One of the many horror films coming to us in 2025 is arriving this week, and that’s “Alma & The Wolf.” Directed by Michael Patrick Jann, it stars Ethan Embry as Deputy Ren Accord, a very troubled man who has been thrust into a horrifying investigation he may not be fully prepared for. One day while driving on his usual route, he comes across Alma, played by Li Jun Li, who is walking alone in the rain while clutching to what is left of her dog. Alma tells Ren a wolf killed her dog and begs him to kill the wolf for her as an act of revenge. Wolves, however, are protected wildlife in the state of Oregon, so Ren tells Alma he cannot help her that way. But when his son goes missing in the Oregon coast, Ren comes to believe it may have everything to do with the wolf that killed Alma’s dog, and he becomes infinitely determined to find his son and kill the elusive wolf.
I was lucky enough to speak with Ethan Embry and Li Jun Li who are the main stars of “Alma & The Wolf” this past week. Ethan started off his career as a child actor, and he starred opposite Ed O’Neil in the John Hughes written and produced film “Dutch,” and he is best known for his roles in “A Far Off Place,” “Empire Records” and “That Thing You Do.” Li got her start as an actress in the theatre, and she later became known for her role as Iris Chang in the television series “Quantico.” In addition, she has received critical acclaim for her roles as Lady Fay Zhu in Damien Chazelle’s “Babylon” and Grace Chow in Ryan Coogler’s “Sinners.”
Much of my talk with Ethan and Li Li, as she likes to be called, was about acting and their choices. With “Alma & The Wolf,” they were involved in a cinematic production which had a very short production schedule, and I was curious how the speed of it affected their performances overall. Being an actor myself, I found their answers to be deeply informative and fascinating.
“Alma & The Wolf” will be dropped on streaming services starting on June 20, 2025. Please check out the interview below, and I have included a trailer for the film as well.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“The Alto Knights” is a film that, on paper, should have been a big hit. It was directed by the legendary Barry Levinson who has directed such films as “Diner,” “The Natural,” “Rain Man” and “Bugsy.” It also stars the iconic Academy Award winner Robert De Niro, and even though not all of his films are worthwhile, it’s rare you see him give an uninteresting or bland performance. The writer was Nicholas Pileggi, who wrote “Goodfellas’ and “Casino” alongside Martin Scorsese. The producer was Irwin Winkler, whose credits are too lengthy to list. With all the talent involved in this project, you would think they would have at least made an above average flick.
“The Alto Knights” features two performances by De Niro as he plays two separate gangsters in the 1950’s, Vito Genovese and Frank Costello. My first issue with the film is why on earth did we need to have competing gangsters played by De Niro? While it might sound like an interesting concept, having De Niro play two roles in the same film, it’s quickly obvious this is a gimmick that just doesn’t work. It has been done in other films before, such as “Mickey 17,” “Sinners” and “The Social Network,” but De Niro looks ridiculous and laughably bad with all the makeup on him.
When the film opens, Frank is recovering from a failed assassination attempt put on him by his best friend, Vito. They have been friends since they were young, but they have two very different philosophies when it comes to being gangsters. Frank is someone who doesn’t like to rock the boat, and he’s not afraid to grease some palms to keep out of trouble. He cherishes his marriage to his wife Bobbie, played by Debra Messing. Vito, on the other hand, lives by the credo of, “I take out. I don’t put in.”
Vito doesn’t believe Frank is actually going to live a quiet life and retire as he sees him as a politician, someone who will smile to your face and stab you in the back when you aren’t looking. Frank, on the other hand, sees Vito as someone who will stop at nothing to get what he wants, and he will not go down without a fight. This leads to a war between the two men where only one can survive, and it’s about who will flinch first. One thing is clear—no matter who wins, the audience will end up being the real loser.
“The Alto Knights” is a film which made me feel sad at how bad it was, as there is no way it should have been this unwatchable and boring. All of the proceedings have a been there, done that feel to them. Films about the mob, gangsters and the crime life have been done to death, and I don’t think there is anything new to add to the genre at this point. This is not to say they can’t come back at a later date and time with the right material, but this film feels dead on arrival as it feels like a parody of other gangster movies. This is a film that was not only a massive commercial failure, but it was a critical failure as well.
When you have seen De Niro play this role before, it’s hard not to look at this performance and think to yourself, “Why?” Why did anyone think this was a good idea? The poster for the film says, “From the hitmakers of ‘Goodfellas,’ ‘The Irishman’ and ‘Bugsy.’” I’m going to assume they thought people would hear about De Niro in a new gangster movie from the writer of “Goodfellas” and would be interested in seeing it as a result. It’s clear from the box office numbers they could not have been more wrong. As a matter of fact, I don’t even remember this film getting any attention or advertising when it was released only two months ago.
One of my least favorite things to do as a moviegoer is to watch the clock during a movie. During “The Alto Knights,” I couldn’t stop looking at the clock and waiting for it to end. As stated earlier, the film made me depressed as it felt like De Niro and Levinson were was wasting his time on rotten garbage like this. They are both in their 80’s, and we don’t know how many films they have left in them. I’m sad they wasted their talents on this project, and I’m sad I wasted my time watching it.
* out of * * * *
Special Features:
One Legend, Two Mobsters – Featurette
Blu Ray Audio/Video Info: The 1080p high-definition transfer is perfect for this film, and it features a clear and vivid image. The Dolby Atmos track also brings all of the classic hits of the 1950’s into your living room.
