Review Category: DVD/Blu Ray

Once again, we have a film that heralds the apocalypse; but forget about such balderdash as 2012 cause These Final Hours is something else entirely. This is a stark and brutal vision of a world on the brink of annihilation, hope is completely abandoned and chaos is unleashed. But at the core of this film is the theme of redemption, even if it comes at a very painful price. This film shows us that even though the end of the world showcases the worst aspects of humanity, it can sometimes bring out the best within us, and that is clearly the case with our main protagonist, James.

When we are introduced to him, he is portrayed as being selfish and arrogant after abandoning his pregnant lover, Zoe, so that he doesn’t feel anything when the end comes, but it’s only after he encounters a young girl that’s separated from her father that he is finally redeemed and appreciate those closest to him. The film doesn’t spend too much time delving into backstory seeing as it’s all deliberately left out, solely because writer/director Zak Hilditch wanted use ambiguity as a means of heightening the mystery of the apocalyptic firestorm and to mainly focus on the core human elements at play. Plus, Hilditch definitely has the balls to make the apocalypse itself inevitable to stop instead of doing the contrived Hollywood plot device of stopping it just in time, which would only render all dramatic integrity pointless. This is used as a way of saying that in the end, we are not in control, that nature is our ultimate destroyer, that the scariest thing to face is the feeling powerlessness to stop it and how it can turn good people cruel.

The cinematography by Bonnie Elliott is stunning; perfectly capturing the sweltering heat getting hotter and you almost feel the humid claustrophobia getting worse by the minute. The performances across the board are all excellent with Nathan Phillips adding real layers and intrigue to the central role of James and he makes us bond more and more with him as the film goes on. Despite her role basically being a glorified cameo, Jessica de Gouw is emotionally raw in the few scenes she has, and the film could’ve really benefited by having flashback sequences of her time with James to add more emotional weight to proceedings. However, the real standout has to be rising star Angourie Rice, who delivers a real star-making performance as the young child who becomes James’ emotional anchor throughout the film. She handles the powerfully dramatic moments efficiently well with the vulnerability coming across as genuinely real and heartfelt, without it becoming contrived or forced. After delivering strong performances in this and the recently released The Nice Guys, you can tell that big things are expected to happen in her future, and there’s no doubt that she’ll appear in a Marvel movie at some point in the near future.

These Final Hours is an emotionally-wrought and powerful, if somewhat flawed film with rough edges. The pacing and storytelling gets bogged down during the party sequence and having Jessica de Gouw in a glorified cameo role is deeply unfortunate considering just how amazing she was in the few minutes she had, however, this is still a solid film with powerful themes and messages, stunning visuals, and a breakout performance from Angourie Rice. Just a shame then that there has to be an American remake soon…

THESE FINAL HOURS / CERT: 15 / DIRECTOR & SCREENPLAY: ZAK HILDITCH / STARRING: JESSICA DE GOUW, NATHAN PHILLIPS, DAVID FIELD, LAUREN CLEARY / RELEASE DATE: AUGUST 8TH

 

Now, we all know Nicolas Cage has had a somewhat patchy run of films of late (we still blame the remake of The Wicker Man for that), but his idiosyncratic performances are always something to relish. Well, with The Trust, we can now safely say he’s back on his stride; albeit still performing as though he’s stark raving mad.

Cage is Stone, a despondent, put-upon police officer assigned to the evidence room at this precinct.  Finding some anomaly in some paperwork that leads him to a suspected drug ring and hidden stash. The possibility occurs to him that he could perform the perfect heist, but needs help from the equally down-at-heel Waters (Wood). Recently separated, he’s going through the motions as much as anyone and is lured into attempting to pull off the daring raid, despite being unaware of the contents of a hidden safe and, indeed, the sanity of his partner-in-crime.

Mixing some dark comedy in the first half, which descends into bleak but tense drama once we get to the actual robbery, The Trust is a surprisingly entertaining caper.  Wood gives the scene-stealing Cage more than a run for his money, playing the edgy but borderline fragile copper with intensity. There are even times when the diminutive actor is actually in danger of upstaging Cage’s moustache.

