Review Category: DVD/Blu Ray

BILL MORRISON: SELECTED FILMS 1996-2014

In the truest sense of the term, Bill Morrison makes found footage films. Utilising snippets of often ignored and tragically forgotten archival film stock, he has created a filmography of more than thirty pieces of work over a career spanning twenty years. Some of his films are as short as six minutes; others expanded to full feature-length, but more than anything else they are always striking.

This compilation includes some of the most noted and varied of Morrison’s works, with each film clearly demonstrating the filmmaker’s vision and style. The haunting Ghost Trip is one of the most conventional of those included, with new footage blended with archival as Morrison explores the macabre with a black-clad cowboy, who may or may not be dead, travelling in a hearse across America. Spark of Being is the filmmaker’s classical drama, presenting a version of the Frankenstein legend in this unique format. Set against a soundtrack created by musician Dave Douglas from similarly archived music samples mixed with new pieces written for the trumpet this is an intriguing film, with Morrison’s montage retaining much of the essence and atmosphere of this well-known story.

Considered by many to be Morrison’s masterpiece, Decasia is constructed from the same source of archive footage, but with the added strangeness that the sections of film are all severely distressed; some to the point of obscuring the footage completely. With an aggressive score from Michael Gordon, Decasia is a difficult film to truly enjoy and is perhaps one that requires a certain mindset to view.

Bill Morrison is an artist who has chosen film as his medium. The fact that much of his work has been “exhibited” in museums and art galleries (with many having commissioned specific pieces) as much as screened in cinemas is perhaps telling. There is a sense of being educated through the viewing of his work, similar perhaps to sitting through a lecture delivered by an expert in a given field; you know it’s doing you good, it’s just hard to really enjoy it.

Although not definitive this collection does offer an insight with Morrison’s most interesting pieces (included are 17 films over 3 discs). He is a pioneering and innovative filmmaker and his films deserve to be seen by a wider audience. The truth is though, that like other revered forms of art such as jazz or cubist paintings; it just won’t be for everyone.

Extras: Bill Morrison: The Film Archaeologist / Extensive Illustrated Booklet

INFO: CERT: E / DIRECTOR: BILL MORRISON / SCREENPLAY: BILL MORRISON / RELEASE DATE: MAY 4TH

 WHAT’S LEFT OF US

What you take from watching Christoph Behl’s zombie film What’s Left of Us will in many ways be determined by what you bring to it. Approaching this starkly realised vision of a dystopian future with any number of preconceptions determined by the bloated history of zombie films may render the experience frustratingly melancholic. Approaching Behl’s film with an open mind, one ready to absorb a troublingly believable depiction of claustrophobic tension will be offered something entirely different. This is a film that challenges the viewer to engage with characters in a situation horrifyingly understandable.

Ana (Almeida), her apparent boyfriend Jonathan (Prociuk) and their friend Axel (Delgado) are holed up in a barricaded apartment following a zombie holocaust, one that they presume has wiped out the rest of mankind. With dwindling supplies supplemented by occasional, necessary excursions outside, and unavoidably living in extremely close proximity, tensions inevitably begin to rise. The capture of a zombie and his subsequent presence causes further rifts in the friendship as the situation becomes increasingly untenable.

Behl’s greatest achievement has been in placing the viewer right in the apartment with his trio of survivors, with the camera unflinching in its invasiveness as it observes their daily routine. At times it takes the viewpoint of one of the group, encouraging you to imagine what they are thinking, lending discomfort and reluctant judgement to the scene. At other times the camera seems to sit dispassionately in the corner, watching with cold voyeurism as tense interaction replaces the group’s initial collective strength.

The performances themselves are spellbinding, creating the deep empathy required to appreciate the characters’ situation while still struggling to fully understand their motives. Each has their own burden to bear, but their strained love for each other, which takes different, at times violent, forms over the duration of the film, binds them together into a dysfunctional family unit.

The characters’ steady decline as they stumble along not knowing what the future may hold reflects the decay that is central to Behl’s narrative. Their closeted world is crumbling around them and the need for stimulation leads to the capture of a zombie, whose seeming indestructibility becomes central to their plight. This then brings us back to the initial point; interpretation. There are many elements to consider; ambiguous characters, the constant drinking, annoying, persistent flies, and potentially damaging secrets with honesty only possible through the recording of video diaries. Like a fragmented stage play, everything plays out in this most restrictive of settings until the pressure inevitably needs a release. Reflecting all this perfectly is a soundtrack that feels like a constant buzzing, as if the flies themselves have settled in your ears, and which further enhances the unsettling atmosphere.

