I first remember watching the trailer for Brian De Palma’s “Blow Out” years ago before a double feature at New Beverly Cinema. While I don’t remember which double feature I was seeing that evening, I do remember the trailer itself and in becoming excited about checking out this underappreciated De Palma classic. Roger Ebert gave it four out of four stars and proclaimed it to be one of those “hidden treasures” at your local video store, and Quentin Tarantino, who bought the building New Beverly Cinema is housed in, has declared this to be one of three motion pictures he would love to take with him to a deserted island.
That little needle bouncing up when a certain sound is detected instantly reminded me of when I recorded my favorite records to audio tape when I was a boy. You had to make sure the levels did not go into the red area as the sound could become distorted and easily lay waste to your expensive stereo system. But when Jack Terry (played by John Travolta) ends up recording a loud sound no one was ever supposed to hear, and which ended up on the red side of the sound mix, we immediately know this was no mere accident.
I love how this trailer shows Travolta, Nancy Allen and John Lithgow giving the performances of their lives here. Seeing them shows how committed they are to the material, and I love the ever so cold look on Lithgow’s face as he is about to take the life of an innocent victim who is completely unsuspecting of someone about to strangle them. They way this trailer builds to a fever pitch made me want to check it out sooner rather than later.
“Blow Out” was a box office disappointment when released back in 1981 despite positive reviews, but thanks to Ebert and Tarantino among others, it has since gained a cult following it richly deserves. I finally got to check it out at the New Beverly Cinema where it played as a double feature with a movie said to have inspired it, Michelangelo Antonioni’s “Blow-Up.” This proved to be quite the cinematic evening for yours truly.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
When it comes to the genre of underdog sports films, they don’t make them any better than the original “Rocky.” It was a film that came along at the right place at the right time and with the right actor. After all, Sylvester Stallone was the writer of the original “Rocky” script, and he demanded to star in the film even though the studio wanted a big name. Stallone was unknown at the time. It’s been 47 years since “Rocky” came out, but its staying power will last forever. It is why I was extremely pleased to hear Warner Brothers was going to be releasing a collection of the first four “Rocky” films in 4K and in a set. It was one of my most anticipated releases of the year so far.
Many of you who are reading this review might be asking, “Where is ‘Rocky V?’ What about ‘Rocky Balboa?’ The ‘Creed‘ movies?” I heard rumblings that there are possible director’s cuts coming out for “Rocky V” and “Rocky Balboa.” As far as the “Creed” movies, I would imagine they will get a separate release, as they are part of their own universe. Now with all that out of the way, this review is going to focus on the first four “Rocky” movies and how they are available on 4K for the very first time.
The original “Rocky,” released in 1976, was nominated for 10 Academy Awards and won Best Picture. When revisiting the film, which I’ve seen a number of times, it is easy to see why it has such staying power. It starts with the relationship between Rocky Balboa (Sylvester Stallone) and a shy young woman named Adrian (Talia Shire) who works at a pet store. For my money, “Rocky” is a love story, first and foremost, and it is a sports movie second. The interaction Rocky and Adrian have with one another in his apartment is one of the most tender and genuine love scenes I’ve ever seen on film.
Rocky Balboa is a local southpaw boxer in Philadelphia where he makes little to no money, and he takes a lot of abuse in the process. He also collects for a local loan shark named Tony Gazzo, played by Joe Spinell. He hangs out at a local pub with his friend Paulie (Burt Young), who also happens to be Adrian’s brother. Paulie isn’t always the easiest guy to get along with, but Rocky is a very patient and understanding individual. As a matter of fact, you would be hard-pressed to find anyone that doesn’t like Rocky. It’s a well-known fact these days that Stallone was not someone the studio wanted to portray Rocky. However, the script was written by him, and he knew this character inside and out. He went on to write and direct “Rocky II, III and IV” which are also included in this set, along with “Rocky Balboa.”
That’s the beauty of this film. Stallone was an underdog actor at the time he sold his script, and the film is about an underdog boxer who is given a chance to fight the heavyweight champion of the world, Apollo Creed (Carl Weathers), after Creed’s original opponent ends up injured. Creed, being the shrewd businessman that he is, figures it would be a great idea to give an underdog a shot at the title in order to create a marketable gimmick and make some money. Rocky Balboa knows this is his chance to prove he can go make something of himself and stand out as a winner. He is trained by the cranky yet seasoned Mickey (Burgess Meredith), who is finally willing to give Rocky a chance. The two of them joust verbally back-and-forth with one another for some great comedic relief.
In “Rocky II,” Rocky is dealing with life after the big fight with Creed. Even though he didn’t win, he went the distance with the champion which shocked the world. He lasted all fifteen rounds and lost based on the decision of the judges. Regardless, many people think Rocky was the true winner of the fight. He has to figure out how to live a normal life now that he’s a well-known figure not only in Philadelphia, his hometown, but around the world as well. He starts to do commercials and even ends up with a manual labor job, but he realizes his true calling is as a boxer.
Apollo Creed also has a score to settle with Rocky. He wants to knock him out and prove to the world and himself that he’s truly the world heavyweight champion. Creed wants to show everyone that what happened in their previous fight was a fluke. Rocky, on the other hand, might go blind if he gets in the ring again after what happened in their last fight. He took quite a beating, but he came back for more. He knows he’s a fighter, and he knows the risks, even though he has to think of Adrian now and their child. Mickey has devised a plan for Rocky which he thinks will allow him to win the fight and protect his eyes at the same time.
In “Rocky III,” Rocky is forced to handle success. He learns that Mickey has been protecting him from the really good fighters out there because he wants to keep him safe and look out for him. This causes Rocky to feel like a paper champion and question his manhood. There is also a tough challenger coming for him by the name of Clubber Lang (Mr. T) who is hellbent on embarrassing Rocky in the ring and becoming heavyweight champion of the world. This time, though, he has a new trainer in Apollo Creed. Rocky once again must learn a new fighting style: it is one based on endurance and speed. Clubber Lang is bigger and stronger than Rocky, so it will take everything Rocky has in him in order to defeat him.
“Rocky IV” is where it gets very interesting, as there are two cuts of the film featured here on one disc. There is the original “Rocky IV” theatrical cut and also “Rocky IV: Rocky vs. Drago,” which is the ultimate director’s cut. This time, Rocky finds himself having to fight his biggest opponent yet in Ivan Drago (Dolph Lundgren), who is a foot taller and thirteen years younger than him. He also must train in Russia as the fight will be taking place there on Christmas Day. Rocky will not only train like he never has before, but he will have to win in enemy territory against “The Russian,” as he’s referred to many times throughout the course of the film.
I didn’t want to give four full-length reviews for these films, as I imagine almost anyone reading this has seen and knows them fairly well, much like myself. If I were to give my ranking of the films featured in this set, I would go with the original “Rocky” as the best, “Rocky II” as the second best, “Rocky IV: Rocky vs. Drago” as the third best, and “Rocky III” as the fourth best. I would really advise you to check out the ultimate director’s cut of “Rocky IV” over the theatrical cut. It’s only two minutes longer, but the film is more serious, intense, and flows in a much more effective manner. It’s all in the tone of the film, and I loved the tone of the ultimate director’s cut. It really gave me a new appreciation for the fourth “Rocky” film.
