SCREAM QUEEN DANIELLE HARRIS STARS IN 'INOPERABLE'

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Zorya Films and Millman Productions are putting scream queen Danielle Harris under the knife with the December 1st theatrical release of Christopher Lawrence Chapman's INOPERABLE.

Harris (HALLOWEEN 4 & 5, Rob Zombie's HALLOWEEN, the HATCHET franchise) stars as Amy, a hospital patient who must battle nature and the supernatural before she ends up trapped for eternity. Chapman directed from a script he co-wrote with producer Jeff Miller.

Synopsis:


A young woman wakes up in a seemingly evacuated hospital with a hurricane approaching. She realizes the storm has awakened malevolent forces, trapping her in a time loop. She must escape the hospital before the storm passes or she will be trapped in its halls forever.

INOPERABLE is out 1st December in Los Angeles, New York, Atlanta, Houston, Phoenix, Tampa, Miami, Orlando, Cleveland and Minneapolis for week long runs.

Raw: DVD Review

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Raw: DVD Review

Already the enfant terrible of the festival scene after viewers at Cannes apparently fainted and vomited during screenings, French director Julia Ducournau's stylistically nourishing body horror may have already put some off.

However, this tale is more one of coming-of-age, self-acceptance, sibling rivalry and the usual outsider trying to fit in story that cinema so often delivers.

The waif-like Garrance Mareillier (who carries more than a passing visual reference to Zoey Deutch via way of Isabelle Adjani) is Justine, who, as the film begins, is heading to enrol in the veterinary college frequented by generations of her family.

At a roadside cafe, there's uproar when her mother discovers the slop mashed potatoes Justine's been served come with a sausage within. Surely, no cause for concern - however, Justine and all her family shun the carnivorous ways and are staunch vegetarians.

Dropped at the college, Justine is thrown into a brutal hazeing ceremony that afflicts all newcomers - forced on all fours, and herded like cattle to an abattoir, the first year students are dropped deep into a world of work, partying, hedonistic almost Bacchanial excess and plenty of flesh on show.Justine reunites with her sister, Alexia (Rumpf) who's also there and has been for a few years. Initially reticent, the duo reform and repair some of the brittle bridges that scatter siblings - before an unlikely bond is discovered and a hunger awoken in Justine...

Raw may have at its core a tale of cannibalism, and there's certainly enough pleasures of the flesh put upon the screen, but the hybrid of horror and occasional shocks is more riddled with an atmosphere of unease and suspense than an outright desire to induce nausea in its audience.

It's perhaps pertinent if you are of a queasy disposition to take degrees of caution, but certainly the gore on the screen is a lot less effective or bloody than Raw's reputation would suggest.

More startling is director Julia Ducournau's commitment to this fearless debut; it pulls together elements of every coming of age film you've seen. From elements of Ginger Snaps to the hedonism of Trainspotting, via way of startling and striking imagery (some of it ripped from Carrie), the film crackles with visual flair throughout.

It helps that Mareiller's aloofness sells the other-worldly edges of what plays out, and as the rapacious hunger within is awoken, she manages to sell the almost feral transformation incredibly well and sympathetically as the principles tangle and conflict with the primal urges within.

From hints of her being seduced into the almost cult-like world of the pledges to looking at meat on a counter, Mareiller does more with little than you'd expect to see and the restraint adds much to her character who's simultaneously coming of age and trying to find her place in the world. It helps that these themes are not new, and have been explored before - but rarely with the pertinence and female point of view leading the way.

The script hints a lot at what's going on, and there are delicious double entendres that come to life as the film ends - indeed Justine's told that "an animal that's tasted flesh isn't exactly safe", but there's a studious once over with Raw that almost veers into parody in the final cinematic furlong.

It's not that the gore hits a crescendo, more that the score hits a one louder approach that threatens to topple the audaciousness of what's already played out. Certainly, Ducournau would have benefited from being a little more hands-off as the film veers towards its darkly twisted denouement.

With escalating sibling rivalry at its core, Raw's feral and visceral in parts, drowning its coming of age observations and cannibalism in its female point of view.

Coupled with a fevered lead whose occasionally dead eyes hint at the conflict and the primal hunger within, Raw's certainly a film not for all tastes. But for those willing to surrender themselves to its deft stylish touches, and its hints of horrors as well as its outright taste for shocks, it's one hell of an experience, and one hell of a fiery debut.

REVIEW 548: AJJI

REVIEW 547: KADVI HAWA

Boxing Helena

Watch Movies TV -***DISCLAIMER*** The following review is entirely my opinion. If you comment (which I encourage you to do) be respectful. If you don't agree with my opinion (or other commenters), that's fine. To each their own. These reviews are not meant to be statements of facts or endorsements, I am just sharing my opinions and my perspective when watching the film and is not meant to reflect how these films should be viewed. Finally, the reviews are given on a scale of 0-5. 0, of course, being unwatchable. 1, being terrible. 2, being not great. 3, being okay. 4, being great and 5, being epic! And if you enjoy these reviews feel free to share them and follow the blog or follow me on Twitter (@RevRonster) for links to my reviews and the occasional live-Tweet session of the movie I'm watching!  Remember to pack your Helena with old newspaper or bubble wrap before boxing.

Boxing Helena – 1 out of 5

Boxing Helena has always been a movie I’ve heard about but never bothered taking the time to seek out and watch.  Recently, after watching the return of Twin Peaks, I was reminded of its existence due to the fact it stars Sherilyn Fenn and it was a story from Jennifer Lynch, David Lynch’s daughter.  I figured that since I like David’s stuff—in an infuriating way because sometimes his stuff is so strange that I think even he doesn’t understand what he’s making—that I might enjoy what his child has created.  Well, that clearly wasn’t the case.

At least the film gave us Bill Paxton looking like he's cosplaying as Steve Perry.

Dr. Nick Cavanaugh (Julian Sands) is a successful surgeon (with a bit of a traumatic past) who, one day, crosses path with an old lover of his named; Helena (Sherilyn Fenn).  Their fling was short lived but Cavanaugh never forgot her and is quick to start obsessing once again.  He’s advised by a colleague; Dr. Lawrence Augustine (Art Garfunkel), that he should forget her and stay the course on his current life but he can’t let it go.  He starts to stalk and do everything he can to see her but when a hit-and-run leaves Helena injured, Cavanaugh’s obsession enters a new level of frightening as he amputates her arms and legs to prevent her from ever being able to leave him again.

Step 1:  Remove her limbs.  Step 2:  ???  Step 3:  Love!

Where do I begin with a 1993 movie that involves a dude so unhealthily obsessed with a woman that he would cut her limbs off in an effort to prove he loves her?  Well, I’ll start with saying that the premise isn’t actually too bad.  It’s super unsettling, very unnerving and has all the potential to be a really demented film that explored and dissects desire gone wrong.  The film ends up not taking that course as its tone is a little unclear and the development of the characters feels wholly unnatural.  Add in a very terrible and laughably cliché ending and it made for a film that completely wasted the promise it held.