What’s Left of Us is not a perfect film, but it contains many of the hallmarks of being one. Just as many viewers will dislike Behl’s vision as engage with it, although the film’s impact is undeniable. What Behl has done is produce a debut feature that doesn’t set out to please everyone, and one that refuses to offer answers to the questions it raises. Ultimately that’s down to the viewer. All the pieces are present; how you put them together is up to you.

Special Features: None

INFO: CERT: 15 / DIRECTOR: CHRISTOPH BEHL / SCREENPLAY: CHRISTOPH BEHL / STARRING: VICTORIA ALMEIDA, WILLIAM PROCIUK, LAUTARO DELGADO, LUCAS LAGRE / RELEASE DATE: OUT NOW

  

DVD REVIEW: AMERICAN RESCUE SQUAD / CERT: TBC / DIRECTOR: ELLIOT DIVINEY / SCREENPLAY: ELLIOT DIVINEY, ADAM DIVINEY / STARRING:  TONY D. CZECH, DOUGLAS SIDNEY, KARIANN CHRISTENSEN, JIMMY KEEBS, ANIKA REITMAN / RELEASE DATE: TBC (UK), MAY 19TH (US)

Armed with an intriguing concept but a plot that isn’t nearly as tight as the costumes worn by these superheroes, American Rescue Squad is a superhero comedy/musical whose laughs are a tad short and whose songs could do with a speck of polish.

The most giggle-worthy aspect of the film is the idea behind it – it involves a plucky janitor, Richard Randolf, seeking the help of two retired superheroes, Common Sense and Personal Responsibility, when The Taxypayer is kidnapped by The Alliance, a merciless group of villains who torture The Taxpayer for all the wrongs he has done unto them. With the help of Birth Control, Randolf, Common Sense and Personal Responsibility must stop The Alliance, consisting of The Hot Chick, The Immigrant, The Freeloader, and The Bible Thumper led by corrupt politician Dick Panzy, from taking over the world via a public rally.

Even with its Seth McFarlane-esque superhero names, American Rescue Squad can’t quite take to the skies. There’s a distinct lack of spark about the film, almost as if the script is so bored with itself that it stretches the film’s 90-odd-minute length to what feels longer. It’s not totally without redeeming features though – the songs, whilst lacking any genuine hook to make you hum them once the film has ended, are awkwardly fun, and Tony D. Czech plays the affable janitor Randolf to a pleasant degree. However, when there’s a plethora of heroes and villains who take up all of the action, it feels somewhat odd that the best character should be the one without any powers.

Being a parody, it’s understandable then that not everything in American Rescue Squad has a typically ‘super’ feel to its more superhero moments. However, one can’t help but feel that, despite its indie credentials, American Rescue Squad could benefit from some stronger visual punches to help move things along.

The concept remains the most intriguing element of the film, and when asked if American Rescue Squad’s hot, impetuous and topical themes work with its indie production values, one has to answer with a stiff, indecisive ‘yes’. Its own klutzy marriage of being a superhero parody film with some musical numbers thrown in and a bawdy take on the state of the contemporary economy is bound to entice viewers, but may leave a skewed aftertaste when watching.

American Rescue Squad still has a lovely dollop of indie charm to it, but nearly everyone involved seems to be disinterested by the whole affair. The film’s script feels unnecessarily stretched, which is a shame because there’s nothing exactly wrong with the film’s story. The fault perhaps lies in the execution, the feeling of many moments being awkwardly handled in direction and performance. American Rescue Squad has an endearing message behind it, but placed in a superhero set-up, the concept becomes overly brash and the superhero take on the film’s themes feel dull and underused. A shame, but a shame with some degree of fun.

Special Features: TBC
 

DVD REVIEW: SANKAREA: UNDYING LOVE / CERT: 15 / DIRECTOR: MAMORU HATAKEYAMA / SCREENPLAY: NOBORU TAKAGI / STARRING: TIA BALLARD, AARON DISMUKE, JAMIE MARCHI, MIKE MCFARLAND, FELECIA ANGELLE / RELEASE DATE: OUT NOW

Sankarea: Undying Love is an unconventional coming of age story that poses as a high school romantic comedy but ends up being so much more. Released in its uncut, uncensored format with all the ecchi elements, it would have been a far stronger show without the fan service.

