Review Category: DVD/Blu Ray

Frank Valera (Banderas) is a fast-talking, slick and slimy defence lawyer spouting over 80,000 words per day – his figures – for his job when, as he states, only three are really what he needs: ‘I love you’. Missing his daughter’s talent show performance through work, he admits in a voiceover he doesn’t use those words enough, but as his wife and daughter are murdered on their way home that night he can never use them again. And so, Frank takes a vow of silence until he has avenged them.

Acts Of Vengeance is a film entirely reliant on expectations. Maintain relatively low ones and there is a good chance you will enjoy Isaac Florentine’s film for what it is: a reasonable action-thriller in a sub-genre created by the standard-setter Taken. The issue is that we suspect the filmmakers’ expectations were a little higher, as the plot is split into parts beginning with title cards featuring quotes from Roman emperor and philosopher Marcus Aurelius’ writings Meditations. Clearly designed to elevate the film above the usual middle-aged-man-seeks-vengeance fare that features regularly on the straight to VOD lists in recent years – see Pierce Brosnan (The November Man) or Mel Gibson (Blood Father) – this only serves to draw attention to the flimsy, unoriginal plot.

Borrowing from all manner of similar films and television shows, Acts Of Vengeance fails to blend these elements into a cohesive narrative. The moody aesthetic is reminiscent of John Wick – and there’s even a dog – while the sympathetic nurse with a past echoes Marvel’s Daredevil and Luke Cage. There is a rather clunky training montage as Frank goes from weak lawyer to a kick-ass, highly trained fighter in just one year, and as his vow of silence continues Frank’s hearing apparently becomes more acute, again in just a few months. Too many borrowed plot points that render Florentine’s film confused and cliché-ridden.

All that said there is some enjoyment to be found. Banderas is always an engaging screen presence and almost, almost carries off the brooding father character despite the faint preposterousness inherent in several moments. Paz Vega tries her intriguing best as the under-written nurse Alma and Karl Urban is always worth watching, albeit as little more than a cameo and his character might have well entered shot carrying a huge sign.

As we said, it’s about expectations. Expect little and Acts Of Vengeance is a reasonably enjoyable if instantly forgettable genre thriller. Expect more and, well, you have been warned.

ACT OF VENGEANCE / CERT: 15 / DIRECTOR: ISAAC FLORENTINE / SCREENPLAY: ALEXANDER PAYNE, JIM TAYLOR / STARRING: ANTONIO BANDERAS, KARL URBAN, PAZ VEGA / RELEASE DATE: OUT NOW

Alexander Payne has made quite the name for himself over the years thanks to quirky, charming efforts such as Sideways and About Schmidt. Having been in some form of development since 2004, his latest effort – Downsizing – is now available on home release, but is this another homerun for the talented Nebraska native, or is this pint-sized picture a rare misstep?

When a scientific breakthrough sees “downsizing” become a way of dealing with overpopulation, global warming, and financial difficulties, many people decide to be shrunk down to a teeny-tiny five inches. For Paul (Matt Damon) and Audrey Safranek (Kristen Wiig), a college reunion starts to get the cogs turning that this could well be a very real option for them as they look to shake themselves out of their midlife funk, financial issues, and what-could-have-beens. Deciding to undergo the procedure and move to Leisureland, the Safraneks are lined up for a life that not only decreases their carbon footprint and is far more environmentally friendly, but they can live like millionaires due to the far, far cheaper cost involved in being so small. Unfortunately, a major curveball is just around the corner and all is not quite as smooth sailing as this married couple were expecting.

Downsizing is quite the peculiar picture, with it being equally as stunning as it is flawed. The first half of the film is charming, captivating, efficient, and rather clinical in establishing just why somebody would want to be “downsized” and what the reality of that process entails. Sadly though, once said shrinking occurs, Downsizing loses its way and stumbles through an anticlimactic conclusion and a final act that you unfortunately find yourself with very little investment in. While the establishing elements brilliantly highlight the shared existence of tiny people in the greater, larger world, once the action begins to play out within the pint-sized world then a sense of scale and intrigue is lost. To its credit, there is still a large dollop of heart present in the movie throughout, and the shrunken-down Damon strikes up a life-questioning friendship with Hong Chau’s Ngoc; a Vietnamese activist who was forcefully shrunk by her own government. Similarly, Christoph Waltz turns up to devour scenery as an eccentric playboy who just so happens to have his fingers in plentiful black-market pies.

