Review Category: DVD/Blu Ray

Security guard Rachel is given a last minute job to do the night shift at a run-down addiction clinic in a dodgy part of town. Stuck alone until dawn, she soon becomes plagued by supernatural forces lurking in the shadows. Meanwhile, police detective Haggis (yes, really) investigates a series of brutal murders with apparent ties to the sinister building, leading towards the point where the mysteries intersect.

Except they don’t. The two strands exist completely separate from each other, so much so that if the latter were removed from the film entirely you wouldn’t actually notice the difference. Unfortunately, this is only one of a litany of ways in which the film fails to come together in any meaningful sense.

The story is riddled with a typical assortment of eerie fare such as dimly-lit blackness, odd noises, creepy phone calls, objects moving on their own, and sinister apparitions that may or may not be only dreams, but nothing that occurs translates to even basic frights, never mind a coherent story. Rachel’s fear of the dark might provide justification for why she’s so freaked out by such ghost house antics, but the mediocre scares prevent us from truly connecting with her personal terror. A veteran of dozens of low-budget horror flicks, Sarah Nicklin can do roles like this in her sleep, and her clear commitment to the sub-par material is about the only thing the film has to recommend it.

Occasionally interspersing Rachel’s torment, Haggis’ purported investigation largely involves aimlessly wandering around the city accompanied by a pseudo-noir internal monologue that sounds more like a parody of Max Payne than a serious lamentation of a killer’s actions. He occasionally receives mysterious calls from nearby pay phones that apparently still exist, but the messages are so meaninglessly cryptic they add neither substance to nor elaboration on what’s supposed to be going on.

It’s only in the final 15 minutes that anything resembling a plot begins to emerge, and little of what’s revealed adequately ties up with any of the previous hour’s portentous occurrences. Come the climax, the film evidently realises it has been so poorly executed that the conclusion consists of one character quite literally explaining the story’s entire premise.

Abandoned Dead clearly has lofty ambitions of creating a tense atmosphere by exploring themes of loneliness and isolation, but falls far short of its goal while believing itself to be far cleverer and introspective than it actually is. In truth, all it can claim to be is a badly thought-out, garbled mess from start to finish.

ABANDONED DEAD / CERT: 15 / DIRECTOR & SCREENPLAY: MARK W CURRAN / STARRING: SARAH NICKLIN, CARLOS RAMIREZ, ROBERT E WILHELM, JUDITH O’DEA / RELEASE DATE: 27TH FEBRUARY

When it was announced that Hasbro were partnering with Universal to make a film of their spooky branded board game no one expected much. Good thing too, because the long-gestating project eventually turned out to be bobbins of the worst kind. So when a sequel was announced expectations started heading even lower. Eventually, it became known that sequel would in fact be prequel and tell the story of how the homicidal spirit of young girl DZ came to be. This time however it would surprisingly go on to get good critical notices.

 

It’s 1967 and Alice (Reaser) is a widowed mother with two daughters making a kind of nearly-living from helping people ‘contact’ the dead. Her girls Lina (Basso) and Doris (Wilson) assist her in what she refuses to term a scam, instead semi-convincing herself and Doris that what they do helps people. With bills chasing them, Alice takes Lina’s advice and incorporates a Ouija board into the routine. It’s not long until Doris becomes the star of the show,seeming to genuinely contact the other side.

 

Alice and her girls are still raw from losing husband and father Roger some time earlier, and when Doris seems to make contact with him, it’s too good to be true. It is of course, with the family house a home to other, less friendly spirits with their own agendas. Soon enough, Doris is changing and not for the better.

 

Writer (along with Jeff Howard) and director Mike Flanagan was charged with putting together a convincing explanation for Doris and how she came to be a murderous malevolence. Where the film works is in the focus he takes. Alice, Lina and Doris make a realistic family unit, bound together in barely shared but deeply felt grief. The film takes time for us to get to know them, and convinces in doing so.

 

Flanagan eschews much in the way of cheap scares or cheap shots, instead setting about building mood and a decent emotional connection. Keeping the effects to a restrained level for much of the running time, it’s more The Conjuring than sledgehammer spookery. Even Henry Thomas, as the Basil Exposition of the film, manages to get a decent part that’s more than just explaining events.

