Review Category: DVD/Blu Ray

THE DOCTORS – MORE MONSTERS! / CERT: E / DIRECTOR: KEITH BARNFATHER / STARRING: NABIL SHABAN, CHRISTOPHER RYAN, STEPHEN THORNE, TERRY MOLLOY, STUART FELL, JOHN DAVEY / RELEASE DATE: OUT NOW

More Monsters! is a sequel to the 2018 release gathering together archive interviews with many of the (now sadly deceased) actors who have attained a sort of televisual immortality thanks to their appearances as aliens and monsters in Doctor Who. So we have yet more of those performers best-known for their time spent swathed in sweaty latex or encased in figure-hugging rubber or fibre glass costumes all in the name of scaring the nation’s young witless in the ‘classic’ Doctor Who series – and, in the case of this particular two-disc set, a couple of performers who have found themselves doing much the same in the 21st century reboot. The More Monsters! title is a bit of a misnomer, however, as many of those interviewed here more memorably portrayed outstanding villains from the series’ original run  – Davros, Omega, Kiv – rather than the more generic making-up-the-numbers alien grunts of the earlier release.

Nicely timed to coincide with his return to the role in the new fan-produced DVD spin-off yarn Sil and the Devil Seeds of Arodor, Nabil Shaban chats with enthusiasm about his time as the reptilian, one of the more memorable new creations from the dying days of the original series in the 1980s and Christopher Ryan is remarkably humble about not only his career but indeed his place in TV history. Who fans will remember him as Mentor Kiv in 1986’s troubled Trial of a Time Lord season and also his appearances as a Sontaran in the ‘new’ series but to those of a riper vintage he will be forever associated with his role as Mike, ‘the cool one’ in the anarchic and momentous 1980s ‘alternative comedy’ The Young Ones on BBC Two and his reminiscences of working with the great Rik Mayall, Adrian Edmondson, and Nigel Planer are as fascinating as any number of anecdotes from his time leading the Sontarans into battle against David Tennant’s Time Lord. The late Stephen Thorne, interviewed several years ago both on the convention stage and then privately the following day (he’s instantly recognisable from his powerful, stentorian voice), recalls his uncomfortable turns as Azal the Daemon and Omega the renegade Time Lord from 1973’s The Three Doctors and Terry Molloy brings along an amusing element of theatrical luvviness as he discusses taking over the role of Dalek creator Davros in 1984. Perhaps the best interviews here, though, are those with legendary stunt performer Stuart Fell (aptly-named), familiar to credits-watchers of 1970s and 1980s Who thanks to appearances in over twenty serials, which usually saw him falling from a great height, being shot or buried inside some outlandish alien costume. The oldest interview here sees Fell, long since retried, chats enthusiastically about his time on Doctor Who and numerous other productions. The collection brings us right up to date with John Davey, a supporting artist on the modern series who has graduated into a regular performer on screen and in many of its extra-curricular stage incarnations; Davey is clearly having the time of his life and revelling in the minor celebrity afforded to him by his appearances as Cybermen, Judoon, and Daleks.

There’s something very warm and enjoyable about these interview releases, if only because it allows fans to put faces to the names of these unsung heroes who have made the Doctor’s deadliest enemies so powerful and alluring across the decades and most of the segments included here are more professional and better-presented than many of those on earlier releases, which tended to have a slightly homespun quality to them. Probably only for interest to absolute die-hards but great fun nonetheless.

MOOMINVALLEY: THE COMPLETE FIRST SERIES / STARRING: MATT BERRY, WARWICK DAVIS, TARON EGERTON, EDVIN ENDRE, RICHARD AYOADE / RELEASE DATE: OUT NOW

Bringing a much-loved fictional universe to the screen must be a daunting task, especially when you’re re-imagining characters that most of us have loved since our earliest childhoods. In the case of Moominvalley, that level of daunt must be overwhelming. After all, who wants to mess with a world that first saw the light of day in 1945 and has already undergone so many hit-and-miss film and TV adaptations? The chances of getting it wrong (or of creating something that’s been attempted so many times before that a fresh interpretation is simply irrelevant) will far outweigh the chances of success, leaving older fans disappointed and new viewers wondering what all the fuss is about. In the loud, flashy, switch-your-brain-off chaos of children’s TV, do the thoughtful, be-kind-to-each-other-and-the-planet-we-live-on sensibilities of Tove Jansson’s beloved Moomins even have a place? As far as we’re concerned, the answer is unequivocally yes.