While you may go in to Downsizing expecting to see Matt Damon or Kristen Wiig claim the picture as their own, it’s Hong Chau who absolutely steals the show with a performance that is brutally honest, splendidly comedic when needed, and overflowing with a sense of moral compass.

Downsizing isn’t quite the outright classic that many of us were hoping for, but similarly it’s far from being any sort of a bad picture. Instead, we have a movie that establishes its premise impressively well before ultimately losing its intrigue and sheen as things play out; which in itself almost mirrors the journey experienced by Damon’s Paul Safranek.

All in all, this is a case of good-not-great, which is no bad thing. It’s more that this feels like such a missed opportunity to be something truly exceptional after such a strong opening hour.

Special Features: Six featurettes

DOWNSIZING / CERT: 15 / DIRECTOR: ALEXANDER PAYNE / SCREENPLAY: ALEXANDER PAYNE, JIM TAYLOR / STARRING: MATT DAMON, CHRISTOPH WALTZ, KRISTEN WIIG, HONG CHAU, JASON SUDEIKIS, UDO KIER / RELEASE DATE: MAY 28TH

This release brings together three horror films made in the early 1970s by Michio Yamamoto for Toho Studios. These Japanese takes on the vampire myth were heavily inspired by Hammer, with some Bava and Corman’s Poe cycle in there too. This leaves us with a thematically linked trilogy of films that are decidedly Western-influenced and as such an interesting anomaly in Japanese horror cinema. The films still incorporate more traditional influences from Japan, particularly the country’s ghost stories. They also do something Western cinema was very much into at that time as well, updating the tropes of gothic horror and the Dracula story into the present day. 

First is 1970’s The Vampire Doll, a mix of British gothic, Poe and Bava and the best film. Like Hammer’s 1958 Dracula it’s an elegantly brief reworking of many of the themes of the well-told classics but unlike that film, there’s no Count or surrogate here. Instead, it’s a mix of vampire lore and themes and imagery that could comfortably sit in an Italian horror of the period. It’s a deft and entertaining mix of all of its influences. Not quite as successful is 1971’s Lake of Dracula which takes a similar approach but is less creative and more straightforward, despite the inevitable novelty of the setting. The trilogy is completed with 1974’s Evil of Dracula, with a stronger European influence in its tale of breast-biting, boarding school-dwelling vampires. Both films are still strong and enjoyable entries. All of them benefit from likeable characters and strong performances and they are frequently beautifully composed and full of great imagery. If you’re into Japanese horror or British and American gothic horror classics (or both) you’re unlikely to be disappointed.

Perhaps we’ve been spoiled by the depth and variety of extras on other recent releases as this one comes with only one substantial additional feature, as well as trailers and a stills gallery (and for early purchasers a limited-edition booklet). It’s a good one, however, with estimable genre expert Kim Newman appearing in a video piece (16 mins) to provide some context for these films and as ever, his knowledge and insight is welcome and valuable. And for those who want these films, they are presented here in fine HD fashion, which is important given how visually arresting they are. The prints are clear and sharp and show off Yamamoto’s interesting experiments with those Western influences and the strong cinematography and production design throughout. It’s a solid package and for fans of the films a welcome opportunity to be reacquainted with the trilogy. For anyone new to them, for now, at least, you won’t find a better package.

THE BLOODTHIRSTY TRILOGY / CERT: 18 / DIRECTOR: MICHIO YAMAMOTO / SCREENPLAY: VARIOUS / STARRING: KAYO MATSUO, AKIRA NAKAO / RELEASE DATE: MAY 14TH

When you flick through David Cronenberg’s writer and director credits, words like ‘dark’, ‘prophetic’, ‘intelligent’ all spring to mind. As an adapter of other people’s work, he’s made one of the best ever Stephen King adaptations with The Dead Zone (now more relevant than ever) and turned a graphic novel into a modern day classic with The History of Violence. And his own work has produced many brilliant films, justifiably earning him the moniker of genius with Dead Ringers, still arguably his best work.

The word ‘fun’, however, isn’t one easily associated with the man and his movies. His 1999 foray into the world of gaming, eXistenZ, somehow pulls of the incredible trick of being dark, prophetic and intelligent but is more fun than almost anything in his career.