 

It isn’t perfect. When the effects do come, they’re shaky and don’t always cast the hoped-for spell, undermining that atmosphere the film has worked hard for. By tying into the events of the first film Flanagan takes some narrative leaps that don’t really stand up. But there’s still much to recommend and with some clever ideas, it works more often than not, and is far better than anyone was reasonably expecting.

 

OUIJA: ORIGIN OF EVIL / CERT: 15 / DIRECTOR: MIKE FLANAGAN / SCREENPLAY: MIKE FLANAGAN, JEFF HOWARD / STARRING: ELIZABETH REASER, ANNALISE BASSO, PARKER MACK, LULU WILSON, LIN SHAYE / RELEASE DATE: 27TH FEBRUARY

 

Since the release of the outstanding Shaun the Sheep Movie back in early 2015, the episodic TV series went into something of a hiatus with only one special released at Christmas of that year. At the end of 2016 though, Aardman Animations finally brought the flock of Mossy Bottom Farm back onto our screens with a new series of shorts, and this latest release, Pizza Party, consists of the first ten episodes of Series 5. In case you are new to this (and if you are, where have you been!?), the show deals with Shaun and the flock getting into all manner of fun and mischief with Bitzer the dog trying to reign them all in and prevent the Farmer from finding out, with each episode lasting around seven minutes each. These ten mini-adventures revolve around an escaped prisoner hiding out at the farm (“Wanted”), Shaun messing about with a boomerang (“Return to Sender”) and the flock trying to regain control over their private club from the troublesome pigs (“Turf Wars”).

 

This set of episodes are hugely enjoyable and consistently fun, but that is pretty much what to expect when it comes to Aardman and their other Shaun the Sheep episodes. There are huge bundles of entertainment throughout that works well for adults, as well as kids, and you’ll just find yourself feeling swept up in its charm. What this show demonstrates, and has been demonstrating ever since it started back in 2007, is that this is arguably still one of the best family shows on TV to date, and the one that has been consistent in terms of quality, charm and humour. That is all down to the talented individuals working at Aardman, who just know how to appeal to their audience and give them the kind of entertainment that’s needed right now. They put a lot of effort into their animations and that makes these episodes just as special as all their other brilliant animations.

 

This is evidenced in the excellent documentary that’s included on this DVD release, ‘A Grand Night In: The Story of Aardman’, which was shown on BBC One during the 2015 Christmas period. If you are a huge, mega fan of Aardman, this hour-long documentary is definitely worth a watch as it chronicles the journey of Aardman from their early beginnings with Morph and A Grand Day Out to the most recent Shaun the Sheep Movie and TV series, while also briefly glimpsing their upcoming feature film project, Early Man. This latest DVD entry in the Shaun the Sheep line will leave you marvelled by its beautifully handcrafted animation and its brilliant sense of humour and wit. As ever, life’s a treat with Shaun the Sheep.

 

Special Features: A Grand Night In: The Story of Aardman documentary

 

SHAUN THE SHEEP: PIZZA PARTY / CERT: U / DIRECTORS: DAVID FINE, ALISON SNOWDEN, RICHARD STARZAK / SCREENPLAY: VARIOUS / STARRING: JOHN SPARKES, JUSTIN FLETCHER, RICHARD WEBBER, KATE HARBOUR / RELEASE DATE: 13TH FEBRUARY

Yu-Gi-Oh GX Season 2 has 52 episodes and that is far more than it actually needed. Because of this there are a noticeable number of episodes which are essentially interchangeable. Jaiden comes up against a duelist with a gimmick, Jaden duels them while telling them how it is important to duel for fun, and the other duelist resists but always comes round to Jaiden’s way of thinking at the end. There are far too many of these episodes and they never feel like they’ve added anything to the show. If you have ever wondered if anime that wasn’t based on manga could have filler, apparently it can, and this is what it looks like.

Such episodes almost drown out the ones in which something does actually happen, and to its credit, Yu-GI-Oh GX is capable of delivering strong character moments. Whether it is Jaiden helping Chazz to break free from brainwashing, or Alexis showing concern for the Obelisk blue dorm despite now being a member of Obelisk white.

The other main issue with Yu-Gi-Oh GX Season 2 is that it puts way too much focus on Jaiden. Yu-Gi-Oh GX had the potential to be a real ensemble piece but Season 2 never quite manages to do that. Other characters do get moments to shine (such as a brief segment of episodes early on, in which Jaiden is all but written out) but these feel like exceptions to the usual flow of the series rather than part of how it operates.

