Review Category: DVD/Blu Ray

For Tina, a genetically deformed Swedish customs officer, life goes by day by day. However, Tina has a unique ability – she has an incredible sense of smell, and can literally smell fear or shame on a human. She has always struggled with finding acceptance, but more importantly she wants to truly discover herself. One day a suspicious man named Vore, who shares similarities, catches the attention of Tina and an animalistic bond begins to form in Iranian-Swedish director Ali Abbasi’s adaptation of John Ajvide Lindqvist’s short story Border (Gräns).

Stories of a character finding who they truly are have been done in the past, but none like this film. Abbasi has taken Lindqvist’s tragic and heartfelt short story and created a fantastical and superbly-crafted film that will bewilder, intrigue and captivate audiences. Tina (played by the terrific Eva Melander) is one of the most complex and human characters depicted on screen in recent memory. Her grounded performance truly accentuates her daily internal struggles with human connection and, as her character develops over the course of the narrative, her portrayal blossoms into a whole other behemoth.

It’s hard to pin down an exact genre for Border as so many lines between romantic drama and fantasy are blurred by Abbasi’s critical direction. Tina’s home, which itself is an isolated place, feels claustrophobic yet has tons of character. The neighbouring wilderness with winding trees and roots allow for some later scenes between Tina and Vore to really capture the essence of freedom and progression that they as characters are experiencing.

The central plot is viscerally explored with some honestly heartbreaking scenes between Tina and her ill father. It’s never used as a conventional tool to advance the story, but instead is interwoven perfectly into Tina’s innermost traits. Along with that, many subtle scenes that take place in the first act have actual significance when the film reaches its climax. From Tina discovering a bug whilst waiting for her shift to start, to her commitment to see things through to the end – it all makes complete sense in the grand scheme of the film.

With captivating and grounded performances by our lead cast and some truly breathtaking storytelling, Border is a human story like you’ve never seen before.

BORDER / CERT: 15 / DIRECTOR & SCREENPLAY: ALI ABBASI / STARRING: EVA MELANDER, EERO MILINOFF, JORGEN THORSSON / RELEASE DATE: 8TH MARCH

In 1999, violence has spiralled out of control and many major US cities are ruled by gangs. “Free fire zones” have been set up, areas in which police are no longer willing to enter, and right in the middle of one of these lies John F. Kennedy High School. Violence on the streets inevitably finds its way to the hallways and classrooms, and the school is on the verge of collapse. In an attempt to take control of the situation, the school enlists the help of MegaTech, whose experimental programme sees former military androids reprogrammed as all-seeing “educators”. But faced with hordes of unruly teenage gang members and a general lack of respect, it doesn’t take long for these androids to go rogue and take discipline to a whole other level…

Everything about Class Of 1999 screams 1980s, which is no bad thing of course. The fashions, dialogue and soundtrack are almost a perfect snapshot of the era, despite the film being set right at the tail end of the 20th century. Made in ’89, it takes many of its cues from some of the decade’s most well-loved action films like The Terminator and Robocop, but still very much retains its own identity. John P. Ryan channels the spirit of Christopher Lloyd’s Judge Doom as sadistic history teacher Mr Hardin, Patrick Kilpatrick is one of those “ohhhh what’s he from?!” faces of 80’s action movies, and Pam Grier brings a bit of kickass glamour to the role of science teacher Ms. Connors.

The dialogue is full of wisecracks and one liners that nine times of ten don’t quite land, but the script is largely secondary to the action which for the most part is thoroughly entertaining. Fights, chase sequences, gangs, gun battles, explosions, and seemingly invincible androids combine to make a massively enjoyable ninety minutes. The film has been cleaned up tremendously well since its original release, and looks great with sharp colours and clear throughout.

Roughly ninety minutes of extras are included, along with commentary by director Mark Lester through the entire film. There are also four twenty-minute sit-down interviews with the crew, although none with the cast which is a shame. It’s not unusual for such interviews to come across a little dry and uncomfortable, but everyone involved here seems perfectly at home in front of the camera. They’re all super amiable and friendly and happy to be there, everyone has something to say, and there’s tons of interesting behind the scenes revelations.