When the new product test event for ultra-cool games designer Allegra Geller (Leigh) is sabotaged, she is forced to go on the run from assassins who think that her virtual reality games, which use a port to plug into your spinal column, have gone too far. Trainee marketer Ted Pikul (Law) becomes her on-the-run companion and would-be protector as the pair try to a) see if the game is damaged by playing the game, b) lose themselves inside different layers of reality and c) try to stay alive.

eXistenZ is a hugely enjoyable SF thriller with a playfulness to its narrative that keeps you well and truly baffled as too where you are. Because the characters shift from game to reality, our sense of what’s ‘real’ becomes complicated and, just when you think you have a handle on things, the game changes…

The cast are great, with Jude Law and Jennifer Jason Leigh making a charismatic pair and the climax, where some of the earlier dodgy performances make sense, is fantastic.

On shiny Blu-ray the film looks wonderful and there are a host of extras, some of which are brand new for this release. Two new commentaries are included to accompany one from Cronenberg from the original release. It’s fascinating to hear him talk about his first use of digital effects and how he thinks that will become the norm in cinema… The ‘making-of’ feature is an old documentary and deals exclusively with the production designer Carol Spier but there are also backstage interviews with the main cast and Cronenberg plus a look at the special effects. Of the new features, an interview with Christopher Eccleston, seemingly in his kitchen, seems like an odd thing but turns out to be a great insight into the world of David Cronenberg.

EXISTENZ / CERT: 15 / DIRECTOR & SCREENPLAY: DAVID CRONENBERG / STARRING: JUDE LAW, JENNIFER JASON LEIGH, IAN HOLM, WILLEM DAFOE, CHRISTOPHER ECCLESTON / RELEASE DATE: MAY 21ST

Jurassic Games you say? Would there by any chance be a new, big-budget franchise dinosaur movie hitting our cinema screens in the next few weeks? An ideal opportunity, then, for studios to dig around at the back of their ‘cheap and cheerful’ cupboard to see if there’s anything vaguely prehistoric they can foist upon a public eager for the latest in the Isla Nublar saga or else too stupid to realise that this similarly-titled knock-off isn’t the real thing.

In fairness, The Jurassic Games isn’t the worst of these wannabes we’ve endured over the years, delivering plenty of dinosaur bang for your buck and some decent action sequences wrapped around a storyline which, a little late to the party, takes its lead from the reality TV show obsession and throws in a dash of Hunger Games YA-style survivalist drama in an attempt to rope in as many demographics as possible. The titular games is a near-future TV series in which convicted death row killers are sent into a prehistoric virtual reality environment and are tasked with fighting to the death – against each other, blood-hungry predators, deadly plants – with the winner being the last man or woman standing. But if they die in the artificial environment, they die in real-life, their bodies terminated by lethal injection out in the real world. Fun for all the family and, we’re told, essential viewing.

This year’s Games promises to be the best yet with rootable hero Anthony Tucker (Adam Hampton), wrongly (it seems) convicted of killing his wife fighting his desperate fellow-competitors as they turn on one another and battle to survive tyrannosaurs, raptors and pterodactyls as well as booby traps and killer bugs. Meanwhile, back in the Games’ mission control, obsequious and unnamed host (Merriman) is milking the show (and its manufactured emotional set-ups) for all it’s worth but there are those who don’t share the audience’s enthusiasm for the grisly spectacle and are working to shut down the show.

There’s a lot going on in The Jurassic Games and by and large, it’s breezy highly watchable stuff. Dinosaur die-hards will be pleased to find that there’s no shortage of their favourite beasties on display and the CGI is generally pretty effective, any shortcomings  attributable to the fact that they’re supposed to be creations of VR technology – which doesn’t stop them chowing down on one two of the unfortunate competitors as the games rage on.  There’s some joyous scenery chewing evident in the acting department, a bit of miscasting (some of the competitors don’t convince as ruthless killers) and as the games themselves seem to occur in real-time, it appears that the Jurassic Games TV series runs only as long as the film itself. This is a surprisingly agreeable effort which you’ll forget as soon as the new Jurassic Park movie hits but it’s a completely harmless and enjoyable way of passing the time until the real big boys show up.

