 pursues and antagonizes the evil Sho\u2019nuf, the Shogun of Harlem (Julius J. Carry III) while embarking on a charmingly chaste romance with a video jockey (Vanity). Executive producer Barry Gordy put his name in the title (I\u2019d like to think the filmmakers got their revenge by making one of the villains a wannabee music mogul), but this feels like a film less reflecting the vision of a singular artist than the odd confection of influences and ephemera that were flying through the air in the mid-\u201880s. And on <em>that <\/em>level, it\u2019s a hoot. (Includes audio commentaries, featurette, and trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3rAM4TT\" target=\"_blank\" rel=\"noopener\"><strong><em>Carlito\u2019s Way<\/em><\/strong><\/a><strong>:<\/strong> Director Brian De Palma\u2019s films tend to be dispersed into two groups: the heavily Hitchcock-influenced suspensers (<em>Sisters, Dressed to Kill, Blow Out<\/em>), and crime dramas like <em>The Untouchables<\/em>, <em>Scarface, <\/em>and this 1993 reunion with the latter\u2019s star Al Pacino. But this one crosses over into the other category as well, thanks to an unbearably tense scene of Sean Penn waiting for an elevator (it\u2019s better than it sounds) and a crackerjack climax, in which Pacino\u2019s title character evades the hoods who want to kill him and slips through Grand Central in a virtuoso sequence that juices up on the filmmaker\u2019s slick, relentless energy. Arrow Video\u2019s 4K presentation beautifully captures the shadows of the \u201870s Manhattan settings, and if Pacino\u2019s Puerto Rican accent is dodgy, his tough-guy bravado is unshakable. (Includes audio commentaries, new and archival interviews, featurettes, deleted scenes, and trailers.)&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"La Bamba (1987) Trailer #1 | Movieclips Classic Trailers\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/nkz1gImg75s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>ON BLU-RAY:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3Pynyuv\" target=\"_blank\" rel=\"noopener\"><strong><em>La Bamba<\/em><\/strong><\/a><strong>: <\/strong>At its best, Luis Valdez\u2019s portrait of the short life of early rocker Ritchie Valens feels less like a biopic than like a rock movie of the era; its energy is infectious (especially early on), and it understands the subversive kick of playing, and loving, this music. Lou Diamond Phillips is startlingly charismatic as Ritchie, but as my colleague Zach Vasquez notes, the standout performance is Esai Morales as Valens\u2019 bad-boy brother Bob; their thorny dynamic, a mixture of hero worship, questing for acceptance, and simmering resentment, is the most compelling in the picture. <em>La Bamba<\/em> occasionally veers into cliche, but it\u2019s all performed and executed with such earnestness that only a killjoy could complain. (Includes audio commentaries, interviews, featurette, audition footage, and trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3Zuw3LY\" target=\"_blank\" rel=\"noopener\"><strong><em>School of Rock<\/em><\/strong><\/a><strong>: <\/strong>A PG-13 movie starring Jack Black and a bunch of grade-school kids should, by any definition, not rock. But director Richard Linklater, writer Mike White (pre-<em>Enlightened <\/em>and <em>White Lotus<\/em>) make a goofy, pre-fab-sounding premise into something joyful and energetic by harnessing their sheer, unvarnished love for the music in question, while Black is on fire \u2014 funny, wild, sweet, delightful \u2014 in a role pretty much tailor-made for his talents. Paramount\u2019s new 20th anniversary limited edition puts it in a handsome steelbook, and it looks and sounds better than ever. (Includes audio commentaries, featurettes, music video, and trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3PUkHxH\" target=\"_blank\" rel=\"noopener\"><strong><em>The Pack<\/em><\/strong><\/a><strong>:<\/strong> Robert Clouse, whose filmography runs the gamut from <em>Enter the Dragon<\/em> (yay!) to <em>Game of Death <\/em>(boo!), both wrote and directed this 1977 exploitation thriller, new to Blu from Scream Factory. The source material is Dave Fisher\u2019s novel, but this thing has \u201c<em>Jaws<\/em> knock-off\u201d written all over it, concerning as it does an island tourist community that\u2019s knocked on its ass when nature attacks. In this case, nature is a snarling pack