Plot wise, the story motors on swiftly with some rather giant leaps of logic, but it’s played with such irreverence that it’s easy to overlook some of the more ludicrous aspects and nuances. A pleasant surprise is veteran comic Jerry Lewis’ brief turn as Stone’s hard as nails but slightly bewildered father, himself a former cop. Some lavish scenes shot among the neon-lit but sleazy Las Vegas bars contrast with the run-down areas the pair stake out and eventually plot to break into. As over the top as their plan is, the ride that brings them together and their playful – if anxious – interaction makes for engaging viewing.

THE TRUST / CERT: 15 / DIRECTOR: ALEX BREWER, BENJAMIN BREWER / SCREENPLAY: BENJAMIN BREWER, ADAM HIRSCH / STARRING: NICOLAS CAGE, ELIJAH WOOD, SKY FERREIRA, JERRY LEWIS / RELEASE DATE: OUT NOW

 

In Parasyte: The Maxim, main character Shinichi Izumi finds that he has become the host for a mysterious parasite with incredible shapeshifting abilities. The parasite is part of a species of beings who infect their host’s brain in order to take control of their bodies. Luckily for Shinichi, the parasite who infected him was only able to take control of his arm and so Shinichi retains most control over his body. As the series progresses, Shinichi comes across more people who have been infected and decides to fight back against the parasites to stop them hurting more innocent people.

Based on the description above, it would be understandable for someone to think that this is an action series, but that couldn’t be further from the truth. There is some action in Parasyte: The Maxim but it would be more accurate to refer to Parasyte as a suspense thriller. A lot of time is focused on trying to figure out who is a parasite and what it is that they want. Parasyte only really has two main characters (Shinichi and Migi) and this adds to the suspense. For a lot of the anime, Shinichi is shown to be isolated and this isolation makes him more vulnerable. This element of isolation also helps keep the romantic elements from feeling stale as Parasyte is yet another story of someone who finds himself pushing his loved ones away with a secret that he cannot tell them. Far from be cliché, the first twelve episodes manage to use this element to great effect, particularly when it comes to Shinichi’s parents.

Readers may be wondering why this review refers to the number of episodes rather than the name or number of the series. That is because this set of twelve episodes does not make up the complete first series. The downside of this is that the collection comes to end just as it feels like the series was starting to come together and show its main plots.

There are some great moments in the anime that come from the government’s reaction to the parasites once it is established that they have some idea of what is going on, but it isn’t until relatively late in the collection that such moments start to unfold. This is a problem that stems purely from the nature of this collection and something that might not be true if the first series is ever assembled into a complete collection.

Parasyte: The Maxim is a tense series. The biggest shortcomings come from it being only part of a complete series, but even then these episodes serve as a good introduction to the story.

PARASYTE: THE MAXIM COLLECTION 1 / CERT: 15 / DIRECTOR: KENICHI SHIMIZU / SCREENPLAY: VARIOUS / STARRING: AYA HIRANO, KANA HANAZAWA, NOBUNAGA SHIMAZAKI, AKIRA ISHIDA, ATSUKO TANAKA / RELEASE DATE: OUT NOW

Crafted through meticulous research and a remarkable passion for the project, Robert Egger’s directorial debut The Witch is a deeply unsettling experience that will leave a residual impression akin to a scar on the skin.

Rural New England serves as the backdrop for this folktale of fear as a Puritan family is banished from their plantation on a supposed charge of blasphemy. The father William (Ralph Ineson) leads his wife Katherine (Kate Dickie) and their five children to the edge of civilisation in a quest to find “The Kingdom of God”, but before long their youngest child is missing and the crops are rotting. As accusations of witchcraft begin to plague the family, this modest settlement becomes far more emblematic of the dominion of hell than any heavenly kingdom. This is the portrait of a household descending into a crippling paranoia, with much of the blame being placed into the lap of the coming-of-age Thomasin, who is portrayed exquisitely by newcomer Anya Taylor-Joy.

Despite being marketed as a horror, many have argued on how to define the genre of Egger’s film, with classifications ranging from psychological period pieces to familial drama. The fact that these discussions exist reflects the complexity and profundity of the script that Eggers has clearly worked so hard on. Eggers skillfully uses this period as a lens through which to explore themes of religious zealotry and fears and ambivalences towards the female in a patriarchal society. There is a depth here that could only be achieved by a devoted director.

Effective cinema has the ability to be truly gripping, and an audience must feel invested in a story for this to occur. The Witch constructs this investment by providing a narrative that is as equally steeped in realism as it is in the occult. We have attention to detail in costuming and on-location shooting, well-executed Jacobean dialogue, and most crucially, an utterly convincing cast. The spectral threat and supernatural occurrences aren’t cheap or gratuitous here, they are instead the catalyst that works to energise this character-driven piece, and in turn, the audience’s emotions.