Based on Mitsuru Hattori’s brilliantly written manga, the story follows high school student and zombie otaku Chihiro Furuya. He’s an engaging character who’s strikingly different to the usual archetypal protagonist; he’s selfish while simultaneously endearing; charming but other times goofy. Zombie obsessed since childhood, Furuya bides his time watching zombie movies and magazines, and fantasising about a living dead lover, much to the chagrin of his cousin, whom has loved him since they met as kids.

Series opener Once I… Become… a Zombie gets the audience on Furuya’s side when his pet cat Babu is hit by a car. In his subsequent depression, he decides to bring the moggy back from the dead, using an old manuscript. In the long process of bringing Babu back from beyond, Furaya befriends Rea, the privileged daughter of an abusive father. She swipes some of the resurrection potion and, after being severely punished by her dad, drinks it to kill herself. Instead of killing her outright, it brings her back from the dead when she falls from a cliff and tears her stomach open. Rea is a complex character, striving for a normal life, one away from her father’s abuse and money. She soon finds life as a zombie liberating, while Furuya starts taking responsibility and becomes a deeper, more mature character in the process.

The show even gives many of its lesser characters plenty of room to shine, especially Furuya’s 12-year-old sister Mero in episode 9, Mother’s… Hand…, with a charming side story that could have been a separate series in its own right. Included is one of the three OVA’s, which is narrated from Babu’s point of view, telling of life as a zombie. It’s an enjoyable addition, but mostly a retrospect of the 12-episode story arc that came before.

Sankarea is a bold and often confrontational story that’s wrapped up in the obsession of adolescence, where everything is black and white and at extremes. It really captures teenagers in a believable, relatable way. The animation is vividly rendered, with an art direction and soundtrack that, at its strongest, could rival even the Monogatari series in style, ambition and flair.

Special Features: Audio commentary / Openings / Trailer

 

DVD REVIEW: THE SLEEPING ROOM / DIRECTOR: JOHN SHACKLETON / SCREENPLAY: ALEX CHANDON, ROSS JAMESSON, JOHN SHACKLETON / STARRING: JULIE GRAHAM, LEILA MIMMACK, JOSEPH BEATTIE, CHRISTOPHER ADAMSON, DAVID SIBLEY, CHRIS WALKER / RELEASED: OUT NOW (VOD/DOWNLOAD), MAY 11TH (DVD)

Well this one describes itself as “a psychological gothic tale of Victorian revenge” so it got itself to a good start in our books. However, it’s almost entirely set in present day Brighton so slightly disappointing on that front if you like your scares Victorian. Mind you, it’s director John Shackleton’s first feature film and was entirely financed by equity crowd-funding so we’re going to have to judge it on that basis; sumptuous period settings and crowd-funding don’t tend to be natural bedfellows.

Blue (Mimmack) is a Brighton-based call girl who goes on a professional visit to an old building that Bill (Beattie) is trying to restore. But it turns out Bill isn’t really feeling up to anything that would normally require the services of a call girl and just wants her company. There’s a mutoscope (you know, those mechanical Victorian things with a flipbook inside) with a disturbing little story in it and a secret room with a two way mirror. Turns out that some rather unpleasant things have gone on here and they’re connected to the present day.

Actually, for what it is, The Sleeping Room isn’t bad at all. There are some good performances and it works quite nicely within the obvious constraints of the budget. Even the music and cinematography are surprisingly effective. However, there are problems. The idea of an antique “snuff movie” on the mutoscope is brilliant and it really ought to be a scary moment when we get to see it. But actually, it just looks a little bit silly despite the sack-hooded villain (sacks are the industry-standard low-budget indicator of mysterious villainy) being played by the not-so-low-rent Christopher Adamson (who is actually rather good in it). In fact, one of the major problems is that while the movie’s premise should mean that it’s scary as you like, it just isn’t. Not really a scare to be had in the whole thing and it’s nowhere near as tense as it would like to believe that it is.

But for all that, it’s still engaging and reasonably entertaining. This kind of indie filmmaking is something you have to love and we have no hesitation in recommending this to anyone.