In the fountain with her clothes on, what a free spirit!
Or a huge fan of Friends.

One thing that really had me perplexed about this film was how we were supposed to feel about Dr. Nick Cavanaugh.  On paper, he is undoubtedly the antagonist because he stalks a woman, holds her against her will and then mutilates her so she can’t escape—all in an effort to show he loves her.  However, the actually execution of the character muddied up the waters and made him a tad confusing.  First off, the story hints that he was subjected to sexual and emotion abuse from his mother and this is meant to simultaneously be something that explains both his desire to continue to want to be with Helena, because she is also abusive to him, but it also is a shorthand way of giving motivation as to why he would think that what he does to Helena is a correct course of action.  On the surface, having this backstory is great because it provides depth to Cavanaugh and it also adds just the right amount of sympathy to the character so he’s not over-the-top evil.  There’s nothing wrong with having your antagonists have multiple dimensions to them.  However, whether or not he truly is the bad guy really starts to become confusion and terribly unclear when other factors are added to the equation.

I hope Fenn got paid well for this film...and also for the injustices that were done
to her character in Twin Peaks.

I'm not entirely sure why Art Garfunkel was in the film.
And the way his hair always looked like it was in an
utter state of shock, I would say he didn't even
know why.

As it pertains to the performances, this film isn’t too bad.  Sherliyn Fenn is excellent as Helena and the supporting cast members of Kurtwood Smith as a colleague of Cavanaugh and Bill Paxton as one of Sherliyn’s lovers are great but Julian Sands as Cavanaugh himself I found to be pretty bad.  Sands’ performance is a great contributor to my confusion over the intention and handling of this character.  He plays the part with this child-like, almost inane sense of innocence that suggested to me that Sands believe the character to be the true victim and tthe abuse he took from his mother is to blame for what happened.  Combine this with his reactions to his “courtship” of Helena made it seem like Sand truly believed that Cavanaugh was just a “nice guy” who was trying to cash in his “friendly coins" into “bone-zone” time with Helena.  To put it bluntly, Sands made the character look like one of those fedora wearing neckbeard guys online who think the “Friend Zone” is a real thing.  This performance doesn’t feel like this was done as an exploration of how dangerous this line of falsely believed relationship payment can be but rather like he truly believes that a woman has to repay moments of kindness and misguided devotion with sex and a relationship.  Maybe Sands is really a great performer as this “nice guy” routine feels genuine but the true intent for this character becomes even more confusing when one final factor is put into place.

This movie needs to be remade but, this time, written specifically with the purpose
that Cavanaugh is a douche who thinks the "Friend Zone" is real.

Red saying "Dumbass" came to mind several times
when I watched this film.

Since filmmaking began, writers and producers have had a tenuous grasp at best with how the heart works.  Too often, what appears to be Stockholm Syndrome is what passes for love on the big screen and Hollywood has perpetuated the idea that women will eventually come around and open herself up to a man, no matter how shitty of a person that dude was (to see this at its most disgusting and lazily written, take a look at Passengers).  Boxing Helena does this as, Spoiler Alert for a film that is old enough to drink, Helena ends up falling in love with Cavanaugh.  How exactly does this happen?  Hell if I know because it comes out of left field.  Jennifer Lynch treats us to a few scenes that, I suppose, are meant to show us that Helena is suddenly becoming okay with the idea that this man mutilated her and is keeping her prisoner just so he can get naughty fun time with her but this never feels organic.  The moment where she confesses her love feels forced.  This uneven presentation can be written off because, at the end, we learn that it is all a dream of Cavanaugh’s—once again, Spoiler Alert for a movie that is over two decades old.  It could be argued that Helena’s sudden turn is due to the unpredictability of dreams and Cavanaugh’s subconscious giving him what he wants.  I won’t deny that.  However, it can also be argued that this was the Lynch’s lazy and terribly uncreative way of trying to be strange like her father and it just manifested itself in the most predictable way possible.

Subtlety!

Boxing Helena has a premise that feels like it should be a great dark feature that explores the depths of human depravity and how corrupted a person’s feelings can be twisted.  Ultimately though, the film comes undone by a tone and atmosphere that feels unfocused as the concept offers up one thing, the actually story seems to be showing something else and the lead actor feels like he is doing his own thing all together.  When that is added to a very lazy and unsatisfying conclusion, it made for a film that was amazingly disappointing.  Sure, it has some shocking images and themes woven within it but all the shock is wasted when the whole thing feels like it has no idea what it is trying to accomplish and then decides to give the middle finger to the audience by delivering a “Ha ha, fooled you” ending.

The Dark Half Film Review; George A. Romero Adapts Stephen King's Novel In This Surprisingly Solid 90's Thriller

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By: Jason E. (robotGEEK)

When George A. Romero and Stephen King collaborated for the very first time with Creepshow in 1982, it was a huge hit. In fact, it was bigger than any of them could have imagined and who's legacy has only grown more and more with each passing year. And despite numerous attempts to cash in with inferior sequels and similar themed films, it still remains one of the very best horror anthologies ever made. 11 years later (technically 9 as the film was made in '91 but held in limbo for 2 years due to Orion's bankruptcy problems) their talents would converge once again, only this time in a different capacity with Romero adapting one of King's books personally instead of having King write the screenplay. I'd actually been wanting to revisit this one for some time now, and as luck would have it, Hulu currently offers it as part of their horror lineup. So let's dig in.

Thad Beaumont is a novelist and lecturer who writes under the pseudonym of George Stark. When a series of murders aimed at disrupting Thad's life begin pointing to Thad, it becomes more and more apparent that Thad's alter ego George Stark has manifested into a real breathing human being whose goal is to force Thad to continue writing George Stark novels after Thad recently retired that series of books. George needs these books to continue to stay alive and Thad is the only one who can do that. 

I'll be honest. Romero is a hit or miss director for me. I don't always enjoy the films he makes, and his quality varies greatly from picture to picture. For every Creepshow, Day of the Dead and Season of the Witch (movies I love), there are Knightriders, Martin and Monkey Shines (movies I don't care for). Even in his zombie franchise, a genre he single-handedly created, his "Dead" films became less and less enjoyable. But still, while his films may not always be solid, or good for that matter, he does turn out a winner every once in a while. Which brings me to The Dark Half, a film I would definitely consider a winner for Romero.

While not a terribly exciting film, and admittedly a bit bizarre, it's enough of a well-made slow-burn thriller that delivers solid entertainment from every angle; not the least bit being Romero's deft touch behind the camera, which was a pleasant surprise considering his previous solo directing credit was Monkey Shines in 1988, and I just did not like that film at all. Monkey Shines didn't look or feel like a George Romero film, and that's probably one of the reasons why I enjoyed The Dark Half so much, because this one did. His stellar visual work here is on par with his work in Day of the Dead and I loved it, making it one of his most visually impressive films. It's constant tone of dread, right from it's very opening sequence, keeps the film grounded in a darkly unnerving ambiance that plays with your intuitions. It rarely ever goes the way you expect it to, and that's one of it's most endearing qualities.

