Review Category: DVD/Blu Ray

THE SHINING (1980) 4K

THE SHINING (1980) 4K / CERT: 15 / DIRECTOR: STANLEY KUBRICK / SCREENPLAY: STANLEY KUBRICK, DIANE JOHNSON / STARRING: JACK NICHOLSON, SHELLEY DUVALL, DANNY LLOYD, SCATMAN CROTHERS / RELEASE DATE: OUT NOW

Like 2001: A Space Odyssey and A Clockwork Orange beforehand, The Shining is a pure Stanley Kubrick film that gets under your skin in the all the right ways; an otherworldly experience that only a cinematic genius like Kubrick can accomplish. Yet, it’s also both surprising and not-surprising that Stephen King dislikes this film adaptation as much as he does, even going as far as to write his own TV miniseries to abysmal results; although to his credit, it’s not that hard to see why he feels this way. It was a personal story for him, and Kubrick’s version only got the very basics of the novel nailed down, which involves a new caretaker having to look after a mysterious hotel during the harsh winter with his family, only to be slowly driven insane and trying to kill them all.

It was a personal story for King, identifying a lot of himself in the central character of Jack Torrance, so he pretty much disliked how there wasn’t much of an arc for Jack in the film, making it feel less like a tragedy in the process. If you are a fan of the original novel, you might sympathise with King’s own views, but what Kubrick accomplished here makes the film feel more unique than King gives it credit for. Whereas the book was about a normal man driven to insanity, the film is a about a man who’s already pretty crazy himself that’s being slowly stripped away, piece by piece, before his true self is finally allowed to be unleashed. This can be all tied back to the Overlook Hotel itself, which is probably the most important character in the whole film, and is a huge metaphor in itself. Throughout the film, you feel as though the hotel is a living demonic entity, acting almost like a drug that’s slowly working its way down, breaking down your barriers until all the filters are stripped away and only the real you is laid bare. In the case of Jack, he was always the crazy caretaker through and through, and, as Joker said in The Dark Knight, all it took was a little push to bring out that diabolical madman.

Regardless of whether you agree with that or not, there’s no denying that Kubrick has created a film that’s open to countless, various interpretations, so that in the end, you are never truly right or wrong in what you actually believe the movie is saying and what fears are real or imaginary. It creates an environment that’s unsettling, unnerving and uncomfortable, and that’s a truly remarkable feat considering that this is Kubrick’s only horror film. King stated that he believed Kubrick never really understood the horror genre, but to this reviewer, Kubrick understood it fully, maybe too well. Kubrick threw out all of the tired clichés and conventions that can damage the genre when done poorly, creating a film about atmosphere, which is all amplified by both the masterful cinematography of regular Kubrick cinematographer John Alcott (every frame looks as it could be hung in a modern art gallery) and the unrelenting score by Rachel Elkind and Wendy Carlos (the latter of which did the score for A Clockwork Orange). Then we have Jack Nicholson’s performance itself, which is brilliantly unhinged on multiple levels that it isn’t hard to see why he was cast as the Joker in Tim Burton’s Batman.

Whatever you may think about this film, whether you agree with Stephen King or not, there’s absolutely no denying that The Shining is a horror masterpiece that has left its mark on filmmakers and audiences alike. It’s still talked about to this day, continuously satirised (The Simpsons‘ Treehouse of Horror segment, ‘The Shinning’, being one of the best movie satires ever produced), and that impact will never fade away. It’s a rare spectacle like no other, and with the recent release on 4K Ultra-HD Blu-Ray, now is the time to give this gem a spin.

