A QUEEN’S RANSOM (1976)

Eureka Entertainment continues its welcome release slate of classic martial arts movies from days gone by with A Queen’s Ransom from 1976, which, although it can hardly be called a classic by any means, does feature a stellar cast of action icons from the era. The film reunites George Lazenby and Jimmy Wang Yu, who co-starred in the far superior The Man From Hong Kong the previous year, plus the legendary kung fu queen Angela Mao along with Bolo Yeung, both of whom featured in Bruce Lee’s Enter the Dragon in 1973.

The story involves a group of international mercenary killers led by an Irish republican played by ex-007 Lazenby, who arrive in Hong Kong ostensibly to assassinate Queen Elizabeth II, who is visiting the colony with her husband, Prince Philip. This visit actually took place in 1975, and much news footage filmed at the time is utilised to bolster the movie’s running time and this works to an extent to enhance the story. The police are aware of the gang’s intentions and race against time to thwart their plans, and needless to say, much martial mayhem and gunfire are on display before the movie reaches its fiery conclusion. Those expecting a barrage of beat-’em-up brawls in the movie will be disappointed, given the talents of the cast, but when the fists do start to fly, it’s great to see action stalwarts Wang Yu and Angela Mao doing what they do best. Lazenby is no slouch, too, as a particularly ruthless bad guy.

A Queen’s Ransom has never looked better than it does on this Blu-ray and it’s available both in the original Mandarin language with subtitles and also an acceptable English dub. There are two audio commentaries available from experts in Asian cinema, and there is also a particularly interesting featurette about George Lazenby’s ’70s forays in martial arts cinema. Although widely available back in the 1980s on a particularly dark and dingy VHS copy, this is a far more satisfying viewing experience. Eureka is to be congratulated for bringing this forgotten/unknown gem to a potentially larger audience. Expect to be flabbergasted, too, by the mid-’70s fashions on display here. Viva blue denim flares!!!

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A QUEEN’S RANSOM is available on Blu-ray from Eureka Entertainment on May 27th.

CHINA O’BRIEN 1 and 2 (1990/91)

Lovers of 1990s American schlock cinema are well rewarded by Eureka’s double bill release of the popular Cynthia Rothrock kung fu thrillers in which the genre’s best-known female stars battle corruption in a small Utah town following the murder of her Sheriff father.

The petite blonde Rothrock had appeared in several Hong Kong action thrillers in the late 80’s establishing herself as a formidable on-screen presence with her flashy and dynamic fighting style. She was, therefore, flattered when the producer and director of 1973’s Enter the Dragon invited her to return to her native USA to star in her first American movie tailored to introduce her skills to an international audience. Obviously, she was never going to be the next Meryl Streep, but have we ever seen Streep dispatch an opponent to the ground by delivering a well-aimed scorpion kick to the back of the head?

The two China O’Brien movies were filmed simultaneously on a small budget and were not intended to be cinema releases. They were part of the burgeoning direct-to-video market of the time and, as such, were destined to become small-screen ‘Blockbusters’ rather than big-screen blockbusters, and in this, they unquestionably succeeded. These two colourful and enjoyable films allowed Rothrock to kick, punch, and generally maim villains to her heart’s content, and she does this with aplomb and the action is captured on screen by director Robert Clouse with his usual satisfactory proficiency.

Rothrock is aided in the action stakes by the always excellent Richard Norton, with whom she appeared in many films, with one critic describing them as the Tracy and Hepburn of ‘chop-socky’ cinema. (I can testify to this because I was that critic on the much-missed IMDb message boards.) Another skilled martial artist in the cast is Keith Cooke, and when asked for his recollections of making the films in an interview on this disc, he replies, “Well, I wore a black vest in the first one and a purple vest in the second one”. Nice one, Keith. thanks for the detail.

The movies are presented here in brand-new 4K restorations, which look and sound superb, as do the all-new extras and commentaries. Cynthia Rothrock was the real deal, as this reviewer can personally attest after training with her in London shortly after these movies were made.

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CHINA O’BRIEN 1 and 2 is released on April 29th from Eureka Entertainment.