Surprisingly, The Dark Half didn't connect with audiences at all, bombing at the box office and disappearing as quickly as it arrived. And it would be another 7 years before Romero would return to direct with 2000's Bruiser before he dove back into his zombie franchise with Land, Diary and Survival of the Dead before calling it quits in 2009. It's a shame really, because I think if people just gave it a chance, they might actually appreciate The Dark Half more today than when it first arrived. Maybe it has to do with the fact that it's not overtly a "George A. Romero" film in the traditional sense. His name isn't plastered all over the thing like it normally would. Instead, it's more closely associated with Stephen King's name since he wrote the novel that Romero adapted. Still, for me personally, it was a far better film than I anticipated going in and I enjoyed every second of it. Romero's stellar camera work, the solid cast, the surprisingly great and effective effects work (seriously, some of it will surprise you), and it's consistent unrelenting dark tone keeps everything in check. The Dark Half isn't a masterwork, but it's certainly one of the better horror/thriller's to come out of the 90's, and one of Romero's best films in his decades long career. Give it a shot.

Review of MURDER ON THE ORIENT EXPRESS (2017): Sharp Shrewd Sleuthing

Watch Movies TV - November 29, 2017

There had already been an excellent film adaptation of Agatha Christie's novel "Murder on the Orient Express" back in 1974, directed by Sidney Pollack. It was nominated for several Oscar awards including Best Actor (Albert Finney), Best Supporting Actress (Ingrid Bergman, who won), Best Adapted Screenplay, Best Original Score, Best Cinematography, and Best Costume Design. Its all-star cast included Sean Connery, John Gielgud, Anthony Perkins, Jacqueline Bisset, Vanessa Redgrave, and Wendy Hiller.

Famed Belgian detective Hercule Poirot was a last-minute passenger on the Orient Express a luxury train running from Istanbul to Paris. One night, an avalanche causes the train to derail. That morning, it was discovered that one of the passengers in his train car was murdered with 12 stab wounds. 

Poirot investigates the case by interviewing each of the colorful characters in that same car, which included a chatty widow, a mousy missionary, a hot-headed Hungarian diplomat and his beautiful wife, an elderly Russian princess and her maid, a doctor in an interracial romance with a governess, among others. 

Because I had already watched the 1974 original, I already knew the solution to the case (a most memorable one). So honestly, I was watching only to see how director Kenneth Branagh was going to spin this tale and the lead character Hercule Poirot and make these his own. The rest of the time was spent trying to figure out which characters were which from the original film, as some changes were made.

Kenneth Branagh played Poirot with utmost gravity and pompousness. Even from the trailer, you cannot miss the new take on the iconic Poirot mustache, so unrealistically atrocious it looked like a joke. There was his irascible obsession for perfection, balance and details, but this time magnified into practically a God-complex. There was a mention of a missed love which went nowhere, until perhaps for a future sequel maybe? 

Michelle Pfieffer was a scene-stealer as the flirty, husband-baiting Caroline Hubbard. This role was played by Lauren Bacall in the original. Penelope Cruz was very quiet and plain as the missionary Pilar Estravados. She was not made to do as much with this role that won Ingrid Bergman her Oscar in 1974. Judi Dench played Princess Dragonmiroff much more low-key than how Wendy Hiller memorably played this character before. 

"Hamilton" stage actor Leslie Odom Jr. and "Star Wars" new star Daisy Ridley took over roles John Arbuthnot and Mary Debenham previously held by Sean Connery and Vanessa Redgrave. Arbuthnot became a doctor here to streamline the cast (there was a separate doctor character in the original), which was not a bad decision. Because of Odom's casting, the obvious issue of race entered the story where it was not before. 

Johnny Depp looked so gaunt and disagreeable as his gangster character Samuel Ratchett should, but his portrayal was so awkward and felt miscast. To be honest, Richard Widmark in the original also felt miscast because he also did not look Italian as the character should. Josh Gad also could not flex much comic muscle that I could feel his frustration for not being able to do much with his role of Ratchett's secretary McQueen.  

The cinematography is lush and luxurious. The feeling of claustrophobia was enhanced by those unusual overhead shots as we look into the action as if peeking through a hole in the ceiling. The costumes and the musical score though were not as remarkable as the original. In terms of storytelling, I thought the arrival at the solution was clearer and more logical in the original than in this remake, where Poriot made some fantastic jumps of insight.

The climactic scene of Poirot's grand revelation of his solution to the case was taken outside the train in a more dramatic (though more improbable) tableau of the whole cast seated side-by-side on one side of a long table. In the original, the cast was seated in the dining car of the train while Poirot spoke. The recreation of the murder itself was executed in a remarkably frantic manner which was a fine energetic departure from the blue-lit, rather melodramatic way it was done in the original.

At the end of this movie, there was a not-so-discreet hint that there is a planned next case for Poirot, a murder on a boat on the Nile River. Obviously this refers to the Christie book "Death on the Nile" which also already had a well-known film version in 1978 by director John Guillermin, with Peter Ustinov as Poirot and Bette Davis, Maggie Smith, Angela Lansbury and Mia Farrow in its all-star cast. 

I really do not get it why Hollywood insists on remaking already classic films. While I am all for reviving public interest in Agatha Christie's works, I am sure there are lesser known books or film versions they can revive, not those already too well-known for a remake to be necessary in the first place. Anyhow, this film would still be good for those who have not seen the 1974 original yet, but I would still advise them to check out that first one. 

1974 version: 8/10. 2017 version: 6/10. 