As soon as this set arrived, it only took me two days to go through all four films. It was truly a treat to revisit them. I understand why they released these four films in a set together. It makes sense after watching them. You can also buy them as standalone steelbooks at your local Best Buy, but I believe they have different release dates. This set is out right now and while it is far from perfect, I’ll explain why later, if you are a “Rocky” fan, you have to buy this set for your collection. The original “Rocky” will always be a great, great piece of cinematic history. The second film is very, very good as well. The third one is good, but not great. “Rocky IV: Rocky vs. Drago” is also much improved with the ultimate director’s cut.
4K Info: “Rocky: The Knockout Collection” is released on 4K from Warner Brothers Home Entertainment. This set features five discs. The first three films are on their own individual discs and “Rocky IV” has the theatrical cut and the ultimate director’s cut on it. There is also a Blu-ray disc of special features. The set also comes with a digital code to have all of them in your digital library on 4K. “Rocky” has a running time of 119 minutes, “Rocky II” has a running time of 120 minutes, “Rocky III” has a running time of 100 minutes, and “Rocky IV” has a running time of 91 minutes (theatrical cut) and 93 minutes (ultimate director’s cut). All the films are rated PG. The set comes in a flipper case with a thick cardboard slipcover, so the discs are not stacked on top of each other and can be flipped through with their own slot. On one hand, I would have loved it if they released these films in four separate cases with slipcovers in a box set. However, for space reasons, this set works for me as it’s easy to put on the shelf with all four films together on five discs (including the Blu-ray special features disc) in a single set which isn’t much bigger than your average 4K film with a slipcover. All of the films come with Dolby Vision as well, which I was VERY happy with as a 4K collector.
Video Info: Let’s talk about the look of these films. The original “Rocky” is probably the worst looking film out of the bunch. I say this because of the age of the film and its low budget. It doesn’t look awful or terrible, but I don’t think it’s ever going to be a film that looks spectacular or blows you away. There is noticeable grain here, but in many ways, it adds to the gritty nature of the original film. That being said, if you are looking for a major upgrade with the first film on 4K, you probably are going to be disappointed. “Rocky II” looks very, very good. It’s a clean transfer which is smooth looking and crystal clear. The boxing scenes, in particular, look the best I’ve ever seen them look. This is when you can see the Dolby Vision and the HDR really, really stand out. This is a major upgrade. For “Rocky III,” the transfer is above average. It’s better than “Rocky,” but it’s not as good as “Rocky II.” There was noticeable grain, but it didn’t have the same old-school charm as the original look of the film. The best-looking film out of the bunch, far and away, is “Rocky IV.” I wish the majority of the films looked like this. This counts for both the ultimate director’s cut and the theatrical cut. You can see everything on their faces, and they really cleaned up this film. It looks beautiful and modern.
Audio Info: The following audio formats were used: English DTS-HD 5.1 Master Audio, English/Spanish/French Dolby Digital, and 2.0 Dolby Digital with subtitles in English, French, and Spanish. I’ve read from a lot of people online that are unhappy with how the films sound. Personally, I don’t think the audio issues are as bad as advertised, and the problems don’t take away from the viewing experience. At times, the films can fluctuate in audio, but the dips are not that frequent. They are here and there throughout the four films. Truth be told, I would not have ever noticed these issues unless they were pointed out to me. Overall, though, I think it’s much to do about nothing.
Special Features:
“Rocky” 4K Special Features:
Audio Commentary featuring Sylvester Stallone.
Audio Commentary featuring John G. Avildsen, Irvin Winkler, Robert Chartoff, Talia Shire, Carl Weathers, Burt Young, and Garrett Brown.
Audio Commentary featuring Lou Duva and Bert Sugar
Bonus Features Disc:
The Making of Rocky vs Drago: Keep Punching
8mm Home Movies of Rocky
3 Rounds with Lou Duva
Steadicam: Then and Now
Staccato: A Composer’s Notebook
The Ring of Truth
Tribute to Burgess Meredith
Stallone Meets Rocky
Trailers
* * * ½ out of * * * *
Should You Buy It?
This set was delayed in getting to me as it had a street date of February 28th, and I imagine a lot of that had to do with people complaining about the audio issues. I’m not a film snob by any means, but I am very particular about the audio and visual quality of 4K releases, as I’ve invested heavily into the 4K format. With all that being said, the pros outweigh the cons. Yes, not all of the films look great, but this is the best they have ever looked, with “Rocky II” and “Rocky IV,” in particular, looking fantastic. Yes, the audio is problematic at times, but it’s not so noticeable that it impacted my ability to hear the films or enjoy them. Right now, the set is going for about $53 plus tax, and I think for four films in 4K that are hugely popular, it’s a good value for the price. I would say this set is imperfectly perfect, as I enjoyed watching the films and the quality of them when they were flying on all cylinders. For film fans or Rocky fans, I think there is A LOT more to like than dislike with this collection. You can buy this set with confidence and try to ignore all of those folks out there who are analyzing every little detail to death. I think people are getting way too particular with 4K films, and this is coming from someone with high standards. The key is watching and enjoying the films with quality video and audio, and I felt I was able to do that more often than not. As far as the films themselves, many would argue these are the best films in the franchise, so it’s fine that “Rocky V” and “Rocky Balboa” are not included. “Rocky Balboa” is enjoyable nostalgia, and I imagine it will get a proper 4K release along with “Rocky V” at some point. As I often bring up, the special features are old special features. It’s hard to get people to sit down and do special features anymore, I feel like. At the end of the day, buy this set and enjoy it!
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The opening credits to “Superman” and “Superman II” are among the best when it comes to movies. When Bryan Singer used this format for his “Superman Returns,” it felt like the return of a friend who had been gone for far too long, and the theme by John Williams is among the finest he has ever composed.
But then came “Superman IV: The Quest for Peace,” a sequel which was supposed to put this movie franchise back on track after the critical and commercial disappointments of both “Superman III” and “Supergirl.” Instead, we got a sequel which quickly became labeled as one of the worst motion pictures of all time. With the Salkind family abandoning the franchise and Cannon Pictures taking over, the budget got slashed in half do to their money problems, and everything came to look liken nothing but bargain basement deals or useless stuff which had been long since thrown in the trash.
As soon as the opening titles for “Superman IV” begin, we know it is going to be a rough ride even as Williams’ famous theme, conducted this time by Alexander Courage, is not enough to make our spirits soar. Even co-screenwriter Mark Rosenthal, whose audio commentary for this sequel I highly recommend, is quick to say the following in his opening remarks:
“You can tell from the very first credit that says Warner Brothers that something is terribly wrong in Metropolis.”