Should You Buy It?
“The Alto Knights” is not a film you should waste your time on, unless you are absolutely obsessed with gangster movies and need to watch them all. If you have a morbid curiosity in this film, I’m here to tell you to not waste your time. I went into it knowing it didn’t have great reviews, but I said to myself, ‘How bad could it be?’ Trust me, it’s that bad. It’s painful to watch De Niro in this film, and I just wanted it to end. It didn’t take long for me to realize I was stuck in a bad movie, and I just had to bide my time until it was over. There are better gangster movies to see, and there is even a better gangster show to watch in “The Sopranos.” This is one of the biggest disappointments to come out of Hollywood in the past five years, and it is a hard pass.
**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.
Studio movies seem to be falling into two categories these days—they are either inspired by other movies or they are looking to do something unique and different. “Mickey 17” falls into the latter category. Even though it is based on the novel “Mickey7” by Edward Ashton, it is a rather unique and “out there” movie. It is a science fiction comedy with big ideas, over-the-top characters and representations. I can’t compare it to any other movie out there, which is becoming increasingly rare in today’s cinema. So often, when you watch a movie, it reminds you of one or two others that have already been released. Franchises, sequels and reboots are also becoming far too common. Original ideas, even if based off books, are infrequent visitors in the cinematic landscape of today.
“Mickey 17” is directed by the Academy Award-winning director of “Parasite,” Bong Joon Ho, and it follows the story of Mickey Barnes, played by Robert Pattinson of “Twilight” fame. After Mickey and his buddy Timo (Steven Yeun) fall into debt because their macaron business falls apart, they are out of options. This leads them to joining a spaceship crew where they hope to blend in and avoid getting murdered by flying under the radar. While Timo becomes a shuttle pilot, Mickey decides to become an “expendable,” which is a job where he is in charge of dying over and over again in order to find answers for various problems in society.
Mickey Barnes is sheepish, dopey, and painfully shy. However, he enjoys his new lease on life because of his relationship with an agent named Nasha, played by Naomi Ackie. They are madly in love with each other, and she helps Mickey deal with the fact that dying is not a whole lot of fun. Even though he is brought back to life because of a process called “reprinting,” it doesn’t make dying any easier for Mickey as he is, in many ways, a human guinea pig. With his work, they are able to come up with vaccines that will save lives.
One day, his life is turned upside down when his life is spared by a group of critters known as Creepers. This leads to him being turned into a double, so while he is Mickey 17, there is also a Mickey 18, a version of him that is confident, self-assured and fearless. Nasha doesn’t mind having two Mickey’s, as it is more fun for her to fool around with two versions of her boyfriend. On this expedition, there is a leader named Kenneth Marshall, played by Mark Ruffalo, and it’s hard not to draw comparisons to Donald Trump with his performance. I had to look this up after watching the movie, and I’m not the only one who felt this way, even though Bong Joon Ho and Ruffalo say that was not their intention. If it walks like a duck and quacks like a duck, it’s probably a duck. Kenneth’s wife is played by Toni Collette.
“Mickey 17” is a film high on ambition and ideas, but it doesn’t have a sense of direction, and its pacing is all over the map. One of the most frustrating aspects of this movie is the fact it has a lot to say and there is a lot going on, but it falls apart because there is no sense of where they want to go with all of this. Is it a love story? Is it a commentary on there being two versions of yourself? Is it a commentary on self-sacrifice? Is it about abuse of power? It’s all of those things and a whole lot more, but without a clear and concise vision, not all of these ideas have the time to be fleshed out, even though the film is two hours and seventeen minutes long. The film is wildly uneven and frustrating.
Another big issue with the film is Pattinson and his bland and uninteresting performance. He’s not a good actor, even when he is given good material. I understand he’s trying to be taken seriously as an actor, but he doesn’t have the chops to carry the comedic scenes, and he also struggles with the more serious material as well. This is another problem with the film—it’s in search of a tone. Since it’s trying to do so much at once, it doesn’t know how to balance its themes or tones. It’s also way too long, and it needed a good trip to the editing room.
* * out of * * * *
4K Info: “Mickey 17” is released on a single-disc 4K from Warner Brothers Home Entertainment. The film has a running time of 137 minutes and is rated R for violent content, language throughout, sexual content and drug material. It also comes with a digital copy that can be redeemed on most digital platforms.
4K Video/Audio: “Mickey 17” gets the Dolby Vision/Atmos treatment, and it’s a remarkable release. The color palette really pops on this 4K release, and the Dolby Atmos audio track is also perfect for your home theater setup.
Special Features:
Behind the Lens: Bong Joon Ho’s Mickey 17 (11:32)
Mickey 17: A World Reimagined (9:44)
The Faces of Niflheim (8:00)
Should You Buy It?
“Mickey 17” is a film that might end up gaining a cult following in years to come, but it also might be a film that falls flat with a lot of audiences. I do think it is worth checking out because it is entertaining at times and has individual moments which stand out in a positive way. It’s just too inconsistent for its own good, and it needed better performances from its cast. I absolutely hated the Mark Ruffalo character, but it probably wasn’t in the way they intended for me to hate the character. After spending a little bit of time with him, I wanted him off my TV, and I would audibly groan when he would reappear. The film does have some good special features and from an audio and visual aspect, it looks and sounds great. The movie is just a jumbled mess, but it’s rarely, if ever, boring. I’d recommend you watch this one first before you decide 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.
