Film

Who's Minding the Store: 3 October, 2006

Though SE&L can certainly understand the anger over that crass commercial concept known as "the double dip" (read: studios endlessly re-releasing favorite films in differing DVD packages and presentations), sometimes a revamp is a clear motion picture mandate. Back when the format first arrived, several companies, clamoring for a piece of that initial product pie, put out anything they could on the digital domain, most times without concern over extras, aspect ratio or picture quality. Sure, something like Scarface has seen multiple merchandising variations, while distributors like Anchor Bay have made a mint over numerous reconfigurations of Dawn of the Dead and Sam Raimi's Evil Dead trilogy. But if you look at the list of reissues clogging up this weeks pick's for brick and mortar highlights, you will see several that deserved their major makeover. That's not to downplay the importance of the many new releases available, but when one can own a practically pristine version of one of Hollywood's cinematic standards, a new action hero epic seems a little lame. Anyway, here are our picks for 3, October:

Body Double: Special Edition *

Before he fell completely off track in the '80s, Brian DePalma delivered a pair of preeminent motion picture masterworks. Sadly, only Scarface has endured. And it's a shame, really. Of all his Hitchcock influenced homages, Double has the most devilish combination (Vertigo meets Rear Window) of all the director's experiments in tension. Thanks to wonderful performances by Craig Wasson, Gregg Henry and a pre-plastic surgery Melanie Griffith, and a script that stays true to most of the Master of Suspense's subtleties, what could have been a seedy slice of copycat gratuity became a smart and savage commentary on contemporary Hollywood. Too bad a misplaced misogynist assault on the filmmaker lessened the film's BO appeal. Thanks to this new DVD presentation – and its incredible making-of documentary – one learns of the film's porn star beginnings, as well as how vicious the attacks on DePalma really were. Sadly, it seems they'd only be worse today.

Edmond*

William H. Macy gives another of his idiosyncratic everyman turns as the title character, a seemingly normal nebbish who is suddenly assaulted by a Dante's Inferno like New York City. Helmed by horror master Stuart "Re-Animator" Gordon and scripted by none other than Tony titan David Mamet, this adaptation of the playwright's stage show loses little of its bite in this terrific translation. Similar in conceptualization to Martin Scorsese's misunderstood '80s comedy After Hours, Mamet applies his standard slash and burn dialogue to all manner of shocking personal monologues for his lead. Indeed, some may find Edmond's homophobic and racist rants a tad hard to take – and for those looking for some manner of redemption or understanding on Macy's part, this is not that kind of movie.

PopMatters Review

Ganja and Hess*

Call it voodoo done right or exploitation gone all artsy, but true aficionados find this relatively unknown horror film hard to forget once they've seen it. Playwright Bill Gunn had high hopes for his literate look at vampirism and ancient curses. Sadly, after a less than impressive play date in the Big Apple, distributors eviscerated Gunn's original cut within an inch of its artistic life and re-released it as Blood Couple. Even with 30 missing minutes it did no better. Long out of print, Image Entertainment gets substantial genre props for revisiting Gunn's original cut, including the incorporation of additional footage not found in other DVD versions. With a wealth of supplemental information, including commentaries, making-of documentaries and a look at Gunn's original script, this presentation practically revives Ganja and Hess to its prerelease glory. During a month which sees all manner of movie macabre clogging the airwaves and retail outlets, this is one unknown quantity worth checking out.

The Little Mermaid: Two Disc Special Edition*

The irony of this release is staggering. Mermaid represents Disney's mid-'80s effort to save its sinking animation department – a corporate entity that was recently decimated by the supposed switch to all CGI fare. And yet the House of Mouse is greeting the second DVD dip of this mini-masterpiece like a pen and ink prophecy. Granted, you can't ask for a more effective use of the artform. Combined with Alan Menkin and Howard Ashman's Broadway ready score and the perfect compliment of heroine and villain, this resplendent effort marked the moment when Disney realized the full power of its post-modern animation possibilities. Of course, their eventual over reliance on the facets formulated here (epic musical accompaniment, brash characterization, a winking nod to a more cynical social mindset) would bring about Pixar's digital revolution, and the eventual decision to dump 2-D. Of course, Walt's way of doing things mandates this package be available for "a limited time only", so get your copy while you can.