FAST & FURIOUS PRESENTS: HOBBS & SHAW

FAST & FURIOUS PRESENTS: HOBBS & SHAW / CERT: 12 / DIRECTOR: DAVID LEITCH / SCREENPLAY: DREW PEARCE, CHRIS MORGAN / STARRING: DWAYNE JOHNSON, JASON STATHAM, IDRIS ELBA, VANESSA KIRBY, HELEN MIRREN / RELEASE DATE: NOVEMBER 22ND (VOD), DECEMBER 2ND (DVD/BLU-RAY)

With the momentous success of the Fast & Furious franchise established, audiences have now been treated to an enhanced look as director David Leitch alongside writers Chris Morgan and Drew Pearce strongly focus on two standout players, Hobbs (Johnson) and Shaw (Statham). For its entirety, you are exposed to experimental action, dazzling car chases, and cheesy one-liners, as our duo brainstorm their heated backgrounds while clashing against the hi-tech villain, Brixton (Elba), who is hell-bent on unleashing an apocalyptic virus on the human race. Quickly rising actor Vanessa Kirby (Mission: Impossible – Fallout) takes on Hattie and brilliantly acts as a crucial bridge between Hobbs, Shaw, and Brixton.

With each Fast & Furious number, what we see continuously grows more outrageous and unrealistic. We went from a crime-thriller about an undercover cop in 2001 (where’s the time gone?), to a heist session in 2011, to cars launching out the back of a plane in 2017 (it wasn’t CGI either!). They’ve got away with this progression by having a ‘family comes first’ moral at the centre, repeated and praised by main showrunner Dominic Toretto (Vin Diesel), it’s clearly a thread that audiences enjoy being a part of. When it comes to the action in Hobbs & Shaw, the more recent representation of Fast & Furious has deliciously been translated across as we view violent car racing shoot outs on the streets of London, all the way to the scenic cliffs of Somoa. This is backed by a script that has our two main leads dare to overcome their differences, which tend to circle around the previously addressed F&F theme: the importance of family.

One of my biggest concerns, and it might be a strange one to some, is that the majority of the soundtrack sounds like it’s taken from a late ‘90s/early ‘00s buddy spy film (I Spy is a prime example), and although there’s nothing wrong with their material, it just made what you see again and again feel like it wasn’t entirely sure what genre it should be. So, as Hobbs & Shaw struggles to find its own feel until well over the halfway mark, it might become a little bit too confused for some viewers. However, it’s a highly robust drive that eventually cements a dynamic relationship, and it could go on to add more longevity to Fast & Furious if it just gets the chance to flourish.

Do you still want more? Well, then we’d advise that you head over to the special features, which has over 80 minutes worth of goodies. Highlights include how director David Leitch (who has a stunt portfolio) put together his stylish choreography, a look at the dynamic between Hobbs and Shaw (on and off-screen) a different opening, and much more!

SIL AND THE DEVIL SEEDS OF ARODOR

SIL AND THE DEVIL SEEDS OF ARODOR / CERT: PG / DIRECTOR: KEITH BARNFATHER / SCREENPLAY: PHILIP MARTIN / STARRING: NABIL SHABAN, SOPHIE ALDRED, JIM CONWAY, JANET HENFREY, CHRISTOPHER RYAN / RELEASE DATE: OUT NOW

One of the better things about Doctor Who fandom is the way it inspire fan work. The world of the Doctor gives writers almost infinite scope. Not only do they have all of time and space to play with, but also the many Doctor Who stories to revisit and adapt. This has led to fans telling stories in all sorts of media, including spin-off media that is ‘adjacent’ to Doctor Who lore without ever actually referencing the show.

Sil and the Devil Seeds is one such enterprise. It’s a low-budget serial split into four parts. The story takes the character of Sil from the Colin Baker era of the show and gives him his own solo adventure. He’s a fairly obscure villain, but you don’t need encyclopaedic knowledge of mid-‘80s-era Doctor Who to enjoy this story. Sil is a Mentor, a slug like amphibious creature from the swamps of Thoros-Beta. They are broadly a race of intergalactic venture capitalists who care more about ‘lovely money’ than people. As such they make for great dramatic foils and we can see how actor Nabil Shaban was so keen to reprise this role.