This is the Wal Mart, 99 Cent Store or Dollar Tree of opening credits as they look ridiculously cheap in ways the ones for the previous installments never did, and this proved to be quite the shock. Then again, perhaps they fit this sequel perfectly as the visual effects and sets look every bit as cheap as the opening titles. Watching them is heart breaking as they make clear that it is all downhill from here. No wonder this sequel was such a big bomb at the box office.
If you must, please feel free to check out the opening titles to “Superman IV: The Quest for Peace” down below:
Until this past week, the only Wim Wenders film I had ever seen was “The Million Dollar Hotel.” That one was a fascinating motion picture which dragged at times but still had moments that held me in a grasp few other filmmakers could ever hold me in. When all is said and done, the one thing we can all agree on is that it had a terrific soundtrack by U2, and that Mel Gibson should have kept his mouth shut during the film’s press day when he was caught saying it was “boring as a dog’s ass.” This proved to be one of the many times Gibson was obligated to apologize for saying something he never should have said.
But whether you consider “The Million Dollar Hotel” one of Wenders’ best or worst, films, you have to admit “Paris, Texas” shows him working at his filmmaking best. I caught a screening of it at the Nuart Theatre in West Los Angeles as this was a film crying out for me to watch it not at home, but on the silver screen in a darkened theatre. Knowing of its reputation as a Palme d’Or winner at the Cannes Film Festival in 1984 and having a beautifully subdued music score by the great Ry Cooder, I knew I was in for quite a unique cinematic treat.
We open on the driest of deserts in West Texas to find a drifter named Travis Henderson (Harry Dean Stanton) wandering aimlessly while trying to find some water to drink. After passing out in a nearly empty saloon, he awakens in a clinic where a German doctor cannot get a single word out of him. Frustrated, the doctor calls a phone number Travis just happens to have on him, and it is answered by his brother, Walt (Dean Stockwell), who lives out in Los Angeles. It turns out Tavis disappeared without a trace four years ago, leaving behind his wife Jane (Nastassja Kinski) and their son Hunter (Hunter Carson). Why did Travis just up and leave? Well, much of “Paris, Texas” is dedicated to figuring this out, and the answers are never made easy to come by.
The first thing I have to say about “Paris, Texas” was how amazing and mesmerizing it was. Not once could I take my eyes off the screen as Wenders captured a Texas which was at once beautiful and haunted by a past its characters want to, but cannot, recapture or escaoe. It is also an unforgettable time capsule of life in the 1980’s in America as the story takes place in a time when you needed maps instead of GPS to find your way from one place to another, smoking was allowed on airplanes, and regular unleaded gasoline was only $1.07 a gallon (shit). But while things have changed a lot since then, the themes this film deals with still have a lot of resonance in this day and age.
For a moment, I thought Harry Dean Stanton and Dean Stockwell would go on the same kind of road trip Tom Cruise and Dustin Hoffman went on in “Rain Man,” and this was especially the case after we see their characters suddenly get off a commercial airplane and instead travel back to Los Angeles by car. “Paris, Texas,” however, speeds things up and has the two arriving in Los Angeles where Stanton’s character slowly starts to acclimate to civilization and his new environment while trying to reintroduce himself into his son’s life.
Stanton has gone on record in saying “Paris, Texas” is his favorite film out of all the ones he has done, and his performance as Travis may very well be the best of his career outside of “Repo Man.” His face is like a well-trodden landscape which says so much, and it is important to note this as Stanton does not say a single word for the first 26 minutes. It is fascinating to watch him act in a childlike manner as he sits in the backyard of Walt’s home while watching the airplanes fly in and out of Burbank Airport with a pair of binoculars. I also loved the interaction between him and Hunter as he slowly gains the trust of a long-lost son who, very understandably, is not quick to connect with him.
Dean Stockwell was on the verge of quitting acting and going into real estate when he got cast in “Paris, Texas,” and his performance shows how lucky we were that his talents were not robbed from us. What a shame it would have been if we did not get his Oscar-nominated performance in “Married to the Mob” or his co-starring role in the television series “Quantum Leap” had he not appeared here. In this film, he is the audience surrogate as, like him, we are desperate to figure out what Travis has been through in the four years he has been missing. Moreover, Walt must figure out how to deal with how he and his wife Anne (played by Aurore Clément) consider themselves the real parents to Hunter while trying to help Travis make a connection with someone whose life he was always supposed be a part of.
As for Hunter Carson, the son of this film’s co-writer, L.M. Kit Carson, he is perfect for something like this. “Paris, Texas” is a film which demands its actors inhabit their roles naturally rather than act or perform them, and Hunter is a kid who was clearly not brought up by stage parents thank goodness. He simply exists here as any other young child would which makes his scenes with the other actors even more authentic and moving, and this is especially the case in this film’s final moments which are as emotionally moving as one would expect them to be.
But the scenes which had me mesmerized the most were the ones between Stanton and Nastassja Kinski where Cooder’s score was not needed as their acting with one another via a one-way mirror and a telephone proved to be as subtle and intense as any onscreen acting I have ever witnessed. It is always a gift to be held at attention by two wonderful actors who give their roles every ounce of their being, and this is no mere exception in the slightest.
And when it comes to Kinski, who looks so much different than she did in “Cat People,” we do not see her appear onscreen until 53 minutes into this film. And yet somehow, her character Jane’s presence is felt deeply throughout. It is said Kinski wrote a diary for Jane, and it shows how deep into this character she got as her first appearance shows us someone who has lived a long beyond her years, and she was still quite young when “Paris, Texas” was filmed. Watching her react to what Stanton is telling her proved to be utterly enthralling as I wanted Jane to realize something which was right in front of her, and it makes Kinski’s performance all the more inspired.
Now on one hand, I am tempted to say how shameful it is that I did not watch “Paris, Texas” years ago. By that, I do not mean when it came out in 1984 as I was only nine years old back then and not about to take in the impact the Ronald Reagan Presidential years had on the world at large. I am thinking more of when I was in college and watching “A Clockwork Orange,” “Full Metal Jacket,” “Apocalypse Now” and “Taxi Driver” which took my moviegoing to a whole other enthralling level. “Paris, Texas” is a motion picture that does not play by any cinematic rules as it keeps you waiting and longing for certain things to happen, and in a good way. It also dares to leave story threads hanging in an ambiguous fashion which, while some will feel frustrated by this, will make the more adventurous viewers think deeply about what they just saw.
As for myself, I have a lot of Wim Wenders films to catch up on like “Wings of Desire,” “Pina,” “Buena Vista Social Club” and “Until the End of the World.” For what it is worth, I have seen the American remake of “Wings of Desire” which is called “City of Angels,” and it came out in 1998 and starred Nicolas Cage and Meg Ryan. That remake broke my heart, and it makes me wonder if the original will do the same. Perhaps I am afraid to find out.
I remember almost renting “Cannonball Run II” on VHS from Nino’s TV and Video in Thousand Oaks when I was a kid. I enjoyed the first “Cannonball Run” movie a lot and watched it many times, and these days I rate it as an Ultimate Rabbit guilty pleasure. But when I presented it to my dad as the movie I wanted to rent for the weekend, he looked at me and said, “Are you sure you want to rent this? It’s really awful.” This shook my courage in renting movies for a time as I began to doubt my taste in film. As a result, I put this one back on the shelf even though its poster looked ever so cool.