of rabid dogs, adopted by summer visitors and abandoned to fend for themselves, who decide to take out their grievances on the poor souls who stick around. (Chief among them is Joe Don Baker, in an especially foul mood.) The dogs are convincingly dangerous \u2014 try not to think too much about how they got some of this footage \u2014 and Clouse delivers some solid scares and more than a few disturbing images, boosted considerably by Lee Holdridge\u2019s deliciously bombastic score. (Includes audio commentary, interviews, and trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3t9cQ6o\" target=\"_blank\" rel=\"noopener\"><strong><em>Primetime Panic 2<\/em><\/strong><\/a><strong>: <\/strong>Fun City Editions follows up their excellent 2021 compendium of noteworthy made-for-TV movies with this new collection of three films, aired between 1977 and 1984, all produced by the issues-minded Michael Jaffe. The best-known of the bunch is <strong><em>The Death of Ritchie<\/em><\/strong>, a tough, fact-based, youth-in-trouble drama with Robby Benson as a teenage kid addicted to drugs and trouble, and Ben Gazzara in top form as his dad. It\u2019s a rare depiction of drug addiction that knows there\u2019s rarely a magic fix or skeleton key, and the writing and acting deftly conveys that the father\u2019s stubbornness is a much an issue as the child\u2019s addictions. Eileen Brennan lends able support as the mother; she has a more substantial showcase in <strong><em>Incident at Crestridge<\/em><\/strong>, as a new resident of a small Wyoming town who takes on a crooked mayor (Pernell Roberts) and a good-for-nothing sheriff by running for the latter post herself. And finally, TV movie queen Valerie Bertinelli stars in <strong><em>The Seduction of Gina<\/em><\/strong> as a young woman whose casual gambling habit becomes an addiction. It sounds rote, but Bertinelli nails Gina\u2019s increasing desperation and fear, director Jerrold Freedman builds the dread brick by brick (with the help of a fine early score by Thomas Newman), and the cinematography by Jonathan Demme\u2019s go-to guy Tak Fujimoto nicely captures the San Francisco locales. (Includes audio commentaries.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3RzXMsL\" target=\"_blank\" rel=\"noopener\"><strong><em>Sex, Power and Money &#8211; Films by Beth B<\/em><\/strong><\/a><strong>: <\/strong>Beth B came up late in the \u201880s New York \u201cNo Wave\u201d movement, making (along with her husband Scott B) rough-around-the-edges Super-8 shorts and features intended to provoke and proselytize. Kino Classics\u2019 new compendium focuses more on her work in the \u201890s and beyond (though with a couple of dips back at the \u201880s), in which her sensibilities as filmmaker, visual artist, and commentator fused for a series of scrappy, striking think pieces, frequently featuring young actors on the rise (hello, Clark Gregg) and old pals from the scene like Lydia Lunch. (Includes interview.)<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/products\/the-defilers-a-smell-of-honey-a-swallow-of-brine\" target=\"_blank\" rel=\"noopener\"><strong><em>The Defilers \/ A Swill of Honey, A Swallow of Brine!<\/em><\/strong><\/a><strong>:<\/strong> They called them \u201crougies,\u201d exploitation movies from the era where nudity was allowed but sex was not, so their makers swapped out sex for violence. One of the most notorious was 1965\u2019s <em>Defilers<\/em>, from producer David F. Friedman and director R. Lee Frost, in which two slimeballs kidnap an innocent young woman (the charming Mai Jansson)&nbsp;for their use and abuse. The sleazy subject matter is offset by the crisp black-and-white cinematography and snappy jazz score, as well as the sheer lunacy of the execution. Co-star Bryon Mabe re-teamed with producer Friedman to direct <em>A Swill of Honey<\/em>, in which a femme fatale (Stacey Walker) finds all sorts of ways to ruin any man who gives her a second glance. It runs out of steam by the end, but the striking editorial choices and Walker\u2019s go-for-the-gusto performance make it worth a watch, and the AGFA\/Something Weird Video presentation is, as usual, first-rate. (Includes audio commentaries, short film, and trailers.)