 

OUT OF DARKNESS

out of darkness

Out of Darkness (originally titled The Origin) has a lineage that dates back to the likes of Quest For Fire and Hammer’s 1960s prehistoric monster fantasies like One Million Years BC and When Dinosaurs Ruled the Earth. Out of Darkness is, though, an entirely different and grittier proposition; the Stone Age family here are well acquainted with fire, and mercifully, there’s no sign of immaculately-coiffed cavemen anachronistically fighting off Ray Harryhausen-style dinosaurs.

It’s about 80,000 BC (possibly a Wednesday), and our little group of grunters (they actually speak a usefully subtitled ‘Tola’ language created for the film) – a family unit and a stray they’ve picked up along the way – are searching for a new ‘promised land’ they can call home. We don’t know where they’ve come from and what’s driven them to leave. But when they arrive, they find the land inhospitable and the terrain bare and unwelcoming. “There’s fuck all here,” as one of them apparently says – which seems like an unusually 21st-century response to their environment. They opt not to travel on through a nearby forest for fear of ‘demons’ and suchlike – but when one of their number is snatched in the night by something that emits unholy screeches and shrieks, they’re forced to venture into the darkness to face an enemy that might be unspeakable and unearthly.

Andrew Cumming’s first directorial effort is impressively realised thanks to evocative location filming in some of the wildest wilds of Scotland, evoking a genuinely bleak and gloomy Stone Age world where life is nasty, brutish and short. An unusual and oddly gripping tale with a striking percussive soundtrack by Adam Janota Bzowski, Out of Darkness is something very different carved from the dark, harsh, misty realities of humankind’s distant past. Striking – in every sense.

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OUT OF DARKNESS is on Blu-ray from April 22nd. You can order your copy here.

THE CAT AND THE CANARY (1927)

cat and the canary 1927

The silent classic from director Paul Leni (The Last Warning) still impresses – even more so in this Eureka! Blu-ray.

The story has been told numerous times since this first adaptation of the stage play. A greedy group of relatives descend on an old mansion for a will reading on the 20th anniversary of the passing of ‘crazy’ Cyrus West. There’s a secondary clause when the heir is announced: should they be deemed mentally unfit before the morning, another inheritor will benefit. Unfortunately, the second benefactor has found out they are in for a fortune, and the initial recipient could be in mortal danger. Add the fact that there’s a deadly escaped criminal who thinks they’re a cat loose, and you can guarantee an eventful night.

Stunningly filmed and full of striking expressionist and surreal flourishes, Leni’s masterpiece is often overshadowed by the more familiar 1939 Bob Hope version of the story due to it being a silent movie. However, it’s one of the movies in which many of the ‘old dark house’ tropes were born, so it’s doubly important. It also stands up amazingly well almost 100 years since it was made. The comic relief in this version is provided by Harold Lloyd-alike Creighton Hale, and fortunately, his presence doesn’t take away from the creepiness of the visuals. Even the intertitles possess an eerie quality, emphasising the action on-screen. Despite the familiarity of the story, this version still surprises and has some genuinely creepy moments. It also shows what a visionary Leni was and how tragic it was that he died so young, only three years after this unmissable classic.

Eureka’s release has several interesting extras. Two commentaries add context to the feature with an entertaining zest. A fascinating video essay delves into the history of old dark house stories on stage and screen while a pair of critics give insights to the picture. Sure, there is some repeated information when you watch each extra back-to-back, but they are enjoyable and informative enough to be worthwhile.

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THE CAT AND THE CANARY is available on Blu-ray from April 22nd.

DOCTOR WHO: THE COLLECTION – SEASON 15

DOCTOR WHO: THE COLLECTION - SEASON 15

Broadcast from September 1977 in the UK, Season 15 of Doctor Who arrived just as the Star Wars phenomenon was sweeping the world. Doctor Who, cheap and quaint by comparison, began to look a little old-fashioned and a tiny bit embarrassing for the new breed of sophisticated big-screen sci-fi fans. A recession-squeezed budget didn’t help Doctor Who’s cause. Neither did the fact that its imaginative and determined producer, Philip Hinchcliffe, had been ousted from his position in the wake of continued lobbying from TV clean-up campaigners who felt that the teatime sci-fi staple was becoming a little too big for its boots and a little bit too mature for its apparently-intended junior audience. Hinchcliffe was replaced by the less contentious Graham Williams, whose three-season run, beginning with Season 15, saw the show lose its more mature edge as star Tom Baker began to exert more control over his portrayal of the character, introducing more wide-eyed juvenile humour to what was becoming a more child-friendly version of his previously dark and unknowable Time Lord.