Special Features: None
 

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DVD/VOD REVIEW: WORLD WAR DEAD: RISE OF THE FALLEN / CERT: 18 / DIRECTOR: FREDDIE HUTTON-MILLS, BART RUSPOLI / SCREENPLAY: FREDDIE HUTTON-MILLS, BART RUSPOLI / STARRING: RAY PANTHAKI, WENDY GLENN, KACEY BARNFIELD / RELEASE DATE: MAY 4TH

If you’re thinking of filmmaking in the post-George A. Romero territory latterly popularised by 28 Days Later and currently occupied by The Walking Dead, you’d better be sure of your material. There’s no point trying to compete unless your idea is strong and your product is sturdy. World War Dead (tagged with the oddly clunky, Transformers-esque subtitle Rise of the Fallen) has an interesting premise but squanders any goodwill before it’s even out of the trenches.

A documentary team revisit the Somme a hundred years after the infamous conflict, ostensibly to chronicle some of the more mysterious events surrounding the battle. The unearthing of the body of a German soldier, apparently with occult leanings, raises an army of the undead to which the filmmakers fall prey one by one. There’s little in the way of an actual plot (the undead appear to revive due to the discovery of a token, rather than any ceremony or ritual – and somewhat confusingly first appear before the artefact itself is discovered), and any attempt to colour in backgrounds for the actors renders them either disagreeable or just bland. The story itself, which ought to have used the Great War backdrop far better, feels much too slight to engage on any level. The entire production generates little in the way of plausibility, either about the documentary makers or what they are documenting. By the time the killing starts, you really don’t care.

Having failed to engender any sympathy for the victims, it falls to the carnage to inspire some interest. Sadly, World War Dead (whose name appears to have been inspired by an anglicised pronunciation of World War Z) largely fails in this too, with most of the zombie attacks taking the form of a dropped camera accompanied by a burst of noise; the music acts as an ever-present discomfort blanket interrupted only by glitches in the film. That’s right, World War Dead is another found footage movie. But the excuses for having cameras running at odd times mark the first third of the film improbable (although at least this attempts to create some intimacy between the cast, who otherwise struggle with the dual levels of acting required), and this might all have worked rather better had the found footage angle been dropped.

World War Dead’s one saving grace, in spite of the documentary angle, is its cinematography. It looks absolutely stunning, especially in the daylight sequences that bookend the film, and the visuals are almost enough to make it worth seeing. Unfortunately, a lack of empathy for the characters makes you wish the directors had spent more time working with the actors and less with the lenses. An interesting idea, but a wasted opportunity.

Special Features: TBC
 

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Find your local STARBURST stockist HERE, or buy direct from us HERE. For our digital edition (available to read on your iOS, Android, Amazon, Windows 8, Samsung and/or Huawei device – all for just £1.99), visit MAGZTER DIGITAL NEWSSTAND.

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DVD REVIEW: CURSE OF THE WITCHING TREE / CERT: 15 / DIRECTOR: JAMES CROW / SCREENPLAY: JAMES CROW / STARRING: SARAH ROSE DENTON, LUCY CLARVIS, LAWRENCE WELLER, JON CAMPLING, CAROLINE BOULTON / RELEASE DATE: MAY 18TH

Following a fireside backstory delivered by medieval children who explain the witching tree, as well as detailing a few pleasantries concerning the treatment of those accused of witchcraft, James Crow’s film jumps 500 years to the present day. Amber (Denton) is struggling to hold her family together as her husband lies in hospital, comatose following a recent accident. College student Emma (Clarvis) is busy being rebellious while the younger Jake (Weller) has attracted the attention of the local bullies. Moving to a new home, an old working farm that Amber and her husband had hoped would unite the family, brings further problems as they all begin to experience strange visions and eventually the macabre history of the property literally comes back to haunt them.

There are many familiar elements to Curse of the Witching Tree, but Crow blends them with style and unfussy simplicity. Budgetary restrictions have removed any temptation towards superfluous flourishes but Crow has embraced this, manipulated the tools at his disposal, and created a finished film that is stark, bleak and genuinely chilling at times. The discomfort to be found in observing the slow collapse of the family unit contrasts with the carefully constructed, unavoidable feeling of dread that comes from experiencing the growing terror of the situation alongside their increasing desperation.