Maltese Falcon: Three Disc Set *

It's stunning when you think about it. John Huston was 35, and making his first movie ever with this definitive detective tale. He managed to wrangle a cast that consisted of a prime piece of Bogart, a sensational Sidney Greenstreet, a perfect Peter Lorre and a wholly complimentary Mary Astor. Employing a near word for word and scene by scene recreation of Dashiell Hammet's noted novel, Huston added his own artistic touches to turn a glorified gumshoe story into some manner of metaphysical epic. Many have fawned over the feature in the years since its release, and rightfully so. This is old fashioned Hollywood filmmaking at its highly polished best. This new three disc DVD, completely pimped out with commentaries, documentaries and two other versions of the Hammett classic (from 1931 and 1936) should give Falcon fans more added content than they ever imagined. When combined with the masterpiece of a movie at the center of this set, this easily becomes one of the year's best preservationist presentations.

Point Break: Pure Adrenalin Edition

As the '90s attempted to take the action film in as many different directions as the box office would allow, this X-treme sports version of the typical cops and robbers routine hit a notable novel nerve with audiences. The combination of Patrick Swayze's stealing surfer swagger and Keanu Reeves' Valley boy FBI basics created a kind of kitschy cult chemistry, and the dude speak dialogue loaded with Zen like zaniness ("Peace through superior firepower") still provides untold guilty pleasures - even today. While DVD versions have long been available, this new packaging promises to give us a series of deleted scenes (long a fan Holy Grail) and a collection of newly created featurettes. Sadly, Break would mark director Kathyrn Bigelow's big budget albatross. With success came Strange Days, and her eventual fall from Tinsel Town grace.

X-Men: The Last Stand*

Okay, so Brett Ratner didn't step in and completely destroy the mutant magic. In fact, he made Bryan Singer's more serious minded installments look logistically lax by comparison. Sure, fans wanted to hate every frame of this final chapter in their favorite comic franchise, but Ratner just ratcheted up the action and piled on the principle characters. The result is a scattered summer blockbuster that only seems sensible when stuff is blowing up. While several of the setpieces – Jean Grey's evil return, Magneto's manipulation of the Golden Gate Bridge – match well against those in previous X entities, it is obvious that Last Stand's filmmaking was forged out of a desire to make money, not memorable motion picture mythology. Still, for the casual X-men maven, or someone not expecting a Singer level of loyalty, this is one of 2006's better popcorn creations. And the DVD promises a collection of unused endings – just the thing to give the faithful meaningful messageboard fodder.

PopMatters Review

And Now for Something Completely Different

In a weekly addition to Who's Minding the Store, SE&L will feature an off title disc worth checking out. For 3 October:

The Blood Trilogy *

While he may not have invented the concept of gore (his inspiration, the noted Grand Guignol theater in France had been around since 1897), no one before had delivered such devastating, blood slicked scares to the silver screen. Upon realizing that nudity had more or less run its exploitation course, founding filmmakers Herschell Gordon Lewis and David F. Friedman were looking for another financially viable cinematic approach. Claret became the cash machine for the determined duo, beginning with their seminal scarefest Blood Feast. Revolving around an insane caterer and his desire to create a flesh buffet to the Goddess Ishtar, this vivisection-fest is rife with repugnant imagery. Wanting not to repeat themselves, Lewis and Friedman Southern-fried their next nasty novelty, 2000 Maniacs. A ballsy Brigadoon revamp featuring pissed off Confederate ghosts murdering mindless Yankee tourists, it was another hefty hit. By the time of the Bucket of Blood inspired Color Me Blood Red, however, the bloom was off the grue-covered rose. Not even the still fresh innovation of seeing copious amounts of arterial juices could save the subgenre. As the roughie returned exploitation to its raincoat crowd confines, Lewis and Friedman parted company. Their corporeal collaboration remains a benchmark in the realm of horror, and with Something Weird Video providing the digital goods, you know you're getting pristine copies of these remarkable movies.

Music

The Best Metal of 2017

Painting by Mariusz Lewandowski. Cover of Bell Witch's Mirror Reaper.

There's common ground between all 20 metal albums despite musical differences: the ability to provide a cathartic release for the creator and the consumer alike, right when we need it most.

