Jean-Claude Van Damme Kicks Into High Gear in John Woo's New Orleans Actioner
DIRECTED BY JOHN WOO/1993
BLU-RAY STREET DATE: DECEMBER 7, 2021/KL STUDIO C...
Kino Lorber’s edition of Lilies of the Field looks to be about as definitive of a presentation as this landmark film is likely to get in the foreseeable future, and as such, it’s an essential addition to any collection of Sidney Poitier’s finest work on screen.
Here we have an Italian visual effects-driven cat-and-mouse caper film that hinges on a female antihero pulling one over on a highly respected and famously successful male master detective. Filibus outwits the tests of time at every twist.
There might only be one way to read the thing, but it all adds up as a sharply edged commentary on the gross inexplicitly of the past five years. Saber’s allure may be all empty calories, quick fixes, and endorphin rushes, but Red Rocket blasts audiences with a thoroughly magnetic romp with a ridiculously unshakable main character.
Ultimately, you don't have to care about the royals to care about Spencer. This is just intoxicating filmmaking, masterful acting, and a Jonny Greenwood score that should be awarded on Oscar night.
This time, we have two films from studio utilitarian director Joseph Pevney (who’d go on to direct some of the great classic Star Trek episodes), and one by sci-fi/horror favorite director Jack Arnold. How do these titles rate as bona fide Film Noir?
Julie Andrews Brings Retro and Modern Together in Classic Musical
DIRECTOR: GEORGE ROY HILL/1967
BLU-RAY STREET DATE: AUGUST 24, 2021/KL STUDIO CLASSICS
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The place is Manila. The race is the first-ever Manila 1000- an event that’s exactly what it sounds like: a 1000-mile tear across the rough open roads of an unsuspecting Manila.
It’s both Air Force propaganda and a failed Howard Hughes vanity piece. It’s the final released film of legendary fallen director Josef von Sternberg. It began at one major studio and ended up at another. It’s got a redressed, drab, muddy Western set doubling for Russia in the film’s second half. It might be silly at times, but it’s never dull. There’s so, so, so much red meat here for a film historian to chew on.