Well, while my dad’s pleas failed to keep me from renting the Clint Eastwood comedy “Every Which Way But Loose,” it did keep me from checking out “Cannonball Run II” for many years. But at a time when I should have been watching such films as “Tar,” “The Banshees of Inisherin” and “Black Panther: Wakanda Forever,” I found myself watching this 1984 sequel as it was available to view for free on You Tube (with ads of course). And though I was not expecting a good movie in the slightest, I was stunned at just how amazingly atrocious this follow up was as everyone involved cannot even bother to give the proceedings a mere 50% of their energies.
This sequel starts off with the Sheik Abdul ben Falafel (Jamie Farr) being berated by his father (played by Ricardo Montalban) for losing the Cannonball Run race last year. Having embarrassed the Falafel family (you read that family name correctly), Abdul’s father orders him to win another Cannonball Run in order to restore the family name. The problem is, there is no Cannonball Run race happening that year, so Abdul is told to buy one, and the grand prize is a million dollars.
From there, “Cannonball Run II” begins its arduous task of reintroducing characters from the original as well as introducing a whole bunch of new ones who could only dream of being as funny as Roger Moore was when he played Seymour Goldfarb, Jr. In fact, Hal Needham, who returns to direct this misbegotten sequel, spends more time with these characters than he does with the race itself.
Burt Reynolds is back as J.J. McClure, and he looks like he can save this motion picture with his charisma and sexy mustache. Dom DeLuise also returns as J.J.’s partner Victor Prinzi and his alter ego of Captain Chaos. These two always look to be having the time of their lives when they work together, but the fun they have does not translate over to the audience as it did for me in the original. This is especially the case when you watch the outtakes which play over the end credits, and you wonder what made the cast enjoy themselves endlessly as their laughter speaks more of a desperation to make this sequel worth watching.
When it comes to racing partnerships, there are a few changes. Jackie Chan is joined this time in his Mitsubishi car by Richard Kiel who plays his driver, Arnold. Doctor Nikolas Van Helsing (Jack Elam), J.J. and Victor’s partner in crime previously, is now working with Sheik Abdul to keep his ulcer in check. And Susan Anton and Catherine Bach are here to replace Tara Buckman and Adrienne Barbeau as those sexy women behind the wheel of a Lamborghini. Still, as Snake Plissken kept saying in “Escape From L.A.,” the more things change, the more they stay the same.
In directing “Cannonball Run II,” I had to wonder what was going through Needham’s mind. Was he just telling a cast which included Shirley McClaine, Dean Martin, Marilu Henner, Sammy Davis Jr., and Tony Danza among others to just go out there and be funny? If so, it did not work to anyone’s advantage as everyone looks to be either phoning it in or trying way too hard to put a smile on our faces. And if you thought the stunts from the original were lacking, the ones here are generic and pedestrian at best.
The only decently funny moment for me was at the beginning with Ricardo Montalban who plays his role as if he is not in on the joke in the slightest. Heck, he even makes the word falafel sound vaguely amusing in a way Bill O’Reilly only thinks he can. Perhaps if the rest of the cast had followed suit, this sequel might have been slightly better than it ever could have hoped to be.
I also keep thinking Needham and company kept looking at this sequel and its making to where he believed he could solve anything and everything in post. There’s a subplot involving mobsters which goes nowhere and has actors like Abe Vigoda being cast just for old time’s sake. And, yes, there is an orangutan driving a car, but he can only hope to be as memorable as Clyde was in “Every Which Way But Loose.”
So much time is spent on such overly broad character moments that Needham and his collaborators kept forgetting there was a long-distance race involved in this movie’s plot. As a result, they brought in Ralph Bakshi to animate the race’s climax in order to give it some momentum, but it doesn’t do much to speed things up, especially after a cameo with Frank Sinatra who plays himself. And yes, it is ever so easy to tell that Sinatra filmed his scenes in a studio by his lonesome. Not once do we see him and actors Reynolds, DeLuise and others in the same scene together.
“Cannonball Run II” will at best be remembered as a footnote in history for the following reasons: it marked Frank Sinatra’s final role in a theatrical motion picture, it is the final action stunt comedy for Reynolds following such films as “Smokey and the Bandit” and “Hooper” among others, it was the last film for Dean Martin, Molly Picon and Jim Nabors who is essentially parodying his character of Gomer Pyle. Other than that, this one is a certifiable waste of 108 minutes out of your life.
What is my excuse for wasting my precious time with “Cannonball Run II?” I will treat that as a rhetorical question. Still, its poster does looks really cool.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
If it’s Christmas time, you know it means twenty-four hours of “A Christmas Story” from director Bob Clark on TBS and TNT. It has become a holiday tradition for many people and a good background distraction for families as they gather to open presents, eat and spend time together. As with any Christmas film which is hugely popular, people are known to quote the lines from this one as they hold it near and dear to their hearts. However, how does “A Christmas Story” hold up in 2022?
“A Christmas Story” is set in Northern Indiana and follows young Ralphie Parker (Peter Billingsley), a nine-year-old kid who wants one thing for Christmas—a Red Ryder BB Gun. However, he is told by his mother, his teacher and even a mall Santa that he will shoot his eye out. This does not stop him from pulling out all the stops to get it though, including leaving behind little hints for his mother. Ralphie also has a peculiar little brother named Randy who likes to play with his food and hide in tiny spaces. He’s also joined by his overworked mother (Melinda Dillon) and cranky father (Darren McGavin).
The film is told from Ralphie POV as an adult as he looks back on this particular Christmas. We get to see him at school as he’s trying to focus on his classes while also pining over the Red Ryder BB gun. He’s also dealing with the local school bully named Scut Farkus (Zack Ward) who terrorizes Ralphie and his friends Flick and Schwartz, played by Scott Schwartz and R.D. Robb. They get into the usual tomfoolery at school such as Flick getting his tongue stuck to a post outside school, which causes him to need medical attention.
Ralphie’s father is also obsessed with a leg lamp which he sees as a major award, even though it brings his wife a great deal of shame and embarrassment. The father is also dealing with being hounded by the dogs next door. There is a lot going on in Ralphie’s life, but one thing remains the same—he wants the Red Ryder BB gun. He is counting down the days until Christmas, and he is hoping he will find it under the tree, no matter what it takes. I think we can all relate to that period of time in our lives as a child hoping for that special present as if it were the most important thing in the world.
I do feel though that “A Christmas Story” is overrated simply because of the fact it’s been on TNT and TBS since 1997. Sometimes if an audience sees something enough, they tend to fall in love with it based on repetition or the memories it conjures up for them. It is not a bad movie by any means. It is based on “In God We Trust: All Others Pay Cash” by Jean Shepherd which, according to my research, featured semi-fictional tidbits. I just don’t think there is a story or a plot here. It is filled with movie moments and memorable lines which have stayed with people throughout the years. My favorite Christmas movie of all time is “It’s a Wonderful Life” with “Elf” coming in at number two, which I recently reviewed.