Sil is a mostly sedentary character, and this suits the plot of what is essentially a court room drama. The story is silly and political in places; Sil is on trial for distributing a deadly poison to the ‘Eurozone’, and serves trial on a lunar base, awaiting possible extradition where he may well be executed for his crimes. As such much of the drama relies on Nabil Shaban’s ability to both emphasise and despise Sil. He does this brilliantly; the horrible slug is both hilarious and sympathetic. No piece of scenery goes unchewed, which is exactly what we hoped for.

Sil and the Devil Seeds is a labour of love and an entertaining one at that. It is, however, not meant to be a broadcast standard sort of thing. Some of the special effects would look cheap even back in the ‘80s. Others, such as the set and the outside ‘space ship’ shots are excellently done. As a low-budget, artefact of fan work, it is superb. As a sincere expression of appreciation for all things Doctor Who, it is pretty much perfect. You do wonder what Reeltime Pictures could achieve with an actual budget.

Don’t expect anything that could compare to modern Doctor Who, but if you’re looking for a hit of nostalgic mid-‘80s sci-fi British drama (and we include Galloping Galaxies and Captain Zep in that list), then this will certainly deliver. We also get a fun cameo from Sophie Aldred as a Draconian, another criminally underused Doctor Who alien. And none of the sets wobble.

The limited edition DVD also comes with extras, which deliver a strong insight into the world of small sci-fi production and fannish glee. Smashing stuff.

ANIARA

ANIARA / CERT: 18 / DIRECTOR & SCREENPLAY: PELLA KÅGERMAN, HUGO LILJA / STARRING: EMELIE JONSSON, VIANCA CRUZEIRO, ARVIN KANANIAN, ANNELI MARTINI / RELEASE DATE: OUT NOW

This science fiction film, based on a much loved poem from the 1950s written by Sweden’s then Nobel laureate Harry Martinson, has lofty ambitions and big things to say but with a budget small enough to ensure that the film makers concentrate on the human side of things. Consequently, Aniara is quite an achievement.

A polluted, dying and toxic Earth sees what is left of its life fleeing on enormous spaceships that resemble ocean liners for a three week luxurious journey to Mars where human life must now exist. On board the Aniara, Mimaroben operates a chamber called MIMA, an advanced AI which taps into resting passenger’s memories of a time when earth was thriving, allowing them to re-connect with their home and deal with its loss. But when the ship and its thousands of inhabitants are thrown off course, and more and more people start to rely on MIMA, the AI being starts to question its own well-being.

At the same time, as control of the ship and its population becomes more dictatorial and resources start to change, new factions, cults and relationships develop, and this microcosm of society heads off for an uncertain future that nobody wanted.

By focusing on the humanity at the heart of Aniara, filmmakers Pella Kågerman and Hugo Lilja manage to make a modest budget stretch a long way. Focussing the story through the eyes of Mimaroben, a woman at first isolated from others because of her love for the AI MIMA she cares for, but who finds love with a fellow team member, the script explores themes of escape, entrapment, isolation, civilisation and what it means to be human.

If that sounds like a philosophy lecture don’t be put off as the talented makers of Ariana never allow the themes they are exploring to get in the way of the characters and storyline.

Emelie Jonsson is compelling and utterly convincing as our focus, carrying the weight of our own feelings on the shoulders of her performance. She more than lives up to the task, the conflicting intellectual and emotional needs of her fellow passengers making her the beacon of flawed humanity.

In the Blu-ray extras, which are mainly interviews rather than in depth making-of features’, we learn from the filmmakers that much of Ariana was filmed inside shopping malls with only a small amount of studio work and this gives the look of a film a real authenticity. The visual effects are excellent but never get in the way of the story, one which will take you to unexpected places.

In that, Ariana more than lives up to its ambition.