Season 15 makes its debut as the latest in the BBC’s Blu-ray collection, and whilst it’s clearly a show fighting its lack of funds and in a period of creative transition, it stands the test of time better than we might have expected. Three of the serials are minor Doctor Who classics, and the others are well-intentioned, noble near misses. Season opener Horror of Fang Rock by veteran writer/script editor Terrance Dicks is very much a hangover from the Hinchcliffe era. Baker delivers probably his last great, brooding performance as the Doctor and his companion Leela (Louise Jameson) materialise on Fang Rock island, where a lonely lighthouse is about to become besieged by an unearthly visitor from deep space. Gritty and atmospheric, Fang Rock, recorded at BBC Pebble Mill in Birmingham due to lack of available studio space in TV Centre in London, is a wonderful chamber piece dripping in danger and menace, buoyed up by rich performances from a game cast of 1970s British TV character actors including Colin Douglas, Alan Rowe, and Ralph Watson. The original four-part version is still available on the new collection but there’s also an updated edition with new CGI effects, which generally work quite well although the ‘new’ Rutan monster in Part Four loses some of its effectiveness by replacing the original fuzzy amorphous blob with something a bit more generically tentacular. Story three Image of the Fendahl is an eerie Quatermass-flavoured tale of an evil from the dawn of Time being awakened at a research facility deep in the English countryside. Story four, Robert Holmes’ The Sun Makers, is a witty and well-written commentary on capitalism (crafted by Holmes in response to a particularly bruising tax demand) let down only slightly by very obvious budgetary limitations. The three remaining serials are patchy at best. The Invisible Enemy is an ambitious space opera way beyond the show’s finances. It remains notable mainly for introducing robot dog K9 into the show’s mythology. Underworld is a genuinely boring four-parter scuppered by the decision to mount much of its action on model cave sets utilising crude and unconvincing early green screen techniques (or Colour Separation Overlay as it was known at the time). The season finale (as it wasn’t called back then) sees the Doctor apparently in league with hostile aliens intent on taking over the Doctor’s home planet, Gallifrey. Written on the hoof by Graham Williams, Invasion of Time is sloppy and random and remains most noteworthy for its memorable fourth-episode cliffhanger, which reveals that – spoiler alert – the Doctor’s old enemies, the potato-headed Sontarans, have been working behind the scenes all along.

Season 15 may well be a season of two halves but, as ever, the show has been done proud by its special features. There’s plenty of content ported over from previous DVD releases of the stories, but the highlights here are a slew of new documentaries specially made for this release. The highlight is, obviously, a wonderful ninety-odd minute retrospective on the life and times of Graham Williams, an ambitious but ultimately frustrated talent who did his best to bring 26 episodes of Doctor Who to the screen for three years but who, despite a long and productive career, never achieved his full potential within the industry. His family, friends, and colleagues contribute to Chris Chapman’s thoughtful piece, and for those who may only be vaguely aware of the twists and turns of his life post-Who, his story ends with a gut punch that will and should surprise many. Elsewhere there’s a lively new ‘making of’ for Fang Rock where superfan Toby Hadoke takes Louise Jameson to a real lighthouse (a luxury never afforded to the serial itself), a long and absorbing Matthew Sweet interview with the vivacious Jameson, who reflects on her long career and, of course, her relatively brief stint as the Doctor’s ‘savage’ sidekick Leela, more glorious interview snippets from Tom Baker and the usual ‘behind the sofa’ features for every episode where various Who alumni watch the episodes and try to make sense of them.

Season 15 sees Doctor Who starting its struggle to stay relevant as its genre grows up around it, and it’s perhaps unfortunate that the BBC imposed so much change upon it at a time when it really needed consolidation of its strengths rather than being slightly watered down in an attempt at pandering to tiresome criticism. But hindsight remains a wonderful thing and buffed up and looking good on Blu-Ray and supported by an extravagance of new and archive content, it’s a season that manages to punch above its weight despite its weaknesses and its reputation, and it’s a welcome and valuable addition to the growing archive of Doctor Who on Blu-ray.

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 Doctor Who The Collection Season 15 is available on BBC Blu-ray now.