With global anxiety at unprecedented high levels it is important to try and maintain some personal equilibrium. Thankfully, metal, like a spiritual belief, can prove grounding. To outsiders, metal has always been known for its escapism and fantastical elements; but as most fans will tell you, metal is equally attuned to the concerns of the world and the internal struggles we face and has never shied away from holding a mirror up to man's inhumanity.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Two recently translated works -- Lydie Salvayre's Cry, Mother Spain and Joan Sales' Uncertain Glory -- bring to life the profound complexity of an early struggle against fascism, the Spanish Civil War.

There are several ways to write about the Spanish Civil War, that sorry three-year prelude to World War II which saw a struggling leftist democracy challenged and ultimately defeated by a fascist military coup.

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8

Beware the seemingly merry shades of green and red that spread so slowly and thickly across the holiday season, for something dark and uncertain, something that takes many forms, stirs beneath the joyful facade.

Let's be honest -- not everyone feels merry at this time of year. Psychologists say depression looms large around the holidays and one way to deal with it is cathartically. Thus, we submit that scary movies can be even more salutary at Christmas than at Halloween. So, Merry Christmas. Ho ho ho wa ha ha!

1. The Old Dark House (James Whale, 1932)

Between Frankenstein (1931) and The Invisible Man (1933), director James Whale made this over-the-top lark of a dark and stormy night with stranded travelers and a crazy family. In a wordless performance, Boris Karloff headlines as the deformed butler who inspired The Addams Family's Lurch. Charles Laughton, Raymond Massey, Gloria Stuart, Melvyn Douglas and Ernest Thesiger are among those so vividly present, and Whale has a ball directing them through a series of funny, stylish scenes. This new Cohen edition provides the extras from Kino's old disc, including commentaries by Stuart and Whale biographer James Curtis. The astounding 4K restoration of sound and image blows previous editions away. There's now zero hiss on the soundtrack, all the better to hear Massey starting things off with the first line of dialogue: "Hell!"

(Available from Sony Pictures Home Entertainment)

2. The Lure (Agnieszka Smoczynska, 2015)

Two mermaid sisters (Marta Mazurek, Michalina Olszanska) can summon legs at will to mingle on shore with the band at a Polish disco, where their siren act is a hit. In this dark reinvention of Hans Christian Andersen's already dark The Little Mermaid, one love-struck sister is tempted to sacrifice her fishy nature for human mortality while her sister indulges moments of bloodlust. Abetted by writer Robert Bolesto and twin sister-musicians Barbara and Zuzanna Wronska, director Agnieszka Smoczynska offers a woman's POV on the fairy tale crossed with her glittery childhood memories of '80s Poland. The result: a bizarre, funy, intuitive genre mash-up with plenty of songs. This Criterion disc offers a making-of and two short films by Smoczynska, also on musical subjects.

(Available from Criterion Collection / Read PopMatters review here.)

3. Personal Shopper (Olivier Assayas, 2016)

In the category of movies that don't explain themselves in favor of leaving some of their mysteries intact, here's Olivier Assayas' follow-up to the luminous Clouds of Sils Maria. Kristen Stewart again plays a celebrity's lackey with a nominally glamorous, actually stupid job, and she's waiting for a sign from her dead twin brother. What about the ghostly presence of a stalker who sends provocative text messages to her phone? The story flows into passages of outright horror complete with ectoplasm, blood, and ooga-booga soundscapes, and finally settles for asking the questions of whether the "other world" is outside or inside us. Assayas has fashioned a slinky, sexy, perplexing ghost story wrapped around a young woman's desire for something more in her life. There's a Cannes press conference and a brief talk from Assayas on his influences and impulses.

(Available from Criterion Collection / Reader PopMatters review here.

4. The Ghoul (Gareth Tunley, 2016)

The hero (Tom Meeten) tells his therapist that in his dreams, some things are very detailed and others are vague. This movie tells you bluntly what it's up to: a Möbius strip narrative that loops back on itself , as attributed to the diabolical therapists for their cosmic purposes. Then we just wait for the hero to come full circle and commit the crime that, as a cop, he's supposedly investigating. But this doesn't tell us whether he's really an undercover cop pretending to be depressed, or really a depressive imagining he's a cop, so some existential mysteries will never be answered. It's that kind of movie, indebted to David Lynch and other purveyors of nightmarish unreality. Arrow's disc offers a making-of, a commentary from writer-director Gareth Tunley and Meeten along with a producer, and a short film from Tunley and Meeten.