<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/collections\/all-partner-label-releases\/products\/the-hard-part-begins\" target=\"_blank\" rel=\"noopener\"><strong><em>The Hard Part Begins<\/em><\/strong><\/a>: Before <em>Prom Night, <\/em>Canadian director Paul Lynch helmed something altogether different \u2014 a New Hollywood-eseque portrait of life on the road that plays now like the second half of a (very good) double-bill with <em>Payday<\/em>. Donnelly Rhodes stars as an old hand of a country musician, and much of the film\u2019s appeal comes in its convincing portrait of life on the road, the interpersonal (and inter-band) turmoil of life as an almost-star, and the fringe types one meets along the way. Rhodes is especially good as the footloose and fancy free crooner whose lifestyle is finally catching up with him, while Nancy Belle Fuller finds all sorts of nuances in what could have been a dull romantic-interest role. (Includes audio commentary and interviews.)<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/collections\/frontpage\/products\/arnold\" target=\"_blank\" rel=\"noopener\"><strong><em>Arnold<\/em><\/strong><\/a><strong>: <\/strong>This 1973 chiller from Bing Crosby Productions (!) opens with a dead guy\u2019s wedding (\u201cI love Arnold so much, I refuse to let even death separate us\u201d) and only gets battier from there. Stella Stevens is the corpse\u2019s blushing bride, Roddy McDowell is her brother-in-law and secret lover, and Elsa Lanchester, Farley Granger, and Victor Buono turn up in supporting roles. The whole thing is a goofy blast, and Vinegar Syndrome\u2019s restoration gives it the proper Gothic horror sheen. (Includes audio commentary and video essay.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/collections\/frontpage\/products\/evil-judgment\" target=\"_blank\" rel=\"noopener\"><strong><em>Evil Judgment<\/em><\/strong><\/a><strong>: <\/strong>Vinegar Syndrome works similar magic with this <em>very<\/em> Canadian, <em>very<\/em> \u201890s horror thriller, which combines the neon slime of <em>Angel <\/em>et. al. with slasher and giallo vibes to tell the story of an unhappy waitress who tries her hand at sex work and gets caught up in a serial killer\u2019s web on her first night out, darn that luck. It\u2019s a little stiff but it\u2019s awfully compelling, thanks to the stellar gags by Michele Burke and the disciplined direction by Claudio Catravelli. (Includes audio commentaries and interviews.)<\/p>\n\n\n\n<p><a href=\"https:\/\/www.radiancefilms.co.uk\/products\/messiah-of-evil-le\" target=\"_blank\" rel=\"noopener\"><strong><em>Messiah of Evil<\/em><\/strong><\/a><strong>: <\/strong>Long before penning <em>Indiana Jones and the Temple of Doom<\/em> for their pals Spielberg and Lucas (to say nothing of making their ill-fated <em>Howard the Duck<\/em>), William Huyck and Gloria Katz co-wrote, co-produced, and co-directed this creepy, low-budget shocker, new on Blu from Radiance Films. Its influences are copious, from the zombies of <em>Night of the Living Dead<\/em> to the isolation of <em>Carnival of Souls<\/em>, but Huyck and Katz work the right, creepy vibes, the images are genuinely unsettling, the blood is so bright it borders on surrealism, and it all ties up into one chilling conclusion. (Includes audio commentary, archival interview, documentary, and visual essay.)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Our bi-weekly look at the best new titles on Blu-ray, 4K, and your subscription streaming services. <\/p>\n","protected":false},"author":531,"featured_media":20771,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[340],"tags":[1617,1436],"class_list":["post-20770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movie-reviews","tag-disc-streaming-guide","tag-reviews"],"_links":{"self":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts\/20770","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/users\/531"}],"replies":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/comments?post=20770"}],"version-history":[{"count":1,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts\/20770\/revisions"}],"predecessor-version":[{"id":22478,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts\/20770\/revisions\/22478"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/media\/20771"}],"wp:attachment":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/media?parent=20770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/categories?post=20770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/tags?post=20770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}