Rounding things off are the obligatory theatrical trailer, TV spots, and stills gallery. If we’re honest, most of us probably rarely bother with these, but the stills here are pretty good, playing out as a nine-minute slideshow.

This seems to be a direct re-release of last year’s edition, albeit now brought to European shores (the previous release was only officially available in the USA). Anyone who sought out the 2018 release doesn’t really need to bother with this one, but for the rest of us, it’s a great way to revisit a real gem of the 80s.

Special features: Audio Commentary with Producer/Director Mark L. Lester, School Safety – Interviews with Director/Producer Mark L. Lester and Co-Producer Eugene Mazzola, New Rules – Interview with Screenwriter C. Courtney Joyner, CyberTeachers from Hell – Interviews with Special Effects Creators Eric Allard and Rick Stratton, Future of Discipline – Interview with Director of Photography Mark Irwin, Trailer & TV Spot, Still Gallery, Video Promo

CLASS OF 1999 / CERT: 18 / DIRECTOR: MARK L. LESTER / SCREENPLAY: C. COURTNEY JOYNER / STARRING: / RELEASE DATE: 25TH FEBRUARY

Some may label it a remake, some may label it a sequel. Either way, Sam Raimi’s 1987 Evil Dead 2 is the latest effort to get a 4K release in the UK. For a movie that many may already have on VHS, DVD and/or Blu-ray, though, the big question here is whether the 4K do-over is worth your pennies.

To touch briefly on the plot of this follow-up, Bruce Campbell is back for his second official outing as Ashley J. Williams. With the movie opening with a short, reimagined regaling of Raimi’s original Evil Dead, Ash and we, the watching audience, are almost immediately thrown back in to the manic world of Deadites and dismemberment. The certain tweaks imposed here to The Evil Dead means that the Necronomicon is still around and waiting to be unleashed here, plus it’s simply Ash and his gal Linda (Denise Bixler replacing Besty Baker) who end up taking a trip out to the woods this time out. Before you can even begin to murmur a hopeful “Groovy,” things turn to shit and Ash is again having to get his hands dirty.

Of course, you’re likely well aware of all of that and how it pans out – after all, this is a movie that is now over 30 years old – so you’re probably here to see what the craic is with this new 4K release and just whether it’s a must-have purchase.

Where the 4K treatment itself is concerned, Evil Dead 2 has never looked more brilliantly bonkers. The vibrant gore is enhanced, the atmosphere of the eerie, misty locale added to wonderfully, and the element that benefits the most from this Ultra HD transfer is the practical SFX work on display in the film; the 4K helping us to get an even clearer look at some of the cheese-tastic practical special effects work at play.

At times, giving a crystal-clear sheen to an old favourite from decades prior can leave a movie looking exposed, flawed and will showcase just how poorly made said film was. Here, the 4K transfer only serves to make you appreciate the work of the SFX crew headed up by a certain Greg Nicotero. Of course, said practical work is all delivered with a nod and a wink, as Raimi goes to town with a slew of visual gags in the tone of the Three Stooges, whilst the iconic work of Ray Harryhausen is also another clear referencing point for Evil Dead 2.

Depending on what market you scour for your purchases, you may have seen a 4K region free Evil Dead 2 release floating around last year. Now, though, there’s a straight-up Region 2 UK release for the 4K transfer of the picture. For the special features of this release, again some of you may have encountered this bonus material elsewhere over the years. Still, that doesn’t stop these extras being a whole load of fun; the standouts being the chat track from Raimi, Campbell, Nicotero and producer Scott Spiegel, and the almost-new Bloody and Groovy, Baby! featurette that includes contributions from heavy hitters such as Guillermo del Toro and Edgar Wright.

All in all, Evil Dead 2 takes all of the scares, gore, humour and insanity of 1981’s The Evil Dead and amps it all up to 11. To this day, the sequel still stands as an utter triumph and Sam Raimi’s greatest work. For those looking to add some groovy gore and soul-swallowing shenanigans to their 4K collection, Evil Dead 2 is a must-have addition.