So, I finally got to see Sean Baker’s “Anora,” the Palme d’Or and Best Picture winner, and I was fortunate enough to watch it at New Beverly Cinema in 35mm. It certainly has the look of a 1970’s cinematic classic even as it seems to be a familiar story of a woman who looks to be rescued from what many might consider a sordid existence. But when all is said and done, I could not take my eyes off the screen for a single second. Seriously, I always consider this to be quite the compliment.
We are introduced to Anora “Ani” Mikheeva (Mikey Madison), a 23-year-old stripper from Brighton Beach, New York during a montage which shows a line of sex workers giving customers lap dances. Her face sticks out immediately to where we are seeing an individual instead of just another worker, and things kick into high gear from there. We see Anora moving through the strip club like a real pro as she ingratiates herself to each and every customer with a strong likability, and she effortlessly encourages patrons to come with her to the nearby ATM to get some cash for a private VIP dance. She’s so convincing to where I have no doubt that the men are quick to forget the pesky ATM fee they pay when withdrawing their funds. What is now anyway, four dollars?
Then one night, Anora meets Ivan Zakharov (Mark Eydelshteyn), the son of a Russian oligarch whom she affectionally calls Vanya. They quickly find themselves spending a lot of time with one another as they travel out with friends to Las Vegas where they indulge in an endless party atmosphere, they are clearly not the least bit enthusiastic to see end. It’s an exhilarating sequence as it felt like we the audience was being drawn into the fun, and it culminates in Vanya proposing marriage to Anora, and it feels like things have nowhere else to go for them but up from there.
I initially found myself appreciating “Anora” as a comedy because my experiencing the infectious party atmosphere led to many hilarious moments, but I also felt a certain dread as I kept thinking the roof was going to fall down at some point. And when Ivan’s parents become aware of his recent marriage, and they send men over to his luxurious mansion (it has an elevator) to get Ivan’s act together and to have the marriage annulled.
It’s hard not to think of “Pretty Woman” while watching “Anora” as it has a similar plotline of a man welcoming a woman into a life of luxury which she has never seen up close before, but this is no Disney movie. As much as Anora is experiencing the highs life and privilege have to offer, I constantly sensed she was on the verge of experiencing some serious lows to where I felt a strong need to protect myself from the heartache I was convinced would eventually be heaped upon us all.
For the record, the only other Sean Baker film I have see to date is “Tangerine,” but like that one, “Anora” is filled with such wonderfully drawn characters who, in any other film, would have come across as caricatures in a lazily written screenplay. Just when I thought these characters would be ever so easy to figure out, they came to surprise me in wonderfully unexpected ways to where it is impossible for any of them to become one-dimensional. It also helps to have actors like Yura Borisov, Karren Karagulian, Vache Tovmasyan and Aleksei Serebryakov among so many others bring these characters to such vivid life.
But make no mistake, this is far and away Mikey Madison’s show. As much as I wanted Demi Moore to take home the Best Actress Oscar for “The Substance,” I can completely understand and appreciate why Madison took home the prize. She perfectly inhabits Anora as someone who is, above all else, a survivor. Throughout, Madison exhibits just about ever conceivable emotion Ani gets put through, and she also evokes a vulnerability that her innate toughness can never fully hide. Even if Ani is not always likable, you have to respect how she handles herself as she quickly reduces many around her to mere ashes.
Another performance worth singling out is Yura Borisov’s as Igor, a Russian henchman who, at first appearance, looks like he can beat the shit out of anyone dumb enough to cross his path. But Borisov shows there is more to him than meets the eye, particularly when he is quick to complement Ani after she punches him in the face. Even when he has no dialogue, the actor shows so much humanity for this particular henchman as he too has a vulnerability he cannot hide from those around him. And most importantly, Igor is the only one who dares to treat Ani as a person rather than a piece of meat as others are quick to label her as.
What I love most about “Anora” is how alive it feels. Baker and company have given us a motion picture which feels ever so lively to where nothing about it feels the least bit staged. Some will be quick to judge the title character for the line of the work she has chosen, but I found myself not willing to do so as this film left me completely enthralled throughout. It is a tremendous motion picture which takes the viewer on a journey they may not normally go on, It is no wonder to me why this film was so acclaimed as it invites your empathy to the characters in a very genuine way.
Whether or not I feel “Anora” deserved its Best Picture win at this year’s Academy Awards ceremony, I can quickly admit it deserves a place on my list of the ten best films of 2024. In a time where Hollywood is eager to continue long running franchises even if they have long overstayed their welcome, it is very reassuring to see a $6 million dollar defy the odds and make quite the impact in an immense cinematic landscape. While this film may not have the most original plot, it does take us through quite the emotional adventure, the kind which most audiences are not quick to appreciate in this day and age.
I am very eager to see this film again very soon, as experiencing the great tapestry of emotions made this cinematic experience all the more enthralling. Even though I know how things end in “Anora,” I still want to go through all those emotions again. Also, there is no forgetting Take That’s “Greatest Day” as reworked by Calum Scott and Robin Schulz.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
“The Outlaw Josey Wales” was directed by Clint Eastwood, and it was adapted from the book, “Gone to Texas” by Forrest Carter. Eastwood is also the lead actor in the film, and he’s certainly in his wheelhouse when it comes to the Hollywood Western. When it comes to certain Clint Eastwood Westerns, some of them stand out more than others. This film was released in 1976, and it was Eastwood’s second time directing a Western after first directing “High Plains Drifter.” He would return in 1985 with “Pale Rider” before putting his finishing touches on the genre with “Unforgiven” in 1992. For my money, “Unforgiven” is not only one of the best Westerns Eastwood ever directed or starred in, but it’s also one of the best Westerns of all time.
