Review Category: DVD/Blu Ray

QT8: THE FIRST EIGHT / CERT: 15 / DIRECTOR: TARA WOOD / STARRING: JENNIFER JASON LEIGH, SAMUEL L. JACKSON, KURT RUSSELL / RELEASE DATE: 16TH DECEMBER

“We are going to do one more take. Why? Because we love making movies!”

Quentin Tarantino is one of the most ground-breaking directors / writers of the last 30 years. Each film is unlike anything you’ve ever seen before and, as that addiction for giving intricate scope to every scene has been pushed even further over time, the more legendary his game-changing resume has rightfully become. By showcasing a slow-burner feeling that organically lures you into novel-like operas, he has a rulebreaking ethic that has supplied shock factor moments, fulfilling revenge conclusions and controversial ideas that others wouldn’t dare try to take on, all while enhancing the careers of many well-respected actors.

The attention to detail in this output is very high. For example, when any working associate arrives on screen to reflect on this voyage, we get neat Tarantino-themed graphics telling you exactly which instalment they’ve been a part of. Equally covering every film, you are bombarded with a varied and high calibre list of special guests that fondly reminisce on the current film in discussion. This is a refreshing asset, because documentaries can become stagnant when there are just a couple of guests throughout. Director Tara Wood seamlessly links all of this together by suitably cutting its length into chapters (a Tarantino trademark), with quirky animated scenes that explore overlooked memories of a rollercoaster past.

Putting a microscope on how this once video store employee now works with his close-knit actors and team to construct the absolute best result, you hear many delightful stories that give you a grand look at his general character and personality. Constantly brimming with trivia (did you know that Michael Madsen nearly played Vincent Vega in Pulp Fiction?), QT8 unveils how he uses real life environments, self-designed products (Red Apple Tobacco) and colourful practical effects to paint that otherworldly imagination. Tarantino’s complete obsession for cinema really does comes across.

When you collaborate with The Weinstein Company for a heavy amount of time, then unfortunately this release wasn’t going to get away without at least a little look at this part of his life. With a section narrated by the awesome Michael Madsen, we get a brief and careful evaluation of this diverse relationship.

With the huge respect that is felt from long-time colleagues (who would probably be described as family by the man in question) throughout, supported by emotional moments, this is a stacked presentation that by leaving you with a new-found insight will have you putting on your favourite Tarantino masterpiece as soon as the credits end. Stunningly describing his creative blueprints and infectious personality, QT8 hits the mark when it comes to showing off Tarantino’s special and highly influential career.

THE ANGRY BIRDS MOVIE 2 / CERT: U / DIRECTOR: THUROP VAN ORMAN, JOHN RICE / SCREENPLAY: PETER ACKERMAN, EYAL PODELL / STARRING: JASON SUDEIKIS, JOSH GAD, LESLIE JONES / RELEASE DATE: 2ND DECEMBER

When the first Angry Birds movie catapulted onto movie screens in 2016, it already felt about three years too late. That said, against the odds, Rovio managed to pull off the almost impossible by making an acceptably entertaining kids’ movie with a heart. Question is, could they possibly do it again?

Well, yes. Mostly. Angry Birds 2 pulls that tried and tested trope of throwing our protagonists and antagonists from the first film together to fight against a common cause. As a series of massive ice balls begin bombarding both Bird Island and Pig Island, they’re forced to join forces to find out what’s going on, and why. Joining them on the ride is Mighty Eagle… well, that is until he realises that its his jilted ex-fiance Zeta who has it in for him.

There’s more meat on this bird than you might expect, thanks to a clever reverse hero’s journey for Red and a welcome pro-girl element in to Chuck’s overlooked sister, Silver. And then there’s the Hatchlings who get their own side-plot that’s all filler, but fun and charming nonetheless.

A collection of seasonal shorts are included on the Blu-ray, capitalising on the appeal of the Hatchlings, exploiting Christmas, Easter, Mother’s and Father’s Day and even Take Your Kids to Work Day! A Mini Movie where Silver tries live streaming is also included, to relate to the kids of today. DIY Fun includes a live-action cooking show for Hangry Birds that shows you how to make popcorn, as well as Exploding Volcano and Pig Snot tuition. Bird Watching takes a trip to the LA Zoo to see Angry Birds’ inspiration (sure) while Meet the New Birds and Pigs gives you that expected behind the scenes look at the newer characters and the actors who voice them.