Throughout, The Witch burns slowly with a constant and pervading tension that permeates into every aspect of the film. Mark Kovren’s brooding score and Jarin Blaschke’s cinematography that utilises natural lighting for a dread-laden gloominess, combine with an undeniable force. We are presented with a wholesome piece of cinema that is expertly directed with a desire to elicit fear throughout – both emotionally through our worries for the character’s wellbeing, and with literal shocks at the grisly and genuinely frightening scenes.

Rarely is modern horror cinema this suspenseful or this authentic. The only minor blip is a finale that may not please those who favour ambiguity. Regardless, Robert Eggers has managed to create that beautiful cinematic concoction that horror filmmakers dream of – a work that is intelligent AND shit scary.

THE WITCH / CERT: 15 / DIRECTOR & SCREENPLAY: ROBERT EGGERS / STARRING: ANYA TAYLOR-JOY, RALPH INESON, KATE DICKIE, HARVEY SCRIMSHAW, ELLIE GRAINGER / RELEASE DATE: OUT NOW

When a group of police officers answer a call for backup, what should have been a routine assignment swiftly descends into a phantasmagorical fight for survival as they are driven to the edge of their sanity, and seemingly to hell itself.

Aside from a legacy of mass producing hilariously cheap and shoddy knockoffs of major Hollywood releases in the ‘60s and ‘70s, Turkey is not a country particularly renowned for its cinematic output. Its horror production in particular has little of note beyond the abysmal Exorcist remake Seytan.

Baskin, however, is a different beast entirely. Its vision of hell on earth is grimy, bestial and utterly mesmerising, and while its component parts will be more than a little familiar to any fan of the genre, its garish realisation drowns the eminently recognisable turns in an oppressive glare of tinted crimson. Imagine Jacob’s Ladder directed by Lucio Fulci and you’re most of the way there, the comparison coming not just from the volume of gore on display, but also the lurid imagery, darkened cinematography and central concept of a threshold to the beyond opened by human suffering. It could practically be a follow-up to the Gates of Hell trilogy.

Throughout the film, there is a lingering uncertainty over what is truly happening, what is merely a vivid hallucination, and what is a lucid memory pulled open as the lines of reality are further blurred, even within context of the waking nightmare in which the men have become trapped. Some particularly effecting moments come from flashes of the horrors unfolding before the officers’ eyes where you can’t be sure quite exactly what’s going on, while also being somewhat hesitant over whether or not you actually want to find out.

It’s impossible to tell exactly when the group first entered the earthbound hellscape, and with some implication that they may well have entered its purgatorial snare before the film even begins, it becomes difficult to envision any way out for them. There are some interesting suggestions about a couple of the characters, implying at various points that there may have been some kind of pre-destiny at work, but the film forgets to expand upon them, leaving any overall explanation of events open to viewer interpretation.

While you can’t in all honesty declare Baskin to be much more than a by-the-numbers horror wrought with a vivid aesthetic, the lavish presentation of its visceral vision gives it a distinctive flair that makes it worth seeking out.

BASKIN / CERT: 18 / DIRECTOR: CAN EVRENOL / SCREENPLAY: VARIOUS / STARRING: GORKEM KASAL, ERGUN KUYUCU, MUHARREM BAYRAK, MEHMET CERRAHOGLU, FATIH DOKGOZ, SABAHATTIN YAKUT / RELEASE DATE: AUGUST 1ST

Joanna Crane (Kathleen Turner) leads a dangerous double life. By day she is an ice-maiden fashion designer, by night she is the prostitute China Blue, for whom no sexual fantasy is out-of-bounds. But her secret is about to be revealed when she becomes the object of two very different men’s obsessions – Bobby Grady (John Laughlin), an unhappily married store owner moonlighting as a surveillance man, and the ‘Reverend’ Peter Shayne (Anthony Perkins), a psychotic street preacher armed with a monstrous sharpened vibrator. Shayne is determined to save China Blue from herself, even if that ultimately means she will have to die. As the trap closes around Joanna Crane, she is forced through a series of violent and tragic encounters to confront how terrifyingly unstable her hidden identity has become, not realising that Grady has been assigned to follow her, nor that Shayne is watching her every move and preparing to deliver the last rites.