(Available from Arrow Video)

​5. The Illustrated Man (Jack Smight, 1969)

When a young man goes skinny-dipping with a mysterious stranger (Rod Steiger) who's covered with tattoos, the pictures comes to life in a series of odd stories, all created by Ray Bradbury and featuring Steiger and Claire Bloom in multiple roles. Nobody was satisfied with this failure, and it remains condemned to not having reached its potential. So why does Warner Archive grace it with a Blu-ray? Because even its failure has workable elements, including Jerry Goldsmith's score and the cold neatness of the one scene people remember: "The Veldt", which combines primal child/parent hostilities (a common Bradbury theme) with early virtual reality. It answers the question of why the kids spend so much time in their room, and why they're hostile at being pulled away.

(Available from Warner Bros.)

6. The Hidden (Jack Sholder, 1987)


In one of my favorite action movies of the '80s, a post-Blue Velvet and pre-Twin Peaks Kyle MacLachlan plays an FBI agent who forms a buddy-cop bond with Michael Nouri while pursuing a perp -- a bodiless entity that plugs into the human id. In the midst of slam-bang action comes a pivotal moment when a startling question is asked: "How do you like being human?" The heart of the movie, rich in subtext, finds two men learning to embrace what's alien to them. In pop-culture evolution, this movie falls between Hal Clement's novel Needle and the TV series Alien Nation. On this Warner Archive Blu-ray, Sholder offers a commentary with colleague Tim Hunter.

(Available from Warner Bros.)

7. Twin Peaks: Fire Walk With Me (David Lynch, 1992)

Speaking of Twin Peaks, here we have a textbook example of a movie that pleased almost nobody upon its release but has now generated such interest, thanks in large part to this year's Twin Peaks revival, that it arrives on Criterion. A feature-film prequel to David Lynch and Mark Frost's original TV serial that answered none of its questions and tossed in a raft of new ones, the film functions as one of cinema's most downbeat, disruptive and harsh depictions of a middle-class American teenage girl's social context. Sheryl Lee delivers a virtuoso performance that deserved the Oscar there was no way she'd be nominated for, and she wasn't. The extras, including a 90-minute film of deleted and alternate takes assembled by Lynch, have been available on previous sets.

(Available from Criterion Collection)

8. The Green Slime (Kinji Fukasaku, 1968)

Incredibly, Warner Archive upgrades its on-demand DVD of a groovy, brightly colored creature feature with this Blu-ray. As a clever reviewer indicated in this PopMatters review, what director Kinji Fukasaku saw as a Vietnam allegory functions more obviously as a manifestation of sexual tension between alpha-jock spacemen competing for the attention of a foxy female scientist, and this subconsciously creates an explosion of big green tentacled critters who overrun the space station. While we don't believe in "so bad it's good," this falls squarely into the category of things so unfacetiously absurd, they come out cool. There's a sublimely idiotic theme song.

(Available from Warner Bros.)

If the idea is that earth, water, fire, air and space constitute the core elements of life, then these five songs might seem as their equivalents to surviving the complications that come from embracing the good and enduring the ugly of the Christmas season.

Memory will never serve us well when it comes to Christmas and all its surrounding complications. Perhaps worse than the financial and familial pressures, the weather and the mad rush to consume and meet expectations, to exceed what happened the year before, are the floods of lists and pithy observations about Christmas music. We know our favorite carols and guilty pleasures ("O Come All Ye Faithful", "Silent Night"), the Vince Guaraldi Trio's music for 1965's A Charlie Brown Christmas that was transcendent then and (for some, anyway) has lost none of its power through the years, and we embrace the rock songs (The Kink's "Father Christmas", Greg Lake's "I Believe In Father Christmas", and The Pretenders' "2000 Miles".) We dismiss the creepy sexual predator nature in any rendition of "Baby, It's Cold Outside", the inanity of Alvin and the Chipmunks, and pop confections like "I Saw Mommy Kissing Santa Claus".

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