There is humor to be found here, and I understand what they were trying to go for with the story and the theme. I just didn’t feel like it was enough to make a full-length film. Even though it’s only 93 minutes, there are times where the film drags and feels a little insignificant. I didn’t hate the film nor did I love it either. It’s watchable, but there is nothing which really stands out to me. The film doesn’t have an “it factor” like the other two Christmas movies I mentioned. It’s just mindless silliness, which is fine, but it doesn’t make for a great movie. It makes for an average movie.
* * ½ out of * * * *
4K/Blu-ray Info: “A Christmas Story” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment that also comes with a digital copy of the film. It is rated PG and runs at 93 minutes.
4K Info: They have done a masterful job of cleaning up this picture. I’ve seen it many times over the years in bits and pieces on TV, but this is, far and away, the best it has ever looked. There is no grain whatsoever on the picture. It is crystal clear, and the HDR gives the film a new life.
Audio Info: The audio formats are DTS-HD MA: English 2.0 Mono and Dolby Digital: English and French. Subtitles are included in English, Spanish, and French. The audio has also never sounded better on 4K. You can hear everything perfectly, and the sound is consistent throughout the film.
Special Features:
Audio Commentary by Bob Clark and Peter Billingsley
Christmas in Ohio: A Christmas Story House
Another Christmas Story
Daisy Red Ryder: A History
Get a Leg Up
“Flash Gordon” Deleted Script Pages
The Leg Lamp Spot
Jean Shepherd Original Radio Reading
Duel in the Snow, or Red Ryder Nails the Cleveland Street Kid (HD, 38:07)
Flick’s Tongue
Theatrical Trailer
Should You Buy It?
If we are strictly talking about the audio and video of this 4K release of “A Christmas Story,” this is a must own if you are a fan of the film. Having seen it on TV at many Christmas parties and also having watched the Blu-ray in the past, this is an incredible transfer on 4K. The film looks great. Keep in mind, the filmmakers have set this story in the 1940’s, even though it was released in 1983. It looks out of this world on 4K. I was really impressed with the audio and video here and every little detail that was popping up on screen. I give the audio and video four stars on this release. You get the special features that were on the Blu-ray in the past, which is expected. If you are a fan of the film, you NEED to own it on 4K, there is no question about it. If you have grown tired of the film or don’t find it funny (I fall into the latter category), you can pass on it. However, I have a feeling this is going to be a hot-seller for fans of Christmas movies. It just doesn’t work for me.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“National Lampoon’s Christmas Vacation” is considered a Christmas classic to many film buffs. I vaguely remember watching it back in the day and even a few years ago. Of course, everyone knows about Cousin Eddie and his antics, as people usually love to dress up like the character along with Clark Griswold. However, watching the film in 2022, I have to say, it’s just not funny. The late, great Gene Siskel used to call these types of films, “A comedy without laughs.” If your one goal is to make the audience laugh and you fail at that task, your comedy is dead on arrival. However, I understand comedy is subjective, so what I find unfunny might be hilarious to someone else out there.
Christmas is right around the corner, and Clark Griswold (Chevy Chase) is doing anything and everything in his power to make sure it is absolutely perfect without any flaws. He’s not afraid to go all out on presents, finding the perfect tree, and, of course, twinkling lights. At first, he thinks he will be spending it with his wife Ellen (Beverly D’Angelo) and their two children Rusty and Audrey (Johnny Galecki and Juliette Lewis) along with some in-laws. However, he did not plan on the appearance of the crude Cousin Eddie (Randy Quaid) and his camper, which comes ripe with fecal matter and doesn’t exactly look great outside the Griswold home.
I can’t say there is much of a plot to “National Lampoon’s Christmas Vacation.” It is simply Chevy Chase doing bad slapstick for a little over ninety-minutes with odd facial reactions as he stumbles and bumbles through situations with family and co-workers. I didn’t find him very relatable or interesting. He’s a sarcastic personality, but he doesn’t come across as a likable goof. He’s mostly an obsessive-compulsive personality that is putting too much emphasis on lights, a Christmas tree, and getting a Christmas bonus to install a pool. He seems more concerned with making everything just right instead of spending actual time with his family. When I was watching the film, I thought to myself, “Why is he making such a fuss?” He’s making a fuss, so we can watch him fail over and over again in what is supposed to be comedic fashion, but the laughs were few and far between.
The film has a great supporting cast: Doris Roberts, Diane Ladd, Julia Louis-Dreyfus, and Sam McMurray, to name a few. The problem is the characters are not fleshed out well enough. You have your standard in-laws without much to say or do except act like goofy cartoons. I found the film to be very hokey and one-dimensional. A really good Christmas movie needs to be funny or heartfelt, or even both, and this one is neither. The Clark Griswold character is annoying, the in-laws are irritating, and Ellen (Beverly D’Angelo) isn’t given anything to do except play the exasperated wife. The children are just there to be annoyed as well. I felt as though they had the ingredients, the actors, and the idea for a funny movie here, but they didn’t have a story to go along with it.
Let’s look at it this way—who can’t relate to the holidays and family drama? Most people love the holidays, myself included, but they know they can come with certain baggage and drama either from your own family or from in-laws. It’s a highly relatable concept. There is material here for a funny comedy about dealing with the stress of Christmas and all of the various personalities interacting with one another. However, too often, the film relies on Clark falling down, getting hurt, or making bizarre facial reactions as he does slapstick comedy. For me, personally, this film was not a funny or enjoyable experience. It was quite tedious. I know I’m probably in the minority on this one based on the popularity of this film over the past thirty plus years.
* ½ out of * * * *
4K/Blu-ray Info: “National Lampoon’s Christmas Vacation” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. The film is rated PG-13 and has a running time of 97 minutes. It comes with a digital copy of the film as well.
4K Info: The HDR is strong on this film here. This is a very vivid, clear, and vibrant picture. They cleaned up a lot to make this film look full of life on 4K. It’s a great looking transfer.
Audio Info: The film comes on the following audio formats: DTS-HD MA: English 5.1, English Stereo, and Dolby Digital: French and Spanish. Subtitles are included in English, Spanish, and French. The audio is on-point from start to finish.
Special Features:
Audio Commentary featuring Director Jeremiah S. Chechik, Randy Quaid, Beverly D’Angelo, Johnny Galecki, Miriam Flynn, and producer Matty Simmons.
Theatrical Trailer
Should You Buy It?
I think you knew before reading this review how you felt about the film itself, so you are probably looking for information on the visuals and the audio of the film along with the special features. Sadly, there is only one real special feature here, and it is a commentary track that has been used on other releases of this film. I’d say the audio and video are 3 out of 4 stars. I really enjoyed looking at the wintery images of the snow and outdoor scenes, the faces look a lot cleaner, and the overall picture is quite beautiful to look at on 4K HDR. It’s a big upgrade over the grainy Blu-Ray release. If you are a fan of the film, you will be very happy with how the film looks and sounds on 4K. The audio is consistent throughout and not too loud. It can stay on the same volume throughout the film. If you want to own this film on the best possible format, this is the way to go. It’s a quality release. If you are like me and not a fan of the film at all and don’t find it funny, you can safely pass on this release. This comes down to a matter of comedic taste, which is subjective.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit Correspondent, Tony Farinella.