Special Features: Audio commentary / Bloody and Groovy, Baby! tribute featurette / Cabin Fever: A Fly on the Wall featurette / Road to Wadesboro: Revisiting the Shooting Location featurette / The Gore the Merrier: Making of Evil Dead 2 / Interview with Bruce Campbell / Trailer

EVIL DEAD 2 – 4K / CERT: 15 / DIRECTOR: SAM RAIMI / SCREENPLAY: SAM RAIMI, SCOTT SPIEGEL / STARRING: BRUCE CAMPBELL, SARAH BERRY, DAN HICKS, KASSIE WESLEY DePAIVA, DENISE BIXLER, TED RAIMI / RELEASE DATE: MARCH 4TH

Following on from 1992’s guilty pleasure Nemesis, Albert Pyun’s cyber-opus staggers forward as a muscle-bound female protagonist takes the mantle from walking sideboard Olivier Gruner. This time around, Alex (yes, same name, different character) is less cyber-enhanced and more genetically enhanced (blame Jurassic Park). Having been flung into the past by her protective mother, Alex grows up with an African tribe and struggles to come to terms with who she is as she’s being pursued by future cyborg assassin, Nebula (played for the most part by John Wick director Chad Stahelski). Several hundred explosions later and Alex is thrust into Nemesis 3, where she discovers that she is not alone and that her sisters are in the future, waiting for her. Apart from the ones that are in the past. Or something. Sadly, not even a returning Tim Thomerson can help them figure out the meaning of that plot. Finally, Nemesis 4 has literally nothing to do with any of its predecessors, aside from the return of Alex (girl version, not boy version) who has taken to wandering around New York – which now looks like an Eastern European city – completely naked and having sex with cyborgs before killing them with her cyber nipples.

That Pyun had to deal with ever-reduced budgets is understandable and ultimately forgivable, but his loss of focus and vision for a story that he initially seemed so passionate about, isn’t. Nemesis 2’s only unique trait is its muscle-bound female protagonist and her accompanying backstory. Sadly though, it isn’t enough to sustain it for 90 minutes. It will come as no surprise when watching Nemesis 2 and 3 back-to-back, to discover that they were filmed in the same way as they look almost identical (only with less production value as most of the money was spent on 2, much of which is relived ad nauseam through laboured flashbacks in 3). The fourth film (shot in five days while Pyun was reshooting another feature) is pure exploitation dross and serves as an incredibly flat end to a concept that had some promise, despite its budgetary restrictions. That the fan-film-esque Nemesis 5 wasn’t included with this release was frankly a relief.

The transfers across the board are impressive, with each film arriving in its intended format ratio. Pyun also lends his voice to some short commentary audio across all three films, although each is steeped in anecdotes about the shoot rather than his narrative decisions. There’s some interesting stuff in there, especially his acceptance that Nemesis 4 was literally ‘one for the money’. That along with Trailers for each movie comprises the only added value, which is no surprise considering all three films are squashed onto one disc. Nice retro packaging again from MVD though.

NEMESIS 2, 3 & 4 (1995 – 1997) / CERT: 18 / DIRECTOR & SCREENPLAY ALBERT PYUN / STARRING: SUE PRICE, CHAD STAHELSKI, TINA COTE, TIM THOMERSON, BLANKA COPIKOVA / RELEASE DATE: OUT NOW

It’s been over 20 years since the Predator chose Earth as his favourite vacay destination (perfect for its climate, scenery and testosterone-filled gun-toting humans). But as an alien escape pod enters the atmosphere and crashes slap bang in the middle of the US (who’d have thought it?), it appears that the hunt is back on. Throw into the fray a mismatched group of wisecracking plasma-fodder, a single girl, and a new twist on the Predator mythology, and you’ve got the perfect ingredients needed for a successful sequel. Right? Well, not quite.

It’s fair to say that The Predator got its ass well and truly served to it during its theatrical release. Fans were up in arms that this wasn’t “Predator-y” enough, while critics rolled their eyes at the inanity of the plot. But while they may have had a point, there’s actually a lot to love about Shane Black’s “re-envisioning” of the franchise.