SPIDER-MAN: FAR FROM HOME

SPIDER-MAN: FAR FROM HOME / CERT: 12 / DIRECTOR: JON WATTS / SCREENPLAY: CHRIS MCKENNA, ERIK SOMMERS / STARRING: TOM HOLLAND, JAKE GYLLENHAAL, ZENDAYA, SAMUEL L. JACKSON, MARISA TOMEI, JON FAVREAU / RELEASE DATE: NOVEMBER 11TH

Special Features: Peter’s To-Do List short / 11 featurettes / Alternative and extended scenes / Easter eggs / Gag reel / Outtakes

The Infinity War has been and gone, and the Endgame has well and truly changed the landscape of the Marvel Cinematic Universe. But the cold, hard truth is that life goes on. And for young Peter Parker (Holland), he now finds himself elevated to the level of one of the world’s greatest heroes. Does Peter even want this responsibility, though? How can he possibly live up to the likes of Captain America and Iron Man? And can’t this high school student just live the life of an everyday teenager?

Spider-Man: Far From Home is the first MCU offering since the game-changing Avengers: Endgame, and we find a world full of uncertainty. For Peter, he’s soon on a school trip to Europe, with his main focus being on telling MJ (Zendaya) how he feels about her. As is ever the case for our beloved Wall-crawler, life is far from simple, of course, and the prospect of a trio of all-powerful, otherworldly Elemental villains is soon on his radar. Fortunately for Spider-Man, however, is the presence of a shiny new hero in Mysterio (Gyllenhaal). Mysterio, aka Quentin Beck, is a hero from an alternative Earth who has battled these Elementals before, and as such he’s quickly working alongside Nick Fury (Jackson) and Spider-Man to help stop the chaos and carnage that these no-good rogues are capable of conjuring up.

What Far From Home does marvellously well is in how it focusses on the world’s need for heroes to step up. With so many of Earth’s Mightiest Heroes now either deceased or out of action, the world is desperately seeking new protectors. Likewise, for a Peter Parker still grieving after the death of his mentor, Tony Stark, this is a youngster crying out for guidance and emotional support. And in Quentin Beck, so many of these issues start to become solved, as Mysterio steps up to become the hero the planet needs, and Beck also finds himself striking up a bond with Peter. On that front, the dynamic between Tom Holland and Jake Gyllenhaal is so often what holds Far From Home together, and both actors put in great, nuanced performances that tick a host of different beats. Elsewhere, away from Mysterio, Holland’s screen time with Zendaya is another highlight, as the burgeoning romance between Peter and MJ goes through the ups and downs so often associated with Spidey’s infamous ‘Parker luck’.

To date, Tom Holland’s Web-head has been brilliantly fleshed out in his four previous MCU outings, and Far From Home takes that momentum and characterisation and then develops the Peter Parker character even further by adding an extra layer of emotion and strength due to how he’s left to handle the Endgame fallout. Brimming with heart, Spider-Man: Far From Home is up there in the upper echelon of MCU movies, and in Mysterio fans are given a fascinating character who ultimately has a key, key role in changing the landscape of this shared Marvel realm.

Elsewhere on this release, there are a number of excellent featurettes exploring how Far From Home came together, although the standout highlight of the bonus content is the Peter’s To-Do List short that sees Peter having to pick up some last minute bits and pieces for his Europe trip while taking down the Manfredi crime family.

TITANS: THE COMPLETE FIRST SEASON

TITANS: THE COMPLETE FIRST SEASON / CERT: 15 / SHOWRUNNER: GREG WALKER / STARRING: BRENTON THWAITES, ANNA DIOP, TEAGAN CROFT, RYAN POTTER, MINKA KELLY / RELEASE DATE: OUT NOW

Special Features: 13 featurettes

Having debuted in the funny books way back in 1964 and then seen countless animated series and even movies based around them, DC Comics’ famed Teen Titans have now been brought to live-action live in Titans. How does this team of young heroes translate to the live-action format, though, and is this yet another hit for the ever-expanding world of DC TV projects? Let’s find out.

In Titans, we see the reformation of the titular group of heroes led by Dick Grayson (Thwaites). From the moment we see Dick murmur the words “Fuck Batman!”, the stall has been set out that this isn’t necessarily your regular cape ‘n’ cowl fluff piece that’s aimed at a younger audience. Instead, Titans has a darker and more adult slant to it than some of its contemporaries, with the levels of violence and the series’ themes certainly designed with a more mature audience in mind.

