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Friday, 24 October 2014

Listen Up Philip

The above retro-fonted, artfully faded but otherwise dull poster should tell you just about all you need to know about Listen Up Philip. If you had it in your hand while listening to nondescript dinner party jazz and waved it around really close to your eye then the comparison to the actual film would be complete.
Moody
It's at this point in the review where normally there'd be recap of the plot. The trouble is the plot is nonexistent, as is the character arc for the titular Philip, a burgeoning arrogant author with delusions of importance, played with usual baggy eyed, hirsute and hipster aplomb by Jason Schwartzman. Other nonexistent things include use of a tripod, empathy for anyone and a decent reason for the always wonderful Jonathan Pryce, playing an older, equally arrogant and pompous writer, to waste one of his best performances in years on this very disappointing, semi-naval gazing load of old crap.
Elisabeth Moss at least gets the thankless task of going from a quiet, mumbly, nonchalant, sour faced photographer girlfriend character, without a personality, to an equally quiet and mumbly but sometimes conflicted and occasionally smiley photographer ex girlfriend, fulfilling the bare minimal requirements for a character arc in a film since the alien in Alien.
To clarify the comments at the top of this review, the entire film is shot in a sort of autumnal brown filter the DP no doubt saw in an 80s Woody Allen movie, filmed entirely in erratic and, quite frankly lazy handheld and all at a distance about an inch and a half away from the actors faces. This, I am sure, was intended to get the obvious reaction from the audience of them screaming "keep the cocking camera still and for bastard's sake please stand the hell back!" I imagine that one of the oh-so-clever layers this film clearly thinks it has is one of audience frustration and participation.
Wes Anderson called he wants his titling idea back!
Occasionally and to fill in the irritating absence of dialogue, a Royal Tenenbaums style voice over would fill in vast swathes of what the characters were meant to be feeling. This was helpful because damned if I would've known what was going on half the time from the dialogue and the facial expressions alone. As the camera never stopped buzzing about the faces of the actors like an annoying wasp, we never got to get an establishing shot of where any of this was taking place or what the people's spacial relationship was to anybody at any point. While the voice over would sometimes fill in the blanks, there were parts that it and the dialogue just simply forgot to explain. This gave you the enjoyable, Where's Waldo, type task of guessing who people are, what they were doing and, most commonly, why.
This whole, almost 2hr long, training video to over come motion sickness, was scored with repetitive and endless jazz that seemed to drift under every scene to the point where tuning it out became relatively easy. I would occasionally think, as I chewed my fingers down to the bone in sheer mind numbing frustration and/or boredom, 'I wonder if the jazz is still going on?' and sure enough, if I retuned my ears to it's bland drone, there it was, ever present making the whole thing feel like one of those 'quit smoking' hypnotist videos that were popular in the 90s.
There's utterly punchable and then there's this guy
As if all of this technically incompetent and excessively clichéd filmmaking wasn't bad enough every single main, speaking character in the film seemed thoroughly unlikeable, self involved, arrogant, self pitying, whiny, incompetent, pompous and generally unfulfilled. As I haven't really clarified let me explain that two of the characters in this film, Schwartzman and Pryce, are respected, published authors and lecturers and Elizabeth Moss plays a photographer for which only good things happen. I am not sure what tweed jacketed, three day bearded, Brooklyn stoop this achingly hip director has no doubt been hanging out on but there's been a recession going on and a dearth of jobs around the place lately; why he thinks any of us should give two shakes of a lamb's penis what these wealthy upper middle class, bickering twats are up to, I have no idea.
Yes, she's French and depressed, that's art right? I am not kidding they even reference Mon Oncle in a scene!
When the film began, the cod Wes Anderson like attempts at brevity in the script and the enjoyable performances from Schwartzman and Pryce in particular, were enough to get me to keep watching. There is some creativity in the language patterns employed and some genuine, interesting humour in the interactions that I could see, for a moment, why the actors involved took the project on. There was also a short scene near the beginning where an actor acquaintance of mine from New York, Steven Boyer, showed up for an excellent, surprise appearance. However when it got to the 40 minute mark, nothing was happening and I still had over an hour to go, it became very painful to carry on and just 'eyes front/grit teeth' get to the end.
I don't remember this character in the film at all.
I recently saw St.Vincent with Bill Murray, another, so-called, indie dramedy that went absolutely nowhere. It was humorous enough, charming enough in places and acted with an eye on the Oscar but the script was all over the place. It was written like a series of rambling vignettes that, to add insult to injury, tacked on an utterly generic, implausible and 'all past transgressions forgiven' type ending we've seen a bazillion times. While I would never suggest another film take this sort of approach, I have to say, what could've possibly saved Listen Up Philip from descending into tedious masturbation would have been some sort of resolutions to the tenuous and irrelevant stories it deemed to set up. Oh and voice over man filling in the uninspiring rest of the characters lives at the end doesn't cut it!