While it’s fair to say that Black has a tendency to cannibalise his own material (see: “Shove me again and I’ll break your neck” / “Touch me again and I’ll kill you”: Last Boy Scout) and play to his audience a little too much at times (see: “Get to the chopper” and any excuse to play the bombastic Predator score), he has managed to pull off the almost impossible. If anyone believed that retreading the same ground covered in the last three movies would be fun, they’d be lying to themselves. What Black has done instead is take the hallmarks of the franchise and adapt the setting for modern audiences. And he does it well too. Nobody writes damaged characters as well as Shane Black, and the cast benefit from that massively. Sure there’s tons of hokey nonsense in here, but it’s fun hokey nonsense. Yes, there are maybe too many pussy jokes, but if Black is known to Predator audiences for anything it’s cracking perhaps the best ever one in the first film. The Predator is by no means perfect, but it’s not a total mess either. Honestly, the only major criticism is that this isn’t set at Christmas.

Extras-wise there’s a fair bit to enjoy from behind the scenes. Effects junkies will love the creation of the Predator via Predator Evolution, showing all of the incredible detail put into the suit that you never see because it’s always so damn dark. A Touch of Black celebrates the writer/director’s involvement, while The Takedown Team goes deeper into the “dirty half dozen”, revealing how each of the cast (with the exception of Alfie Allen who is nowhere to be seen) worked on their roles to make them as real as possible. Predator Catch Up whizzes through the first three films in a flurry of clips, while the Deleted Scenes add a few extra moments of excess character development (and no, ‘those’ scenes with ‘that’ actor are not here). A Stills Gallery finishes off a well-rounded assembly.

THE PREDATOR / CERT: 18 / DIRECTOR & SCREENPLAY: SHANE BLACK / STARRING: BOYD HOLBROOK, TREVANTE RHODES, JACOB TREMBLAY / RELEASE DATE: OUT NOW

OK, it’s a bit out of season, but it’s always Halloween in Haddonfield, right?

This is the Bluray release of the 40-years-later sequel to Halloween – the 2018 Halloween that was released last year, coincidentally at Halloween. It strips away all previous sequels, so when you pop the disc into your player, just accept that Michael Myers was never fried to a crisp in an inferno in Haddonfield Memorial Hospital to the strains of Mister Sandman, nor any of the other fates, including runestones, dealt to him in any of the final reels of any sequel, ever. He was apprehended off-screen after his first floor tumble at the end of Halloween.

Likewise, Laurie Strode is still alive and well, and for forty years has been waiting for Michael to break out of Smith’s Grove Mental Institution and resume his relentless pursuit. Not that they’re related or have any link any more, she was just the wrong person in the wrong place at the wrong time back in 1978. She has, however, spent the last four decades making her home a combined bunker/fortress and has trained herself into a badass warrior who’d give Sarah Connor a run for her money. This is the story of that showdown, and might be the best beatdown since Ripley took on the Alien Queen.

The disc offers a variety of special features. The extended/deleted scenes are of particular interest, as what was left on the cutting room floor provides some further story exposition and fills some of the gaps in the narrative, explaining how certain characters got from one pivotal scene to another. Others add to the sense of mounting menace, and their inclusion in the film would make a great movie even better without hindering the pacing.

Also in the special features are featurettes about the making of the film, but that’s just a series of complimentary soundbites from the actors, producers and director with no real insight being given. There’s an all too brief couple of minutes on the making of the iconic Michael Myers mask and how it was recreated and aged, and a slightly more substantial feature about John Carpenter and his son Cody composing and recording the soundtrack score to the movie. By far the best feature is a roundtable discussion about Halloween and its legacy with executive producers John Carpenter and Jamie Lee Curtis joining the producer and director of the latest instalment.

All in all, a nice package and a great addition to the series – if you can figure out where on your shelf it should go if you’ve collected the whole franchise.

HALLOWEEN (2018) / CERT: 18 / DIRECTOR: DAVID GORDON GREEN / SCREENPLAY: JEFF FRADLEY / STARRING: JAMIE LEE CURTIS, JUDY GREER, ANDI MATICHAK / RELEASE DATE: 25TH FEBRUARY

Perennial favourite Dirty Dancing was the film that put Vestron Pictures on the map back in 1987, and its success enabled the company to make other films. Now defunct, Vestron’s titles were acquired by Lionsgate in 2003. Amongst that batch is 1988 horror mystery The Unholy, directed by Camilo Vila and starring Ben Cross, Ned Beatty and Hal Holbrook.