“The Outlaw Josey Wales” is set during the American Civil War, and it opens with the wife and son of Josey Wales (Clint Eastwood) being murdered by Captain Terrill (Bill McKinney) and his group of Union militia. Now, Josey Wales will stop at nothing to seek revenge for the death of his wife and son. Throughout his journey, he stumbles upon a group of unique and eccentric characters who can either help him or get out of his way. Eastwood plays Josey Wales as subdued, determined, and unflappable. If he gets his pound of flesh, will he be satisfied? He’s on a mission, and he isn’t going to let anything or anyone slow him down or get in his way.
One of the more interesting characters that Josey Wales meets is Lone Watie, played by Chief Dan George. They have had an “Odd Couple” type of relationship, as it’s hard to get a read on Josey whereas Lone Watie is quite chatty. Along the way, they come in contact with various gunmen, and we quickly learn that Josey is not someone to be trifled with when he’s in a battle of life or death. There are also quiet and reflective moments when the threat of violence isn’t in the air. The film is shot with a keen eye by Eastwood. He’s always been a skilled and talented director, especially when he’s shooting Westerns. He makes even the mundane look spectacular and mesmerizing.
When I was watching “The Outlaw Josey Wales,” there wasn’t anything happening on screen from a plot or character perspective which drew me in or kept my attention. I recently reviewed “Pale Rider,” which was done after “The Outlaw Josey Wales,” and that was a film with a strong pulse and interesting characters. I have seen Eastwood portray this character before, and it feels like he’s simply spinning his wheels with this performance. There is not a whole lot going on with this character of Josey, and there isn’t a whole lot going on with the majority of the story either.
I can only get lost in the scenery and the beautiful sights and sounds for so long before I eventually start to get bored. Make no mistake about it, “The Outlaw Josey Wales” is a beautiful film from a filmmaking perspective. There is a ton of skill on display, and it’s a quiet and unassuming film. The problem is it also feels bland and flat. I didn’t feel as though the film did anything to differentiate itself from a host of other Westerns which have been directed by Eastwood in the past. It’s OK for his character to not be showy, loud or outspoken, as we don’t expect that in an Eastwood Western. However, at times, it looked and felt like he was in a medically-induced coma.
As I was watching this film, I kept waiting for it to spring into action and come to life on screen. After you have seen him take out the bad guys time after time, it begins to become repetitive and it loses its luster the more you see it happen. This is a movie which is a little too focused on its sense of time and place but not focused enough on creating a captivating story. This is a problem when you have a film that is a little over two hours long. I didn’t hate watching “The Outlaw Josey Wales,” but I didn’t particularly enjoy the experience. It left me feeling very underwhelmed.
* * out of * * * *
4K Info: “The Outlaw Josey Wales” is released on a single 4K disc from Warner Brothers Home Entertainment. It comes in either a 4K slipcover edition or a 4K steelbook. The film has a running time of 135 minutes and is rated PG. The film also comes with a digital code to redeem.
4K Video Info: The 4K of this film is absolutely magnificent. Westerns, in particular, were made to be released on 4K. You just don’t get this type of viewing experience on Blu-ray or DVD with Westerns. The HDR on this film presents an epic picture that is utterly flawless.
4K Audio Info: The Dolby Atmos audio track also brings the film to life in your living room with a soundtrack that is big and bold. Subtitles are included in Spanish, English, and French.
Special Features:
Commentary by Richard Schickel
An Outlaw and an Antihero – NEW
The Cinematography of and Outlaw: Crafting Josie Wales – NEW
Clint Eastwood’s West
Eastwood in Action
Hell Hath No Fury: The Making of The Outlaw Josey Wales
Clint Eastwood: A Cinematic Legacy – Reinventing the West
Should You Buy It?
I had the pleasure of reviewing three Clint Eastwood 4K’s over the past week: “The Outlaw Josey Wales,” “Dirty Harry,” and “Pale Rider.” “Pale Rider,” without question, was my favorite of the three. With “Dirty Harry” and “The Outlaw Josey Wales,” I admired but didn’t love them. I felt like I was missing something when I was watching them. Both films are well-made and they are not terrible, but they didn’t entertain or grab me emotionally. However, I’m well aware that many people out there who love both “Dirty Harry” and “The Outlaw Josey Wales.” When it comes to “The Outlaw Josey Wales,” if you are a fan of the film, you need to add it to your collection as soon as possible. It looks and sounds out of this world on 4K, and there is a boatload of special features here to enjoy, especially a few new ones as well. I just put this film under the category of, “It wasn’t for me.” If it is for you, you can’t ask for a better physical media release than what they have put together at Warner Brothers for this one.
**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.
“Dirty Harry” is a film I’ve heard a lot about during my almost forty years on this planet, especially when I started to watch movies regularly in my youth. It’s long been a part of American pop culture, and it’s hard for me to believe this was my first time watching it. I’m familiar with the “Do you feel lucky, punk?” speech that has been repeated by numerous cinephiles over the past fifty years. “Dirty Harry” was released in 1971. The 70’s are my favorite decade of American cinema, as the films back then were raw, dirty, and unapologetically in-your-face.