Moominvalley is a gorgeously painted fantasy world of lush greenery and changing seasons, where the ever-curious Moomintroll lives with his extraordinary family and a surreal collection of weird and wonderful friends. Over the course of thirteen episodes Moomintroll befriends (and is mercilessly teased by) the impish Little My, struggles with being separated from his best friend Snufkin, discovers it’s impossible to tame a baby dragon, and challenges his over-imaginative father to a story battle that has disastrous consequences. On top of that, he meets a ghost, overcomes his deepest fears by saving Moominpapa and Moominmama from the terrifying Groke, coaxes a shy invisible girl back to visibility, and almost freezes to death when he wakes up too early from hibernation. Watching Moomintroll’s growth from the first episode to the last is the kind of satisfying character arc we don’t expect from most animated TV, and it’s that kind of narrative care and attention which makes Moominvalley so special. Like the Moomins themselves, everything takes time in Moominvalley. Every story is multi-tiered and unravels gradually with a charming balance of humour, drama, and pathos before eventually revealing its true theme. It doesn’t patronise its audience and its key messages about acceptance, friendship, respecting nature and being comfortable in your own skin are more relevant now than they’ve ever been. The writing, animation and direction are superb and the voice-casting is perfect (especially Taron Egerton as Moomintroll and Warwick Davis as Sniff.) There’s also a nice soundtrack of shoegazey songs, which is worth tracking down and listening to in its own right.

When you’re feeling like a bit of gentle nostalgia, or if you want to introduce your kids to a world that will delight them while also firing up their imaginations and giving them a deeper appreciation of the real world we live in, take the Moominvalley DVD out for a spin. It’s wonderful and it put a smile on our face that lasted the entire weekend.

UNIVERSAL SOLDIER 4K / CERT: 18 / DIRECTOR: ROLAND EMMERICH / SCREENPLAY: RICHARD ROTHSTEIN, CHRISTOPHER LEITCH, DEAN DEVLIN / STARRING: JEAN-CLAUDE VAN DAMME, DOLPH LUNDGREN, ALLY WALKER, ED O’ROSS, JERRY ORBACH / RELEASE DATE: OUT NOW

Special Features: Two audio commentary tracks / Three featurettes / Alternate ending / Trailer

As more and more old favourites continue to get the 4K treatment, up next to join the Ultra HD revolution is 1992’s Universal Soldier. So, is this new release of a 27-year-old movie worth your time, or is this just a cash-in that offers nothing new to this action offering? Let’s take a look.

Without lingering too much on the plot of a picture that’s been around for so many years, the loose premise of Universal Soldier initially sees Luc Deveraux (Van Damme) and his Vietnam War senior Andrew Scott (Lundgren) fight to the death after Scott has lost the plot and gone rogue. Jumping ahead, we see both fallen warriors brought back to life as part of a secret government regime designed to turn former soldiers into merciless, memoryless government killing machines. To throw a spanner into the works, though, Deveraux and Scott soon start to regain figments of their memories and hatred for one another, and the two are destined for one last showdown before all is said and done.

To say Universal Soldier is an all-time classic would be a major overstatement, yet this is an action film that’s very much an enjoyable one when taken on its own merits. The movie also serves as a time capsule of what the landscape of the action genre in the ‘90s often looked like. Cringe-inducing dialogue? Tick. Lots of shit being blown up? Double tick. Flexing of muscles as the stars of the day indulge in a display of cinematic cock-fighting? Triple tick.

The star of the show here, however, is undoubtedly the new 4K transfer of Universal Soldier. It seems almost obvious to say that Roland Emmerich’s ’92 film has never looked better, but that is clearly the case here. In particular, the movie’s more dimly-lit, darker moments benefit from the 4K treatment in a way that adds a whole host of new clarity and crispness to some scenes that previously may have been a little too dark to properly shine.

Elsewhere on this Studiocanal release, there are a couple of pieces of bonus content – all of which have been seen previously. That said, these special features are nevertheless still fun, particularly the kitsch ‘of its time’ A Tole of Titans featurette that looks at Universal Soldier’s two headlining stars. Then, there’s also the inclusion of the standard Blu-ray release of the film to accompany the sharp 4K version.

To answer our initial question, then, is this new release of Universal Soldier worth shilling out for? If you’re a fan of Van Damme, Lundgren, or the whole cheese levels often served up by those early ‘90s actioners and are looking to upgrade your collection amidst the 4K wave we’re currently riding, then this release will tick plenty of boxes.