As for the Titans themselves, Dick reforms the group with alien royalty Kory Anders (Diop), tortured soul Rachel Roth (Croft) and shapeshifter Gar Logan (Potter). Each of these characters have their own personal issues, yet coming together as a team to explore an unravelling mystery with potentially huge consequences sees these troubled sorts finding their true place in the world. Much like Dick is desperate to put his memories of Gotham City behind him, the rest of the core Titans group are all looking to escape their own murky pasts as they struggle to get to grips with who they’re destined to become.

Is Titans’ debut season flawless? Most certainly not. But it is a whole load of fun, and the individual narratives of each showcased character are engaging and fascinating to see play out across these 11 episodes. What Titans does best, is that this first season doesn’t ever short-change any of its titular team or the supporting faces that we meet along the way. In fact, each episode sees a different character having the spotlight shone on them as we learn more of their own particular story. By taking this approach, we get a solid grasp on what makes these characters tick and the show likewise allows each character’s arc time to breathe.

Performance-wise, Titans is full of powerful, poignant performances from all involved. As alluded to, by taking the time to highlight particular heroes in each episode, Titans gives its core cast plenty to sink their teeth into – particularly as the dynamic between the group starts to take shape. And while the Titans themselves are all brilliantly portrayed, special praise must also go to Curran Walters for how much of an utter dick he makes his Jason Todd, aka the second Robin, as in the one who is ultimately brutally murdered by the Joker in the comics. Jason was always rash and brash during his time as Robin, and Walters perfectly captures that cocksure personality with his take on Todd.

For a debut season, Titans’ first year ticked a whole host of the right boxes for what was needed. Now, here’s hoping that momentum continues through with the show’s second season – which is expected to be made available to UK and international audiences this December on Netflix.

DC UNIVERSE MOVIE COLLECTION VOLUME 1 (4K)

DC UNIVERSE MOVIE COLLECTION VOLUME 1 / CERT: 15 / DIRECTOR: SAM LIU, JAY OLIVA, ETHAN SPAULDING / SCREENPLAY: VARIOUS / STARRING: KEVIN CONROY, JASON O’MARA, BRUCE GREENWOOD, MATT RYAN, MARK HAMILL, TARA STRONG / RELEASE DATE: OUT NOW

Special Features: Sneak peak at other DC Universe animated movies

In this first volume of the DC Universe Movie Collection, audiences are treated to five recent animated DC offerings that have been given the 4K treatment. Bringing together Batman: Assault on Arkham, Batman: The Killing Joke, Justice League Dark, Suicide Squad: Hell to Pay, and Batman: Gotham by Gaslight, let’s take a closer look at this new release.

As with any such collected release, it’s a little tricky to go too much into detail on each of the films included, but the majority of the five features here are brilliant films on their own merit. In Assault on Arkham, audiences are treated to a picture that’s rooted in the world of the Arkham video game series, while Justice League Dark sees John Constantine (Ryan) and some of DC’s more mystical and magical characters take centre-stage, and Hell to Pay sees the Suicide Squad tasked with a high-risk mission courtesy of Amanda Waller. Those three films are all largely original stories, but The Killing Joke and Gotham by Gaslight are straight-up adaptations of two hugely popular comic book tales. For fans of those two stories, however, there are a couple of tweaks made to the source material as each movie tries to not simply be an exact carbon copy of the graphic novels on which they’re based.

When taken on face value as their own beasts, all five films deliver the goods and each come in at a brisk and breezy 75 minutes that work as the perfect length for such animated affairs. It’s hard to pick a true standout of the five, mind, for all are genuinely strong stories that brilliantly spotlight their central characters. Of course, any film featuring Batman is always going to have audiences gravitating towards it – and the Caped Crusader is indeed pivotal to four of the five movies – yet Hell to Pay is just as fun as any of the Bat-centric features here. With Christian Slater’s Deadshot and Tara Strong’s Harley Quinn heading up Task Force X, the Suicide Squad are highlighted in all of their erratic glory. As alluded to, The Killing Joke and Gotham by Gaslight make changes that may draw the ire of longtime DC die-hards, yet both largely keep the spirit and core narrative of their respective comic book stories.