Central to this are the performances of Clarvis and Weller, who provide much of this emotional imbalance. Clarvis, an unsympathetic character in the beginning due to the attitude she adopts primarily toward her mother, develops into the one character prepared to acknowledge and try to prevent what is happening to her family. Weller delivers a performance that, simply put, is captivating. The torment his character experiences is fearfully convincing, without ever slipping into unnecessary histrionics or hammy indulgence. It is to his immense credit, and that of his director, that even while suffering from such persecuting visions the performance still feels believable and underplayed.

Outright scares are kept to a minimum with Crow preferring to unsettle his audience, although there is one scene in particular where this isn’t the case. For reasons that never fully feel justified the camera follows Emma taking a bath, with extremely unpleasant consequences, and while this does serve to emphasise the terror she is experiencing it feels a little blunt and unnecessary. Crow develops enough ongoing tension without the need for obvious horror tropes and while effective in many ways this still feels like a scene from a different film. Apart from one curiously dubbed exchange is really the only black mark.

The tense atmosphere is aided by a soundtrack that is as unpredictable and unsettling as the action on screen. Mixing soft piano with ethereal pan pipes and industrial, more traditional horror sounds there is rarely a moment to relax. As for Crow himself, who takes on writing, production, editing and shooting duties as well as sitting in the main chair itself, this is an impressive debut with a style reminiscent of that from the 1970’s. Clearly keen to establish himself as an auteur, Curse Of The Witching Tree displays a clear understanding of the horror genre while demonstrating an ability to bring a recognisable yet different approach to the age old theme of witchcraft.

It is reassuring that there are brave, interesting British writers and directors working in horror when so much of the genre is dominated by American productions keen to follow the successful Blumhouse model. British horror though retains a thoughtfulness; a different, more considered approach that while neither better nor worse necessarily, has perhaps been lacking in recent years. With Crow, and other directors such as Peter Handford who recently made the impressive Heretic, the future would appear to be in very good hands.

DVD REVIEW: HOMECOMING / CERT: 18 / DIRECTOR: TODD KNISS / SCREENPLAY: TODD KNISS / STARRING: JORDAN BELFI, JERIDAN FRYE, FEMI EMIOLA, BO FOXWORTH, KELLI NORDHUS, KELCI B. LOWRY / RELEASE DATE: OUT NOW

After the passing of her grandma, Katie revisits her home town. Childhood memories are unearthed when she stays in her grandma’s house, a place she and her friends practically grew up in. Katie calls up her old friends for a gathering there. With the gang back together, horrific secrets are revealed when they decide to play a game of truth. Not any kind of truth game, as they use the power of hypnosis and, soon after, grisly events ensue.

A cross between a slasher and psychological thriller, the film flicks between the present and the ominous past. Todd Kniss has managed to follow the basic formula of a psychological horror, however you can see the flaws very clearly; it has a very slow start as it introduces half a dozen characters to the plot. This isn’t helped by the performances and dialogue, which is slow and unnatural, and is a disappointment as the story is very invested in character development. As the plot gradually progresses, it’s difficult to endure; it doesn’t really build up much tension for the events which take place in the final forty-five minutes, where the pace picks up.

It’s very common for low budget films to have great ideas and original plots, but on the other hand the execution may not be absolute. Of course, the obvious excuse for this would be the lack of budget. Unfortunately for Homecoming, budget doesn’t seem to be the factor in its weaknesses. Although the idea isn’t completely original, it is interesting how they use memory as the main plot twist. The characters are very one dimensional, and it’s difficult to relate to any of them when it attempts to focus on multiple character arcs. The characters soon become very stereotypical and the dialogue feels like it’s coming from one of those “true movies”. Then there’s the music, which switches so dramatically that it takes you away from the characters and story instantly. Light-hearted violins with a middle earth fantasy vibe means that this doesn’t quite fit into horror, even if the scene is supposed to be more serene.

There are some interesting, stylised shots yet but they don’t remain consistent with the rough editing. There is too much fading in and out between shots, which changes the pace too much. The flashbacks are also inconsistent in style and colour palette, assuming this is for the characters’ individual memories, but it does make the whole style jarring and unpolished. It seems like the whole film is trying to be emotional, funny, dramatic and scary all at once. We’re not saying that this cannot be done, however the film is obviously trying too hard even if you can appreciate the effort. Quite simply, this film appears to be overexerted, causing it to be more than just a little drab.
 

