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.
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.
“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.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
There is a lot to like about physical media, especially when it is in the 4K format. There are the special features, the audio and video quality and, of course, the fact that you own the movie. This means you never have to worry about a streaming platform taking it down and then having to hope your local library has a copy you can check out. It’s on your shelf, and you can pick it up and pop it in your player whenever you want to watch it. Another positive is the fact that films like “Amadeus,” a Best Picture winner, can be discovered for the first time by a new set of eyes. In fact, this was my first time watching the film.
The reason “Amadeus” was not a film I had previously seen is because I thought it would be a boring, stuffy period piece. After sitting down to watch it, I am reminded of the old expression, “Don’t judge a book by its cover.” Even though I do not consider “Amadeus” a classic and did not fall in love with it after one viewing, it was an important film worth seeing and also worthy of my time. I think the minute we start to become close-minded to art, we really lose our sense of self. This film deserves its day in court just like any other important and historical motion picture ever released.
This film begins by introducing us to Antonio Salieri (F. Murray Abraham), a composer who has been put into a mental institute after an attempted suicide. A Catholic priest named Father Vogler (Richard Frank) is looking to get to the bottom of things, especially after Salieri says he is responsible for the death of Wolfgang Amadeus Mozart. While it has been over three decades since Mozart passed away, Father Vogler thinks it is a tremendous burden to carry. He sees how it is weighing on Salieri, which is what led to his suicide attempt.
From this point, the film is told from Salieri’s point-of-view as he shares how he was both envious and enamored with the work of Wolfgang Amadeus Mozart (Tom Hulce). He did not, however, think much of Mozart the person whom he found to be boorish, aloof and uncouth. Still, he cannot deny the genius the man possessed and how he would make magic happen with his music. It was something Salieri himself was never able to achieve in his own career, and he sees it as a sin that God would give all this skill and talent to someone like Mozart. As a result, this creates a complicated relationship between the two men.
The film is fascinating in the way it explores genius and what makes someone possess the ability to do something which truly makes a positive impact on the world. There are often two lines of thinking when it comes to someone who has had enormous success or is a once-in-a-lifetime talent: it has either come naturally to them, or they have had to work very hard to hone their talent. Now, of course, there is also luck involved. It is also how you handle success if you continue to work hard at what you do, and that you don’t become complacent with your past success.
Throughout the film, no matter what is thrown Mozart’s way, he finds a way to make it work for him. This is even when Salieri is deliberately trying to sabotage him, especially when he hires Lori (Cynthia Nixon) to lend a helping hand to Mozart, as he has a wife and a child. The reason he hired Lori is to get inside information on Mozart and to stay one step ahead of him. The thing that separates Salieri from Mozart is the fact that no matter how annoying or obscene Mozart is, he has a gift. It is a gift that will always rise to the top and make him memorable and one-of-a-kind. It is that envy and jealousy which drives Salieri mad.
Milos Forman was the director behind “Amadeus,” and it was a big project for him to take on. From the set pieces to the musical numbers to the sheer magnitude of the story, it is a big Hollywood production, and he’s up to the challenge of making this movie look and feel big. It is the kind of big-screen Hollywood movie that used to run the movie industry back in the day. I miss big movies like this as they play very well on the big screen. They also pop on 4K as well. As to how historically accurate the film is, I cannot begin to tell you as, I must confess, I have not studied the history of Mozart.
The performance of F. Murray Abraham as Antonio Salieri is nothing short of brilliant. His face shows the torment of a man who has had to live in the shadow of Mozart his whole life, and it has clearly done a number on him. His performance reflects this, and he also knows when to rein it in and play the character in a more low-key and understated way. He was utterly captivating here from start to finish. In many ways, even though the film is called “Amadeus,” and it is about Mozart, it feels like Salieri’s story. It is easy to see why Abraham won Best Actor at the Academy Awards.
Tom Hulce must perform a balancing act of portraying Mozart as someone the audience can relate to while also being over-the-top and goofy. He does a solid job here, but I was much more interested in Abraham’s performance.
“Amadeus” is a film which was a little too long for my liking, as I would have trimmed about 20 to 30 minutes from the running time of 160 minutes, but it is still a well-acted, entertaining, and monumental Hollywood film. I admired and respected it, but I did not love it or connect with it on a deeper level. It is a film I am happy to have watched, but I found the third act to be its most compelling and intriguing. The scenes I liked the most dealt with the characters of Mozart and Salieri as human beings. When the film was a character study of the two men, it captivated me. I would have liked more of the human element of the story and less of the long-drawn-out musical scenes.