Our antagonist in this film goes by the name of Scorpio (Andrew Robinson), and when he’s first introduced on screen, he’s seen killing a woman in a San Francisco pool from a rooftop. Scorpio a vicious sniper who plans on killing more innocent people unless his demands are met. He’s looking to get $100,000, and if he doesn’t, he will kill one person a day, starting with either a Catholic priest or an African American. Police Inspector Harry Callahan (Clint Eastwood) found his ransom letter and wants to take matters into his own hands much to the dismay of the San Francisco Police Department. He’s called Dirty Harry because he’s not afraid to get his hands dirty and do whatever is necessary to find his man. He also appears to hate everyone equally, regardless of their race.
Harry is none too pleased when he’s assigned a rookie partner named Chico Gonzalez, played by Reni Santoni. Harry’s previous two partners ended up injured or dead. Before long, Scorpio decides he wants to raise the stakes–he wants $200,000 or he will kill a teenager named Ann Mary Deacon. It’s up to Harry and Chico to put a stop to this before it gets even worse for the entire city of San Francisco. The biggest problems in Harry’s life come from his own police department, as they want him to play by the rules and follow police protocol. Harry Callahan knows he’s dealing with a lunatic here, and you can’t reason with someone who is evil, maniacal, and cold-blooded.
My biggest issue with “Dirty Harry” is the fact the film presents an antagonist and a protagonist who are written in a bland and one-note fashion. Eastwood is known for his understated and minimalist approach to acting, and most of the time, it works. In “Dirty Harry,” for me, I wanted to learn more about what makes him tick and what his backstory is. I didn’t need everything to be explained to me in granular detail, but we know very little about him. The mystery of Harry Callahan doesn’t work in this film because I found myself detached from the character. Scorpio is just an over-the-top villain. What is anyone’s motivation here?
“Dirty Harry” is a film which is all about the chase. It’s all about Harry chasing Scorpio, and it’s interesting to a degree, but it doesn’t hold up for the duration of the film. I understand the film is making a statement about police violence and what needs to be done in order to achieve a peaceful environment for everyone involved. Do the police need to resort to a more aggressive style of police protocol? Are they letting criminals get away with too much? Do the police need to bend the rules a little bit if it allows everyone to feel safe? I understand what the film was trying to say, and I don’t need everything to be spelled out for me perfectly, but this is a film that felt flat and uninteresting to me. I needed a little more meat on the bone here. It’s OK to have a simple story, but you need characters with a little more depth to them than simply good guy versus bad guy.
Overall, I liked the beginning and the end of the film, but the film completely lost me in the middle when it was the back-and-forth chase between Scorpio and Harry Callahan. There is little to no dialogue going on in these scenes, and I respected the style that was on display from director Don Siegel, but I needed something else to grab me to keep my attention. “Dirty Harry” is a Hollywood classic, and I understand many filmgoers hold it in very high regard. I was anticipating having a strong reaction to it. When it was over, I thought to myself, “That’s it?”
* * out of * * * *
4K Info: “Dirty Harry” is released on a single-disc 4K from Warner Brothers Home Entertainment in either a slipcover version or a collector’s edition steelbook. There is also a digital copy of the film included in the set. The film has a running time of 102 minutes and is rated R.
4K Video Info: The 4K HDR transfer here is striking and vibrant while maintaining a grimy and old-school look to it in the process. When the film is taking place during the day, the colors really pop and shine on screen. When it takes place at night, the deep blacks are on full display.
4K Audio Info: The Dolby Atmos track is sharp and solid throughout the film. It’s powerful without being overbearing. Subtitles are included in English, Spanish, and French.
Special Features:
Commentary by Richard Schickel
Generations and Dirty Harry – NEW
Lensing Justice: The Cinematography of Dirty Harry – NEW
American Masters Career Retrospective: Clint Eastwood: Out of the Shadows
Clint Eastwood: The Man from Malpaso
Clint Eastwood: A Cinematic Legacy – Fighting for Justice
Interview Gallery
Dirty Harry’s Way
Dirty Harry: The Original
Should You Buy It?
If you love “Dirty Harry” and it’s one of your favorite films, you’ll be over the moon about this 4K release, which includes over four hours of special features. They really made sure they went above and beyond for this 4K release, and I imagine a lot of people have been waiting a long time for this. Visually, it’s a stunning release that is sure to satisfy physical media lovers out there. The Dolby Atmos track stands out on this as well. For people who haven’t seen the film before, like myself, I don’t know how well it will hold up with a modern audience or a first-time viewer. It didn’t connect with me, and I was disappointed by the majority of it. It was a film I respected, but I didn’t connect with it the way I have other Clint Eastwood films I’ve been watching lately. If you haven’t seen it before, you might want to watch it before you blind buy 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.
With Tony Farinella’s ever so enthusiastic review of Clint Eastwood’s 1985 western “Pale Rider,” I was quickly reminded of the various trailers made for it back in the day. Each trailer and television commercial made for it was dominated by the music of “Best Endeavours” which was composed by Alan Hawkshaw. That piece of music alone was enough to get me super excited about this particular motion picture.
But one particular trailer for “Pale Rider” which excited and stayed me throughout the years was its teaser. I first watched the teaser when it was included in the VHS release of “City Heat,” a movie which teamed up Eastwood with Burt Reynolds and eventually became one of my most inescapable guilty pleasures.
What makes this trailer for “Pale Rider” stand out for me is how it is composed simply of still images. Like the Italian movie trailer for Dario Argento’s “Suspiria,” it is the images which, in their stillness or frozen moments, spoke volumes. While Warner Brothers might have preferred more in the way of moving images, the still ones had much more of an impact on me.