The irony to end all hipster, soul patch stroking, jaunty hat wearing irony was Philip never did seem to ever listen up. Not that anyone told him anything worth listening to but, you know, I am sure that I just didn't understand the true deepness of the film. I am almost certain that somewhere the director, Alex Ross Perry, is laughing with some guy called Chad, who's probably wearing a frayed cotton scarf, retro pumps and has a big floppy fringe about how this isn't a film for the critics but for the people who brazenly and seemingly without any self awareness, call themselves artists loudly in restaurants that only serve quiche.

2 out of 5

Wednesday, 22 October 2014

The Movies of John Carpenter

From guest blogger Brandon Engel 

John Carpenter is often referred to as the Master of Horror, with many of his most popular films, such as Halloween, The Thing, and The Fog, remaining present in the mainstream eye today. His contribution to the film world has been legendary, a point proven when he was recently interviewed for Robert Rodriguez’s The Director’s Chair on the El Rey Network to discuss his impact on the slasher and sci-fi genres, as well as his influence on fellow filmmakers. Though many filmgoers have enjoyed Carpenter’s biggest hits, some readers may not realize that Carpenter has contributed much more to the film industry than a few horror films, including many bizarre horror and sci-fi genre films. A few of these films have reached cult status, but there are still plenty which deserve increased recognition and remain underrated today:

Dark Star: An interesting and somewhat humorous film following a team of astronauts who are sent to space to help in colonizing other planets. Along the way, the astronauts are faced with alien life forms that resemble beach balls, "god like" machinery with a conscious, and space junk. The astronauts face such a large number challenges on their journey that even their own minds become an obstacle to overcome.
Assault on Precinct 13: One of Carpenter's earlier releases, this film centers on a group of police officers who find themselves trapped in their own precinct building, surrounded by gang members who are willing to do anything to extract revenge.
Escape From New York: This film centers around a convicted bank robber who is sent to rescue the president from New York, which has become a maximum security for citizens and criminals alike. Will he save the president in time before the world is overtaken and run as a totalitarian society?
Starman: An original film created by John Carpenter focusing on an alien who has taken the shape of a woman's deceased husband. As the woman, Jenny, begins a romantic affair with the alien in disguise, her world is turned upside down. This movie is not considered a horror film, but instead falls within the romance, sci-fi and mystery genres.
Prince of Darkness: This 1987 classic from Carpenter indulges viewers in a mix of both horror and sci-fi as one priest begins to search for another priest who has subsequently gone missing. When he discovers a vat of unidentifiable green goo within the church, a team of graduate physics students are called in to help in solving the mystery. Little do they know that something even more sinister and evil lurks within the church walls.
They Live: A 1988 film from Carpenter that brings viewers into a totalitarian state of government. Nada is out in the city one afternoon when he stumbles upon a deserted pair of sunglasses. Curious, he begins wearing them, only to discover there is an entirely unseen world beyond his – and it's horrific. When wearing the glasses, Nada discovers that the human race is being overtaken by an alien race, subduing humans and causing them to "obey" with the use of subliminal messages.
In The Mouth of Madness: This film centers on a couple who find themselves in a deserted town after a boat of theirs crashes. The man, John Trent, an investigative journalist, also discovers a well-known horror author has also gone missing from the location. In attempt to find the missing author, John also stumbles upon more evil than he could have ever imagined.

John Carpenter is still considered one of Hollywood’s most talented directors, despite only making one film in the last 13 years (The Ward), it has hardly diminished his continued impact and influence across the film world. A resurgence of his work might in fact be just what the horror and sci-fi world is in need of. Luckily for horror and sci-fi lovers, Carpenter no doubt greatly affected the many filmmakers who viewed his films in their youth, and so will continue being a much homaged director for years to come.

Monday, 20 October 2014

Grindhouse Sundays - American Muscle and Bounty Killer

I am not sure if this will become a regular spot on the review site or not but as I took it upon myself to watch two modern, Grindhouse style, B-movies this afternoon I thought, why not.