I’ve got a confession to make. When Crimes of Passion was released in 1984, I was obsessed by it. Although ‘The Devils’ is certainly Ken Russell’s finest film, ‘Crimes of Passion’ is arguably his masterpiece, and Arrow’s new Blu-ray presentation is by leaps and bounds the best it has ever looked and sounded – it wasn’t even this good on the big screen. True, Barry Sandler’s screenplay doesn’t quite match Russell’s finesse behind the camera – there are one or two clunky dialogue scenes, most notably during a group therapy session at the start of the film which really exposes Sandler’s flaws as a writer and Laughlin’s limitations as an actor – but it’s Turner and Perkins who steal this show. Turner, who had recently been catapulted into the Hollywood A-List courtesy of Lawrence Kasdan’s phenomenal ‘Body Heat’ and the fantastic ‘Romancing the Stone’, gives a bravura performance as Joanna Crane / China Blue. She is sexy, funny, seemingly without inhibition, and the film catches fire whenever she appears. Similarly, Perkins is so maniacally over-the-top in his role as Peter Shayne that it’s easy to forget his more famous turn as Psycho’s Norman Bates – this is brilliant, hypnotising acting, and when Turner and Perkins are onscreen together, skewered by the intensity of Russell’s vision, the result is powerful cinematic genius. Crimes of Passion isn’t a film you passively watch, it’s a juggernaut you experience. And like it or loathe it, you’ll never forget it.

Arrow have really gone to town with this Blu-ray. We get both the Unrated and Director’s Cuts of the film (the DC is best), the notorious audio commentary Russell and Sandler originally recorded for the 1996 laserdisc, and new interviews with Sandler and composer Rick Wakeman, who provided the film’s outrageous musical score. There’s even a trailer, a music video and a very informative booklet that includes some interesting messages passed between Russell and his leading lady.

‘It’s a Lovely Life’, so miss this at your peril.

CRIMES OF PASSION / CERT: 18 / DIRECTOR: KEN RUSSELL / SCREENPLAY: DICK BUSH / STARRING: CATHLEEN TURNER, ANTHONY PERKINS, JOHN LAUGHLIN / RELEASE DATE: OUT NOW
 

Sometime in the future, and 100 years after the Titans attacked and nearly wiped out humanity, the remaining fragments of the human population are protected from them by huge walls.

Life goes on in the shadow of the Titans, and Eren (Haruma Miura) is a free-spirited soul who wants adventure rather than a regular job. Outside Monzen, a busy little town, he meets up with his friends Armin (Kanata Hongo) who has aspirations to be an inventor, and his love interest Mikasa (Kiko Mizuhara). Eren, standing on the rusting hulk of what he calls a ‘bomb’ that is a leftover from the war, persuades his friends to come with him to see what lies beyond the inner wall.

Just as they are captured by an army unit guarding the wall, a colossal Titan sticks their head above the wall and starts smashing it down allowing smaller Titans to escape. The army unit is told to remember their drills and not panic. Breaking the tension, one soldier stupidly declares that they haven’t got permission to use gunpowder! Preferring to fight back rather than stick to the rules, they fire their ancient cannons at the huge, lumbering Titans. The cannons are as useless as the need for a gunpowder permit; the Titans have the ability to regenerate unless the nape of their neck is slashed.

The lucky soldiers quickly retreat, whilst the unlucky ones are grabbed and snacked upon by the hungry Titans. Reaching the village of Monzen, the Titans greedily feast upon the helpless population.

This sets the action up for two years later, when the population is forced by starvation to fight back against their gigantic foes. The plan is to fill in the hole in the wall with their remaining explosives, but things soon go astray…In the process, Armin and Eren are reunited and we get to know what happened to Mikasa, who looked as if she faced certain death in Monzen.

This 2015 film is loosely based on the Manga comic and TV series, but it does stand-up on its own right. As such it is an epic story filled visions of the giant naked, sex-less, ugly, deformed Titan humanoids who could easily have escaped from a painting by Hieronymus Bosch.

There is a combination of CGI that is very impressive along with creaky special effects that make the Titans look like they’ve been clumsily overlaid into the action, which adds to their unreal nightmare-like quality.

The whole thing is an absurd, bloody, action-packed adventure yarn that has a sprinkling of humour, mixed with some strangely emotive and gory scenes like the attack on a little church where hundreds of people are trapped and feasted upon. If you like the sight of blood this is for you.