(315) *grunts softly* + links

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• I cannot stress how bad this week's RF is gonna get.
• You'll gonna need a shower.
• And I'm gonna need a lawyer, probably.
• And we all are going to need an exorcist.
• I warned you. And then Mettel killed me. But now I'm back and it's too late to save any of us.
• Welcome to what will probably be the focus of my trial.
• I have two things in my defense: 1. Mettel perved too! 2. It's like Netflix went inside my heard and made two sexy shows with what constitutes my type - tall? strong? dark hair? abhors it when women get hurt? really gentle towards girls but kills bad guys with his bare hands? super sexy voice with lots of growling, grunting and panting? sweet towards kids? carries weapons? Scars? Blood?
• I can only deduce Netflix wants me dead.
• Also since that's my type I fully expect getting murdered one day.
• You know how there is this thing about how when women work in one place their cycles sync up? I have observed a far greater lady parts-related phenomenon this week. 
• I call it...synchronised perving.
• And it's not the proximity that causes it.
• It's Jon fucking Bernthal.
• There are plenty of girls in our charming blogosphere and they all, to some degree fangirl over this or that actor. No one fangirls quite like me (cause they are not insane) but they do that a little bit. However I've never seen reactions like this guy got. Even Jason Momoa thanks to Brittani (smh, girl!) doesn't get the unanimous metaphorical throwing of the underwear at his face. But Bertnhal? Every single chick who watches The Punisher wants one thing and one thing only:
• 
• Seriously my tweets during The Punisher and Daredevil 2, which I'm of course rewatching this week, have gotta be some sort of a record even for me:
• 
• Don't ask me what I meant by 'smoke on my roof''. Whatever it was, and I really don't know what it was, it's definitely something very filthy.
• The guy apparently broke his nose 14 times. How on earth did this happen so many times? Did a girl start running, jumped and landed on his face, lady parts first?
• I can imagine that scenario.
• Vividly.
• What makes everything so much worse is that not only does he play unbelievably sexy dude but the guy himself is fucking LEGIT:
• 
• This is serious.
• THIS IS VERY SERIOUS:
• 
• And what makes it more serious is that usually I perv alone and you all probably just politely nod along while you are reading it, wondering if the situation finally reached the point so critical that you need to call for help. But this time other people are perving too which is...spurring me on?
• *that yelling of his when he is killing people...AM I RIGHT, GIRLS?!*
• I also recalled him bringing his dogs to a talk show once (it's amazing. THAT I remember. THAT I remember, but every single month I forget to pay the phone bill on time) and I just spread this filth on twitter.
• Look at how peaceful the dogs are. So peaceful that the people in the comment section there are asking if they are even alive.
• But come on... if I were lying there I'd be obedient too.
• ...
• ......
• .........
• ..............
• *grunts softly*
• Anyways....
• Let us pause for a second before I vibrate off this chair just editing this post. The show is awesome. I wasn't a big fan of the whole back story for the kid who was traumatized by war but other than that it's so well done and incredibly acted. Also the opening credits music is amazing, as is the selection of songs throughout the series. Random music thought.
• Also everything about that elevator scene episode (1,2,3). I was almost on the floor.
• Right now, since I needed MORE, I am rewatching Daredevil 2 and I'm just shocked this guy didn't get Emmy nomination, hell, a win. They nominate JDM for Negan, the part where he smiles like a fucking asshole and leans like a moron, and they don't nominate this guy?! I rewatched the episode with the monologue on the cemetery last night and I wept like a little bitch for 10 minutes.
• The Punisher is even better, though. Not that the rest of actors are bad, they do well but this guy single-handedly carries the show. You can't take your eyes off him. Also between him dancing, drinking wine, grunting softly, saying stuff like "Goddammit, didn't your father tell you not to hurt women?!", rescuing chicks and calling a little girl 'sweetheart', I'm genuinely surprised that I am able to even semi-coherently express myself here.
• Of course I am doing the usual and I'm gonna sit through this guy's films. I watched The Accountant yesterday (livetweet) which was just so mediocre and boring. Affleck has so few assets and here he couldn't even try and emote because of the character he was playing. And by the way that character was so boring. I have absolutely no idea how this is getting the sequel. And I knew Affleck is gonna ruin my view.
• Today I'm gonna watch Sweet Virginia. There's apparently a scene where Jon goes down on a woman.
• I really HOPE that this kills me. 
• No, I actually DO.
• I *heard* that record scratch from Estonia over here, by the way.
• Mettel wants to see Wind River and I want her to because it's a great film and Jon is shirtless and has a beard, but I've gotta say since I saw that film it had a bad effect on me. I know "triggering" is a ridiculous word but it applies here. I didn't expect a flashback scene. I've been through some things that I never disclose unless I'm very drank which as often as it happens never did and never will resurface here (unfortunately it does on twitter) because this is a silly, happy place where real issues don't happen. We are here to look at handsome actors and gossip about celebrities. The scene with Jon starts like a dream and ends up being the worst nightmare, a nightmare all too familiar for many. Just all too familiar...I still cannot forget that scene and it is probably the most disturbing thing I've seen that brought way too much to the surface than it should. I'd never go see this film if I knew the actual footage of the crime at the core of the film would be shown. It's not like me not wanting to see pets hurt. It's me reliving things that I can't relive. I was so upset watching it, so shook up, but I couldn't get up and leave because I was frozen. The idea, the very idea that not even someone like that can protect you is too much to bare. The idea that someone like that could protect you is all to hold on to. This is, on deeper level why we all, no matter if something happened to us or didn't happen, respond so strongly to The Punisher. It's not about the violence, or grunting, or handsome actor being shirtless. It's about someone granting women two things we so rarely get - respect and justice. I'm actually shaken just writing this. It's probably the most timely film of the year and hopefully it will not disappear in Oscar race just because of who distributed it/li>
• So. Let's lighten it up and get on the right silly, silly trajectory. I bet you're thinking that this concludes the pervy part of RF.
• No, no. There is a certain demigod who is not letting me move on to actual news part of this mess yet.
• The one. 
• The only. 
• MomoWOAH.
• Here's my livetweet of the first four episodes of second season 2 of Frontier.
• During the remaining two of the season I was just making random noises.
• God, this show. This:
• 
• followed by this:
• 
• I don't even know what to say here. And I am so rarely speechless.
• However bad it was with you gals watching The Punisher...trust me it was way worse with me watching Frontier.
• He actually says the words "sometimes you gotta take the rough with the smooth".
• WHO WRITES THIS FILTH?!
• If I were Katie McGarth in that scene with him I'd be on the floor breathless. 
• What a shame they didn't have more scenes together, her character sadly got murdered.
• I can't believe that cool lady died before she got to have sex with Jason. 
• Incidentally that line above is what I will put on my tombstone.
• I'm serious. Throw it right at me. 
• This gif is pure magic. 
• Sonic boom? It's the sound of the ovaries exploding. 
• This is amazing!
• So remember when Jason partied hard with GoT cast in Belfast a couple of weeks ago? Well, he has this to say about the final season. Also linking it for the picture there. 
• Stunning artwork for Aquaman.
• And now for the weekly DC fans are suffering coverage....
• ...more and more info is coming to light about how badly the toilet exploded over at WB when it comes to DCEU. Oh and it exploded. And shit went everywhere. And now my Savage Boo needs to mop up this shit. 
• WB execs and the CEO are so fucking dumb, inept and reprehensible they have made not one but TWO impossible things happen - the first film about Justice League is a flop AND the people who hate Zack Snyder and the people who love him are finally in agreement over something - and that is that people in charge of WB are just the worst.
• Sign, sign, sign! Also some of the guys I know launched an initiative to show the support for Henry Cavill as Superman so please take a moment and sign the petition. 
• Yes, I know Infinity War trailer is here. But since Punishing Boo is not there I am not too interested. Rudd and Ruffalo are in this so I'm there but I'm definitely not too excited about this film.
• Tom Hardy has an instagram now so we are all going to die. 
• I haven't watched it yet but here is Boo Kangaroo and Willen Dafoe whole Actors on Actors interview. 
• First HUGE win for Logan in the road to Oscars. NBR chose it as one of the year's best films. Of course the whole thing is invalidated by the inclusion of Baby Driver. I will need to rewatch it...and by that I mean only Jon's scenes. And then take out the disc and burn it.
• Ridley Scott's way of not giving a fuck is one of the most impressive things I've seen in my entire life.
• Meanwhile on the heels of us learning that Cameron wants to kill children just like he tried to kill Ed Harris, he goes and he says this. 
• This is so funny and adorable. 
• I'm not sure if amidst all the fever recently I mentioned that, but Jennifer Lawrence and Darren Aronofsky are no more. Yeah, source claims that age gap was an issue. No, no. One of them is an intelligent and educated adult. The other watches Kardashians and talks about her asshole on talk shows. Who would've thunk these two won't mix, huh?
• Armie Hammer doesn't really have thick skin, does he?
• The only things that are dead are Depp's cut off finger and liver. Look at him. Still getting A list jobs, being defended by his directors while Amber would be nowhere if she didn't have the amazing luck of being cast as DCEU's luckiest female character.
• Amber should just have asked her co-star to deal with Johnny 9 Digits. The issue would truly be dead then.
• Speaking of Depp, and I cannot believe I forgot to mention this mess last week, but Manson has new song out which is actually pretty cool. However it is tainted by this music video featuring Depp banging chicks. 
• It's like...garbage banging on top of garbage.
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• Brittani reviews Justice League
• Mettel pervs hard abut Jon and I'm so proud of her!
• Sonia lists her favorite female performances in 2017
• Katy wrote about Infinity War trailer
• Alex continues sharing secrets of making of his movie Wait
• Courtney and Kevin review Lady Bird
• Jordan writes about Under the Skin
• Chris reviews Coco
• and finally m.brown's review of Justice League is here
• 
  