FEMME

George MacKay and Nathan Stewart-Jarrett in Femme

If you’re looking for a relaxing watch, Femme may not be the film for you, as it begins with Jules, a drag performer, being subjected to a horrific homophobic beating.

Three months after the assault, Jules, now traumatised and reclusive, makes a rare trip out of his house to a gay sauna. Who else should be there but his attacker, Preston – who doesn’t recognise him outside of drag.

Jules spots an opportunity, and begins a discreet but passionate affair with the closeted Preston. Hanging around with an intimidating gang and always desperate to show off his masculinity, Preston is the dominant figure in this relationship, sexually and otherwise, but Jules plots to get his revenge.

This cracking set-up leads to an unpredictable and tense story. Directed by Sam H. Freeman and Ng Choon Ping based on their BAFTA-nominated short of the same name, Femme isn’t the kind of thriller that resorts to melodramatic twists; instead, gradual shifts in the power dynamic work brilliantly, not only to keep you on the edge of your seat, but also to get you questioning where your sympathies lie.

Nathan Stewart-Jarrett (Misfits) is excellent as Jules, at once a vulnerable victim and a cold, calculating revenge-seeker. And as Preston, the ever-brilliant George MacKay (1917) captivatingly brings to life the contradictions and internalised self- hate inherent in a man desperate to keep his sexuality a secret, with a volatile temper that could send the film spinning at any moment; if ever the phrase ‘toxic masculinity’ was apt, it’s with this character.

Femme does very well what a lot of erotic thrillers fail to do – it presents the two elements, the erotic and the thriller, as inextricable parts of a whole, the sexual intensity of Jules and Preston’s encounters always overshadowed by – and sadomasochistically enhanced by – the threat of violence. Show this to anyone who goes in for the annoying internet discourse that sex scenes aren’t essential to movie’s plots, and they may have a heart attack.

It’s reminiscent of Friedkin’s Cruising, but from less of an outsider perspective, and very 21st-century. It’s sexy and visceral and edge-of-the-seat. Not easy viewing, but well worth the stress.

Femme is available now on Blu-ray and via digital platforms.

GREEN ROOM (2015) 4K UHD

Arriving at a bar in rural Portland, hustling Washington punk band Ain’t Right discover they have been booked to play a support slot at a neo-Nazi club. Deciding to go all-out in response, the band open their set with a cover of the classic Dead Kennedy’s anti-Nazi anthem Nazi Punks Fuck Off. Before they can escape the enraged audience, members of the band stumble across a murder in the club’s Green Room and find themselves locked up at gunpoint by the skinhead killers. The four members of Ain’t Right are soon engaged in a hands-on fight for survival as their kidnappers, led by the ruthless Darcy, reveal the full extent of their ruthlessness.

An underground thriller that’s as intense and claustrophobic as it is unpredictable, Green Room became an immediate hit among discerning punk rock cinephiles. Committed performances, sharp dialogue, a gripping blend of the visceral and the heartfelt, and a credible sense of authenticity all add up to deliver an indie-grindcore night out to remember. One that’s deserving of way more plaudits than Green Room secured on its 2015 big-screen release. The much-missed Anton Yelchin is excellent as the impulsive but goodhearted punk stalwart Pat, while Patrick Stewart revels in playing against type as the vicious, nihilistic Darcy.

This newly packaged release from Second Sight gives the plucky members of Ain’t Right an overdue encore. The pristine UHD and Blu-ray versions are accompanied by a strong set of special features, including audio commentaries, interviews with cast and crew, and critical appraisals of the film. The special limited edition adds a 120-page book of analyses and six collector’s art cards. Scuzzy punk rock, even in its cinematic guise, rarely attracts such respectful treatment.

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GREEN ROOM Limited Edition 4K UHD Blu-ray is released by SECOND SIGHT on March 18th, 2024

LISA FRANKENSTEIN

If 2024 was going exactly how you thought, then it’s time to throw the switch because Zelda Williams’ feature-length directorial debut is here, and it’s a creation with…LIFE!!

Set in 1989, the film follows the outcast Lisa Swallows (Kathryn Newton), who constantly finds her most inner peace when she visits the grave of a Victorian man at an unkept graveyard, envisioning just what life would be like with the man of her dreams. However, one party and a freaky storm later, she comes to work on it, as the man beneath the soil is re-animated, and, piece by piece, Lisa makes her dreams a reality!