AMERICAN MUSCLE (2014)
First up is American Muscle. It was released September 30th in the States and is available on DVD, Blu Ray and On Demand. It is the directorial debut of editor Ravi Dahr and is the fifth produced feature length script of Canadian screenwriter, actor, director, producer and friend of The Diner, John Fallon.
In typical, stripped down, b-movie fashion the plot is simple enough. John Falcon played by Nick Principe (named, coincidentally enough before John Fallon was hired to write the screenplay) has done 10 years in prison after being double crossed and left for dead at the scene of a crime. A crime organised by his dealer brother Sam Falcon, played by Todd Farmer, that he was only participating in to grab some fast cash and escape the life with his wife Darling, played by Robin Sydney.
The story starts on his last day in prison and tells of his hunting down and annihilating, in typical brutal fashion, any and all people even remotely, tangentially involved in his incarceration. We see the events that lead to him being banged up in various flashbacks scattered throughout the film.
There are desert roads, fast cars, beautiful, often naked women, shotguns, fist fights, bloodshed, deaths, swearing and tattoos. In its bones it's a Roger Corman, low grade 70s revenge, road movie dragged kicking and screaming into 2014 with all the exploitive permissiveness we now enjoy.
Where it gets interesting is the way Ravi Dahr chooses to film and edit it. A lot of it reminded me of Oliver Stone's more excessive, kinetic and stylised work in films such as Natural Born Killers and U Turn. The slick, hyper real photography and the montage, jump cut editing style is unusual, more beautiful than you'd expect from the subject matter and mostly successful, in as much as it never gets 'music video' annoying.
While John Fallon's script does have some good one liners and there is obviously some truly ludicrous, exploitation moments in it, the film, at times, comes off as serious as a heart attack. It may be the way it was shot, it may be the way it was acted or it could be that the script dares to make the audience genuinely sympathise and empathise with the lead character. Despite John Falcon being a muscular, tattooed, porn tash wearing giant of a man who dispatches people with monosyllabic, gruff whimsy and thinks casual adultery is fine as long as it's 'from behind', his mission, at its heart, is one of saving the women he dearly loves, who is also less than faithful or pleasant, and getting the fuck out of dodge. It's almost Shakespearean in its unabashed romanticism isn't it?
Overall I enjoyed it. I thought it was an interestingly shot, perfectly well acted, low budget, exploitation, revenge road movie.
The criticisms I would have would be that, on occasion the editing goes a little too manic, that the film maybe took itself a little seriously and that CGI bullet hits and blood spurts, while cheaper and safer than the old traditional squibs, should be used sparingly and preferably not up close. The decision to have several of them hit the camera lens seemed one layer of 'style' too much. Although there is one scene, right at the end, where it is effective, overall it's a silly, 'seemed cool in the edit suite' idea that adds little to the film.
Anyone though, as I have seen online, criticising this film's misogyny, violence, acting or plot points needs to realise what the exploitation/B-Movie/Grindhouse genre is and shut up. I have also heard that this film is 'trying too hard' and on that front I would also disagree. You can tell when a film is trying too hard because it keeps winking at the audience to get validation that everything they are doing, while gross, is all fine and in the spirit of the thing, whereas American Muscle doesn't bother with that for one second. It simply doesn't give a shit what you think. It sets up its situation and plays it out to its logical, tragic and gruesome conclusion.
3 out of 5