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ARTHOUSE HORROR SHORT STREAMING NOW

Watch Movies TV -

Following an exciting festival run for their first feature Flesh of the Void, Sodom & Chimera has unveiled The Temple of Lilith, a new short for an unsuspecting public. The latest from experimental filmmaker James Quinn, The Temple of Lilith stars Hex Suicide from the Suicide Girls, and was shot on 16mm film.

The score was created by Stephan Ortlepp's musical collective Musica Non Grata, who previously composed the score for Flesh of the Void. The Temple of Lilith also features music by the Canadian Doom Metal band Dopethrone.

Synopsis:

After the last witch of the south became ashes, never to be remembered, the mother of darkness, Lilith, rises from the ground to harvest the fruits of deadly sin, and set an end to the holocaust of the saints, the religious pandemic that tried to enslave and ultimately annihilate her kind. Planting the seeds of the goat into her skull, she goes her way, on a quest of darkness, to open the gates of hell, become one with the lord of flies.

The Temple of Lilith - Arthouse Horror Short Film (2017) from Sodom & Chimera Productions on Vimeo.

The Temple of Lilith is a companion piece to Sulphur for Leviathan, a 13 minute arthouse film that Sodom & Chimera will release in 2018.

Sulphur for Leviathan revolves around a nun, who suddenly finds herself progressively fantasizing about things that shouldn't be in her head, increasingly having to face her own doings of blasphemy, all leading up to something demonically dark and sinister. Portrayed in a surreal manner both in color and black and white, with a heavy focus on elegant cinematography, the film tells a satanic tale of unfulfilled desires, lust, blasphemy and existential dread, packed in a controversial and disturbing, but calm and poetic experience that is heavily inspired by Andrei Tarkovsky, with a touch of satanism.

ARROW VIDEO DECEMBER 2017 RELEASE SCHEDULE

Watch Movies TV -
Arrow Video have released their schedule for December and it will be another month of DVD, Blu-ray and dual format releases. Below you will find the December 2017 release schedule for U.K., U.S.A. and Canada releases.

If you missed what Arrow Video released in November 2017 you can find all the details HERE.

HOUSE

Release Date: 11th December 2017 (U.K. Release)

12th December 2017 (U.S.A./Canada Release)

Format: Blu-ray and DVD

Directed by: Steve Miner

ENTER AT YOUR OWN RISK!


Step into the House of horror! From the team that brought you Friday the 13th comes one of the all-time ’80s horror greats, at long-last upgraded in hair-raising HD! William Katt (Carrie) stars as Roger Cobb, a divorced horror novelist coming to terms with the disappearance of his young son.

When he inherits his late aunt’s old mansion, Roger decides that he’s found the ideal place in which to pen his next bestseller. Unfortunately, the house’s malevolent supernatural residents have other ideas…

Directed by Steve Miner – the man behind such horror hits as Friday the 13th Part II and III, Halloween H20: 20 Years Later and Lake Placid – House remains one of the defining fright flicks of its era.

BLU-RAY SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements
High Definition Blu-ray (1080p) presentation
Original Mono, Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with director Steve Miner, producer Sean S. Cunningham, actor William Katt and screenwriter Ethan Wiley
Ding Dong, You’re Dead! The Making of House – brand new documentary featuring interviews with director Steve Miner, producer Sean S. Cunningham, screenwriter Ethan Wiley, story creator Fred Dekker, stars William Katt, Kay Lenz and George Wendt, composer Harry Manfredini, special make-up and creature effects artists Barney Burman, Brian Wade, James Belohovek, Shannon Shea, Kirk Thatcher and Bill Sturgeon, special paintings artists Richard Hescox and William Stout and stunt coordinator Kane Hodder
Vintage Making-of
Still Gallery
Theatrical Trailers, Teaser and TV Spots
First Draft Screenplay and Fred Dekker’s original 15-page Twilight Zone-inspired story which served as the basis for House (BD-ROM Content)
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DVD SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements
Standard Definition DVD presentation
Original Mono, Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with director Steve Miner, producer Sean S. Cunningham, actor William Katt and screenwriter Ethan Wiley
Ding Dong, You’re Dead! The Making of House – brand new documentary featuring interviews with director Steve Miner, producer Sean S. Cunningham, screenwriter Ethan Wiley, story creator Fred Dekker, stars William Katt, Kay Lenz and George Wendt, composer Harry Manfredini, special make-up and creature effects artists Barney Burman, Brian Wade, James Belohovek, Shannon Shea, Kirk Thatcher and Bill Sturgeon, special paintings artists Richard Hescox and William Stout and stunt coordinator Kane Hodder
Vintage Making-of
Still Gallery
Theatrical Trailers, Teaser and TV Spots
First Draft Screenplay and Fred Dekker’s original 15-page Twilight Zone-inspired story which served as the basis for House (BD-ROM Content)
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DETAILS

Region: B/2
Rating: 15
Duration: 92
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: Mono/Stereo/5.1
Colour
Discs: 1


 


HOUSE 2

Release Date: 11th December 2017 (U.K. Release)

12th December 2017 (U.S.A./Canada Release)

Format: Blu-ray and DVD

Directed by: Ethan Wiley

FRIGHTNING STRIKES TWICE!