Father Michael (Cross) is given responsibility for the New Orleans-based St. Agnes Parish which has just reopened after a break of three years following the death of the previous priest, Father Dennis (Ruben Rabasa), who was killed on his own altar in mysterious circumstances. Determined to solve the case, Lieutenant Stern (Beatty) tries to get answers from Michael, but his task is hindered by a local nightclub owner who is using the virtues of Satanic ritual to commercialise his business. It is clear that Father Michael will have to atone and repent in equal measure if he is to retain power within his new parish.

After a bright and bloody opening, the film settles into a more mystical story before building to an atmospheric, if silly, climax. Those who don’t enjoy recent CGI horror effects will happily indulge in some of the physical nuggets on show here, but the appearance of Hal Holbrook as another priest à la The Fog may provoke a touch of déja vu. The Unholy also conjures up memories of other 1980s cult hits like The Beyond, The Gate, Phantasm II and Prince Of Darkness, given its overall style and tone. Older fans will appreciate a brief but effective appearance of Trevor Howard as Father Silva.

The Blu-ray release will be welcomed by those who fondly remember seeing this on its original release, when it helped prop up the local video store shelves in an age before the likes of Amazon Prime and Netflix, but younger horror fans weaned on the brutality of Game Of Thrones will be more amused than shocked.

Special features: Audio Commentary with Director Camilo Vila, Isolated Score Selections and Audio Interview with Composer Roger Bellon, Audio Interview with Production Designer and Co-Writer Fernando Fonseca, Sins of the Father with Ben Cross, Demons In The Flesh: The Monsters of The Unholy, Prayer Offerings with Production Designer and Co-Writer Fernando Fonseca, Original Ending featuring Optional Audio Commentary with Producer Mathew Hayden, Theatrical Trailer, TV Spots, Radio Spots, Original Storyboard Gallery, Still Gallery

THE UNHOLY / CERT: 18 / DIRECTOR: CAMILO VILA / SCREENPLAY: PHILIP YORDAN, FERNANDO FONSECA / STARRING: BEN CROSS, HAL HOLBROOK, RUBEN RABASA / RELEASE DATE: 25TH FEBRUARY

Back in 1989, Bob Balaban, an actor beloved of many STARBURST readers thanks to Close Encounters of the Third Kind, Altered States, plus several Wes Anderson films, directed this odd scary comedy. It garnered mediocre reviews and pretty much died at the box office, but has since gained a bit of a cult following. Now on Blu-ray, should Parents be welcomed back to the family bosom or sent off to an old folks home?

In a sentence nobody ever thought they would write, Parents is a bit like what would have happened if David Lynch had made a film with Pee Wee Herman. If that sounds tantalisingly wonderful, don’t get too excited as the brilliance of neither of these people actually ends up in this strange hybrid of 1950s American kitsch and paranoid horror.

Moving to a new suburban town in 1954, little Michael just doesn’t fit in. A child with a constant look of dread, thanks in no small part to some unpleasant nightmares, he eyes his perfect parents with suspicion and soon gets sent to his new school’s social worker after drawing a disturbing family portrait. Are the wild thoughts that his meat-obsessed parents might be cannibals all in his head, or is there actually something evil going on in that perfect American family household?

Parents is a beautiful looking film. The gorgeous production design (there’s plenty of it covered in the abundant extras) gives the film a 1950s catalogue sheen, with costumes, wallpaper, cars and homes all looking incredible. As the “are they or aren’t they?” parents, Mary Beth Hurt (sweet interview of recollections of making the film in the extras) and a youthful Randy Quaid are fantastic, playing it just straight enough but with the right amount of off-kilter menace to keep us guessing. The wonderful Sandy Dennis shines in her every scene as the batty social worker, and child actor Bryan Madorsky is perfect as the little boy lost who is terrified of almost everything.