There isn’t that much to the villain (Sartorius) either, and at this point in the Yu-Gi-Oh he is pretty standard fare for the series. He is possessed by an evil power, he has a good side which is trapped but wants to help the good guys win, and he plans to take over the world. If there’s anything unique about the character it’s that he spends most of his screen time being cordial, and manipulative rather than openly hostile.

Yu-Gi-Oh GX Season 2 is an upbeat series in which everyone plays the comic relief at some point. It can be fun to watch, but only occasionally does it feel like there is really anything going on under the surface. For every episode that serves to flesh out a member of the cast there are two that only function as pudding. Just as it often fails to make use of its characters beside Jaiden (so much so that it had to get rid of him to give them some), this season ultimately fails to go as far as it could with its premise or its plot points.

YU-GI-OH GX SEASON 2 / CERT: 12 / DIRECTOR: HATSUKI TSUJI / WRITERS: VARIOUS / STARRING: MATT CHARLES, PRISCILLA EVERETT, WAYNE GRAYSON, MARC THOMPSON, DAVID WILLS / RELEASE DATE: OUT NOW

Following their recent release of films from 1979-85, Arrow bring out their third collection from Woody Allen, concentrating on the period 1986-91. This time around, seven movies, all featuring Mia Farrow, offer serious Chokhovian drama, whimsical fantasy, nostalgic charm and two utter masterpieces. It also shows Allen’s love of other great artists, Chekhov, Kafka and Bergman.

Say what you like about Woody Allen, he’s certainly got range. The prolific writer director’s output may vary in quality but, as at least two of the films in this excellent collection shows, when he’s good, he’s simply one of the world’s most gifted and interesting film makers.

Two films here eschew the laughs all together, with both September and Another Woman pitching Allen as a straight dramatist. September, based on Chekhov’s Uncle Vanya, is a reflective piece telling of the recuperation after a failed attempt at suicide brings Mia Farrow to her country house where various relationships unfold. It’s a hard film, beautifully acted (Elaine Stritch is tremendous), with the feel of a play.

With Another Woman, Allen again coaxes a superb lead performance, this time from Gena Rowlands, with great support from Gene Hackman. Inspired by the films of Ingmar Bergman, it sees Rowland play a respected philosophy professor, examining her own life and its shortcomings as she accidentally overhears the therapy sessions of a woman in despair. Looking back, she regrets some of her choices, realising that she might have led a kinder less cerebral life.

Alice is a fantasy, one of his most whimsical films, as light and playful as he gets, in which magical herbs help to bring Mia Farrow’s marital dilemmas into the open. For one of his most unusual films, Allen gets an unbelievable cast in the Kafkaesque expressionist comedy Shadows and Fog, perhaps the most stunning visual feast of his career. Featuring Jodie Foster, Madonna, Kathy Bates, John Malkovich and many others, it’s origin, a one act play called Death written by Allen years before, betrays the slight plot, but it’s a magnificent looking film. Much warmer is Radio Days, a film steeped in nostalgia and wit, as a family lives its life in the golden age of radio. It’s utterly charming.

Which leaves us with the masterpieces and they don’t come much better than these two.

Somehow, Crimes and Misdemeanours weaves two plots, one comic, one tragic, and combines Allen’s own obsessions with the meaning of life, religion, love, integrity and conscience. Following two men in separate stories, Allen and a brilliant Martin Landau each wrestle with moral dilemmas only to cross paths as their stories meet. It’s as complex and meaningful a film as Allen has ever created whilst retaining a lightness of touch and enough great one liners to rank it as a super comedy. It’s an astonishing achievement.

But it’s Hannah and Her Sisters which will probably go down as the jewel in this box. An extended family centred around three sisters has two years of its story told to us. Relationships change, affairs happen, or don’t, people change, and Allen gifts us with one of the warmest, funniest, sweetest, most complex and moving films in his, or anyone’s career. If the final scene doesn’t leave you with the warmest of glows, get to a shrink…
 

WOODY ALLEN: SEVEN FILMS – 1986-1991 / CERT: 15 / DIRECTOR & SCREENPLAY: WOODY ALLEN / STARRING: VARIOUS / RELEASE DATE: 20TH FEBRUARY

“How much sorrow can one man have to bear? As much as a river of spring water flowing east” goes the poem from which The Spring River Flows East derives its name. Indeed, a whole lot of sorrow – plus some action and drama too! – is spread across the three-hour running time of Chusheng Cai and Junli Zheng’s epic, often cited as one of the masterpieces of Chinese cinema. Restored by the China Film Archive, it’s now receiving its first ever UK release.