BOUNTY KILLER (2013)
Bounty Killer is far more cartoony and over the top than American Muscle and it's hardly surprising as it is based on a graphic novel, directed by Henry Saine, a graphic artist and written by his cousin Jason Dodson. In fact it may be its 'sense of humour' or 'goofiness' that could be its weakest point but more of that later.
The film is set in a future where government has been destroyed by the corporations. The corporations fought a war against each other, decimating most heavily urban environments to rubble. Slowly regular folk have fought back across the wastelands, forming a panel of nine judges who despatch celebrity 'Bounty Killers' to scour the land looking for white collars (corporate types, in this world all indicated by wearing yellow ties) to kill horribly. Then there's the gypsies who, seemingly, don't care about anyone.
Two such bounty killers are The Drifter played by Brit Matthew Marsden (Rambo, DOA) and Mary Death played by relative newcomer Christian Pitre, who oddly acts Marsden off the screen and back again. Then there's the gun caddy Jake LeMans played by Barak Hardley who, more so even than Marsden, made me question his casting several times.
Once we are sufficiently introduced to our main players a more intricate plot emerges that basically serves to make our protagonists race through gypsy camps and radiated badlands to the hidden city where the judges live to figure the whole sorry thing out.
The film has a very nicely realised, desolate, fairly Mad Maxian, slightly stereotypical post-apocalyptic world design to it which, along with the violence and bloodletting, is pleasingly done for real as and where it can be. When there are CGI landscapes or cities they have the intelligence to keep it in the background, the dark or the distance.
It is this design, the plot and the anti-corporate, social commentary (or should that be catharsis) that elevate this film above just a generic, meandering, post apocalyptic, graphic novel inspired case of style over substance.
Sadly where it falls down is in its acting and its attitude. There is a much better film to be made with these elements that isn't so loose, attempting to be humorous and so knowingly a silly grindhouse film. The ideas and plot are almost too good for a throw away B Movie. Their, self confessed, inspiration being the original Death Race 2000 makes sense as it's also a film that doesn't quite work despite the best intentions. However that Bounty Killer got made at all is excellent and please don't think I am disparaging it too much, just that there's always a desire for a film with this cool a backbone to, overall, be bit stronger.
The only other let down is, sadly, the acting. Apart from some delightful cameos from folks as diverse as Kevin McNally, Gary Busey, Beverly D'Angelo and Abraham Benrubi, the main pairing of Marsden and Hardley, that we are meant to be rooting for, is uninspiring at best. Marsden isn't Mad Max, tough guy material at all and no amount of stubble, dusty leathers and guns will convince me otherwise and as for Hardley well his inept, speechifying, panicky sidekick schtick is irritating from the get go and doesn't let up. His one humorous scene was with a mug of moonshine and apart from that he was mostly awful. It's sad that he's the audience surrogate and that so much of the questioning and resolving dialogue is delivered through him.
Christian Pitre though is an absolute wonder and I don't just mean drop dead gorgeous, which she is but I mean in conveying her character. She is the most stylised and superhero like of all the characters and yet you believe her and love to watch her slay the bad guys, over power and dominate the good guys and ride off into the sunset.
The action, stunts, weapon work and explosions are pleasing enough. To be really awesome you would need some actual action guys in there like a Scott Adkins or at least a decent choreographer but working with what they have and a few camera tricks, they pull of some pretty enjoyable and gory, bullet flying, set pieces. There's one in particular at the end of the film which is both unexpected, very very cool and pretty damn funny.
It's definitely worth a watch and I would recommend it if you are an action fan, a post apocalyptic road trip fan or a comic book fan.
3.5 out of 5

All in all as a double bill it was pretty strong. It had similar themes of revenge, fast cars and bloodshed in the desert but two completely different tones. It definitely worked watching the serious movie first and the silly movie second. If you can find them streaming or, indeed, if you want to pick up some copies, I can definitely recommend this as a Sunday afternoon's grindhouse viewing.

Sunday, 19 October 2014

Blu-Ray Review - Compañeros - Blue Underground

One of many spaghetti westerns made by Sergio Corbucci that featured Franco Nero, the most famous of which is probably Django. Compañeros, their third collaboration has been given the flawless Blu Ray treatment from Blue Underground.
COLOUR. 1970. English 115 Mins, Italian 119 Mins.
Release Date: October 28, 2014

PLOT
Franco Nero is Yodlaf Peterson, The Swede, a charming con man and arms dealer. Tomas Milian is Vasco, a Mexican Bandit. From their first unpleasant meeting where Vasco almost has Yodlaf's head trampled by horses it is clear they are not going to be the best of friends. However they have to join forces to travel to America to find a professor who is the last remaining person who knows the combination to a safe, expected to be stuffed with riches, that could put their poverty ravaged area of Mexico back on top and help quell the rising tide of revolution.
Along the way they meet and are stalked by a ruthless, marijuana smoking, one handed, hawk loving criminal, played by Jack Palance, harassed and shot at by the American Army and embroiled with the revolutionaries.
Nero's trusty gatling gun from Django re-appears and certainly comes in handy to get them out of tight spots. There are double crosses, big battles and a twist in the tale.