Another House, another horror! Following on from the original 1986 horror classic, House II: The Second Story relocates the terror to a sprawling mansion where multiple dimensions converge – all of them terrifying!

This first House sequel sees young Jesse (Arye Gross) moving into an old family property where his parents were mysteriously murdered years before. Joined by pal Charlie (Jonathan Stark), the pair soon find themselves with some unexpected guests in the form of Jesse’s mummified great-great grandfather, a mystical crystal skull and the zombie cowboy who’ll stop at nothing to lay his hands on it!

Newly restored for this deluxe Blu-ray edition, House II: The Second Story is the horror sequel that offers up even more thrills and chills than its predecessor.

BLU-RAY SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements
High Definition Blu-ray presentation
Original Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with writer-director Ethan Wiley and producer Sean S. Cunningham
It’s Getting Weirder! The Making of House II: The Second Story – brand new documentary featuring interviews with writer-director Ethan Wiley, producer Sean S. Cunningham, stars Arye Gross, Jonathan Stark, Lar Park Lincoln and Devin DeVasquez, composer Harry Manfredini, special make-up and creature effects artists Chris Walas, Mike Smithson, visual effects supervisor Hoyt Yeatman and stunt coordinator Kane Hodder
Vintage EPK
Still Gallery
Theatrical Trailer and TV Spot • Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DETAILS

Region: B/2
Rating: 15
Duration: 88
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: Stereo / 5.1
Colour
Discs: 1


 


HOUSE 3

Release Date: 11th December 2017 (U.K. Release Only)

Format: Blu-ray and DVD

Directed by: James Isaac

THE TIME WE’RE NOT KIDDING.

Lance Henriksen (Aliens, Pumpkinhead) stars in the most terrifying House instalment yet, now fully uncut on Blu-ray!

Sadistic serial killer Max Jenke was sent to the electric chair for his heinous crimes… now he’s really mad! Vowing revenge on Lucas McCarthy (Henriksen), the detective who apprehended him, “Meat Cleaver” Max returns from beyond the grave to launch a whole new reign of terror.

Produced by Sean S. Cunningham (Friday the 13th) and directed by James Isaac (Jason X), House III was released domestically as The Horror Show, where it was hacked by the US censors for its gratuitous gore sequence – now lovingly reinstated for this definitive release from Arrow Video.

BLU-RAY SPECIAL EDITION CONTENTS:

Uncut European Version
Alternate US Theatrical Version
High Definition Blu-ray presentation
Original Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with producer Sean S. Cunningham
The Show Must Go On – interview with actor/stuntman Kane Hodder
House Mother – interview with actress Rita Taggart
Slaughter, Inc. – brand new featurette with special make-up effects creators Robert Kurtzman, Greg Nicotero and Howard Berger
Behind-the-Scenes Footage
Workprint Footage
Theatrical Trailer
Still Gallery
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DVD SPECIAL EDITION CONTENTS:

Uncut European Version
Alternate US Theatrical Version
Standard Definition DVD presentation
Original Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with producer Sean S. Cunningham
The Show Must Go On – interview with actor/stuntman Kane Hodder
House Mother – interview with actress Rita Taggart
Slaughter, Inc. – brand new featurette with special make-up effects creators Robert Kurtzman, Greg Nicotero and Howard Berger
Behind-the-Scenes Footage
Workprint Footage
Theatrical Trailer
Still Gallery
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DETAILS

Region: Free
Rating: 18
Duration: 95
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: Stereo/5.1
Colour
Discs: 1

HOUSE 4

Release Date: 11th December 2017 (U.K. Release Only)

Format: Blu-ray and DVD

Directed by: Lewis Abernathy

STEP INSIDE, YOU’RE FRIGHTFULLY WELCOME!

Just when you thought it was safe to go back into the House… the makers of Friday the 13th return with one last terrifying entry in the hit horror franchise!

In House IV: The Repossession, a mother and her daughter, still reeling from a car crash which claimed the life of husband Roger, move into the old family homestead to start a new life. Unfortunately for them, not only is the house in the sights of local mobsters, but it’s also plagued by a host of hair-raising supernatural phenomena including ghostly visions and showers that run with blood!

Featuring scenes to sicken and stupefy in equal measure (the appearance of a ghoulish singing pizza is a particular standout), this fourth and final entry in the House franchise might just be the barmiest of them all!

BLU-RAY SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements
High Definition Blu-ray (1080p) presentation
Original Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with director Lewis Abernathy
Home Deadly Home: The Making of House IV – brand new documentary featuring interviews with director Lewis Abernathy, producer Sean S. Cunningham, stars Terri Treas, and William Katt actor/stunt coordinator Kane Hodder and composer Harry Manfredini
Theatrical Trailer
Still Gallery
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DVD SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements
Standard Definition DVD presentation
Original Stereo and DTS-HD MA 5.1 Audio Options
Optional English subtitles for the deaf and hard of hearing
Audio commentary with director Lewis Abernathy
Home Deadly Home: The Making of House IV – brand new documentary featuring interviews with director Lewis Abernathy, producer Sean S. Cunningham, stars Terri Treas, and William Katt actor/stunt coordinator Kane Hodder and composer Harry Manfredini
Theatrical Trailer
Still Gallery
Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourn

DETAILS

Region: Free
Rating: 15
Duration: 94
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: Stereo 5.1
Colour
Discs: 1





PULP

NEW Release Date: 18th December 2017 (U.K. Release)

12th December 2017 (U.S.A./Canada Release)

Format: Blu-ray & DVD

Directed by: Mike Hodges

A year after they’d created one of the defining British gangster pictures with Get Carter, three Michaels – writer-director Mike Hodges, producer Michael Klinger and star Michael Caine – reunited for another crime picture, albeit with a more oddball flavour…

Caine plays Mickey King, a successful pulp novelist responsible for such titles as My Gun Is Long and The Organ Grinder, who is invited to ghost-write the autobiography of a mystery celebrity. His client turns out to be a former actor, played by Mickey Rooney, well-known for his gangster roles and real-life gangster connections – but death is around the corner, and King finds his commission to be a lot more complicated than he first imagined.
A favourite of J.G. Ballard, Pulp has long existed in the shadow of its predecessor. Tonally, it could not be more different – Get Carter never had the time for sight gags and one-liners – but it’s a real gem in its own right and fully deserving of a wider audience. This brand-new restoration from Arrow Films aims to right that wrong.

