Dragon: The Bruce Lee Story Shout! Studio 4K
Jason Scott Lee. Directed by Rob Cohen. 1993
The story of martial arts superstar Bruce Lee that dwells not on his mysterious death but his inspirational life and improbable rise to stardom from the streets of Hong Kong.

Jason Scott Lee didn't really look like Bruce Lee, but for two hours in 1993 he became Bruce Lee for me. I really enjoy "Dragon: The Bruce Lee Story", even though it's more Fan Fiction than actual document. In his commentary, Director Rob Cohen freely admits to inventing scenes that made the film more cinematic. I love Randy Edelman's score, in particular his sweeping and triumphant main theme. This new disc doesn't show much effort from Shout! other than the transfer, essentially just recreating the laserdisc from back in the day, with just a few extra features.

Saw The Fall on the 'big' screen last night - small arthouse theater, so not big at all, but still. Really amazing and should be on anyone's watch list. Stunning visually, epic, intimate, sad, funny.

My brother had a birthday party in 1993 and saw that in the General Cinema in Fremont which closed decades ago.

Bootleg or online since that has not come out in the U.S.?

I own this

I ordered it about 5 times at Amazon and the plastic always had bubbles or ripples and was never flat.

The last great U.S. President

Oldman was scary as the terrorist.

Venom: The Last Dance (2024)

Although Director Kelly Marcel's entry into the series is light-years better than Venom: Let There Be Carnage (2021), it still feels behind Venom (2018).

While I appreciated the bits of fan-service on display here, the film still feels like an incoherent soup of ideas.

Gladiator 2 (2024)

Was I entertained? Yes.

Would I watch this film again? No.

Monty Python: The Meaning of Live TCM
Directed by Roger Graef, James Rogan. 2014
Uniquely intimate documentary following the stars of Monty Python as they reunite for a final time to stage a marathon ten shows of Monty Python Live (mostly) - One Down Five to Go at The O2, London in July 2014.

This documentary follows the surviving members of the Monty Python troupe (Graham Chapman had died in 1989) as they (reluctantly) reunite for a series of shows intended to pay off a massive legal debt due to a lawsuit against them involving merchandising rights to their "The Holy Grail" film, (and quite possibly to pay off Terry Jones' mortgage). It's both heartening and a little sad to see the group together again. They're all in their seventies, looking more than a little rough around the edges, and Terry Jones clearly has cognitive issues that leave him looking bewildered at times (he passed away in 2020). They're all in different places in 2014, -John Cleese does Film and Television, Terry Gilliam is a filmmaker, Michael Palin does Travel documentaries, and Terry Jones is long retired. Eric Idle stepped up as sole creative of the production's Music-and-Comedy "bridges" between classic sketches. The men speak frankly of their relationship with each other, which has always been complicated. The documentary follows all ten shows at this massive venue, and the troupe is able to analyze what comedy bits work, and which don't and sometimes it varied from day to day. For example, one classic sketch didn't seem to work, -nobody laughed, though they applauded at the end, -and they figured out that the crowd was actually performing the sketch with them, much like singing along at a concert.

White Christmas - UHD

Death Machine Kino Lorber Blu-Ray
Ely Pouget, Brad Dourif. Directed by Stephen Norrington. 1994
Chaank Armaments is experimenting with the ultimate fighting machine, but the project has been unreliable and has killed a number of innocent people. The genius behind this project is Jack who lives in a world of models, toys and magazines. When he is fired by Cale for killing a few corporate officers, he unleashes the ultimate killing machine called the 'Warbeast' against Cale and those who would help her.

I really enjoyed Stephen Norrington's direction of the first "Blade" film which made me curious about his previous film "Death Machine". Unfortunately, when I could find it at all, it was in a cropped or pan-and-scan version. Kino has finally rectified things with this new special edition. It's not a bad film, just fairly generic. Norrington started out in animatronics (the first two "Alien" films, for example), and his "Death Machine" is a fairly fearsome and convincing animatronic robot puppet on a killing spree. Canadian actress Ely Pouget is competent as the reluctant bad-ass heroine and Brad Dourif is pretty much unhinged and acting his ass off as the villain. The problem is that Pouget needs a "Michael Biehn" to her "Linda Hamilton", and the two supporting actors she fights alongside are just kind of dull. A more engaging cast might have given this enough energy to overcome its familiarity. Stephen Norrington hasn't directed a film since "The League of Extraordinary Gentlemen", but he talks in the commentary like he's getting back in the game.