FULLER AT FOX FIVE FILMS: 1951 – 1957 / CERT: PG / DIRECTOR: SAMUEL FULLER / STARRING: RICHARD BASEHART, RICHARD WIDMARK, ROBERT RYAN / RELEASE DATE: OUT NOW

As the title suggests Fuller at Fox is a lavish boxset of five films that Samuel Fuller made for Twentieth Century Fox between 1951 and 1957. Fuller was essentially an indie film maker used to making low budget pictures, but when his Korean War drama Steel Helmet topped the box office, Fox head Daryl F. Zanuck came calling and asked, “What do you wanna make next Sammy?” Zanuck was practically offering Fuller creative control, which appealed to his independent sensibilities.

Fuller’s first film for Fox was his second Korean War feature Fixed Bayonets! (1951). Richard Basehart stars as Corporal Denno, whose superiors are killed leaving the responsibility adverse soldier the task of carrying out a strategic rear guard action. This is an outstanding psychological study of a soldier in conflict. There are no false heroics here, just battle weary, dirty, unshaven and scared men trying to survive each battle.

In his audio commentary film scholar Adrian Martin states how Fuller hated ‘phony, fake war films’, and he wanted audiences to think that ‘only an idiot would go to war’. Fuller’s dialogue rings with authenticity, which is unsurprising as he was a soldier himself.

In Pick-Up on South Street (1953) pickpocket Skip McCoy (Richard Widmark) inadvertently steals a secret formula making himself the target of Communist agents. Widmark excels as the moral-less thief, but the star of the film is the incomparable Thelma Ritter. She provides a beautifully nuanced performance as a police informer who only wants to save enough money that she may have a decent funeral.

In his interview, critic and filmmaker Kent Jones calls Fuller’s style of filmmaking, ‘physical cinema’. Fuller’s camera movements allow you into the minds of his characters with his use of close ups from unorthodox angles. French critic Francois Guerif discusses the birth of American film noir, and Fuller’s contribution to the genre in ‘Le Film Noir’, and in the French TV show Cinema Cinemas, Fuller talks about the origins of Pick Up on South Street, whilst breaking down key scenes.

Richard Widmark was cast by Fuller again as Captain Adam Jones in the rousing adventure Hell and High Water (1954). Jones is hired by a multi-national scientific consortium to find a secret Chinese island base and prevent a Communist plot that could trigger World War III.

Scott Harrison provides a commentary that provides a historical context to the film and a documentary charts Widmark’s life and career.

House of Bamboo (1955) is a tough-as-nails crime thriller set in Japan, and exemplifies Fox’s Cinemascope to perfection. U.S. Army munition trains are being held up by a ruthless gang. Disgraced ex-serviceman Eddie Spannier (Robert Stack) arrives from the States, apparently at the invitation of a gang member who is a former comrade of Spannier. But Eddie isn’t quite what he seems.

Two audio commentaries by film historians Julie Kirgo and Nick Redmen, and Alain Silver and James Ursini respectively accompany House of Bamboo. Both offer fascinating insights into Fuller’s experience with working with Japanese crews, and the relationship between the U.S. and Japan post-war. The highlight has to be a video essay by David Cairns who covers all five films in the boxset. It reveals just how innovative Fuller was. How instead of using Cinemascope as a proscenium arch he used it to full effect by shooting long tracking shots, such as the one in Forty Guns that exceeds three minutes, and which has influenced countless directors since.

The final film in the collection is the gloriously wild western Forty Guns (1957). Barbara Stanwyck stars as the formidable rancher Jessica Drummond. When U.S. Marshals, the Bonnell brothers, arrive in town, she finds her rough-riding authority challenged.

Fuller at the NFT from 1969 is the audio commentary for this spectacular film. In it, he talks about his life and career in an entertaining fashion. A Fuller Life is a feature-length documentary by Fuller’s daughter Samantha. It features clips from the man’s work and the likes of Mark Hamill, Joe Dante, William Friedkin, James Franco, and Bill Dukes amongst others, reading extracts from Fuller’s autobiography A Third Face. It charts his life as a teenage reporter, novelist, soldier, and, of course, filmmaker.

Eureka! has truly created a thing of beauty. The films are presented from Fox’s 4K restorations, with the exception of House of Bamboo, which is 2K, and the results are stunning! The pictures practically leap of the screen with their vibrancy with nary a drop-out to be seen. The soundtracks are clear as a bell. You won’t hear any snap, crackle, or pops anywhere here.

Fuller at Fox is an indispensable addition to any cineaste’s collection, indeed to anyone that has an interest in the history of film.