Hatching the Hatchlings delves into Angry Birds’ version of the Minions and how they tried to create them as both the cutest thing you’ve ever seen but also, at times, seemingly psychopathic. Flocking Together is an 11-minute ‘Making of’ that delves into the character design, and finishes with a lovely segment on how children should just keep drawing if they want to become animators. Finally, Happy ThanksPigging throws a random curveball towards the American holiday with a mixture of clips from the film and stock footage, and Jingle Birds forces two of the voice cast to collectively sing an Angry Birds version of the Christmas classic.

BOJACK HORSEMAN – SEASON 2 / CERT: 18 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: WILL ARNETT, AMY SEDARIS, ALISON BRIE / RELEASE DATE: 2ND DECEMBER

Season one ended on a rare upbeat note with our hero being offered his dream role as the title character in Secretariat, and season two of BoJack Horseman picks up right where we left off – Will Arnett’s BoJack is on set, filming the biopic. Unfortunately, everything else is also pretty much where we left off, and the various casualties of BoJack’s self-destructive chaos are still feeling the effects of their friendship with the actor.

This is, of course, what makes the show unique and, if you’ve stayed with it long enough to hit season two, you’re along for the rest of the ride. Season two takes BoJack into his past, with unresolved friendships and love affairs coming back to haunt the star; in typical BoJack style, he manages to both resolve and make things worse in just about every situation. When it comes to making things worse, the events of episode eleven take some beating, and they have ramifications for the rest of the series.

Princess Caroline has a new boyfriend – who may or may not be three small children wearing a big coat – and Todd opens his own branch of Disneyland, built with the help of some worker bees. This surreality, natural for a world where humans live side by side with the creations of Dr Moreau, is as integral to the show as the trigger warnings for depression, and where some shows may use it as a wacky “what will they think of next?” BoJack Horseman employs it to hilarious yet somehow measured effect.

The ensemble cast all get their stories furthered, with Diane and Mr Peanutbutter’s marriage hitting a rocky patch, and the voice acting is once more a treat; again, Amy Sedaris shines as Princess Caroline, but is given a run for her money by Aaron Paul’s Todd and Paul F Tompkins as Mr Peanutbutter, while Lisa Kudrow, Patton Oswalt, and especially Cedric Yarbrough (as Officer Meow-Meow) guest-star with aplomb.

The Manga Entertainment Blu-ray comes with little in the way of extras; just an animatic for the first episode, some character and background art galleries, and a short clip of the theme song being played live on a canal in Amsterdam. This is in stark contrast to the US release from Shout! Factory which – over the course of a 4-disc season one and two collection – comes with 25 audio commentaries from cast and crew.

With BoJack’s final season currently half-over on Netflix, going back to the show’s earlier episodes is a bittersweet journey. This is an A-grade show, and one that probably wouldn’t have survived its first season on network, or even cable, TV. Raphael Bob-Waksberg already has his first post-BoJack hit with Undone for Amazon, but the six seasons of his first show, with season two high in the list of best seasons, will always be tough to top. Make sure you always have the luxury of being able to look back, even if half the time you’re peeking out between your fingers through awkward horror.

CASTLE ROCK – SEASON 1 / CERT: 18 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: ANDRE HOLLAND, MELANIE LYNSKEY, BILL SKARSGARD / RELEASE DATE: OUT NOW

With J.J. Abrams and Stephen King producing, right away expectations are unsurprisingly high based on both of their many past outputs and award-winning contributions to storytelling. Castle Rock is a crumbling jigsaw that you don’t want to live in, and the creators have made it their mission to make you aware of this right from the outset. With its grainy, run down image, combined with the notion that there’s just a complete nightmare scenario waiting around every corner, it’s a show that loudly displays its horror warning signs.

Brought back to his hometown to represent a client known as The Kid (Bill Skarsgård), who was found imprisoned in an uncharted hatch in the deep dwellings of Shawshank Prison, death row attorney Henry Deaver (André Holland) is about to take a horrendous trip down memory lane. As the episodes go on and unbelievable revelations collide, we go deep into Henry’s past as he greets family, and old friends. Obviously, the historic Shawshank Prison being an epic one to start with and you will be surrounded by irresistible Stephen King Easter eggs that fans of his will feast on. Thankfully, Castle Rock doesn’t just rely on previous King achievements to hold its own, and with a slow brewing but well maintained story, it gets better with each episode. It becomes its own monster.