DVD REVIEW: I AM BIG BIRD: THE CAROLL SPINNEY STORY / CERT: 12A / DIRECTOR: DAVE LAMATTINA, CHAD N. WALKER / SCREENPLAY: DAVE LAMATTINA / STARRING: CAROLL SPINNEY, JIM HENSON, FRANK OZ, SONIA MANZANO / RELEASE DATE: JUNE 1ST

It’s probably a safe bet that most people know who Big Bird is (despite Sesame Street never really being aired in the UK) and it’s also probably a safe bet that most people would assume that a lot of different performers have been inside the costume since Sesame Street began in 1969. But most people would be wrong. And that is the incredible story of Caroll Spinney, the man who is Big Bird.

It would be easy to dismiss I Am Big Bird as just another Sesame Street documentary following in the footsteps of Being Elmo. It’s a fair point. How many “behind the puppet” documentaries does the world need? Well, if they’re all up to the standards of I Am Big Bird (and Elmo before it) then I’d happily watch one for every character on the Sesame Street roster.

Spinney’s story is a genuinely moving and sweet one (as you’d probably expect from this sort of film) but it also isn’t afraid to talk about the darker aspects of Spinney’s life. The film charts Spinney’s early life and work, before being brought in by Henson to bring both Big Bird and Oscar the Grouch to life, and the 45 years since he started playing the characters.

Like most people, I genuinely knew nothing about Spinney and I think, for me, that the documentary (which was partially funded by the fans) played better for it. That’s not to say that those who know about Spinney and his life will get less from it. Hearing the man himself – and those who know him – talk candidly about the highs and lows is genuinely engaging stuff; moving, inspiring and funny.

Special Features: None

BLU-RAY REVIEW: SWEET SMELL OF SUCCESS / CERT: PG / DIRECTOR: ALEXANDER MACKENDRICK / SCREENPLAY: CLIFFORD ODETS, ERNEST LEHMAN, ALEXANDER MACKENDRICK / STARRING: BURT LANCASTER, TONY CURTIS, SUSAN HARRISON, MARTIN MILNER / RELEASE DATE: OUT NOW

Shot in the cold urban streets of Midtown Manhattan, Sweet Smell of Success carries all the devices of a cold and smoky film noir. It’s not as gritty or thrilling as some crime noir films but it has an edge which will lure you in, and just when this era of style was dwindling, Alexander Mackendrick brought this melodrama to the big screen in 1957. It was not greatly received at that time, but today it holds a lot of acclaim for its cracking performances and witty screenplay. Now it’s being released on Blu-ray by Arrow Video and it’s beauty is as sharp as ever.

Sweet Smell of Success sees Burt Lancaster as J.J Hunsecker, a very influential newspaper columnist who abuses his power by using his connections to destroy his sister’s relationship with a man he deems unworthy. Tony Curtis plays the sleazy press agent, Sidney Falco, who will do whatever it takes to weasel his way up in the ranks. It’s a man’s world, and they call all the shots, with the femme fatale (Susan Harrison) being the central point in this plot. It’s corruption and self-destruction at its best, and there’s also a brilliant performance from Emile Mayer as the sinister cop whose laughter will send chills down your spine. One notable about Mackendrick’s film is that both Burt Lancaster and Tony Curtis portrayed antagonists for the first time in their careers. Their social mannerisms are perfect for the shady characters that they are and they fit in perfectly in this cold and calculating story with interesting consequences.

This film says a lot for its cultural and historical prestige. Power, hierarchy and the perception of women are all significant themes throughout this film. Susan is portrayed as a weak character who can’t stand up to her brother. Then she comes across hysterical, only to discover it was manipulation; her way of getting back at the men who tried to control her life. It was the one device that women could use when push to the limit and it’s an extremely interesting twist to the finale.

Cinematographer James Wong Howe creates such a strong aesthetic, managing to create cool, sleek monochrome shots which appear lavish and appealing. If nothing else, you should watch this for the cinematography, though the rich dialogue is something a film noir fan shouldn’t miss.

Special Features: Appreciation by Philip Kemp (Film Historian) / Selected scene commentary with Philip Kemp / Mackendrick – The Man Who Walked Away / Theatrical trailer / Collector’s booklet