The film begins in 1931 and ends in the late 1940s, covering the lives of one family before, during and after the Second Sino-Japanese War, and is split into two parts. In part one, we meet a young couple, Zhongliang and Sufen. Zhongliang leaves his wife, mother and infant son behind to fight in the war, where he’s captured by the Japanese. Back at home, his family suffer under Japanese occupation.

By the second half, Zhongliang has escaped his captors and been taken in by a wealthy acquaintance. Finding himself in bourgeois society, he forgets about his family and his morals. Meanwhile, Sufen suffers more and more, turning to desperate measures to feed her son.

It’s a Chinese equivalent of a David Lean epic – the personal struggles of a small group set against the sweeping backdrop of history. The film was very current upon its release in China just two years after the war had ended; for Western viewers today, it’s got a more educational value, showing us a part of twentieth-century history we may not know. Though actual action sequences are sparse, the filmmakers cut in genuine newsreel footage, which builds up both tension and veracity.

The characters are well developed across this period. In Zhongliang, we have an excellent portrayal of a man who starts out as a revolutionary and a romantic but is changed by the situations he’s thrown into, becoming a coward and a cad. But the tears referenced in that poem surely belong to Sufen; her increasingly harrowing conditions have a real sense of desperation to them, and you’ll be rooting for the family to find some solace, even when you know what her husband’s really getting up to. Some sequences, however, can be very melodramatic, and there is some over-acting, particularly from the actress who plays Zhongliang’s benefactor and lover, which does seem cringeworthy through modern eyes.

So the film may lack the finesse of the American and British movies of the same time which it’s easy to compare it to, but as a cultural artefact, it’s not only an excellent insight into twentieth-century Chinese history through the eyes of various characters, but it’s also an epic and harrowing family drama.

Special Features: Featurette about Chungking

THE SPRING RIVER FLOWS EAST / CERT: U / DIRECTORS & SCREENPLAY: CHUSHENG CAI, JUNLI ZHENG / STARRING: BAI YANG, TAO JIN, SHU XIUWEN, SHANGGUAN YUNZHU / RELEASE DATE: FEBRUARY 20TH

One of a recent (though admittedly small) wave of ‘80s horror homages (that includes the likes of Ted Geoghegan’s We Are Still Here) this tale of a VHS board game that opens the door to a nightmare world garnered some serious attention with its retro advertising.  Directed by Jackson Stewart, the obvious initial comparison is an adult Jumanji, but there are plenty of other influences thrown in here.

As the title suggest there’s Fulci in here (The Beyond) and 1987’s Canadian cult flick The Gate.  More than just horror movies, however, Beyond the Gates spreads its inspirations wide and there are elements of numerous ‘80s cultural road marks in the construction. You could put Clue in the mix, as well as inevitably the early ‘90s Atmosfear games like Nightmare amongst others.

When two brothers John and Gordon (bonded by blood and little else, opposite as they are) are brought together again to shut down and sell on the stock from their missing father’s video store (all VHS, of course) a chance discovery leads them to suspect the titular game might unravel the mystery of daddy’s disappearance.  Once they start, their very lives depend on finishing it.  Barbara Crampton here plays the host of the video’s segments that lead the brothers on.

It can be fun recognising the influences and call-backs to films and culture we know and love, but that’s not enough to make a film its own thing.  So, putting all that aside, does Beyond the Gates stand up as more than the sum of its parts?

We’re happy to report the answer is a yes, though with some caveats. After an initial none-more-‘80s credits sequence that suggests full blown pastiche it settles down into concentrating on producing atmosphere.  Rather than going for lazy, repetitive jump scares Stewart instead earns a nightmare mood that makes a few gory set pieces all the more effective. The two brothers have little in common but both writing and performances seek to give enough history and a sense of a real relationship between them to invest an audience and in that it’s successful. Barbara Crampton is only seen on a TV screen throughout but that just reinforces the charisma of her performance.

On the other hand, there’s little sense of jeopardy or danger in the game or the stakes in the film.  The creepy shop the brothers’ visit seems to come from something else entirely, Jesse Merlin’s Elric coming across more as a proprietor of a local shop for local people than the film he’s in. Whilst it works overall, there’s no real comparison between the intense, circular nightmare of the Fulci film and Beyond the Gates.