Once again having the darkest time at the bottom of a hatch (Lost fans can relate), Terry O’ Quinn is an ideal addition that must be mentioned. Dale Lacy is the first and maybe most definitive example of why this town is just pasted in terror. His narration and input throughout keep the show satisfyingly interlocked. Seeing an alternative freaky side to Bill Skarsgård is much welcomed. Known to most for his disturbed and next level take on Pennywise, he steps back into a comforting King atmosphere to deliver an unsettling performance.

Episode 7 is probably the most heartbreaking and memorable hour of the whole first series. As dementia-torn parent of Henry, Ruth Deaver (Sissy Spacek) takes us on an emotional look back through time, a crucial endeavour that’s full to the top with gripping acting work. By the end of it, you will feel like you actually live in Castle Rock.

There’s devil work at play in every part of Castle Rock, and we get a harsh and, at times, bloody look at it due to our lead Henry Deaver (André Holland). As he tries to piece together an annoyingly forgotten and haunting youth, life changing secrets simmer to the top and put him to the test. Not fully knowing everything about Henry is a simple but effective concept that André harnesses well, and his unpredictable delivery is right at home here.

Although the dirt-coated crumbs to follow are much more interesting than the way the characters are eventually left in the end, you’ll still be content with wild theories rattling around your head for years to come. These, similar to one of J.J. Abraham’s finest moments, Lost, will add a coat of longevity. Castle Rock is worth the visit, if you dare.

ROBOCOP (1987) / CERT: 18 / DIRECTOR: PAUL VERHOEVEN / SCREENPLAY: EDWARD NEUMEIER, MICHAEL MINER / STARRING: PETER WELLER, NANCY ALLEN, RONNY COX, KURTWOOD SMITH, MIGUEL FERRER / RELEASE DATE: OUT NOW

Let’s be honest – you’ve seen RoboCop loads of times and don’t need a recap. So briefly: Detroit cop Alex Murphy (Peter Weller), brutally murdered and resurrected as RoboCop – part man, part machine – sets out to serve the public trust, protect the innocent, uphold the law – all as violently as possible. That description of course doesn’t begin to do if justice. Paul Verhoeven’s blistering, prescient 1987 classic is one of the greatest sci-fi – strike that – one of the greatest movies of the ‘80s, and the 32 (!) years since its release have done nothing to lessen its impact. Hell, it’s more relevant now than when it was made.

From the opening news bulletin, where news is trivialised and raced through at breakneck speed (“You give us three minutes and we’ll give you the world”); to the privately-run police – ran for profit by OCP, a corporation more concerned with using their police contract to develop profitable military tech than safeguarding the lives of citizens and the police; the targets of Robocop’s razor-sharp satire have only become more relevant with time. This may be an 80s action movie, but it’s one with things to say about America.

Key to this is Verhoeven. This was his first Hollywood movie, and his outsider’s perspective gives the film an edge it might not have had if it had been made by a native director. Besides being a great action movie, it’s a hilariously funny, none-more-black satire of American values, skewering everything from its love of guns and violence (Robocop causes far more damage than he prevents) to religion (Murphy dies, is resurrected and – at the film’s climax, walks on water) that later filmmakers including Irvin Kershner and Frank Miller weren’t able to recapture with countless inferior sequels, spin-offs and remakes.

The controversy-courting director – who would later make Basic Instinct, Showgirls and the equally satirical Starship Troopers – adds his own unique take on violence. He grew up in Europe in World War II and claims the horrors he witnessed have shaped how he sees screen violence. Robocop remains a supremely violent movie. Occasionally cartoonish (death by toxic waste is gross but hilarious), it’s also sometimes hard to watch. Murphy’s murder in particular – especially in the director’s cut (which restored some of the violence trimmed to avoid an X rating) – still shocks. Those of a squeamish disposition may opt to watch the (still very violent) theatrical cut, or the also-included edited for TV version (which, after cutting out all the nasty bits runs nearly ten minutes shorter).

Besides the three cuts, those lovely people at Arrow have stuffed this collector’s edition with extras. Freshly filmed interviews with the likes of Nancy Allen, writers Neumeier and Miner, new commentaries and a wealth of other well-thought out features sit alongside archive featurettes and a beautifully restored version of the film which only occasionally shows its age (particularly in the restored director’s cut footage).