MOVIE REVIEW
A fan of Spaghetti Westerns or not, Compañeros is a must see. It's filled with great performances, engaging characters, awesome action scenes, tricky situations and has an intricate but easy to follow plot. The performances and the film-making are also terrific with Corbucci confident and imaginative behind the camera and the strong cast energetic, humorous and relishing every scene in front of it.
Some westerns can be slow dusty affairs and others can have great style, iconic moments and cool scores but amount to little more than that. Compañeros, on the other hand, has it all.
Talking about scores, the film also comes complete with its own Ennio Morricone score and rousing theme song. Morricone attempts to distance himself from the style of his previous work on films like The Good, The Bad and The Ugly but some of the harmonica moments are unmistakably his and pleasingly familiar, adding to the overall brilliance of this movie.
Then there's that cast, Nero, Milian and Palance, all icons in their own right and here working with some fun, wild characters they can each sink their teeth into. Nero plays the Swede as calm, confident, dashing and strong and is, by far, the most likeable of the characters, despite being an arms dealer and a bit of a slime ball. Even when he is bettered momentarily by Palance and his dangerous humiliation witnessed by a previously tricked and abandoned Milian it's still him that you are rooting for. Palance, affecting an intriguing Scottish accent (I am assuming) is long haired, thin moustached and utterly evil in his relentless pursuit of Nero, with whom he clearly has history. Add to that a fake hand, his 'eyes in the sky' tracking hawk and an ever present marijuana rollup and the part could easily become a cartoon villain if it wasn't for Palance's gift at still gravitas and menacing mumbling.
Milian's Vasco however probably changes more in the course of the film than any of the others. While Nero's Swede is a desperate opportunist and greedy sweet talker the whole film, Vasco feels more of just an ignorant thug at the beginning but grows to understand working in a team with Nero and the professor, life outside his town and the eventual importance of the coming revolution.
The photography of Director Corbucci and his cinematographer Alejandro Ulloa is dazzling and evocative. Transforming Almería, Spain into a very believable Mexican and Texas old west. The variety of the locations, scenes and pace of the action stop the film from dragging or just being relentless desert, dust bowl scenes.
The action is pleasingly over the top, bloody and chaotic. There's everything from large brawls to high noon style stand offs and even a couple of big explosions. There really should be something for all film fans to enjoy in this movie. There aren't any parts that don't work in particular and there's nothing to fault in the script, the performances or the way it's shot. Yes it's still an Italian made Western, it still has a B-Movie sensibility versus a big Hollywood movie or even the work of Sergio Leone but provided you're not the sort of pretentious perfectionist that scoffs at such fun, you should love it!

BLU RAY REVIEW
With the two Maniac Cop discs, the Rats/Hell of the Living Dead disc and the Stage Fright Blu, all of which I have previously reviewed on this site, and the handful of Blue Underground discs I own personally, I honestly haven't come across a bad one and this Compañeros is no exception.
The 1080p HD, Widescreen, 2.35:1 image is perfect. It's not so crisp as to give it the appearance of a modern, soul less, TV Show but it is the perfect sort of HD restoration that maintains the warmth and appeal of film without any of the blur or smudge of a VHS or cheap DVD copy. The colours and shadows are authentic and occasionally vibrant when needed.
Likewise the audio work done on this disc, providing an excellent DTS-HD Mono experience, allows the song, the score and the dialogue to soar. The best thing about Blue Underground's audio work is that there is none of that awful levels issue you get with some modern Hollywood produced Blu Rays where the dialogue is quiet and muffled and the action sequences are obnoxiously loud and only designed for cinema viewing and not home viewing.
I understand home cinema has come a long long way in the last few years but just like when the first stereo albums came out and people bizarrely had vocals all the way out to the left and guitars all the way out to the right etc. because they could and because, maybe, in the studio it sounded great, so some Blu producers need to realise that, even with a surround sound system, the viewer shouldn't have to be constantly adjusting the volume or settings because you've needlessly messed around with the placement of the score, the dialogue and the sound effects just because you can. I will take Blue Underground's brilliant remastering and crisp audio levels over that any day of the week. I didn't have to touch my volume dial once.
The main extras on the disc are a trivia filled, if a little dry, commentary by journalists C.Courtney Joyner and Henry Parke and In the company of Companeros a collection of interviews with stars Franco Nero, Tomas Milian and composer Ennio Morricone which are worth a watch, light, quite revealing  but not too in depth.
It's not the full bells and whistles special edition that some films receive from Blue Underground but with a film this good and a transfer this good you don't need a long list of extras to make this disc worth the purchase. As a film fan, do yourself a favour and pick this up anyway.

TECHNICAL SPECS
Colour
DTS-HD Mono
English, Italian
English SDH, French, Spanish, English for Italian Version
2.35:1 / 16x9
Not Rated
Region Code: All

EXTRAS
Audio Commentary with Journalists C. Courtney Joyner and Henry Parke
In The Company Of Companeros - Interviews with Stars Franco Nero & Tomas Milian and Composer Ennio Morricone
International Trailer
Italian Trailer
Poster & Still Gallery

Sunday, 12 October 2014

Blu-Ray Review - Stagefright - Blue Underground

More Italian horror brilliance gets the fantastic Blu Ray treatment from the fine folks at Blue Underground.