THE JURASSIC GAMES / CERT: TBC /DIRECTOR: RYAN BELLGARDT / SCREENPLAY: RYAN BELLGARDT, GALEN CHRISTY / STARRING: RYAN MERRIMAN, PERRY REEVES, ADAM HAMPTON, KATIE BURGESS, ERIKA DALEY/ RELEASE DATE: MAY 21ST

The prolific Italian director Joe D’Amato liked this 1973 Poe-influenced Gothic horror so much that he attached his actual real name, Aristide Massaccesi, to it upon its release. We fully agree with Joe as this is one of his very best films and thanks to Arrow it can now be enjoyed in this excellent new Blu-ray release.

Set in Austria in the first decade of the 20th century, Death Smiles on a Murderer tells of the beautiful and tragic Greta, a young woman routinely abused by all of the men in her life, including her insane brother, Franz. When Greta dies Franz resurrects her using ancient magic to take revenge on the von Ravensbrück family he believes destroyed her. Greta inserts herself into the lives of Walter and Eva von Ravensbrück and as her power over them intensifies, violence and tragedy will tear the family apart. That’s pretty much it for the plot, because here D’Amato is concerned with mood and atmosphere, and this is where the film excels.

Plenty of films have sought to achieve the feeling of a dream or a nightmare with varying degrees of success. D’Amato absolutely nails that approach here and provides us with the only caveat in recommending this film. To some, his focus on imagery over narrative cohesion might prove patience-testing. But for us this was all part of the joy of Death Smiles on a Murderer. Also working as cinematographer, Joe ignores a relatively low budget and goes all out on making his film often remarkably, hypnotically beautiful. It’s aided and enhanced here by a glorious 2K scan for this release which shows off the costumes, set design, mix of grisly horror and beauty and D’Amato’s direction. The eerie score by Berto Pisano is perfect to match all of this. Ewa Aulin is beguiling as the vengeful Greta and she is supported by some excellent performances including Klaus Kinski in an extended cameo. But the real highlight is Angela Bo who is outstandingly good as Eva, falling apart through sexual desire and jealousy. It’s a great performance and a wonderful film.

Arrow’s release recognises this. In addition to that excellent picture we get a commentary by genre expert Tim Lucas. There’s a six-minute archival interview with D’Amato looking back on his achievement with affection, as well as a 43-minute newly made career retrospective with Aulin. Trailers, galleries and a first pressing collector’s booklet add further value, all capped by critic Kat Ellinger’s marvellous 22-minute video essay on D’Amato’s horror films. It’s the release this classic of Italian genre cinema deserves and comes very highly recommend.

DEATH SMILES ON A MURDERER (1973) / CERT: 18 / DIRECTOR: ARISTIDE MASSACCESI / SCREENPLAY: CLAUDIO BERNABEI, ARISTIDE MASSACCESI, ROMANO SCANDARIATO / STARRING: EWA AULIN, KLAUS KINSKI, ANGELA BO, SERGIO DORIA / RELEASE DATE: MAY 21ST

It’s that time of the year again where we have yet another actioner with Liam ‘Don’t call my agent’ Neeson, and yet again this is another collaboration between him and director Jaume Collet-Serra, this time being their fourth time working together after such delights as Unknown, Non-Stop, and Run All Night. Frankly, I wouldn’t be surprised if they become this generation’s DiCaprio and Scorsese. The ‘plot’ involves Neeson as a fired businessman who ends up getting caught up in a criminal conspiracy during his daily commute home. By all coincidences, he’s also a former cop with a particular set of skills and just resorts to punching people up the train carriages until he finds the person he’s blackmailed to finding. Sounds almost similar to Non-Stop, doesn’t it?

Realistically, if you’ve seen Non-Stop or Run All Night, then you know instantly the kind of movie you’re expecting with this, and in all honesty, there is nothing new here that you haven’t a bazillion times before. It starts off with a semi-promising start with decent drama and a puzzling yet intriguing scenario, yet after roughly 25 minutes in, it just resorts to Liam doing exactly what he did in Non-Stop, which is punching and shooting people down the aisles until he finds the culprit. Run All Night too also fell into this trap, which too started off with half-an-hour of semi-character setup before turning into B-movie actioner, and with this film now being the third time in a row to follow this pattern, it does start to come as both repetitive and tired as a result. The other guest actors in this film don’t get much too do and are wasted because of it, like Sam Neill and Patrick Wilson. Even poor Florence Pugh is relegated to a glorified cameo role.