The Ref (1994, Dir. Ted Demme) – A Christmas Holiday Classic. A caustic, cerebral, insanely funny dark comedy filled with incredibly sharp, acid-tongued dialogue all spoken to perfection from a cast that includes Denis Leary (brilliant!), Kevin Spacey (brilliant!!), and Judy Davis (brilliant!!!). Supported by great character actors like J.K. Simmons, Christine Baranski (who gives perfect and precise line deliveries), Raymond J. Barry, Richard Bright (perfect as Leary’s accomplice), the underrated Adam LeFevre, Bill Raymond (hilarious as a drunken Santa Claus), Vincent Pastore, Arthur Nascarella, and BD Wong. The ONLY REASON it took me soooooo long to finally check this movie out was because it is STILL, to this day, only available in a non-anamorphic DVD (???). But I finally gave up waiting for a Blu-Ray release and I am soooo glad I picked this up (and for less than $10). Always been a fan of Leary and this is him at his absolute best. And his interplay with Spacey and Davis is laugh-out-loud funny (Spacey in particular spews his line with such vitriol it’s amazing). I haven’t enjoyed a Christmas comedy this much in ages. It may not quite live up to Christmas classics like Bad Santa, National Lampoon’s Christmas Vacation, or Home Alone, but it’s just a slight tier below those hallmark movies. This one was just a blast to watch, and it really, really deserves a full-fledged special edition with behind-the-scenes footage, interviews, commentaries, etc. There’s just so much to appreciate in this film, from the witty dialogue by LaGravenese, to the subtle little character tics employed by the actors, to the general no-holds-barred aspect of the entire endeavor. I loved this movie. I highly recommend this one, even in its somewhat butchered non-anamorphic form.



White Lightnin’ Road (1964, Dir. Ron Ormond) – Another weak film in the Indicator Boxset, “From Hollywood to Heaven: The Lost and Saved Films of THE ORMOND FAMILY.” This one involves moonshining, car thievery, and dirt-racing/off-road racing. Nothing original, even for it’s time. Piss-poor camerawork. More shitty acting. And even at 95 minutes, it feels way, way too long. If I didn’t know any better, I would’ve guessed the movie was like a four- or five-hour slog. The last twenty minutes alone were brutal and took forever. In terms of a sorta historical record, I guess maybe the film has some merit, but whatever that is is kinda lost on me at the moment. Again, I remain hopeful that the other films/documentaries in the boxset improve upon the three that I’ve subjected myself to thus far. They can’t get much worse than these initial films.

The Prestige

The Prestige is even better to watch when it is a rainy or inclement weather outside.


I think the Illusionist with Ed Norton came out around the same time and some people thought that was the better magician movie.

No way.

He lives in the UK and it was already released there.

Almost Human (1974, Dir. Umberto Lenzi) – Another film in the poliziotteschi genre. This one, however, is another that is a bit overrated in my mind. Generally, Lenzi always makes films that are interesting, grim and gritty, but they lack the finesse and polish of someone like Fernando di Leo (or even Enzo G. Castellari, for that matter). This one, also known as “Milan Hates: The Police Can’t Shoot” (the original Italian title) and “The Executioner” (it’s actual title card on this version of the film) and “The Death Dealer” (the title on some posters of the film), is about a trio of criminals that kidnap the heiress of a wealthy industrialist and hold her for ransom. As expected, multiple complications and violent criminality ensue. Never one to back down from raw, unadulterated violence and sadism, the film can be quite vicious at times, although nothing that’s too unusual, given the genre. Tomas Milian actually surprised me as I felt his role was much different than those he played in the Spaghetti Westerns he did. His character seems meeker, and I wouldn’t consider it one of his better performances. Henry Silva, one of my favorite character actors, also doesn’t really shine as the police inspector hot on the trail of the kidnappers (he’s much better served in the one or two di Leo Italian crime films he did). Given all that, I must say the score, composed by the great Ennio Morricone, is quite effective at times…at least when it really kicks in; there’s large portions of the film where it’s not really present or, if it is, is much more subdued (NOTE: a soundtrack CD is included in the set). Overall, not the best way to kick of Severin Films “Violent Streets: Lenzo/Milian” boxset, but not a terrible movie. Just not up to the standards of the more realistic and better shot highlights of the genre. I do look forward to the other films in the boxset, and hope that they show some improvement on the part of the actor/director duo.





Syndicate Sadists (1975, Dir. Umberto Lenzi) – Another ‘70s crime film (also variously known as “The Vigilante Challenges the City”, “One Just Man”, and “Rambo’s Revenge”) involving a kidnapping, this time of a child. This time Tomas Milian is the hero of the piece, working both the kidnapping party and their rival gang and ultimately pitting them against one another, with the goal of eliminating the scourge on society and freeing the child in question (a plot quite similar to certain Spaghetti Westerns, I might add). Known as “Rambo” (it’s claimed that Lenzi stole the name from David Morrell’s First Blood original novel, in which he had initially tried to get the rights to), Milian excels in the role, playing a sometimes quiet but patient observer who manages to gradually manipulate all parties to their eventual violent conclusion. Much better than their previous collaboration, this one features better direction, better stunts, better acting, and a much better pace. Despite some questionable decision-making from Milian’s character during the final sequence, this is a rewarding effort all around. It also has some great motorcycle stunts that actually surprised me at how audacious they were. And another solid Italian score. Good movie. Recommended.

Paradise (1982)






This movie has been the Holy Grail for Phoebe Cates admirers for a number of years now and, while it's not a great movie by any means, it's nice to finally own it on blu-ray. An obvious rip-off hoping to cash in on the success of The Blue Lagoon, it can be a bit of a slog to get through though Ms. Cates is certainly bold and uninhibited here in her big screen debut so it's definitely not her fault. Speaking of casting choices, was there a worse actor on the planet at the time than Willie Aames? Geesus. What, were Bobby from The Brady Bunch or Tommy from 'Alice' not available? Good lord. Right place at the right time I guess, as he landed the best gig in Hollywood that year no doubt. The chimpanzees were better actors than him (I'm not kidding). Phoebe Cates is just stunning in this. Nice job by Fun City Editions with their blu-ray here ...