The 4K treatment given to each film obviously makes them look jaw-droppingly delicious, and the Victorian aesthetic and locale of Gotham by Gaslight is a particular stand-out on this front. Not only are these films spruced up and delivered in stunning 4K glory, though, but this boxset release also includes the standard Blu-ray versions of all five movies – meaning that you don’t have to have 4K capability to enjoy this collection.

In terms of bonus material included, DC Universe Movie Collection Volume 1 features sneak peaks at various other animated DC movies, yet that’s all. Said sneak peaks are great for what they are, but you can’t help feeling a little short-changed given how Warner Bros. usually serves up some fantastic additional content on their home releases. Where other release have featured episodes of DC animated shows of yesteryear, some featurettes or chat tracks, there is sadly none of that here.

All in all, DC Universe Movie Collection Volume 1 is a strong release from Warner Bros. and DC, and the films themselves are nicely housed in a sturdy and beautiful looking box. For those who’ve previously purchased the five films individually, frankly there’s nothing here to make you splash out again bar the crisp 4K clean-up. If you missed these movies upon their original release, however, this collection is definitely worth splashing your cash on.

LEON: DIRECTOR’S CUT 4K

LEON: DIRECTOR’S CUT 4K / CERT: 15 / DIRECTOR & SCREENPLAY: LUC BESSON / STARRING: JEAN RENO, NATALIE PORTMAN, GARY OLDMAN, DANNY AIELLO, PETER APPEL / RELEASE DATE: NOVEMBER 11TH

Special Features: Leon – A Ten Year Retrospective / Jean Reno – The Road to Leon / Natalie Portman – Starting Young / Interviews with Jean Reno and Eric Serra

It seems absolutely crazy to think that Luc Besson’s Leon is now celebrating 25 years since its initial release, but it is indeed 25 years and counting since this iconic movie was first released in 1994. To celebrate this landmark, Studiocanal has put together a new 4K release of the director’s cut of Leon.

For those not familiar with Leon, the basic crux of the matter centres on clinical hitman Leon (Reno) and young Mathilda (Portman). After Mathilda’s family are brutally murdered by a rogue and erratic DEA agent (Oldman), the 12-year-old seeks solace with the grizzled assassin and manages to convince Leon to reluctantly train her so that she can take her own bloody revenge. But don’t just simply label Leon as a gun-toting actioner, for Luc Besson crafted something utterly beautiful with this ’94 offering as he explored the relationship and burgeoning bond between the movie’s two protagonists.

Of course, chances are you’ve already seen Leon and are well aware of its charm. In that case, you’re likely wondering just why this new release of a 25-year-old film would be worth your time. Firstly, the 4K restoration makes Besson’s picture look simply wonderful. As for the director’s cut element of this Leon release, this is the same director’s cut first seen in 2004 that adds 23 minutes of footage to the movie. The majority of said footage further shines the spotlight on the moments shared by Leon and Mathilda, which adds a few nice touches to the overall narrative of Leon. Likewise, the special features included here have all been seen in previous releases of the film. That doesn’t mean that they’re not enjoyable, mind, just there’s no new material for long-time Leon fans to sink their teeth into.

Unquestionably, Leon is an absolute masterpiece with some jaw-dropping performances from Natalie Portman, Jean Reno, and a turned-up-to-11 Gary Oldman. Whether you’re rewatching the movie for the hundredth time or checking Leon out with fresh eyes, the film is a classic that still holds up just as a well in 2019 as it did back in 1994. For this new release, it’s the 4K sheen given to Leon that’s clearly the star attraction. As such, if you’re somebody who has yet to really embrace the 4K movement, this release likely isn’t one for you. For those 4K hounds who are looking to expand their collection with a cleaned-up piece of iconic filmmaking, this new release of Leon looks nothing short of stunning.