Plus, it has a narrator telling us how Eastwood had previously directed the last great western back in 1976 with “The Outlaw Josey Wales.” This made the trailer’s promise of “Pale Rider” being the next great American western all the more thrilling. Whether or not you think “Pale Rider” proved to be such the thing, I admired the case the narrator sold us on.
As much as I wanted to see “Pale Rider” when it arrived in theaters, I was only ten years at the time, and it was rated R. The best I could do was watch Siskel & Ebert review it as I got to see movie clips there, and I did get to read the movie’s novelization which was written by Alan Dean Foster. For some odd reason, my parents never kept me from doing that.
I didn’t get to see “Pale Rider” until many years later, but that is a story for another time. And from now on, Alan Hawkshaw’s “Best Endeavours” will always forever be the “Pale Rider” theme to me. To others, it may forever be the theme for the British program Channel 4 News, but Channel 4 never secured permanent exclusivity rights for it at the time, so there!
Please check out the “Pale Rider” teaser trailer down below.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
Clint Eastwood is synonymous with the Hollywood western in American cinema. For my money, the westerns of Eastwood are far superior than those of John Wayne. There is a subtlety and nuance to his films and his performances. While not all of them are Hollywood classics, they are a great example of old-school craftsmanship, especially when he’s behind the camera. He is behind the camera for “Pale Rider,” which is celebrating its 40th anniversary with this 4K release. It is a film I have not seen before, but after watching it for the first time, I fell in love with it immediately.
Our film is set in LaHood, California in Carbon Canyon, which is being run by an malevolent banker and a crooked marshal. The banker is named Coy LaHood, played by Richard Dysart. Since he doesn’t have the legal rights to kick the miners out of their homes, he uses violence and intimidation in an attempt to gain complete control of the land. This doesn’t sit right with Hull Barret, played by Michael Moriarty, as he’s trying to take care of his fiancée Sarah (Carrie Snodgress) and her daughter Megan (Sydney Penny). However, he’s finding little to no support in his battle against LaHood.
Megan’s prayers for peace are answered by a man known as the Preacher, played by Eastwood. He’s a mysterious and shadowy figure who shows up to save Hull after he’s attacked by four of LaHood’s men. Megan was having a hard time seeing the silver lining in much of anything after her father left, her grandfather passed away, and her dog was killed. LaHood has brought nothing but mayhem and destruction to Carbon Canyon. The Preacher, however, is not only giving Megan hope, but he’s also giving hope and faith to everyone in Carbon Canyon. They are not going to be kicked out of their homes, and they will not be bought off.
Westerns are often hit or miss with me as a film critic. When they are done with interesting characters, beautiful cinematography and focus on the quiet introspective moments, they connect with me and I’m completely absorbed. One of my favorite Westerns of all time is “Unforgiven,” which was also directed by Eastwood. It deals with the aftermath of the violence and the effect it has on those who have inflicted it on others. “Pale Rider” is about the people of Carbon Canyon and how they are trying to exist, survive, and live while under the thumb of LaHood. Eastwood, in many ways, is a supporting character in his own film. I imagine this was by design. When he does appear on screen, everything he does is thoughtful and understated. He has a terrific scene with Sydney Penny where he describes why they can’t be together romantically. It’s delicate and, in the hands of any other filmmaker, it would have been awkward and out of place.
It all leads to the big shootout between the Preacher and LaHood’s men along with Stockburn, the Marshal, played by John Russell. The shootout scene is impactful because Eastwood is a patient director and he takes his time in building up to the grand finale. At the end of the day, movies are simple—introduce us to characters we are invested in, set the stage, let the actors do their work, and get out of the way. Eastwood is one of the best in the business at doing that as a director, which is one of many reasons why he’s a Hollywood legend.
I’d also like to mention the work of Chris Penn in the film as LaHood’s son, Josh. Even though Sean Penn is more well-known and established as an actor, his brother Chris was a terrific character actor who really knew how to play a slimy and underhanded villain. I’ve always been a big fan of his work. Michael Moriarty plays a good man who is trying to do the right thing while simultaneously trying to maintain his manhood at the same time. In many ways, even though Eastwood receives top billing, he’s the lead in the film when it comes to screen time. Carrie Snodgress and Sydney Penny bring vulnerability, strength, and warmth to their performances. This is a terrific cast.
From start to finish, I was utterly engrossed in “Pale Rider,” and I couldn’t take my eyes off the screen. There is a sense of mystery surrounding the Preacher character, and it is what keeps the story moving in a unique and captivating way. I like to be kept on my toes. Overall, this is the kind of movie I love as a moviegoer. The acting, from top-to-bottom, is phenomenal, the scenery is gorgeous, and the story is simple yet powerful. This is another in a long line of classic films from the great Clint Eastwood. The great thing about his filmography is there are still films of his I haven’t seen. He’s the gift that keeps on giving.
* * * ½ out of * * * *
4K Info: “Pale Rider” is being released on a single disc 4K from Warner Brothers Home Entertainment. The release comes with a beautiful slipcover and a digital copy as well. There is a steelbook version of the film available for purchase if you are interested in steelbooks over slipcovers. I prefer slipcovers myself. The film has a running time of 116 minutes and is rated R.
4K Video Info: “Pale Rider” comes with a jaw-dropping 4K HDR transfer. The film looks magnificent. Westerns, in particular, are always a welcome addition to 4K. The landscapes are enthralling to look at and the colors are lively and vivid.