“The Return of The Living Dead” was released the same year I was born, 1985. Even thirty-seven years later, it is clear to see the impact the film had on horror movies, specifically zombie movies. It was a film which was truly ahead of its time. I remember watching and enjoying the Scream Factory Blu-ray when it was released many years ago, and I enjoyed it even more on 4K Ultra HD. The blood, the gore and the colors really are vibrant and stunning on this release. This is a tremendous release from Scream Factory, and it is being released just in time for the Halloween season. It’s a perfect addition to your 4K horror film collection.
The film is just as funny as it is gory, which is truly saying something. This is not a simple task to pull off, as sometimes zombie films have a hard time with that balancing act. “The Return of the Living Dead” opens up by introducing us to two lovable but goofy factory workers named Freddy (Thom Mathews) and Frank (James Karen), as they work together at the aptly named Uneeda medical supply warehouse. Frank is hoping to look cool in front of Freddy by showing him some of the dead zombie bodies they have lying around the warehouse. According to Frank, the filmmakers behind “Night of the Living Dead” were ordered by government officials to change certain aspects of the film in order to hide from the public that zombies are indeed real and were used for military purposes. Unfortunately for them, when toxic gas is released from one of the meat lockers, the zombies start to rise from the dead.
The only thing that will take away the pain of the zombies is eating brains. These zombies really love brains, and they move a lot quicker than zombies we have seen in previous films. Also, if you take off their head, the rest of the body is still mobile and able to attack. The only way to truly kill these zombies is to burn them completely. Before long, there are hundreds of zombies, and the police and the medics can’t keep up with them. Burt (the late Clu Gulager) is trying to navigate this situation as best as he can, but he’s also looking to save the good name of his company and not let the public know that two of his workers are responsible for this mess.
Freddy is part of a punk rock gang that likes to raise hell, listen to music and have a good time with sex, drugs, and rock n’ roll. Freddy’s gang is looking to help him, but they are also finding themselves in over their heads with all these zombies coming for them left and right. Freddy has a girlfriend named Tina along with some friends named Spider, Trash, Chuck, Casey, Scuz and Suicide. Meanwhile, Burt looks to his friend, Ernie (Don Calfa), for help in disposing of the cadaver zombie that was released thanks to his co-workers. Ernie wants to be helpful, but this is above his pay grade as a mortician. Even though burning a zombie can kill it, it can also lead to toxic rain falling from the sky. This creates even more problems as it burns the skin and also brings more zombies to life from their graves.
This is one of many great things about “The Return of the Living Dead.” There is nothing about the film which is cut and dry. There might be a solution around the corner, as mentioned, but it doesn’t come without casualties or consequences. You also tend to feel a little bit of sympathy for these zombies, especially when you notice that Freddy and Frank are starting to become zombies. They don’t want to eat brains, but it is the only thing that will stop their suffering and pain. The zombies are also beautifully designed and look fantastic on screen. Sometimes they pop up out of nowhere, and sometimes they come in large packs that move really, really fast. These are complex and interesting zombies. These are not your average, run-of-the-mill zombies, and this is a big reason why this film has had such staying power.
“The Return of the Living Dead” also has a ton of quotable lines and quirky characters. I don’t think I can keep a straight face when I hear the line, “It’s not a bad question, Burt.” Every time I watch this film, I gain a new appreciation for it. In my eyes, it is the perfect zombie film. If I had to choose only one tiny issue with this film, and it is a minor one, it is the fact it ends rather abruptly. Besides this little picadillo, this is my favorite zombie movie of all time. Of course, I respect “Dawn of the Dead” and “Night of the Living Dead,” but from a pure entertainment standpoint and for the rewatch factor, “The Return of the Living Dead” is simply horror movie heaven for yours truly. It is the film which keeps on giving with its gore comedy, and quirky cast of characters.
* * * * out of * * * *
4K/Blu-ray Info: “The Return of the Living Dead” is released on a 3-disc 4K and Blu-ray combo pack from Scream Factory. One disc is the 4K of the film, another disc is the Blu-ray, and the third disc includes the special features on a Blu-ray disc.
4K Video/Audio Info: We are treated to this film on an absolutely stunning 4K Dolby Digital HDR transfer. As soon as the film started, I was sucked into how beautiful and bright it looked on my television. They have done a brand-new 4K scan of the original camera negative, and it makes it one of the best-looking horror 4K’s of the year. The bloody reds are a thing to behold, and the darks are also spot-on with this transfer. Scream Factory has been on a roll lately. The audio track on the film is DTS-HD Master Audio 5.1, 2.0 with English subtitles. I thought the audio was perfect, especially during the scenes involving some of the punk rock music. I didn’t have to adjust my volume on this film at all. I was able to keep it at the same volume throughout the entire film.
Special Features:
DISC 1 – (Feature Film – 4K UHD)
· NEW 2022 4K Scan of The Original Camera Negative
· In Dolby Vision (HDR 10 Compatible)
· DTS-HD Master Audio 5.1, 2.0
· Audio Commentary with Gary Smart (Co-author of “The Complete History of The Return of The Living Dead”) And Chris Griffiths
· Audio Commentary with Actors Thom Mathews, John Philbin and Make-up Effects Artist Tony Gardner
· Audio Commentary with Director Dan O’Bannon and Production Designer William Stout
· Audio Commentary with The Cast and Crew Featuring Production Designer William Stout and Actors Don Calfa, Linnea Quigley, Brian Peck, Beverly Randolph and Allan Trautman
· Zombie Subtitles
· In Their Words – The Zombies Speak
DISC 2 – (Feature Film – Blu-ray)
· 2022 4K Scan of The Original Camera Negative
· DTS-HD Master Audio 5.1, 2.0
· Audio Commentary with Gary Smart (Co-author of “The Complete History of The Return of The Living Dead”) and Chris Griffiths
· Audio Commentary with Actors Thom Mathews, John Philbin and Make-up Effects Artist Tony Gardner
· Audio Commentary with Director Dan O’Bannon and Production Designer William Stout
· Audio Commentary with the cast and crew Featuring Production Designer William Stout and actors Don Calfa, Linnea Quigley, Brian Peck, Beverly Randolph and Allan Trautman
· The Decade of Darkness – Featurette On ’80s Horror Films
· Theatrical Trailers
· TV Spots
· Still Gallery – Posters, Lobby Cards, Movie Stills and Behind-The-Scenes Photos
· Still Gallery – Behind-The-Scenes Photos from Special Make-up Effects Artist Kenny Myers’ Personal Collection
DISC 3 – (Special Features – Blu-ray)
· “The Return of The Living Dead” Workprint – Includes 20 minutes of additional footage (in standard definition)
· More Brains: A Return to The Living Dead – The Definitive Documentary on “The Return of the Living Dead.”