ATTACK ON TITAN / CERT: 15 / DIRECTOR: SHINJI HIGUCHI / SCREENPLAY: YUSUKE WATANABE, TOMOHIRO MACHIYAMA / STARRING: HARUMA MIURA, KIKO MIZUHARA, KANATA HONGO, HIROKI HASEGAWA / RELEASE DATE: OUT NOW
 

Frank Johnson (Ross Elliott) is just an ordinary man walking his dog at night on the streets of San Francisco when he witnesses a murder. When he realises he will have to come under police protection to bring the murderer to justice, he quickly disappears from the crime scene.

At this stage you’d expect to see the murderer and his gangster friends competing with the police to track him down, but instead the film turns to the man’s domestic situation. Police Inspector Ferris (Robert Keith) finds that Frank’s wife, Eleanor (Ann Sheridan) is totally disinterested. She doesn’t know who his friends are, or where he goes, or what he does, her refrain is “how would I know?”. There are not even any pictures of him; they have simply shared a home after four years of marriage. The only leads are that he is an artist, and as revealed by their kitchen shelves that are only full of tins of dog food, she acknowledges “I’m lazy, we eat out.”

Eleanor takes it on herself to find her husband, in both a literal and metaphorical manner. Shadowed by the police and befriended by Dan Legget (Dennis O’Keefe) a persistent newspaper reporter, Eleanor is shocked to discover that Frank has a critical heart condition – a physical condition that symbolically reflects the fact that he still loves his wife.

At the department store where Frank works as a window dresser, his colleague Mr Maibus (John Qualen) enthusiastically extolls the virtues of Frank and admires how adventurous he is and admits “He makes my life exciting”. In addition, the mannequins in the shop window made by Frank show the many faces and moods of Eleanor. Eleanor never thought Frank continued to have such deep feelings for her, and a cryptic letter left by him helps her to eventually re-discover the man she first met.

The cinematography by Hal Mohr wonderfully captures the bustling working class districts of San Francisco by day and night (often in real locations), and Norman Foster directs with as much verve as Hitchcock, especially in the final scene in the amusement park. (indeed, Hitchcock also uses San Francisco as a city that symbolises the inner turmoil of the main characters in Vertigo.) The amusement park is a visual feast that feeds on the deeper meaning that life is a roller coaster where pleasure, pain and death jostle with your senses.

The title should be Man on the Run, but you can argue that Eleanor was a woman on the run from her own feelings from Frank. Ann Sheridan co-produced and invested in this project in an attempt to establish a more serious screen persona. Unfortunately, it wasn’t very well promoted on its release in 1950, and it is only in recent years that it has been rightly re-evaluated as a Film Noir gem.

The DVD includes several extras, including a commentary by historian Eddie Muller, stills gallery, Locations: Then and Now, Woman on the Run: Revisited, Restoring Woman on the Run.

WOMAN ON THE RUN / CERT: PG / DIRECTOR: NORMAN FOSTER  / SCREENPLAY: ALAN CAMPBELL, NORMAN FOSTER / STARRING: ANN SHERIDAN, DENNIS O’KEEFE, ROBERT KEITH, ROSS ELLIOTT,  /  RELEASE DATE: OUT NOW
 

In 1974, exploitation filmmaker Jack Hill was on a roll. With The Big Doll House in 1970, the Tarantino-inspiring auteur began a successful four-year run that included The Big Bird Cage and Foxy Brown. That run ended all too quickly in 1975, with Hill having virtually retired by the end of the decade, but prior to that he released arguably the film that most signifies his personal vision.

An unusually dark comedy/drama, The Swinging Cheerleaders is a film that selects the choicest clichés from the exploitation buffet and combines them with a flourish to produce a film that is inherently fun while still striving to satisfy the feminist agenda so symptomatic of Hill’s better films. How much it succeeds at the latter is open to interpretation, but undoubtedly this is not a film quite as subversive as some from the era.

In order to write an exposé of their world, Kate (Jo Johnston) poses as a cheerleader for the college football team. As she investigates, she discovers a corrupted betting ring run by the school principle while embarking on an affair with the star quarterback.