BLU-RAY SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements, supervised and approved by director of photography Ousama Rawi, produced by Arrow Films exclusively for this release
High Definition Blu-ray (1080p) presentation
Original 1.0 mono sound
Optional English subtitles for the deaf and hard-of-hearing
Brand-new interview with writer-director Mike Hodges
Brand-new interview with director of photography Ousama Rawi
Brand-new interview with assistant director John Glen
Brand-new interview with Tony Klinger, son of producer Michael Klinger
Original theatrical trailer
Reversible sleeve featuring original and newly commissioned artwork by Nathanael Marsh

FIRST PRESSING ONLY:

Collector’s booklet containing new writing by Alexandra Heller-Nicholas

DVD SPECIAL EDITION CONTENTS:

Brand new 2K restoration from original film elements, supervised and approved by director of photography Ousama Rawi, produced by Arrow Films exclusively for this release
Standard Definition DVD presentation
Original 1.0 mono sound
Optional English subtitles for the deaf and hard-of-hearing
Brand-new interview with writer-director Mike Hodges
Brand-new interview with director of photography Ousama Rawi
Brand-new interview with assistant director John Glen
Brand-new interview with Tony Klinger, son of producer Michael Klinger
Original theatrical trailer
Reversible sleeve featuring original and newly commissioned artwork by Nathanael Marsh

DETAILS

Duration: 95 mins
Language: English
Subtitles: English / English SDH
Aspect Ratio: 1.85:1
Audio: 1.0 Mono
Colour
Discs: 1





THE WITCH WHO CAME FROM THE SEA

Release Date: 5th December 2017 (U.K. Release)

5th December 2017 (U.S.A./Canada Release)

Format: Blu-ray and DVD

Directed by: Matt Cimber

MOLLY REALLY KNOWS HOW TO CUT MEN DOWN TO SIZE!!!

Representing something of an anomaly in the career of director Matt Cimber (whose other credits include such blaxploitation fare as The Candy Tangerine Man), The Witch Who Came from the Sea is an unnerving journey into madness and murder starring Millie Perkins (The Diary of Anne Frank).

Molly (Perkins) experiences violent fantasies in which she ties muscular men up before bloodily dispatching them with a razor. But when a news report announces the shocking double-murder of two football players which strongly echoes one of Molly’s most recent depraved flights of fancy, the fantasy starts to bleed into reality – literally.

Written by Perkins’ late husband Robert Thom (Death Race 2000), The Witch Who Came from the Sea features early cinematography from DOP Dean Cundey, who would go on to expand his genre credentials with his work on Escape from New York and The Thing.

BLU-RAY DIRECTOR-APPROVED SPECIAL EDITION CONTENTS:

2K restoration from original vault materials
High Definition Blu-ray presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Audio commentary with producer-director Matt Cimber, actress Millie Perkins and director of photography Dean Cundey
Tides and Nightmares – brand new making-of documentary featuring interviews with Cimber, Perkins, Cundey and actor John Goff
A Maiden’s Voyage – archive featurette comprising interviews with Cimber, Perkins and Cundey
Lost at Sea – director Cimber reflects on his notorious cult classic
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DVD DIRECTOR-APPROVED SPECIAL EDITION CONTENTS:

2K restoration from original vault materials
Standard Definition DVD presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Audio commentary with producer-director Matt Cimber, actress Millie Perkins and director of photography Dean Cundey
Tides and Nightmares – brand new making-of documentary featuring interviews with Cimber, Perkins, Cundey and actor John Goff
A Maiden’s Voyage – archive featurette comprising interviews with Cimber, Perkins and Cundey
Lost at Sea – director Cimber reflects on his notorious cult classic
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DETAILS

Region: Free
Rating: 18
Duration: 88 mins
Language: English
Subtitles: English SDH
Aspect Ratio: 2.35:1
Audio: Mono
Colour
Discs: 1





MALATESTA'S CARNIVAL OF BLOOD

Release Date: 5th December 2017 (U.K. Release)

5th December 2017 (U.S.A./Canada Release)

Format: Blu-ray and DVD

Directed by: Christopher Speeth

YOU’LL SHRIEK WITH HORROR!

Roll up, roll up! Step right up for Malatesta’s Carnival of Blood – the grisliest, freakiest show in town! Virtually impossible to find until its revival on DVD in the early 2000s, this 1973 cult oddity, from late director Christopher Speeth, is a cinematic experience like no other.

Arriving at a creepy, dilapidated fairground under the premise of looking for work, the Norris family are hoping to track down their missing son, who, they believe, is somewhere in the park. But it’s not long before they find themselves at the mercy of the fairground’s fiendish proprietors and the cannibalistic ghouls lurking in the caverns below.

Filmed at the Willow Grove amusement park in Pennsylvania, Malatesta’s Carnival of Blood is a mind-melting phantasmagoria of carnie craziness which blends elements of Night of the Living Dead and Carnival of Souls, adding an (un)healthy dose of Herschell Gordon Lewis-style gore for good measure.

BLU-RAY SPECIAL EDITION CONTENTS:

2K restoration from original vault materials
Standard Definition DVD presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Audio Commentary by film historian Richard Harland Smith
The Secrets of Malatesta – an interview with director Christopher Speeth
Crimson Speak – an interview with writer Werner Liepolt
Malatesta’s Underground – art directors Richard Stange and Alan Johnson discuss the weird, mysterious world of Malatesta’s underground
Outtakes
Draft script (DVD-ROM content)
Stills gallery
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DVD SPECIAL EDITION CONTENTS:

2K restoration from original vault materials
Standard Definition DVD presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Audio Commentary by film historian Richard Harland Smith
The Secrets of Malatesta – an interview with director Christopher Speeth
Crimson Speak – an interview with writer Werner Liepolt
Malatesta’s Underground – art directors Richard Stange and Alan Johnson discuss the weird, mysterious world of Malatesta’s underground
Outtakes
Draft script (DVD-ROM content)
Stills gallery
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DETAILS

Region: Free
Rating: 18
Duration: 74
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: Mono
Colour
Discs: 1

THE PREMONITION

Release Date: 5th December 2017 (U.K. Release)

5th December 2017 (U.S.A./Canada Release)

Format: Blu-ray and DVD

Directed by: Robert Allen Schnitzer

BEYOND THE POWER OF AN EXORCIST

The mid-1970s saw the rise in popularity of films centering on the subject of parapsychology, led by Carrie – Brian De Palma’s classic tale of telekinetic terror. Precognition, or future sight, would be the topic under exploration in Robert Allen Schnitzer’s contribution to the psychic craze: the chilling and much-overlooked The Premonition.

Mother Sheri Bennett (Sharon Farrell, Night of the Comet, Sweet Sixteen) is assailed by terrifying visions in which a strange woman attempts to steal away her five-year-old daughter Janie. Are these bizarre occurrences the result of some sort of mental disturbance, or is something much more sinister afoot?