ADVENTURE TIME: SEASON FIVE / CERT: PG / CREATOR: PENDLETON WARD / STARRING: JEREMY SHADA, JOHN DIMAGGIO, TOM KENNY, CLORIS LEACHMAN, RON PERLMAN / RELEASE DATE: NOVEMBER 25TH

After the algebraic cliffhanger at the end of Season Four, it’s great to be back on Ooo (albeit initially in an alternate timeline thanks to a dodgy bit of wishing at the end of Season Four). Kicking off with Finn the Human, we’re catapulted into a time before the series’ fabled Mushroom War but with a major difference that changes the future events that we know. Thank god that Jake the Dog bonds with the universe-bending Prismo while hanging out in his hot tub and manages to put things right.

With everything back on track and the apocalypse restored, Adventure Time goes from strength to strength, not only by doubling its episode count but also by really investing creatively, providing some stellar episodes that push not only the series’ narrative, but animated storytelling as a whole. Stand-out episodes (besides the opening two-parter) include the quotable Up a Tree, the heart-breaking Simon and Marcy, A Glitch is a Glitch, the ST:TNG The Inner-Light-inspired Puhoy, bitter-sweet BMO Lost and frankly mental James Baxter the Horse.

This season is a real game-changer for a show that already seemed to have pushed the boundaries of kid’s entertainment in every conceivable way. The over-all arc of Ooo’s origins fleshes out some of our favourite characters in ways we couldn’t have imagined, while the trademark surrealist insanity punctuates every 10-minute episode to maximum effect.

Compared to previous season releases, this box set is a little thin on the ground where extras are concerned, featuring just a short featurette on the series’ impact so far by the talented creators and brief animatic clips from each episode. It’s a good job the episodes are so good!

Is it the best season of Adventure Time ever? No. Are the bonus features a little thin on the ground? Yes. Is this the best season of Adventure Time to exist on DVD like the amazing show that it is? Yes. In my mind. In. My. Mind.

ANNABELLE COMES HOME / CERT: 15 / DIRECTOR & SCREENPLAY: GARY DAUBERMAN / STARRING: VERA FERMIGA, PATRICK WILSON, MCKENNA GRACE / MADISON ISEMAN / RELEASE DATE: NOVEMBER 18TH

Easing you back into The Conjuring universe, paranormal investigators Lorraine Warren (Farmiga) and Ed Warren (Wilson) open up this late ‘60s/early ‘70s themed plot in fine form. Building the foundations for what you are about to endure they once again exude a dose of mystery that pulls you in. However, they are not the main attraction this time around as Comes Home strays away from this mesmerising duo to instead focus on their daughter Judy Warren (Grace) as she tries to survive the evening alongside babysitter Mary Ellen (Iseman) and her friend Daniela Rios (Katie Sarife).

As soon as the Warren’s leave for the night we get roped into a false sense of security, but in a similar vein to the moment in Ghostbusters where Walter Peck regretfully unleashes the captured spirits back into NYC, we see Daniela become responsible for the release of multiple nightmares in the Warren artefact room when attempting to communicate with her deceased father. For those in attendance, it’s going to be nothing short of a terrifying event going forward.

It seems that a standard rule in a lot of horror movies is that, if it’s daytime, then you should be OK to not hide behind your popcorn, so Comes Home must be applauded for not providing safe passage for our suffering characters even in the light. Surrounding this, the creative team have visually made this feel like a classic horror, with its cold cinematography displaying wide shots of scarily decorated corridors, the textures give the viewer a realistic and worn down setting.

For fans intrigued by the extensive backstory that has been somewhat teasingly on display in artefact room in previous films, then you are really going to appreciate the evil jump scares that you get to see. Old Warren case files gruesomely haunt our occupants whilst Annabelle (probably the most evil force at this monster ensemble) simultaneously sits right at the centre, dastardly pulling the strings on said puppets as she teleports around the household to cause utter carnage.

The big pitfall is that there’s not really any major narrative between Judy, Mary, Daniela and that’s a shame, because when this universe gives you further layers, then it does indeed make those scares much more worth it. So, albeit not the strongest Annabelle release thus far, it’s an acceptable addition mainly thanks to its visit into the brain of the Warren artefact room. For those looking to uncover knowledge on the gruelling makeup process behind artifacts such as the Devil, the Ferryman, the Bride (all of which could potentially have their own side film in the future), then you’ll want to get stuck into those special features for a behind the scenes look. Accompanying this are a handful of interesting deleted scenes, and even interviews with actual Warren family members.