This time it's Michele Soavi's Stagefright AKA Aquarius AKA Deliria AKA Blood Bird, the slightly Giallo style slasher set around a bizarre stage troop putting on an equally weird play in a big, old theatre.
COLOUR. 1987. 90 Mins

PLOT
A troop of struggling thespians, under the strict guidance of their diva director, get locked inside a warehouse sized theatre over night with an escaped psychotic killer. They get picked off one by one in ever more gruesome ways. The play they are attempting to stage, features an owl headed serial killer and the madman on the loose quickly appropriates this outfit for himself.

MOVIE REVIEW
It's immediately apparent, to anyone who knows the genre, that through his work with Agrento, Fulci and Lamberto Bava, Michele Soavi clearly learnt a great deal. Their influence is everywhere throughout the film, from the setting to the subject matter and, of course the gory deaths, although Stagefright never quite gets as gruesome, as mean or as innovative as previous work by those film makers. The film has rich cinematography, interesting sound design, a wonderful, dramatic score, intentionally theatrical performances and some violent set pieces, most notably one with a chainsaw, which are well executed and, for slasher fans, a delight.
It doesn't quite have the sense of dread or fear it needs to be truly successful and I found a lot of it a little slow and even grating at times but it's very well shot, excellently conceived and, in parts, a lot of fun.
For example, if you ever wanted to see Marilyn Monroe play fierce 80s sax while a man in a black leotard body suit and a giant owl head performs Flashdance over the body of a dead hooker then Stagefright is for you. It's just a shame that the ridiculous invention and startling images like that really only crop up at the very beginning and very end of the film, beyond that it's fairly standard but nice and bloody, slasher stuff. The climax to the film though is its most stylised and most unique sequence that, without spoiling anything, is a great combination of macabre and beautiful imagery with a nice healthy handful of suspense too.
Although the cast are really trying their hardest, belting most scenes out to the cheap seats, they were, probably, the weakest link for me. The line reading, especially, through a little bit of ropey overdubbing, is more stilted and awkward than most and I have seen tons of dubbed films before that didn't suffer from this problem. Also I felt that had we understood the play within the film better then they could've taken that leap and made the play and the reality relevant and had a bit more of a comment on life imitating art imitating life.
I must confess that, as an unabashed fan of Argento's Giallos from his heyday, I may have gone in with high expectations that, sadly, weren't exactly met but from the costumes, to the lighting, to the gruesome climax, it's certainly a visual treat and a worthy debut that is helped and enhanced by Blue Underground's incredible transfer.

BLU RAY REVIEW
The transfer on this disc is incredible. It's crisp with deep rich colours, nice blacks and very very low grain, if it wasn't for the hair and costumes then you could think it was made just the other day. The transfer has been made from the original, uncut negative and so nothing is left out for the true film fan and collector.
The audio compliments it perfectly too with a great, clear, nicely mixed 5.1 DTS-HD track.
If you are already a fan of the film then this is a definite purchase. Blue Underground do incredible work when it comes to restoration and remastering and this disc, in particular, one thing I noticed was just how good it looked.
The extras, a series of individual interviews with various people involved in the film from Director Michele Soavi, who would go on to work with Terry Gilliam and make the cult hit Cemetery Man, to composer Simon Boswell, are a great added value to this disc. Each one is insightful and interesting and the fact that they are there at all is surprising, welcome and shows a thoroughness to creating comprehensive discs.
If you're a fan of either Italian cinema in general or the Giallo genre then this is a disc you're going to want to own. It's an important, iconic title that's been given a strong, worthy Blu Ray edition.

TECHNICAL SPECS
Colour
5.1 DTS-HD; 2.0 DTS-HD
English
English SDH, French, Spanish
1.85:1 / 16x9
Not Rated
Region: ALL

EXTRAS
Theatre Of Delirium - Interview with Director Michele Soavi
Head Of The Company - Interview with Star David Brandon
Blood On The Stage Floor - Interview with Star Giovanni Lombardo Radice
The Owl Murders - Interview with Make-Up Effects Artist Pietro Tenoglio
The Sound Of Aquarius - Interview with Composer Simon Boswell
Theatrical Trailer
Poster & Still Gallery
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