Mary Shelley’s story of Frankenstein is re-energised with an empowered punch in this ‘80s throwback jolt of horror comedy, which is far more than just stitched-together parts of films you have seen before. 

Lisa Frankenstein wears its many influences proudly, of course. She so visibly loves them, from the Universal monsters the studio was built upon to Tim Burton’s Edward Scissorhands, but it owns its own feisty story with confidence. You can, of course, see the likes of Weird Science and Heathers in its spliced DNA, but unlike so many born of such plentiful horror, teen comedy and monster entertainment that is revered today, this film has a bloody good chance of being ranked with the classics it adores. 

A story of grief and coming out of the other side of the time-devouring darkness it can cast on your life, this Gothic romance is also a film about finding the right companionship that will speak to a select audience who will likely love every inch of inch of its undead frame. More than that, though, Diablo Cody’s (Juno, Jennifer’s Body) screenplay will grasp the hearts of those of us who have ever felt alone (or still do), those of us left behind by a world that encourages moving on and forgetting the people we cared for, and burying our feelings to “just be sane”. Themes all carefully wrapped in a campy, horror-ific experience that has such Rocky Horror spirit.

Kathryn Newton is an absolute revelation as Lisa in a poignant, charismatic, and barnstorming performance. You cannot take your eyes off her electric eccentricity, just as you cannot help but feel the pain behind her persistence to survive and live (even though she is only about to start doing that second part again). While Cole Sprouse’s very physical performance as ‘The Creature’ is evocative of early Depp and an endearing portrayal of life after death, that creates a cracking big screen duo. 

Even as the film threatens to go over the edge in its last act, you end up loving its demented quirks all the more by the end. Its stylish flights of cinematic fancy throughout, dark-themed laughs and undying spark all combine to create a riotously entertaining big-screen delight that will be a hell of a “from the director of” calling card for Williams in what should be a promising filmmaking career ahead.

Lisa Frankenstein is a wickedly funny, endlessly rewatchable and dead set to be a future cult classic.

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Lisa Frankenstein is available on Blu-ray and DVD from June 3rd. 

V/H/S/94

VHS94-STARBURST-REVIEW

The found footage VHS tape-based anthology horror franchise, since its beginning in 2012, has very much been an acquired taste. The first (and frankly best) film was a novel idea, one coated in the alluring grunge of video nasties, which in turn gave a number of new voices in horror a platform to play (or rather press Play) on. Since then more and more exciting creators of horror have jumped aboard the series but the later sequels have had a decidedly hit and miss effect. However Shudder exclusive V/H/S/94 not only sets the series back on track after the dreadful V/H/S: Viral and wildly uneven V/H/S/2 but it is the series’ best offering by far.

Jennifer Reeder’s core frame narrative ‘Holy Hell’, sees a SWAT team called to a ritualistic mass suicide scene at an abandoned building, and as they progress deeper into its blood splattered halls, they find themselves submerged in the horror. Slotted in-between this story are four shorts (and an advert !): Chloe Okuno’s ‘Storm Drain’, franchise regular Simon Barrett’s ‘The Empty Wake’, ‘Safe Haven’ (the acclaimed V/H/S/2 short) co-director/writer Timo Tjahjanto’s ‘The Subject’ and Ryan Prows’ ‘Terror’.

V/H/S/94 won’t win over found footage detesters but it is a sign that this franchise is not only back on track but on sterling form at that, as the hit rate of the shorts (or ‘segments’ if you prefer) has never been this successful or consistent. Sadly, despite an initially promising wraparound story by Reeder that evokes David Cronenberg’s Videodrome and Jaume Balagueró & Paco Plaza’s Rec 2, ‘Holy Hell’ ultimately fails to reach a satisfying conclusion (a common problem in this franchise and anthology horror in general), but on a better note, the shorts themselves are all fantastic. In fact, rating this film on them alone, it has gotta be two mangled thumbs way up!

Each segment has an embrace of this film’s gritty ‘90s extreme video store rental section aesthetic, and all the stories have their own atmosphere, compelling concepts or just sheer and utter madness. Many are somewhat cult-centric but each spirals into its own perverse and outstandingly realised little world, harnessed from the melee of our own. Okuno’s ‘Storm Drain’, initially feeling like Carlo Ledesma’s The Tunnel by way of Joshua Zeman’s Cropsy, becomes a surprising and gruesome creature feature. While Barrett’s ‘The Empty Wake’ feels very Oren Peli’s Paranormal Activity at points but is a rather subtle take on some ideas that feel familiar but are delivered with distinctive style and tension. 