* * * out of * * * *
4K Info: “Amadeus” is released on a single disc 4K from Warner Brothers Home Entertainment, and it comes with a digital copy as well. The film has a running time of 160 minutes and is rated PG. Keep in mind; this is the theatrical cut of the film. I have read there is a director’s cut of the film, which is rated R and includes twenty minutes of extra footage. I think it would have been nice to include it here, but I am not sure what transpired to where this was not able to happen.
4K Video Info: I truly enjoyed this 4K transfer, as it showed the film as I imagine it was meant to be seen. The film is over forty years old, and it looks very cinematic with a very thematic look to it. This is not a perfect HDR transfer, but it’s not supposed to look flawless. It looks like how the film was intended to look, considering its release date.
4K Audio Info: I would have liked a Dolby Atmos track here, as this seemed like the perfect film to receive this treatment. As it stands, the audio is very sharp, clear, and the dialogue is easy to understand. Subtitles are included in English, Spanish and French.
Special Features:
The Making of Amadeus (New)
Amadeus: The Making of a Masterpiece
Should You Buy It?
I will let you in on a little secret—I do not read or watch reviews before I am going to review a film myself. I do not want to be influenced by what anyone has to say, good, bad, or indifferent. Now, I am aware certain films have overwhelmingly positive, mixed or negative reviews, but I do not read the content of them. I do think a lot of people like me have put off watching “Amadeus” for the same reasons I mentioned earlier in my review. I can see why the film might not be easily accessible to a newer audience today. Still, I think modern audiences will be pleasantly surprised, just like I was when I sat down to watch “Amadeus.” It is a period piece, yes, but it’s done in a way where you get to understand the characters, what makes them tick, and why they do the things they do throughout the course of the movie. My two issues were the run time and the fact that I wanted to spend more time with the two main characters together. Overall, it is a good film, but I do not think it is a great one. As far as the 4K is concerned, it looks terrific even though the audio would have benefited from a Dolby Atmos track. There is also a new special feature here. If you are fine with the theatrical cut, which I imagine many fans of the film will be, this is a day one purchase, especially with the Oscars this weekend. If you are a first-time viewer, I think you might want to rent it digitally first before committing to buying 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 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.
I initially avoided the “Paddington” movies upon their initial release. Watching the trailer for the first one had me under the belief that the filmmakers were determined to dumb down the classic works of Michael Bond as I watched the beloved bear clean out his ears with toothbrushes and almost eating what was on them. Yuck! Plus, Colin Firth, who was originally supposed to voice Paddington, dropped out of the original film during post production, and this did not give me a lot of hope for the final version which was eventually going to be unveiled before a worldwide audience.
Alas, I was proven wrong with not only “Paddington,” but also with “Paddington 2” which proved to be an even better film than the original. “Paddington 2” also earned a rare 100% score on Rotten Tomatoes for a time before some bastard critic made the blasphemous decision to give it that one negative review. I would shudder to call them kid movies as that would simply mean they were meant for a certain age group and only that one group. Truth is, these are movies for the whole family, just like the best Pixar films are, and they have something for every age group to enjoy. Hollywood does not make enough movies like them these days, and they threaten to become a rarity now more than ever before.
The same goes with “Paddington in Peru,” the third movie in this beloved franchise which arrives to us seven years after “Paddington 2.” After watching this marmalade loving bear and the only creature, animal or human, who can make a red hat look cool these days, brave the adventures London has thrust upon him, he now returns to Darkest Peru where he once grew up. This time, it’s personal! Granted, that last sentence was the tagline for “Jaws: The Revenge,” one of the worst films, let alone sequels, ever made, but it seems inescapably appropriate to use here.
His sudden exodus from London comes when he is told that his Aunt Lucy (voiced by Imelda Staunton) has gone missing from the Home for Retired Bears, and no one can find her. Joining him on this expedition is the Brown family: Henry (Hugh Bonneville), Mary (Emily Mortimer), Judy (Madeleine Harris), Jonathan (Samuel Joslin), and Mrs. Bird (Julie Walters). Through thick and thin, the Browns have had Paddington’s back even as this bear’s adventures have proven to be as exasperating as they have been thrilling.
What I really love about the “Paddington” movies is how wonderfully realized the human characters are. Just when I expected they would be rendered as one-dimensional doofuses, they prove to be more complex than the average family movie would allow them to be. I also love how the kids have evolved from then to now as this is not always the case in movies, let alone sequels.
And like any good sequel, “Paddington in Peru” does take the time to introduce new characters into the mix. Among them is Hunter Cabot, a tour guide and treasure hunter played by Antonio Banderas, who is clearly having the time of his life in this role. In addition, he gets to play many members of Hunter’s family from generations before him, and it results in one memorably hilarious moment after another.