Thelma and Louise Criterion 4K
Susan Sarandon, Geena Davis. Directed by Ridley Scott. 1991
Thelma and Louise are accidental outlaws on a desperate flight across the Southwest after a tragic incident at a roadside bar. With a determined detective on their trail, a sweet-talking hitchhiker in their path and a string of crimes in their wake, a high-speed thrill ride and empowering personal odyssey follows even as the law closes in.

Watching this again after a long time, I've got to say I'm still impressed with Callie Khouri's script, and the depth she gives her characters. I also really appreciated that Ridley Scott went against type and cast Michael Madsen and Harvey Keitel as the sympathetic male characters in the story; it adds some nice unpredictability to the mix. "Thelma and Louise" is a visually stunning "Road Movie" and Criterion's disc really makes it shine.

Free Hand for a Tough Cop (1976, Dir. Umberto Lenzi) – Wow, this poliziotteschi masterpiece from Lenzi is just superb, and Tomas Milian really shows you how chameleon-like he could be. Like seriously, I’ve seen probably a dozen films of his in total, and it’s stunning just how different he’s able to look in each and every film. In this one, I initially didn’t even realize what role he was playing, cause he looked that different than the previous two films in the boxset (he plays "Monnezza", who turns out to be an extremely memorable character that also has the hilarious nickname "Garbage Can"). And this role is one of his best, playing a con who is broken out of prison to team up with a cop (played by Claudio Cassinelli) to yes, solve another child kidnapping plot (obviously the con/cop connection has similarities to the plot of 48 Hrs., which the case and features are apt to point out). Also known as “The Crook and the Cop”, this is the best film in the boxset so far, and the plot is actually at once both more complex than the previous two films, but also much more humorous (while never taking away from the always present gritty approach that is customary of Lenzi films). All of the actors/actresses in this film are great. The music is great. The pacing is great. And the film has enough twists and turns and betrayals and double-crosses that you’re often on the edge of your seat throughout. And Henry Silva returns to play the villain, in a role that, while minimal, is a much, much better role than the hard-nosed cop he played in Almost Human. It’s exceedingly rare that, when viewing a boxset of collaborations or a series of films, that the films keep getting better and more rewarding the deeper you delve into the set. This is one of those rare boxsets where that happens. Awesome movie.

Gummo (1997)

Having seen Director/Writer Harmony Korine's debut countless times on VHS & DVD, it was absolutely wild to re-visit it in 4K.

Moana 2 (2024)

Although Directors John Musker & Ron Clements deliver a visually beautiful film, it's one that as a whole merely exists.

In quite a few ways, the film feels much like other sequels Disney churned out in the late 90s.

Saturday Night (2024)

As someone who didn't watch Saturday Night Live religiously until the mid-90s, I was aware this film wasn't quite catered to my experiences.

Still, I appreciated the technical aspects of the film and a few of the performances, especially Cory Michael Smith as Chevy Chase.

Looks both terrible and wonderful.

I was going to go with Peter Brady instead but Bobby would have been the right age for the part (21) at the time ...

Oh, it is ...

Lights Out (2013)
Pictured (2014)
Cam Closer (2013)
Not So Fast (2014)
Coffer (2014)
See You Soon (2014)
Attic Panic (2015)
Closet Space (2016)
Shadowed (2020)
Not Alone Here (2020)
Cam Closer II (2023)

Went through the Short Films of Director/Writer David F. Sandberg who initially turned his award-winning 2013 short into a full-length feature in 2016.

Since then, he's gone on to direct Annabelle: Creation (2017), Shazam! (2019) & Shazam: Fury of the Gods (2023).

As far as the shorts, Lights Out (2013) stands out as the best of the bunch with Attic Panic (2015) & Closet Space (2016) following fairly close behind.

The Primevals AMC+ / Shudder
Juliet Mills. Directed by David Allen. 2023
When a group of explorers go in search of a yeti, they find themselves taken captive by an ancient race of alien creatures.

David Allen completed principal photography for his Stop-Motion Fantasy "The Primevals" back in 1994. However, a distribution deal for the film fell apart before he could complete the special effects. He would continue to work on the time-consuming animation off and on over the years, but he contracted lymphoma and died in 1999. Associates continued to work on the film whenever possible and producer Charles Band of "Full Moon" put together an Indiegogo campaign to raise funds to finally finish the film.

The film has the feel of Old School Family Adventure Films like Ray Harryhausen's "Sinbad" sequels or any number of SF TV series I enjoyed in The Seventies. David Allen directs in a very direct, no-frills style, -shots are expertly framed to tell the story, but he doesn't indulge in flourishes. Allen's stop-motion effects aren't as sophisticated as Ray Harryhausen's, but they are quite charming for the most part. Picture quality is excellent.