It’s a real shame too considering the fact that Liam Neeson is a charismatic presence who has lent some truly great turns in films like Schindler’s List, Kinsey, and Batman Begins. Hell, even his role as Good Cop/Bad Cop in The LEGO Movie has more development and weight than his role here! So, it just seems that after the surprise sleeper hit of Taken back in 2008 that there was demand for more of the same, which became more and more less significant as those movies went on. The Commuter is by no means a god-awful terrible movie; if you’re bored during a Friday afternoon then there’s some mindless pleasure in giving it a watch and it does its bog-standard running-punching-shooting reasonably well. So in the end, it’s roughly on a par with Run All Night, it’s less fun than Non-Stop and Unknown, but is more entertaining than the Taken sequels, however, just like Roger Murtaugh in Lethal Weapon, you do get the impression of Liam thinking he’s “too old for this shit“.

THE COMMUTER / CERT: 15 / DIRECTOR: JAUME COLLET-SERRA / SCREENPLAY: BRYON WILLINGER, PHILIP DE BLASI, RYAN ENGLE / STARRING: LIAM NEESON, VERA FARMIGA, PATRICK WILSON, JONATHAN BANKS / RELEASE DATE: MAY 21ST

In its early days, Pixar was the studio who could do no wrong, producing a string of classic animations such as Toy Story, The Incredibles, and Up, which set them apart from their competitors. Even their more middling fare such as A Bug’s Life and Cars had a warmth and inventiveness that stood out from the farting ogres and wisecracking animals that other, lesser studios regularly churned out. 

In recent years, though, their reputation has been somewhat tarnished. They’ve alternated between wildly inventive classics like Inside Out with films like the Cars sequels and the likes of The Good Dinosaur – outings that were by no means bad but felt beneath them.

Happily, Coco sits firmly in the first category, easily up there with the studio’s finest. Set around Mexico’s Día de Muertos festival (that’s Day of the Dead for the non-Spanish-speaking), it tells the story of aspiring 12-year-old aspiring musician Miguel (Anthony Gonzalez). His only problem – his family hate music and have banned it from the house after Miguel’s great great grandfather ran out on his wife and daughter (the titular Coco) to pursue his musical dreams.

Idolising the late Ernesto de la Cruz – Mexico’s greatest musician (in the film, at least) – Miguel ignores his family’s wishes and pursues his dream.

So far, so conventional, but things take a twist during the Día de Muertos festival – where the dead visit their families, and the living celebrate their ancestors – which sees Miguel accidentally transported to the Land of the Dead.

And it’s here that Coco – somewhat ironically – really comes to life. The afterlife is beautifully realised as a gorgeous twist on Latin America, with talking skeletons and visual gags aplenty.

Miguel soon meets up with loveable loser Hector (Gael García Bernal), who is on the verge of being forgotten in the land of the living, and therefore disappearing from the afterlife. Along with Miguel’s loveable dog Dante (who surely deserves his own spin-off), they set off on a quest to find de la Cruz (Benjamin Bratt), and return Miguel to the real world.

If it all sounds a little trite, Coco never feels clichéd; in large part due to the glorious animation, winning characters, catchy songs (from the team behind Frozen) and the Trump-baiting deep exploration of Mexican culture. It’s a rich, vibrant culture rarely seen in mainstream cinema, and – Pixar being Pixar – something that the creative team immersed themselves in (more successfully than their fun but flawed delve into Scottish history with Brave).

It’s also got heart in abundance. Pixar’s ability to make even the most hardened of us cry (the last shot of Monsters Inc. – gets us every time) is again on display, with the company’s ability to make us feel for – let’s be honest – a bunch of pixels unmatched anywhere.

It’s not perfect – a few of the songs aren’t quite what you’d expect, and one major plot twist feels borrowed from Up. But on the whole, Coco is a stunning achievement from the most consistently impressive animation studio in the business. It bodes well for their next feature – the eagerly-awaited Incredibles 2.

The Blu-ray comes with a plethora of extras, including an entertaining commentary with director Lee Unkrich, and a host of fun, entertaining featurettes featuring Pixar’s by now familiar mix of kid-friendly content and a look at their dazzling artistry.