· The FX of “The Return of the Living Dead” – with Production Designer William Stout, FX Make-up Artists William Munns, Tony Gardner, Kenny Myers and Craig Caton-Largnet, Visual Effects Artists Bret Mixon and Gene Warren Jr. and actor Brian Peck (Expanded Version)
· Party Time: The Music of “The Return of The Living Dead” – with Music Consultants Budd Carr and Steve Pross and soundtrack artists plus musicians (Expanded Version)
· The Origins of The Living Dead – An Interview with John A. Russo
· “The Return of The Living Dead:” The Dead Have Risen – Interviews with cast members Clu Gulager, James Karen, Don Calfa, Brian Peck, Thom Mathews, Beverly Randolph, Linnea Quigley and More…
· Designing The Dead – Interviews with Writer/Director Dan O’Bannon and Production Designer William Stout
· HORROR’S HALLOWED GROUNDS – Revisiting the locations of this film
· A Conversation with Dan O’Bannon – His final interview
Should You Buy It?
Do you have a perfect zombie movie? Check. Do you have an outstanding 4K picture transfer? Check. Do you have a boat load of special features? Check. This film is a day one purchase without any hesitation whatsoever. It comes out on October 18, and it is a great horror movie to watch during the spooky season of 2022. If you haven’t already, you should pre-order this film from Scream Factory. I promise you that you won’t be disappointed. I can’t say enough glowing things about this movie or its 4K transfer. When you factor in how rewatchable this film is (it only runs at 91 minutes), it’s the kind of film that is going to bring something new to the table for viewers each and every time. It’s a ton of fun, gory, well-acted, cheesy in a good way, and it truly had something new to offer to the horror genre. If you have seen this film before, you have probably already pre-ordered it and can’t wait to watch it again on 4K. If you haven’t seen it before, you are in for a big surprise when you watch this movie. Once again, “The Return of the Living Dead” gets a top recommendation from yours truly.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“Poltergeist” is a film I haven’t watched in probably close to sixteen years. The last time I remember watching it was when I was preparing to interview the late Zelda Rubinstein for the DVD release of the film back in the day. Upon revisiting “Poltergeist,” I found it to be a mixed bag. There are certain aspects which feature solid special effects, some good scares, and intense moments of horror. There are also long-drawn-out scenes that drag the film down at other points. The film also feels very dated in many ways. I had trouble deciding my feelings on the film even after watching and sitting with it for a few hours.
“Poltergeist” introduces the audience to your average suburban husband and wife played by Craig T. Nelson and JoBeth Williams. They are doing their best to raise their children: Carol Ann (Heather O’Rourke), Robbie (Oliver Robins), and Dana (Dominique Dunne). Carol Ann is the mischievous youngest child of the bunch, Robbie is the scared middle child, and Dana is the sixteen-year-old teenager with a bit of sass to her. Their world is turned upside down when strange and bizarre things start happening in their home. They find that the furniture is moving all around the house, and the house itself seems to have a mind of its own. When they lose their youngest, Carol Ann, to the TV, they start to become incredibly concerned about their living situation.
One of the positive aspects of “Poltergeist” is the fact that the family can’t just leave the house because their daughter is inside of it somewhere. In many haunted house films, it’s frustrating to watch as a viewer because you just want to scream, “Leave the house already! Get out of there!” It’s not that easy this time. They need to stay in the house in order to save their child. This is causing sleepless nights and a tremendous amount of anxiety for the parents. Dana ends up staying with a friend to get away from the chaos of the home while Robbie stays with his grandmother. Steve and Diane are determined to get to the bottom of this.
This is also where the film falls off the rails a little bit. They end up bringing in some experts to help them with this issue, as they want to find out if it’s a simple haunting or a poltergeist intrusion. All of this is new to them, and they are learning as they go along. They end up bringing in a spiritual medium, played by Zelda Rubinstein, in the hopes of finally getting to the bottom of this. She is attempting to help Steve and Diane communicate with their youngest daughter and figure out a way to get her back to them safe and sound. However, this is going to be much easier said than done because of all of the obstacles and roadblocks that are in their way. There is also a hidden secret that explains why Carol Ann says “they’re here” when she looks at the TV.
Overall, there is a good movie in here somewhere dying to come out. “Poltergeist” maybe needed a spiritual medium of its own to get the most out of its production. It’s directed by Tobe Hooper and produced by Steven Spielberg. Many have stated Spielberg was responsible for directing most of the film and, in turn, should have been labeled a co-director on the project at the very least. It has been a Hollywood inside story for a while, but it does feel like a movie in search of a tone and direction. The “ghost story” aspects are too convoluted at times, which is when it starts to feel a bit tedious and tiresome to watch. The straight-up horror aspects are the ones which really work and are incredibly effective. There are some set pieces and scenes which were really ahead of its time and truly terrifying. Sadly, those scenes are few and far in between.
“Poltergeist” is also bogged down by its PG rating. It feels like a crowd-pleasing PG horror movie instead of a horror thrill-ride. Once again, this feels like a film at odds with itself. The performances by Craig T. Nelson and JoBeth Williams are really, really good. They show just the right amount of anguish and distress as the parents. The younger actors are not given a whole lot to do here, which is a shame, because young children in peril, when done right and with no agenda, can also add to the terror. Overall, this film was a mixed bag for me, so I can’t quite recommend it, even though I truly enjoyed certain scenes, the performances, and the special effects.
* * ½ out of * * * *
4K/Blu-ray Info: “Poltergeist” is released on a two-disc 4K/Blu-ray Combo Pack from Warner Brothers Home Entertainment. It is rated PG and has a running time of 114 minutes. It also comes with a digital copy of the film.
Video Info: The 4K HDR transfer of the film looks incredible. This film was released in 1982, and it looks better than ever here on 4K. Warner Brothers Home Entertainment has really stepped up their game with their 4K releases from their catalogue of films. The vivid and bright colors are really popping here while the dark and gloomy scenes are done just right. There is a warning for this film if you are susceptible to epilepsy or have trouble with photosensitivity, so keep that in mind if you are going to buy this film or watch it.
Audio Info: The film comes with two audio tracks in English: DTS-HD MA: English 5.1 and 2.0 along with Dolby Digital: French and Spanish to go along with it. Subtitles are included in English, French, and Spanish. The audio is really taken up a notch when it comes to the more intense horror scenes. It really enhances the strength of the scenes.
Special Features:
“They Are Here: The Real World of Poltergeists Pt. 1- Science of the Spirits”: 15:30
“They Are Here: The Real World of Poltergeists Pt. 2- Communing with the Dead”: 15:31
“The Making of Poltergeist”: 7:15
Trailer: 2:25
Should You Buy It?