However, Parents is neither frightening nor particularly funny. Inspired by the likes of Invasion of the Body Snatchers, the central idea of alienation may be ever present but Balaban doesn’t get the tone quite right with direction that’s fine scene to scene but cumulatively doesn’t generate the necessary thrills to make Parents one to rush out and adopt.

The best of the extras sees Balaban and producer Bonnie Palef chatting over the film. Some lovely anecdotes and friendly banter make it worth the listen.

Special Features: Audio Commentary with Director Bob Balaban and Producer Bonnie Palef, Isolated Score Selections and Audio Interview with Composer Jonathan Elias, Leftovers To Be with Screenwriter Christopher Hawthorne, Mother’s Day with Actress Mary Beth Hurt, Inside Out: An interview with Director of Photography Robin Vidgeon, Vintage Tastes with Decorative Consultant Yolanda Cuomo, Theatrical trailer, Radio Spots, Still Gallery

PARENTS / CERT: 18 / DIRECTOR: BOB BALABAN / SCREENPLAY: CHRISTOPHER HAWTHORNE / STARRING: RANDY QUAID, MARY BETH HURT, SANDY DENNIS / RELEASE DATE: 25TH FEBRUARY

Shot in a mere 15 days, Climax is Gaspar Noé’s latest venture which combines dance and horror in a way you’ve never seen before. Surreal, overbearing, and at times a little self-indulgent, Climax follows a group of French dancers who gather at an abandoned school for a late night rehearsal. After finishing an elaborate routine in preparation for an upcoming competition, they all begin to celebrate by having a party and drinking sangria. As time goes on and tensions slowly boil, the dancers start to become more agitated and confused. It isn’t until one of the troupe claims that the sangria has been spiked that the joyous atmosphere soon descends into a nightmarish hellscape.

With a melting pot of diverse characters, Climax manages to focus on the numerous relationships within the dance group whilst also shining a light on the cultural divide between many of its members. Through a series of static shots, Noé is able to highlight these differences with many of the characters being interviewed in the film’s introduction. Add to that scenes of idle gossip and we’re able to get a good sense of each character. Although these scenes can feel rather clunky, they’re intersected with exuberant dance sequences that pop from the screen and an electronic soundtrack that ties closely to the rhythm of the film.

Once the LSD has kicked in, we’re able to witness Gaspar Noé’s trademark camera work and that’s when the film really comes to life. An amalgamation of horror films from the past, Climax borrows heavily from Argento’s Suspiria and Zulawski’s Possession, so much so that there’s a heavy nod to Isabelle Adjani’s iconic subway scene midway through. References aside, Noé’s almost voyeuristic approach along with his appetite for the hallucinatory creates a visual style like no other. Whether it be the neon lights drenching the tight corridors, painting anyone who walks through, or the use of bold colours evoking a sense of sheer dread, Noé has created a multicoloured trip for the modern audience. Combined with a camera which swerves through the air, plummeting us into the thick of the action, there’s truly no escape from the horror that unfolds.

The soundtrack manages to do a great job at heightening the overall atmosphere, and when played in tandem with the film it creates an almost hellish landscape that’ll leave audiences’ jaws wide open. An immersive experience which will stick in your mind long after the credits, Noé has lived up to his divisive nature and created a film that basks in an orgy of sex and violence.

Special features: Audio commentary with writer-director Gaspar Noe, An Antidote to the Void – a brand new interview with Gaspar Noe, Performing Climax – newly produced featurette comprising interviews with actors Kiddy smile, Romain Guillermic and Souheila Yacoub, Disco Infernal: The Sounds of Climax – Alan Jones, author of Saturday Night Forever: The Story of Disco and Discomania, offers up a track-by-track appreciation of the Climax soundtrack, Shaman of the Screen: The Films of Gaspar Noe – a brand new video essay by writer Alexandra Heller-Nicholas looking at Gaspar Noe’s evolution as a filmmaker.

CLIMAX / CERT: 18 / DIRECTOR & SCREENPLAY: GASPAR NOÉ / STARRING: SOFIA BOUTELLA, ROMAIN GUILLERMIC, SOUHEILA YACOUB / RELEASE DATE: OUT NOW