In fairness, however, it’s not only attempting straight homage. This is filmmakers setting out to make an update of the films they grew up with, and as that, it’s certainly entertaining. As a feature length calling card for Stewart, it suggests there’s better yet to come from him and overall it’s time well spent.

BEYOND THE GATES / CERT: TBC / DIRECTOR: JACKSON STEWART / SCREENPLAY: STEPHEN SCARLATA, JACKSON STEWART / RELEASE DATE: BARBARA CRAMPTON, BREA GRANT, RYAN KUNERT, SARA MALAKUL LANE / RELEASE DATE: FEBRUARY 20TH

“You have a lot of predictors for serial killer behaviour”, explains Dr. Grant Neblin (Karl Geary) to his fifteen-year-old, disaffected patient John Wayne Cleaver (Max Records). This isn’t your everyday diagnosis and it’s safe to say John isn’t your everyday teenager, he holds a morbid obsession for serial killers and the bodies that are embalmed in his family’s funeral home.

Despite his homicidal urges, John manages to keep his impulses largely in check thanks to a strict set of rules he follows to help quell his desires, even in the face of bullies who mock his predicament. But when a string of murders take place in John’s sleepy Midwestern town, he starts struggling to suppress his sociopathic thoughts as he becomes embroiled in his investigation to expose the serial killer behind these gruesome homicides. Mysteriously, each dead body is found with a different organ missing and a puddle of sticky black goo is discovered at each crime scene. John’s investigation leads him to suspect his elderly neighbour Mr Crowley (Christopher Lloyd). This frail, doddering man seems an unlikely candidate at first but things aren’t what they seem in this genre-bending, off-kilter delight.

Based on Dan Wells’ novel of the same name, Billy O’Brien’s I Am Not a Serial Killer follows a slow-burn narrative which is effective in carefully generating an eerie atmosphere, but disappointingly transparent in its treatment of the murderer’s identity. What makes the film such compulsive viewing is the superb central performances at its heart. Lloyd is brilliant as Mr Crowley, he exudes malevolence and menace yet his tender love for his wife provides some scenes of genuine poignancy. While Lloyd’s presence is likely to attract the most attention, it’s Records’ performance which really resonates. After a five-year absence from film Records jumps straight into this daring role and delivers an honest, refreshingly original portrayal of teenage mental illness. Records radiates a raw energy and natural charisma which gives him an extremely engaging and likeable screen presence – let’s hope we don’t have to wait another five years to see him acting again.

Cinematographer Robbie Ryan shoots on gorgeous 16mm, imbuing the film with a grainy texture which captures the snowy landscape of the town beautifully. Adrian Johnston’s synthy, Carpenter-esque score accompanies the visuals and adds to the nostalgic, unsettling tone of the film. Considering the film’s modest budget, the gore and special effects are adroitly rendered too. The film’s fantastical twist may dissatisfy some viewers who don’t sit comfortably with genre mash-ups, but we thought it was a refreshingly inventive and expertly-staged revelation which provided a satisfying conclusion to the narrative.

The less you know going in, the more you’ll enjoy the film’s idiosyncratic charms. Sharply told by O’Brien and fuelled by two brilliantly memorable performances, I Am Not a Serial Killer is a darkly humorous, original, and consistently fun genre-hybrid.

I AM NOT A SERIAL KILLER / CERT: 15 / DIRECTOR: BILLY O’BRIEN / SCREENPLAY: CHRISTOPHER HYDE, BILLY O’BRIEN / STARRING: CHRISTOPHER LLOYD, MAX RECORDS, LAURA FRASER, KARL GEARY / RELEASE DATE: FEBURARY 20TH

This obscure piece of Ozsploitation, released in the UK as Dick Down Under, takes the infamous vulgar poem about the prostitute Eskimo Nell and transfers it to Australia.