Featuring a haunting score from accomplished classical composer Henry Mollicone, The Premonition has remained unjustly obscure over the years but is heralded as a true classic of ’70s US horror moviemaking by genre aficionados.

BLU-RAY DIRECTOR-APPROVED SPECIAL EDITION CONTENTS:

2K restoration from original film elements
High Definition Blu-ray (1080p) presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Isolated Score
Audio commentary with producer-director Robert Allen Schnitzer
Pictures from a Premonition – brand new making-of documentary featuring interviews with Schnitzer, composer Henry Mollicone and cinematographer Victor Milt
Archive interviews with Schnitzer and star Richard Lynch
Trailers and TV Spots
Three Robert Allen Schnitzer short films: Vernal Equinox, Terminal Point and A Rumbling in the Land
4 “Peace Spots”
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DVD DIRECTOR-APPROVED SPECIAL EDITION CONTENTS:

2K restoration from original film elements
Standard definition DVD presentation
Original Mono Audio
English subtitles for the deaf and hard of hearing
Introduction to the film by Nightmare USA author Stephen Thrower
Isolated Score
Audio commentary with producer-director Robert Allen Schnitzer
Pictures from a Premonition – brand new making-of documentary featuring interviews with Schnitzer, composer Henry Mollicone and cinematographer Victor Milt
Archive interviews with Schnitzer and star Richard Lynch
Trailers and TV Spots
Three Robert Allen Schnitzer short films: Vernal Equinox, Terminal Point and A Rumbling in the Land
4 “Peace Spots”
Reversible sleeve featuring original and newly-commissioned artwork by The Twins of Evil

DETAILS

Region: Free
Rating: 15
Duration:
Language: English
Subtitles: English SDH
Aspect Ratio:
Audio:
Colour
Discs: 1

CARRIE

Release Date: 11th December 2017 (U.K. Release Only)

Format: Limited Edition Blu-ray

Directed by: Brian De Palma

In 1974, Stephen King published his first novel, the story of Carrie White, a troubled young girl, bullied by her peers and daughter to a fanatical fundamentalist mother, who discovers she has telekinetic powers. In 1976, it became the first of his works to be adapted for the big screen and, to this day, remains one of the very best.

Carrie marked Brian De Palma’s arrival as a major director, following smaller cult films such as Sisters, Phantom of the Paradise and Obsession, and provided a key early role for Sissy Spacek (Badlands), one that would earn her a Best Actress nomination at the Academy Awards. Piper Laurie would also pick up a nomination, for Best Supporting Actress, as Carrie’s mother, while future stars such as Amy Irving, John Travolta and Nancy Allen were give their first major parts in a big-screen production.

Restored in 4K from the original negative, this collector’s edition provides the definitive release of a horror classic.

LIMITED EDITION SPECIAL FEATURES

• 4K restoration from the original negative

• High Definition (1080p) presentation

• DTS-HD 5.1 Master Audio and uncompressed 1.0 mono soundtracks

• Optional subtitles for the deaf and hard-of-hearing

• Commentary by Lee Gambin, author of Nope, Nothing Wrong Here: The Making of Cujo, and Alexandra Heller-Nicholas, author of Cultographies: Ms. 45 and Devil’s Advocates: Suspiria, recorded exclusively for this release

• Brand-new visual essay comparing the various versions and adaptations of Carrie across the years

• Alternate title sequence created for network television screenings

• Acting Carrie, archive featurette containing interviews with director Brian De Palma, actors Sissy Spacek, Piper Laurie, Amy Irving, William Katt and others

• More Acting Carrie, additional cast interviews with Laurie, Katt, Nancy Allen, Betty Buckley, Edie McClurg and P.J. Soles

• Visualising Carrie: From Words to Images, archive

featurette containing interviews with De Palma, writer Lawrence D. Cohen, editor Paul Hirsch and art

director Jack Fisk

• Singing Carrie: Carrie the Musical, archive featurette on the stage musical adaptation of King’s novel

• Writing Carrie, an interview with writer Lawrence D. Cohen

• Shooting Carrie, an interview with cinematographer Mario Tosi

• Cutting Carrie, an interview with editor Paul Hirsch

• Casting Carrie, an interview with casting director Harriet B. Helberg

• Bucket of Blood, an interview with composer Pino Donaggio

• Horror’s Hallowed Grounds, a look back at the locations of Carrie

• Gallery

• Trailer

• TV spots

• Radio spots

• Carrie trailer reel

• Reversible sleeve featuring original and new artwork by Laz Marquez

• Limited edition 60-page booklet featuring new writing on the film by Neil Mitchell, author of Devil’s Advocates: Carrie, a reprint of the Final Girls’ 40th anniversary Carrie zine, and an archive interview with Brian De Palma

Region: B
Rating: 18
Duration: 98 mins
Language: English
Subtitles: English SDH
Aspect Ratio: 1.85:1
Audio: 5.1/1.0
Colour
Discs: 1





THE HITCHER (Book)

Release Date: 29th December 2017

Robert Harmon’s 1986 film The Hitcher is a complex beast: reviled at the time of its release, it has been adored in the long term as one of the most intoxicating, unrelenting highway cult films ever made. Starring Rutger Hauer in the title role whose alluring villainy would give his turn as Blade Runner’s Ray Batty a run for its money, The Hitcher – both the film and the character – is simultaneously of its time and of the now, a film about the real and the mythic, and a film that challenges our assumptions about masculinity and femininity. Its horrors unfold as The Hitcher tracks and tortures the film’s protagonists across the highways of Nowhere USA, and the film reveals a tangle of contradictions: it is, at times, simultaneously dense, shallow, obvious, subtle, absurd and deeply intelligent.

The critical paths into The Hitcher that this book explores are rich and plentiful, and through an exploration of its origins and production history, a close analysis of the film itself and a consideration of the immediate fallout following its release and its longer legacies, this book celebrates one of the greatest highway horror movies ever made.

Alexandra Heller-Nicholas is a film critic and academic from Melbourne, Australia, who has written four books on cult, horror and exploitation cinema.

Featuring new artwork by Gary Pullin and original stills.


CALTIKI, THE IMMORTAL MONSTER VINYL (TRANSLUCENT GREEN)

Release Date: 29th December 2017

ARROW RECORDS proudly present the original soundtrack to Riccardo Freda and Mario Bava's sci-fi horror cult classic, CALTIKI, THE IMMORTAL MONSTER!

Previously unpublished on vinyl, CALTIKI is not only one of the earliest Italian horror film soundtracks but also the first of several fruitful collaborations between horror maestro Mario Bava and the talented composer Roberto Nicolosi, whose compositions for the film combine brassy orchestral bombast with unsettling atonal atmosphere.


This limited vinyl edition has been newly mastered from the original 1/4" analogue tapes by James Plotkin and is presented on 180 gram wax, housed inside a 350gsm sleeve. Featuring newly commissioned artwork by Graham Humphreys, and accompanying film notes by Tim Lucas.