You’ve seen RoboCop before, you probably already own it, but you’ve never seen it like this. It’s a glorious release. Buy it for a dollar. Buy it for 100 dollars if you have to, but buy it. Essential.

THE AMAZING MR BLUNDEN (1972) / CERT: U / DIRECTOR & SCREENPLAY: LIONEL JEFFRIES / STARRING: GRAHAM CROWDEN, DOROTHY ALISON, BENJAMIN SMITH, STUART LOCK / RELEASE DATE: DECEMBER 9TH

In 1972, actor Lionel Jeffries followed up his hugely successful 1970 directorial debut with a strange, dark tale of children in peril which involved ghosts, time travel and magic potions. Whilst his first film, the bona fide classic The Railway Children has only grown in reputation over the years, his second feature has slipped from public consciousness. Now restored and released on Blu-ray by Second Sight films in time for Christmas, The Amazing Mr Blunden is ripe for re-evaluation.

As the first World War draws to a close, a mysterious old solicitor, Mr Blunden, visits the impoverished home of a recently war widowed middle class woman and her children, offering her the position of caretaker at a remote and derelict country mansion. Unable to make ends meet she accepts, and the family move in to the keeper’s cottage next to the once impressive house.

Soon after, the children meet the spirits of two other children who had once lived in the old house almost a hundred years ago. The spirits convince the children to drink a strange potion and go back in time to help save them from a deadly fate. Once in the past, these children are now ghosts from the future and, much to their surprise, Mr Blunden is there too. Will they be able help right a century old wrong, save their new ghostly friends and change their own fate by doing so?

You do wonder at times whilst watching The Amazing Mr Blunden if writers Lionel Jeffries and Antonia Barber (who wrote the novel upon which the film is based), had downed a strange potion of their own when coming up with this quite elaborately bonkers but clever plot. Still, it’s a credit to both of them and to the performances by a mainly juvenile cast that the film convinces utterly and the threads tie together so well come the finale.

As he showed with The Railway Children, Jeffries, who only directed a handful of films, was a master at capturing tiny comic moments, balancing laughs and thrills, and was a brilliant director of children too. A host of fantastic character actors familiar to TV viewers in the 1970s – Diana Dors, James Villiers, David Lodge, the wonderful Deddie Davies – help to generate a warm nostalgic charm. While it doesn’t come close to The Railway Children’s emotional impact, its neglected status fully deserves a new look.

Extras include cast interviews, a copy of the source novel, Kim Newman expounding on an audio commentary with some of the cast and a lovely interview with fan Mark Gatiss, recalling seeing it for the first time as a child and revealing how it has influenced him since.

WEREWOLF / CERT: 15/ DIRECTOR & SCREENPLAY: ADRIAN PANEK / STARRING: KAMIL POLNISLAK, NICOLAS PRZYGODA, SONIA MIETIELICA / RELEASE DATE: OUT NOW

Adrian Panek’s unique and interesting World War II drama makes it onto Blu-ray, courtesy of Eureka entertainment, in what is a great transfer on a vanilla disk, with a trailer being the only special feature available. The film itself, which may be too sombre and abstract for some, is a fine piece of filmmaking and a different experience from your standard concentration camp commentaries.

We begin in a polish concentration camp, at the end of the Second World War. We focus on a group of children who are forced to exercise and treated with disdain by the guards, until one is brutally killed by one of the guard dogs. When they are liberated by the Russians, the children, still in their striped clothes, find themselves in an abandoned mansion, trying to survive, but when a pack of starving dogs, fresh from guarding the liberated camp come looking for their next meal, survival becomes even more difficult for the young refugees. Werewolf has two elements to it, a dreamy survival tale and an all-out horror, once the dogs arrive. Both aspects feel unusual and new, there are small time jumps within the story, with characters turning up without explanation and some of the children rarely speak, we just see them playing, fighting, eating and trying to find some humanity after their brutal experiences. This can become quite disorientating, but then the canines arrive, an unusual but great antagonist, the dogs are relentless and a real threat to life, they too are trying to survive and are victims of their owners cruelty. It is fitting that the children discover the kindness in their four legged enemy, to ultimately conquer them.

Some aspects of the film can become too dreamlike, and especially with the foreign language, which includes Polish, German and Russian, it is hard to distinguish individual characters.  We have the tough kid, the girl forced to be a tomboy and the slightly disturbed spectacled boy, as the three main protagonists. It would have been nice, to have a bit more insight into their story and how that shaped their personalities. Parts of the story could also be a bit clearer, we never really see how they arrive at the abandoned mansion, or where some of the adults came from.