4K Audio Info: The Dolby Atmos track is out of this world as it is peaceful during the quieter moments in the film but it comes to life during the action sequences. Subtitles are included in English, Spanish and French.
Special Features:
The Diary of Sydney Penny: Lessons from the Set – NEW
Painting the Preacher: Bruce Surtees and Pale Rider – NEW
Clint Eastwood: A Cinematic Legacy – Reinventing Westerns
Eastwood Directs: The Untold Story
The Eastwood Factor
Should You Buy It?
HELL YES! “Pale Rider” is a great film. It was almost a perfect film, and I was very close to giving it four stars. In the end, I decided to give it three and a half stars, but when it comes to owning the 4K, it’s a no brainer. There are also new special features on this disc! So many physical media collectors often complain about the lack of new special features, but there are two new special features on this 4K disc. In total, there are over three hours of special features here! Clint Eastwood and Warner Brothers have a special relationship, and this is one of their finest films. The audio and visual aspects of the 4K are magnificent. This is one of my favorite 4K releases of 2025 so far, and I can’t wait to watch “Dirty Harry” and “The Outlaw Josey Wales” on 4K from Warner Brothers. They hit a home run with this release, and you owe it to yourself to add this film to your collection. This one comes highly recommended.
**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.
I was lucky enough to attend an anniversary screening of Alexander Payne’s “Sideways” at Laemmle’s Monica Film Center in Santa Monica, California. I remember and watching and loving this film back when it was released back in 2004, and now it has reached its twentieth anniversary which just scares the hell out of me. This screening was followed by a Q&A with some of the film’s participants as well as the authors of the recently released book “Sideways Uncorked,” Kirk Honeycutt and Mira Advani Honeycutt.
But make no mistake, the real star of the evening was Virginia Madsen whom everyone who loves “Sideways” was truly thrilled to see. She portrayed Maya, the divorced waitress who captures the attention of the ambitious but very depressed Miles (Paul Giamatti), a writer who just might be about to publish his novel for the world to see. Madsen deservedly earned an Oscar nomination for Best Supporting Actress for her unforgettable performance here. Cate Blanchett ended up winning it that year for her work in “The Aviator,” but there is no forgetting what Madsen did, especially after Maya’s speech about her love of wine.
Before “Sideways,” Madsen was best known for her work in movies like “Candyman,” “Electric Dreams,” “The Prophecy” and “The Rainmaker.” Around the time it came to audition for this now classic film, Madsen openly admitted her career was not doing well and that the odds were against her in playing Maya.
Virginia Madsen: There was talk about getting someone who had a bigger name, but I got the audition and I was working with a coach, so I was really, really ready. They weren’t giving us the whole script though, and then I said, well, can I just have a couple of more scenes, and they just sounded like me.
In addition, she was very familiar with the Santa Inez valley and the other areas which “Sideways” takes place in as she considers them her weekend getaway. Also, this film marked the first time Payne made a film outside of Omaha, Nebraska.
Virgina Madsen: I lived about an hour from there. I didn’t ever go wine tasting. I just went there to sort of be a hippie and climb trees and have this beautiful sense of serenity, so I knew what I felt like when I was in the valley. So, I just went to play myself.
And we can all agree that Madsen’s greatest scene in “Sideways” was when she talks to Miles about her love of wine as it seduces us every bit as much as it seduces Miles. As a result, this made her meeting with Paul Giamatti all the more agonizing.
Virginia Madsen: I loved the part where I talked about wine in that scene with Paul, so I just got this one chance in the room with him. So, I said I just love this screenplay, I love this role, and I love when she talks about the life of wine. I went into the monologue, which you were not supposed to do for the audition. He went, “would you like to do the monologue?” I said, “Yes, sure.” I was so prepared. The tone in the writing changes in that scene. And when it was over, we just looked at the casting director and he said, “You know, we should have everyone do that monologue!” He (Giamatti) wanted me, but it took a while to hear a yes. I knew who Paul was as an actor, and I knew we would have chemistry. I am never wrong about that.
Then there came the time when Madsen met up with Payne about “Sideways,” and he offered her the role of Maya at the Chateau Marmont, something any actor or actress loves to be given the role of a lifetime at. But this also resulted in something actors might be reluctant to agree to.
Virginia Madsen: We met at the Chateau Marmont, and he said, “I want to ask you, would you do me the honor of playing Maya in my film ‘Sideways?’ And I was like, “Oh, well.” And he said, “I have one request though, are you willing to do this movie without makeup?” And I said, “Well Alexander, I’m not wearing makeup now, and that’s what I mostly do.” I did that in three films before that, and the greatest thing about that is you don’t have to get up quite so early. The only request I made back to him was, as long as I can wear mascara and some lip gloss on the date because, if a woman goes on a date, she’s just gonna do a little something, and he agreed to that. It seems to be nowadays more than ever this effort to make people look real, and they kind of look like hell, and that’s also distracting.
After all these years, “Sideways” has lost none of its power to entertain, be it in comedic or dramatic ways. Some films are quickly undone by time, but this one never will as everyone can relate to it and its characters in various ways. And when it comes to Madsen’s performance, she will make you fall in love with Maya every single time.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
Back in 2005 (I realize I’m aging myself by opening with that), I used to go to the movie theater just about every weekend to see the latest releases with my best friend at the time. For some reason, “Constantine” did not find its way onto our radar. I also skipped the film during my weekly visits to Blockbuster Video and Hollywood Video. At the time, I was an avid viewer of Ebert and Roeper, formerly Siskel and Ebert, and Roger Ebert named it one of the worst films of 2005. I imagine this had a lot to do with me ignoring the film because growing up, their weekly review program was something I took to heart. When I heard “Constantine” was being released on 4K in honor of its 20th anniversary, I figured it was finally time to sit down and check out the film for myself.