But even better is the ever so brilliant Olivia Colman who steals every scene she has here as the Reverend Mother who oversees the Home for Retired Bears. She makes a grand entrance singing a song which almost turns “Paddington in Peru” a musical along the lines of “The Sound of Music,” and when she finished, the need to applaud her efforts was quite justified. Also, I love how her voice says one thing, but her eyes are quick to say something else. Seriously, watching Colman’s eyes dart back and forth is a wonderful delight throughout.
Hugh Bonneville remains an entertaining presence as Henry Brown who always goes from being an uptight dad to a loving and risk taking individual even when a tarantula presents an unwelcome presence in his life. I also love how Madeleine Harris and Samuel Joslin continue to grow into their roles as Judy and Jonathan, and watching them traverse the perils of adolescence into adulthood is a welcome sight for me. As for then lovely Emily Mortimer, she does a lovely job of stepping into the role once inhabited by Sally Hawkins of Mary Brown to where calling her a replacement would be insulting and unfair to both her and Hawkins.
And at the center of it all is Ben Whishaw who once again voices Paddington to where it would be unthinkable to consider anyone else in this role. Right from the start, Whishaw has given this bear we all want to look after a solid dignity and politeness which might seem far too easily manipulative in the hands of any other actor. Some will be quick to say that the computer did all the work for Whishaw here, but he adds to the visual effects in an immeasurably way to where when Paddington gives an adversary that hard stare, he makes that stare even harder than it already is, and we should all be expecting that at some point here.
Of all the “Paddington” movies to date, “Paddington in Peru” is the least of the three. I don’t say this to degrade it in any way as saying the least does it more justice than calling it the worst as doing so would be a grave insult. Granted, this one threatens to be a more formulaic adventure movie as we watch Paddington go from unfamiliar surroundings to more familiar ones, but this sequel still proves to be a wonderful adventure for all ages, and that is saying quite a bit in this day and age.
And, as always, I leave you with the immortal words of Michael Bond which continue to speak volumes:
“Please look after this bear. Thank you.”
Also, when it comes to the online attacks Tony Farinella and I continue to get, I feel the need to add this:
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
When it comes to 1990’s cinema, it’s difficult to find a film as popular or as well-received as “Se7en.” It became part of the pop-culture zeitgeist when it was released, and it still is a film which elicits a strong reaction from audiences today. Whenever people talk about it, they instantly quote Brad Pitt’s famous line of, “What’s in the box?” The film also served as inspiration for the “Saw” franchise and was ahead of its time in terms of the true crime genre. Now, the film is celebrating its 30th anniversary on 4K from Warner Brothers Home Entertainment. This is sure to be one of the most popular 4K releases of the year.
“Se7en” opens up by introducing the audience to Detective Lieutenant William Somerset (Morgan Freeman) who is one week away from his retirement before he is thrown into a case which captures his attention. It starts off with a man who is found dead after being forced to eat spaghetti over and over again until he perishes. Somerset teams up with a hot shot detective named David Mills, played by Brad Pitt. He recently moved with his wife Tracy (Gwyneth Paltrow) to the city, and he’s looking to make a name for himself. Somerset and Mills could not be more different in how they approach their jobs.
Mills has a short fuse and is ready to fly off the handle at anyone who gets in his way. He also doesn’t play by the rules. Somerset is even-keeled, a deep thinker, and someone who believes you have to look at these cases as more than just black and white, crazy and sane. Before long, more murders are occurring, and the serial killer is murdering people based on the seven deadly sins. For Mills, he simply thinks the killer is a crazy person and writes him off as someone who is going to get caught and isn’t thinking straight. Somerset, on the other hand, sees there is a clear motive and agenda by the killer.
“Se7en” was one of my favorite films growing up. I was 10 years old when it was released, and I saw it when I was 15. It was very much ahead of its time with its gritty, down and dirty filmmaking style. When I watched it in 2025, I liked the film a lot and I admire the craft and precision which went into making it, along with the incredible performance by Freeman. However, I do see some flaws in the film, such as Pitt’s performance. Of course, his “What’s in the box?” scene has become a legendary meme, but he’s way too over-the-top here. After a while, it becomes hard to spend too much time with his character.