Then there’s Tjahjanto’s ‘The Subject’ which is an unhinged body horror joyride, that feels like a brutal viscera-coated blend of Ilya Naishuller’s Hardcore Henry and Richard Raaphorst’s Frankenstein’s Army, peppered with soul beneath the tech n’ flesh survival horror. And finally there is Ryan Prows’ ‘Terror’, a slower building but effective Waco reflecting horror tale about homegrown right wing extremism and human idiocy, that does something particularly different with a familiar genre, akin to Derek Lee and Clif Prowse’s Afflicted.  

Not only is the consistency at an all time high but so is the construction. The makeup and effects work (and creature designs) are especially outstanding and, without doubt, the series’ best (as well as impressively practical heavy). While the format itself has never been so embraced aesthetically, as this all genuinely feels like work from some depraved corners of the ‘90s, collected from an array of tapes found in some madman’s basement labelled ‘sick sh*t”.

The Best V/H/S yet. Hail Raatma.

V/H/S/94 is released on Blu-ray, DVD and digital from February 26th.

DIRECTED BY SIDNEY LUMET VOL. 1

This collection of hard-hitting dramas from legendary director Sidney Lumet showcases a triumph of cinema and the power of storytelling.

Australian boutique label Imprint has made a great name for itself with collectors, and this set only adds to that reputation. Lumet is a director whose output spawned many genuine classics. And there isn’t a dud among the six included here.

The most famous, perhaps, is the Al Pacino-lead Serpico (1973), which is based on the true story of an NYPD cop who doesn’t like the underhand dirtiness of the force and testifies against his colleagues. It’s still as brutal as it was when released, and naturally, Pacino is mesmerising as the titular hero.

The Offence (1972) sees Lumet in England with a very psychological drama about a detective (Sean Connery) who kills a suspected child killer (Ian Bannen) in custody. Working backwards, we see how Connery’s character’s mental state plays a massive role in his eventual actions. The UK setting makes it all the more gritty, and it’s full of bleak housing estates and a genuinely tense atmosphere.

Child’s Play (1972) has nothing to do with a talking doll but instead centres on a strict Catholic boarding school, where newcomer (and former alumni) Beau Bridges tried to understand the spate of violent incidents that were occurring. His former teacher and friend, Dobbs (Robert Preston), is empathetic and approachable, while the Latin master, Malley (a fantastic James Mason), is bitter, dogmatic, and believes Dobbs wants him out so he can take his job. The film is less a mystery but more compelling as a brooding drama that occasionally borders on manipulative horror.

The Deadly Affair (1966) also has a standout performance from Mason, this time as a version of the George Smiley character from The Spy Who Came in from the Cold (Paramount owned the rights to the name), as this is adapted from author John le Carré’s first novel. He searches the London streets for seedy characters to help his investigation into the apparent suicide of a Foreign Office official. It’s impressively compelling and has aged rather well. It also boasts a great cast of British character actors.

The Group (1966) is less thrilling but contains no end of drama. Following a clique of girls from graduation to middle age, it’s a fabulous look at jealousy, backstabbing, and liberation. The ensemble (which includes Candice Bergen, Joan Hackett, and Jessica Walter) is superb, each possessing a different, relatable (if sometimes annoying) personality. It’s a bold piece that makes the most of its female cast and is only let down by the somewhat dated staging.

The earliest movie in the collection is 1964’s The Pawnbroker, in which Rod Steiger’s titular character attempts to live a quiet life in New York after surviving the Holocaust. The bleak but crisp black-and-white photography matches the film’s tone, and it’s a powerful amalgamation of acting and direction that respects the subject matter while keeping the drama on point.

Containing a mix of well-known and lesser-known titles, Volume 1 of the Lumet collection doesn’t have a duff film. Where it’s let down is in the special features department. Only a few discs boast commentaries or extras, but there are a few gems in there, including a bonus disc with a feature-length documentary about Lumet and his work.

Watching these films is a masterclass on cinematic excellence. Unmissable.

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DIRECTED BY SIDNEY LUMET, VOLUME 1 is out now from Imprint.