At its core, The Swinging Cheerleaders is everything you would expect from a 1970s exploitation film, and more-so from Hill. There is plenty of sex and nudity, with sporadic bouts of violence and overly dramatic campness, but there are some notable differences. The strong female characters that populate Hill’s films are here, but in this instance initially principled heroine Kate quickly moves on from the studious journalist boyfriend to the hunky jock without so much as an ironic nod to camera. Said journalist then turns into the misogynist of the piece when he drugs the “innocent” virgin cheerleader and casually invites some friends over for a gangbang. Instead of being shocking, Hill’s film comes across as simply good fun, with the good guys, and gals, getting the best of the bad guys in the end. The gangbanger gets a good slap, the gangbangee falls back into the arms of her true love, and the betting ring all get their comeuppance. A little bit of darkness, but everything turns out fine.

By modern standards, much of what happens in The Swinging Cheerleaders may seem surprising, but that is in essence the point of an exploitation film. These are films of a time, films that tap into the extreme trends of the period and push the boundaries of taste through lurid, and often offensive content. Approached in the right frame of mind, though, there is great fun to be had and Jack Hill is one of the greatest exponents of the genre.

Special Features: Audio commentary with Jack Hill / Interviews / Q&A / TV spots

THE SWINGING CHEERLEADERS / CERT: 18 / DIRECTOR: JACK HILL / SCREENPLAY: JACK HILL, DAVID KIDD / STARRING: JO JOHNSTON, CHERYL SMITH, COLLEEN CAMP, ROSANNE KATON, RON HAJAK / RELEASE DATE: OUT NOW

After the death of Joseph Stalin, Nikita Khrushchev launched a process of de-Stalinization that became known as the Khrushchev Thaw. One of its artistic consequences was a series of war movies that eschewed the glorification of the Soviet victory and instead focussed on the consequences of the war for ordinary people. The Soviet Union lost somewhere in the region of 27 million people so there were plenty of stories to tell. It was at this time that a young Andrei Tarkovsky made his directorial debut. You know him for metaphysical sci-fi head-scratchers like Solaris (1972) and Stalker (1979), but Ivan’s Childhood was a commercially successful start to an illustrious career. This reviewer first saw it 30 years ago and it has stuck with him ever since.

Ivan (Kolya Burlyayev) is a 12-year old boy whose parents have been killed by the Germans. But Ivan is now part of the military and used for reconnaissance missions by Lt. Col. Gryaznov (N. Grinko). He’s small and the Germans aren’t looking for a child so it’s relatively easy for him to slip behind enemy lines. But that’s not to say he isn’t continually in grave danger. For all its brilliance, Ivan’s Childhood is not an easy watch.

The first thing you notice is that this so much more brutal than a Western war movie of the same era. We are repeatedly shown in surprising detail the bodies of two Russian soldiers who were caught by the (rarely seen) Germans while on reconnaissance and now hang together on the frontline with a sign round their neck reading “Welcome”. Not something that was ever likely to appear in The Longest Day (1962) or 633 Squadron (1963). But there’s also the horrifying fact that the central character is a child who is in danger not just because he is in a warzone but because he’s a combatant and the grown-ups put him there. To a Russian audience who’d only ever seen war movies that were Soviet propaganda, this must have been uneasy viewing. But is Ivan even still a child? He seems one in his dream sequences with his mother, but now he’s obsessed with his mission and getting his information back to HQ. When Gryaznov tries to get him out of the frontline to a military school, Ivan resists: he’s got work to do. The soldiers around him have become his surrogate family and they try to treat him as a child but ultimately they don’t know how to handle him as they ferry him across the marshes on another mission.

It’s a Tarkovsky movie and they’re never for the fainthearted.  Expect some A-level film studies moments with long tracking shots and things appearing unexpectedly in the foreground, not to mention framing that never fails to unsettle. There’s even a documentary on the metaphysics of it all just in case we haven’t already put you off. Nevertheless, this a classic piece of Russian cinema that will stay with you right up to the horrific, unseen ending.

Special Features: Selected scene commentary with Film Psychoanalyst Mary Wild / Interviews / 36-page booklet

IVAN’S CHILDHOOD (1962) / CERT: PG / DIRECTOR: ANDREI TARKOVSKY / SCREENPLAY: VLADIMIR BOGOMOLOV, MIKHAIL PAPAVA / STARRING: KOLYA BURLYAYEV, V. ZUBKOV, YE. ZHARIKOV, S. KRYLOV, N. GRINKO / RELEASE DATE: OUT NOW