I also wanted to learn more about Tracy, played by Gwyneth Paltrow. Paltrow is a terrific actress, and her scenes with Freeman, especially at the diner, give the film some much needed levity. Her character isn’t given enough to do though, besides stay at home and just be written as a one-note character. She and her character deserved better. Going back to Pitt for a moment, I understand what he was going for with his performance, but he plays it too big. In a serious movie like “Se7en,” it almost feels like his character doesn’t belong here. Freeman makes it look easy, and he’s able to portray all of his emotions on his face perfectly. I understand the film was showing the contrast between the two characters, but it doesn’t work as well as I remembered it.
When it comes to films like “Se7en” which rely on a twist, they don’t always hold up as well on multiple viewings because the element of surprise is gone. I still think it is a really good film though, and I enjoyed revisiting it on 4K. The atmosphere and the sense of dread is on full-display from David Fincher. The film also has a lot to say when it comes to its views on the world and the people in it. While Mills believes he can make a change and clean up the world, Somerset is more realistic on what he can do and what the world is capable of as a whole. It’s a film with some brainy ideas, but those ideas sometimes get lost in the middle of trying to solve the crime.
Overall, I still like “Se7en,” even though this might sound like a negative review. I’m just not as enthusiastic about it as I was 10 or 15 years ago. I see more of the film’s flaws than I did in the past. The second half, especially the big reveal, is still as powerful as it was upon its release. The film works best when it allows its actors room to show off their acting chops and really get into the meat and potatoes of their characters. I found the police work and the case itself not as interesting or multifaceted as I remembered it being in the past. “Se7en” is still a film worth revisiting and owning, despite some new flaws I’ve noticed along the way.
* * * out of * * * *
4K Info: “Se7en” is released on single-disc 4K Digibook or Steelbook from Warner Brothers Home Entertainment. It comes with a digital copy of the film as well. It has a running time of 127 minutes and is rated R for grisly afterviews of horrific and bizarre killings, and for strong language.
4K Video Info: “Se7en” is a dark and grisly film, and this specific visual aesthetic is perfect for the 4K format. I don’t think anyone is expecting the film to look crisp, clear and colorful in 4K. The 4K is not as washed out or bright as the Blu-ray, and this is a good thing. It has a more film-like look to it, which is what I was hoping for with this 4K release. 4K is supposed to bring out the best elements of what the director was looking to achieve with the picture, and “Se7en” is a solid 4K release.
4k Audio Info: “Se7en” comes with a DTS-HD Master Audio soundtrack for the film, which is consistent and steady throughout the course of the film. This is a pretty quiet film with moments of loud and intense dialogue, but it never feels like it’s too much. Subtitles are included in English, Spanish and French.
Special Features:
Commentaries –
The Stars: David Fincher, Brad Pitt, Morgan Freeman
The Story: Richard Dyer, Andrew Kevin Walker, Richard Francis-Bruce, Michael De Luca, David Fincher
The Picture: Darius Khondji, Arthur Max, Richard Francis-Bruce, Richard Dyer, David Fincher
The Sound: Ren Klyce, Howard Shore, Richard Dyer, David Fincher
Deleted Scenes
Alternate endings
Still Photographs (featurettes) –
Production Design (featurette)
Mastering for the Home Theater (featurette)
Exploration of the Opening Title Sequence: Early Storyboards (featurette)
Exploration of the Opening Title Sequence: Rough Version (featurette)
Exploration of the Opening Title Sequence: Final Edit (featurette)
Exploration of the Opening Title Sequence: Stereo Audio Commentary One – The Concept – Designer Kyle Cooper (featurette)
Exploration of the Opening Title Sequence: Stereo Audio Commentary Two – The Sound – Brant Biles & Robert Margouleff (featurette)
Theatrical EPK
Should You Buy It?
“Se7en” is a must-own for physical media enthusiasts out there, but there is one problem with this release: the packaging. If you are going to get the digibook, you should know the film is housed in a sleeve, which makes it very hard to take the disc out without touching the back of it. As many of you know, 4K’s are easier to scratch and damage than Blu-rays. While I appreciate the fact they tried something different with this packaging, they should have at least thought about the overall health of the disc. I would recommend you pick up the Steelbook release instead. I’ve noticed a lot of people are unhappy with the lack of updated special features, as these are the same special features that came with the Blu-ray. Special features on older films are not as prevalent in today’s releases as they were originally done during the height of DVDs and Blu-ray releases, and I think it’s important to remember that. It costs money to interview the actors, and it’s not always easy to track them down for new interviews regarding older films they have done. While it would have been a nice addition to the 4K release, I understand it isn’t cost effective. The film looks sharp and the soundtrack is impressive. For the film itself, as stated in my review, it didn’t hold up as well as I remembered it, but it’s still a really good flick. This is a day-one purchase despite the less than stellar packaging options.
**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 