Dead-eye Dick (Gillies) is a one-eyed peeping tom who has spent the last few weeks spying on a handsome young lothario Mexico Pete (Lazareff). When Pete confronts him, the pair strike up an unlikely friendship, mainly based on Dick’s infatuation with a prostitute he claims to have met in Alaska, Eskimo Nell (Anoux). Dick describes her as a ‘whomper’, something Pete hasn’t heard of. Let’s just say it’s not the kind of creature you’d find on Hoth. Against his better judgement, Pete accompanies Dick across the Outback in an attempt to reunite the love-struck Dick with Nell. Being a ‘sex comedy’, there are plenty of risqué encounters along the way, but just as many moments that put our heroes in jeopardy. It almost has an anthology feel to it, which actually makes it a lot of fun to watch, even when some of the gags fail (either due to the passage of time, geographical differences or just plain poor judgement).

The poem which began the legendary character inspired another film made around the same time, namely the British sex comedy Eskimo Nell (which was directed by Martin Campbell, who would later helm Bond movies, and written by and starring Michael ‘Mark of the Devil’ Armstrong). The Antipodean version makes a little more of the tale than the Pommy version, and stands up (ahem) much better for it. The feature debut of Oz exploitation king Richard Franklin (Patrick, Road Games, Psycho II), it’s almost surreal in its portrayal of the Australian ‘wild west’. Gillies is perfect as the tragic Dick, a desperate loser with just one motivation.

While The True Story of Eskimo Nell is promoted as a bawdy comedy in the mould of the Confessions films, it’s really an occasionally moving drama, focusing on a team-up of unlikely friends that actually brings to mind Midnight Cowboy more than Carry On Cowboy. Yes, there’s a lot of adult humour and nudity (certainly no worse than you’d see on HBO), but the likeability of the characters is probably enough to win most viewers over, if you can ignore the dated sexism and toilet humour (clearly Blazing Saddles was another flatulent influence).

THE TRUE STORY OF ESKIMO NELL / CERT: TBC / DIRECTOR: RICHARD FRANKLIN / SCREENPLAY: RICHARD FRANKLIN, ALAN HOPGOOD / STARRING: MAX GILLIES, SERGE LAZAREFF, BUTCHER VACHON, GRAHAME BOND, VICTORIA ANOUX / RELEASE DATE: OUT NOW

 

The touching story of one man’s dream to be the biggest, pimpiest pimp of them all, Willie Dynamite introduces us to the titular character arriving at a convention his girls are working, dressed as a wedding cake. There’s some wonderfully jaw dropping sartorial choices throughout that will be guaranteed to entertain you if nothing else. Willie (the outstanding Roscoe Orman, he of Sesame Street fame) has aspirations to be number one in his game. He’s full of himself and convinced of his greatness. Now he has just got to avoid the cops, the other pimps that think they are the pimpiest and a tough, meddling social worker called Cora who wants to save his girls and get them out of the racket.

 

Willie is on the outs with the pimp council, who have all agreed that to try and get around the city’s crack down on prostitution they’ll each work an area and reduce the competition, along with the friction it causes. Willie is having none of that, principally because he’s a free market capitalist. Cora meanwhile is out to convince at least one of Willie’s girls, Pashen, that there’s healthier ways to make just as much money as she can do working for Dynamite.

 

Willie Dynamite came out in 1974, right in the thick of the blaxploitation boom. It ticks the boxes of much of what would be de rigueur for similar films of the time, from the magnificent fashion to the style of the film. Willie is very much the antihero here, exploiting his girls and being completely amoral about the consequences of his actions. Often in this field of film his opposition would be a white ‘villain’ but here it’s the black Cora who is seeking to undo the damage he is doing within his own community. It’s a more hopeful example of the pimp subcategory with a deeper focus on the social aspects of the story, and as such it’s refreshingly light on the violence and nudity you might expect to fill it without feeling sanitised.

 

Though never as popular or iconic as films like Shaft or Super Fly, there’s a lot to enjoy in Willie Dynamite, especially Orman’s performance. He’s supported by a great cast that all make the most of their parts, no matter how much screen time and it makes every scene a blast. If you have an interest in blaxploitation get this, it’s genuinely huge fun. A joyous experience.

 

The disc is light on extras with only one but it’s a good ‘un – the Ice-T presented ‘Kiss My Baad Asss’ episode from Channel 4’s Without Walls series in the 90s, featuring interviews with scene icons like Melvin van Peebles and Issac Hayes.

 

WILLIE DYNAMITE / CERT: 15 / DIRECTOR: GILBERT MOSES / SCREENPLAY: RON CUTLER, JOE KEYES JR. / STARRING: ROSCOE ORMAN, DIANA SANDS, THALMUS RASULALA / RELEASE DATE: 6TH FEBRUARY