“Constantine” follows the character of John Constantine, played by Keanu Reeves, and he’s an expert in the occult. He believes there is a “balance” happening in the world between the souls of those who are walking the earth. Essentially, their souls are up for grabs. In his mind, it is up to him to make sure the evil souls are where they belong in hell, and the good souls stay on the straight and narrow. If John can perform enough good deeds, he hopes he can save his own soul because he has lung cancer and doesn’t have a lot of time left on this earth. However, he has a complicated past, so it might be too little, too late for him.
John meets a detective named Angela Dodson (Rachel Weisz) who is looking for answers after her twin sister’s suicide. Angela knows her sister did not commit suicide, and she believes something sinister is at play with her death. This falls back in line with John’s thinking, which is that the souls on earth are being influenced by evil bidders who are looking to bring them to hell. Because Angela’s family is religious, she is concerned her sister will not be able to make it to heaven because of her suicide.
On the surface, I liked the concept of “Constantine” as it reminded me of the films in “The Conjuring” universe with its views on demons and the occult. It also had a mystery element as well, which appealed to me. I wanted to know the answers to some of the questions raised in the film. I thought the first hour was captivating, intriguing and intense. I was interested in seeing how it was all going to play out, and I was along for the ride. Somewhere along the way in the latter half, it started to really lose my interest and also my patience with its story.
One of the biggest issues with the film is its lead actor, Keanu Reeves. I found his performance and the writing of his character to be silly and goofy. He has these terrible one-liners which are painfully unfunny, and he also delivers his lines in such a morose and blasé way. It really took me out of the film at times. The Shia LaBeouf cab-driver character was also completely unnecessary and added nothing to the film. I did think Rachel Weisz gave a really good performance here as she is smart, tough and driven. She is looking for answers when it comes to her sister, and she is not interested in playing any games. Weisz gives a serious and committed performance.
I would have liked it if they had written John Constantine’s character with the same level of seriousness and intelligence. I’m not against some comedic relief in a supernatural film like this, but it felt like he was Freddy Krueger with some of the silliness he was reading on screen. I really didn’t like it, and it made me wonder how this film would have turned out if they had hired an actor like Brad Pitt for this role as he can play cocky, charismatic and funny without trying too hard. Reeves needs the right role in order to show off his acting chops, and I didn’t think this film was in his wheelhouse. He seemed unaffected by a lot of what was happening on screen.
Another issue is when the demons come out to play. They are not that interesting as sparring partners for our main characters. I found them to be rather lackluster in terms of how they were written, and how they came across on screen. Tilda Swinton is a terrific actress, and I wish she had more to do and say here. Peter Stormare is over-the-top in a very uneven way, and I didn’t connect with his performance. Overall, this is a film with some thought-provoking ideas, and it’s directed with terrific style by Francis Lawrence, but the screenplay is wildly uneven. It needed a better performance from its leading man or a different leading man all together.
* * out of * * * *
4K Info: “Constantine” is released on a single 4K disc from Warner Brothers Home Entertainment. There is an insert inside, which includes a digital copy of the film as well. The film has a running time of 121 minutes and is rated R for violence and demonic images.
4K Video Info: The film is treated to a Dolby Vision transfer, and it’s simply stunning. I haven’t seen the film in any other format as this was my first time watching it, but I found the color palette to be bold when it needed to be, and also dark when the material was shot at night. The image is clean, crisp and vivid.
4K Audio Info: There is also a really solid Dolby Atmos track included here too with subtitles in English, Spanish and French. This is a soundtrack that is consistent and level throughout the duration of this movie.
Special Features:
NEW Feature – Two Decades of Damnation
Audio Commentary featuring Francis Lawrence and Akiva Goldsman
Audio Commentary featuring Kevin Brodbin and Frank A. Cappello
Channeling Constantine
Conjuring Constantine
Director’s Confessional
Collision with Evil
Holy Relics
Shotgun Shootout
Hellscape
Visualizing Vermin
Warrior Wings
Unholy Abduction
Demon Face
Constantine’s Cosmology
Foresight: The Power of Pre-Visualization
A Writer’s Vision
Deleted Scenes + Alternate Ending
Should You Buy It?
It seems as though this film has gained a cult following in the twenty years since it has been released, which shows the importance of physical media. While I don’t think it’s as bad as the late, great Roger Ebert said it was in his initial review, I also don’t think it’s a cult classic either. I fall somewhere in the middle with “Constantine.” I wanted to like it, and I was enjoying the hell out of it for the first sixty minutes of its running time, but it lost me in the second half. I wanted to see a satisfying resolution to what was presented in the first half. This film looks and sounds great on 4K, and they even introduced a new special feature here as well, which I’m sure is going to make fans very happy. For now, I’d recommend you check it out first if you haven’t seen it before, and then decide if you want to buy it. You can rent it on many digital platforms for the low price of $3.99 and then, if you do like it, you can pick up the 4K. If you are a fan of this film and have been waiting for its 4K release for a long time, you have an awesome looking slipcover version, or you can pick up the 4K Steelbook instead.
**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.
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