These small negativities do add to the flow of the movie though, fine detail is not important here, it is as if we are living with this group, experiencing what they experience, the performances are brilliant, as importantly they are presented initially as nasty young people, who must discover how to live together and treat each other with respect. The dogs attacking, is the catalyst for this chance to grow up and discover how to exist in a more serene world. We get a wonderful pastiche of themes here, in a way only film can deliver, from the innocence of childhood, the true aspect of evil and the rawness of nature, all beautifully shot by Panek and his cinematographer Dominik Danilczyk. A liberating experience for cinefiles and casual viewers alike.

MONTY PYTHON’S FLYING CIRCUS – SERIES ONE / DIRECTORS: IAN MACNAUGHTON, JOHN HOWARD DAVIES / STARRING: GRAHAM CHAPMAN, JOHN CLEESE, ERIC IDLE, TERRY JONES, MICHAEL PALIN, TERRY GILLIAM / RELEASE DATE: OUT NOW

It’s impossible to overestimate the importance of Monty Python in the history and development of British comedy in the latter years of the twentieth century. The team – all doyens of the Cambridge University Footlights Club and its sister/rival campus at Oxford University – came together to create a comedy sketch show quite unlike anything that ever been seen on British TV. Their style was wild and freeform, surreal and silly, a mixture of highbrow intellectual conceits and references and shameless slapstick; Spike Milligan had been dabbling in the surreal for years, especially in his haphazard Q series, but the Pythons refined and honed the formula, creating characters and sketches which have become iconic and have resonated down throughout the decades and influenced virtually every British comedy performer since their debut in 1969. It’s that 50th anniversary of the very first 13-episode Python series that’s being celebrated in this impressive new Blu-ray release from Network, who have restored the episodes from the ‘ground up’ working from the best available materials – first generation 2-inch videotape masters to surviving negative and print film material scanned in 2K with wildly-varying picture sources graded painstakingly scene-by-scene and intensively cleaned up. The results are astonishing; studio videotaped sequences are crystal clear and filmed inserts and animations are pin-sharp and astonishingly detailed.

What’s surprising about this first long season – hard to imagine any British comedy sketch show today (and they’re sadly few and far between these days) running for thirteen weeks – is how quickly the show finds its feet and how it very much hits the ground running. Received wisdom suggests that Monty Python took a while to find its form and while it’s true that the first two episodes (for some reason Episode One was screened second in the original broadcast run) demonstrate a certain hesitancy in performance and some nervous laughter from baffled studio audiences, the show is quickly hitting it out of the park several times per episode. Many of the classic sketches Python is best remembered for are found here; Arthur ‘Two Sheds’ Jackson in the very first episode, Arthur Putey and the Marriage Guidance counsellor in Episode Two, Bicycle Repair Man and Mr Nudge Nudge in Episode Three, the Dead Parrot sketch and Hell’s Grannies turn up in Episode Eight and Episode Nine sees the debut of the Lumberjack Song. Far from a learning curve, Series One is where the Python legend arrived virtually fully-formed and laid the groundwork for the subsequent series, feature films, and solo projects that would follow. But it doesn’t all work. Episode Seven is, interestingly, the group’s first effort at one long-form narrative in the shape of a rather tiresome one-note story about an alien invasion that turns its victims into Scotsmen who race around with one arm outstretched in the manner of schoolchildren playing Daleks.

By the end of the series, the Pythons are either struggling for ideas or relishing their demolition of the sketch show format. Certainly some of the latter material is spectacularly random but there are any number of forgotten or undiscovered joys across the run including Episode Five’s Confuse-a-Cat, a masterpiece of surreal film editing, Episode Nine’s Kilimanjaro Expedition and Episode Ten’s First Man to Jump the Channel. Throw in the legendary “It’s…” pre-credits hobo, the first sighting of a Gumby, Terry Gilliam’s extraordinary and sometimes disturbing animation and, of course, the infamous Sousa’s Liberty Bell theme music, and it’s clear that the Pythons knew pretty much exactly what they were doing and what they wanted to achieve right from the very beginning. There’d never been anything like it on British television before, nothing quite like it ever since and it’s absolutely brilliant. You could say that it’s completely different…

The remaining three seasons will be released on Blu-ray individually next year and a boxset of the whole series is available now.