As per usual, these special features have been previously released on the Blu-ray of the film. All in all, they are decent enough special features if you enjoyed the film. The more I thought about this film, the more I realized I was trying to talk myself into liking it. I didn’t hate it and it’s not a bad movie. It’s simply OK. It could have been a lot better considering the actors and the director and producer behind it. This should have been a great film and a horror classic. It’s overrated in many ways. It’s not a film that is going to have great repeat value or one that I think many will come back to time and time again. I can’t recommend that you purchase this film, even though I thought I was going to enjoy it quite a bit. It’s a disappointment, as the potential is there, and it’s shown in certain scenes and with the performances. It’s just not consistent enough throughout the film. The beginning and the end of the film are really good, but the middle is a mess and quite boring at times. The 4K of the film is impressive and a major upgrade. If you are a fan of the movie, you will enjoy the 4K transfer. If you aren’t a fan of the film or haven’t seen it before, I don’t think you need to spend your money on this 4K.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“The Lost Boys” falls into the category of a great horror film I have never seen before until now. With its release on 4K and Halloween a little over a month away, I couldn’t wait to take a bite into this movie (see what I did there?). Vampires, zombies and werewolves are familiar creatures used in horror films. The thing which separates the good films from the bad are two things: the characters and the story. Are we invested in the characters? Is there a compelling story? In the case of “The Lost Boys,” the answer is a resounding yes. I loved this film, and even though I’m late to the party in watching it, it’s better late than never.
Lucy (Dianne Wiest) and her two sons Michael (Jason Patric) and Sam (Corey Haim) have relocated to Santa Carla, California following her divorce. They end up living with her eccentric, oddball father played brilliantly by Barnard Hughes, and he doesn’t want anyone to touch his root beer or his Oreos. He also spends a lot of time dabbling in taxidermy and often gives Sam some unwanted presents. Sam is also flanked by his loyal dog Nanook, an Alaskan Malamute. Sam is doing his best to adjust to this beach town by catching up on some comic books. He ends up getting to know the Frog Brothers, Edgar and Allan, played by Corey Feldman and Jamison Newlander, who know a lot about vampires and comic books. Their performances are comedy gold in this film, and they are their own little “Strangers Things” group here.
Michael ends up falling for a young lady named Star, played by Jami Gertz. She hangs around a biker gang led by David (Kiefer Sutherland). Something is clearly unusual and odd about them, but Michael is hoping that if they accept him, he can get to know Star. Lucy ends up getting a job at the local video store which is owned by Max (Edward Herrmann). Max is a dorky putz, but he means well and seems genuinely interested in getting to know Lucy. This in spite of the fact that their dates usually always end up in disaster because Sam is convinced something is off with Michael. Sam wants to protect Michael because that’s his brother, but he’s not entirely happy with how he’s acting lately. Michael is sleeping all the time and coming home very late now that he has his new friends.
There is plenty to enjoy with “The Lost Boys,” but the key ingredient is the cast. The actors really sell this material with just the right amount of humor and terror. Director Joel Schumacher also knows how to get the most out of every single scene. This film is 97 minutes and frankly, it is the perfect running time for a film like this. We get to know the characters, their dilemma unfolds, and it ends with a bang, literally and figuratively speaking. I really enjoyed the fact the filmmakers went with an R rating. They build up to the violence, so it really means something when the bodies start to explode and heads begin flying off. The special effects and make-up are top notch. When you add in the fact this is a 4K release, everything is enhanced to an even greater degree.
The film also doesn’t lean in too heavily with the vampire gimmick. Yes, there are characters who are vampires and there are rules to follow, but at the end of the day, it’s a film about a mother and her two sons trying to survive. Dianne Wiest, a favorite actress of mine, is perfect as the concerned but confused mother. The late Corey Haim is also top-notch here. I know I’m singling out their work, but there is not a bad performance in this film. It also helps that the atmosphere goes back and forth between day and night. It’s an atmospheric and intense flick which hits all of the right notes you would want in a film like this. I went into it not knowing what to expect, and I ended up having a big smile on my face when the credits were rolling at the end.
“The Lost Boys” is an 80’s gem which deserves to be seen on 4K. It’s one of those rare examples of a film where everything falls into place: the cast, the acting, the director, the writing, the blood and guts and the twists and turns. The comedy is done at just the right moments without being too hokey or phony. The action and violence are really turned up a notch without being too much or overdone. This is the perfect Halloween movie to pick up in time to watch for the holiday. Trust me when I tell you this: You won’t regret it, and you will love it. If you have already seen it, you will love it even more with the 4K upgrade.
* * * * out of * * * *
4K/Blu-Ray: “The Lost Boys” is being released on a two-disc 4K and Blu-ray combo pack from Warner Brothers Home Entertainment. It also comes with a digital copy of the film as well. It is rated R and has a running time of 97 minutes.
Video Info: The 4K of this film comes with stunning High Dynamic Range (HDR), and it looks incredible. As I mentioned earlier in my review, the outdoor shots of California are absolutely stunning. When the film is darker and more brooding, it switches to that tone with its color palette. This is a terrific-looking 4K, and I enjoyed taking it all in for the first time.
Audio Info: I was hoping they would have a Dolby Atmos track as the audio is good but it’s a little inconsistent at times. It comes on a DTS-HD MA: English 5.1 audio track along with Dolby Digital audio tracks in French and Spanish. Subtitles are in English, French, and Spanish.
Special Features:
4K UHD Disc
· Commentary by Joel Schumacher
Blu-ray Disc
· Commentary by Joel Schumacher
· “The Lost Boys: A Retrospective”: 24:00
· “Inside the Vampire’s Cave: A Director’s Vision”: 6:58
· “Inside the Vampire’s Cave: Comedy vs. Horror”: 4:44
· “Inside the Vampire’s Cave: Fresh Blood-A New Look at Vampires”: 4:23
· “Inside the Vampire’s Cave: The Lost Boys Sequel?”: 2:25
· “Vamping Out: The Undead Creations of Greg Cannon”: 14:02
· “The Return of Sam and the Frog Brothers: Haimster & Feldog-The Story of the 2 Coreys”: 4:30
· “The Return of Sam and the Frog Brothers: Multi-Angle Video Commentary by Corey Haim, Corey Feldman and Jamison Newlander”: 18:23
· The Lost Scenes: 15:16
· Lou Gramm “Lost in the Shadows” Music Video: 4:35
· Trailer: 1:26
Normally, I would complain about the fact they don’t have any new special features for the 4K here, but considering this was my first time watching the film, all of the special features were new to me. There is a commentary track with the director and plenty of lengthy special features discussing the film. Based on the quality of the movie, the 4K upgrade, and the special features, this one comes highly recommended as a day-one purchase. If you are a horror enthusiast, you owe it to yourself to watch this film at the highest quality available. As far as the film itself, there is so much to like about it. Even though the film is a vampire film, it doesn’t feel like a vampire film. I felt the vibes of It and Stranger Things mixed with a family drama. The acting is really, really good, and it’s a big reason why it’s such an effective film. The kills featured in the film are also really grisly and blood-soaked. I loved this movie! I’m really enjoying the fact that Warner Brothers Home Entertainment is going into their vault and releasing a lot of their older titles on 4K. This is a top-of-the-line upgrade with bright colors and a vivid picture. If you are like me and haven’t seen this movie, you owe it to yourself to add it to your collection.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The Ultimate Rabbit 