COCO / CERT: PG / DIRECTOR: LEE UNKRICH, ADRIAN MOLINA / SCREENPLAY: ADRIAN MOLINA, MATTHEW ALDRICH / STARRING: ANTHONY GONZALEZ, GAEL GARCIA BERNAL, BENJAMIN BRATT, ALANNA UBACH / RELEASE DATE: MAY 21ST

It’s without saying that Masamune Shirow’s Ghost in the Shell is one of the largest and most influential anime of all time, and the franchise has spun off into various manga, movies and TV shows, yet it’s firmly established that each and every one of them is its own entity. Even Shirow himself admitted that, claiming that there is no ‘definitive’ Ghost in the Shell and that each version, despite some similarities, should be seen and viewed as its own unique entity. If we learnt anything from the past 30 years since the franchise started, it’s that each version delivers a different separate, yet unique take on the source material within the franchise. However, despite the original movie reputation as a classic and Shirow’s belief that there isn’t a definitive version out there, the Stand Alone Complex TV show is quite possibly the truest and most fully realised vision of Ghost in the Shell to date.

This show is the full potential of what the franchise has to offer, combining simple episodic stories with grand overarching plotlines, and much like TV’s Westworld, this show is like an intricate puzzle box with each piece being placed out before the major truths reveal themselves towards the end. It dabbles with philosophy and psychology, but like The Wire, it requires at least a basic understanding of politics, economics, and sociology, and all of that plays into the show’s greatest strengths. Another of this show’s major positives is its brilliant use of world-building as its constantly evolving and changing like its central characters, and all of that gets to be explored via different avenues the show takes us through. While the world-building is realised brilliantly, this doesn’t overshadow the excellent characterisation and character development so that they don’t get lost in the world they inhabit. Akin to Mass Effect or Metal Gear Solid, this offers a beautifully realised world while also delving into complex themes, deliver gripping narratives and giving us fleshed out characters that each have their own identity and personality.

All of this came from writer/director Kenji Kamiyama, who is, without question, a genius by taking Shirow’s complex manga and transforming into something much more creative and expansive, which is also helped by the extraordinary animation that is delivered by Production I.G. Everything about the animation, from the lush backgrounds to the well-choreographed action sequences to even the slightest of emotions displayed on the character’s faces is far and beyond anything yet seen in an anime on this scale, plus the music by Yoko Kanno is out of this world. However, it is well-rounded characters that ultimately takes the spotlight, and every character here certainly makes a huge impact, whether it’s our main protagonists in Major Motoko Kusanagi and Batou or its central villains like Hideo Kuze and Kazundo Goda. While the original movie was groundbreaking, its characters didn’t really have that much humanity or personalities for us to be invested in them, yet this show delivers that and actually provides moments of levity to make the heightened events all the more real and grounded. Most of those light moments come courtesy of the think-tanks known as the Tachikomas, and these adorable machines are a welcome presence while also probably being the most interesting, complex and effective characters in the entire show.

This entire Blu-ray collection contains the original two seasons (totalling at 52 episodes), the two condensed movie versions of those seasons, and the ‘finale’ movie Solid State Society, and this last chapter of the Stand Alone Complex saga is an admirable effort if ultimately anticlimactic by the end. Ultimately though, Stand Alone Complex is one of the greatest anime to have ever been released and is the true Ghost in the Shell to this day. Everything on display here is top-quality, whether it’s the gorgeous animation, the superb score and sound design, its strongly-authored narratives, the iconic characters or the brilliant voice cast (the English dub is top quality and includes the excellent Mary Elizabeth McGlynn and Richard Epcar). Recent efforts like the Arise series and the live-action movie tried to capture the magic of this series, yet they failed to understand the true passion and ingenuity that went into this show and that was all down to combined efforts of Kenji Kamiyama and Production I.G. There have been anime that have been celebrated for their innovative creativity and this series is no exception; Ghost in the Shell: Stand Alone Complex is an engrossing piece of genre fiction and further proof that mature anime like this can be a true writer’s medium.

GHOST IN THE SHELL: STAND ALONE COMPLEX – COMPLETE SERIES COLLECTION / CERT: 15 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: SHIRÔ SAITÔ, MARY ELIZABETH MCGLYNN, WILLIAM KNIGHT / RELEASE DATE: OUT NOW