THE QUEST (1996)

THE QUEST (1996) / CERT: 18 / DIRECTOR: JENA-CLAUDE VAN DAMME / SCREENPLAY: STEVE KLEIN, PAUL MONES / STARRING: JEAN-CLAUDE VAN DAMME, ROGER MOORE, JAMES REMAR, JANET GUNN / RELEASE DATE: OUT NOW

For his directorial debut in 1996, Jean-Claude Van Damme wisely decided not to stray any distance from the style and genre that made him famous. The Quest follows his character Chris Dubois from leading a gang of New York street urchins in the 1920s to a once-in-a-lifetime marital arts competition in a lost city in Tibet. Along the way, Dubois is kidnapped by pirates, sold into slavery, and meets Roger Moore.

That’s quite the adventure, and it’s the way Van Damme plays it, shooting it as a grand and sweeping escapade complete with epic score. He also seems to have taken inspiration from Hollywood classics of earlier decades, the camera gliding and swooping with abandon, but this mostly comes across as the equivalent of Van Damme shouting at you in all capitals that he is directing a film. When it comes to the lengthy sequence of fights, however, Van Damme shows he was paying attention on set; punches and kicks landing with thuds in the old school way (no Bourne-style confusion here). It’s all very earnest, though we suppose it’s entirely possible that he has his tongue in cheek at some points. Moore is certainly having fun as the refined and very British mercenary Lord Dobbs, but the raised eyebrow comes with sincerity too when required. It’s not the most essential film, even in Van Damme’s career, but it’s generally good fun and fans of the less-bloody end of martial arts beat downs should enjoy it as mildly diverting.

This new 101 Films HD release is in good shape, whether it’s sun-drenched beach scenes or the torch-lit final fights the picture is clear and detailed throughout and there’s nothing to complain about considering the film’s budget and age. For extras we start with a great one, actor Jack McGee sharing anecdotes of working with Moore, the friendship that followed between the two men, as well as the production and shooting of the film. There’s another interview with one of the fighters, Mike Lambert, the ‘Scottish’ contestant. There’s a commentary by martial arts cinema experts Mike Leeder and Arne Venema too, as well as a trailer and gallery.

The Quest is not revolutionary nor is it trying to be. If not for it being Van Damme’s directorial debut, it would probably rank lower down his filmography in terms of interest. But it’s mostly unpretentious fun and there’s a lot to be said for that. Add in a few worthwhile extras and this is an easy recommendation, but likely only for fans of the film.

RED HEAT (1988) 4K

RED HEAT (1988) 4K / CERT: 18 / DIRECTOR: WALTER HILL / SCREENPLAY: HARRY KLEINER, WALTER HILL, TROY KENNEDY-MARTIN / STARRING: ARNOLD SCHWARZENEGGER, JIM BELUSHI, PETER BOYLE, ED O’ROSS / RELEASE DATE: OUT NOW

Some directors almost belong to the era that hosted their greatest hits. Walter Hill is one of those guys. The veteran filmmaker has a host of cult favourites under his belt, making a name for himself with ‘80s underground hits like The Warriors and Streets of Fire. Recent Hill features have lacked the flare of his early hits though. 2015’s Tomboy, Hill’s straight to DVD exploitation hark-back, but its flippancy with transgender issues and blatant sexism dated it monstrously.

Flashback to the testosterone-fuelled ‘80s. Muscle men and Cold War-era tensions created a breeding ground for bombastic action thrillers. Its perfect territory for Hill, whose often sympathetic angles on the more disregarded parts of society lent his films more gravitas than many of his contemporaries. In Red Heat, a KGB agent (Schwarzenegger) is sent to Chicago in order to apprehend an escaped drug lord also being hunted by a local cop (Belushi).

Opening with a brawl in a Russian sauna crammed with sweaty muscle dudes pumping iron, Red Heat promises a lot and mostly delivers. The pop art of that opening doesn’t quite carry through the film though, sadly. Hill has other things on offer than sheer camp action, including his signature interest in the complex nature of ‘80s America.

Aside from the well-executed thrills of a decent ‘cops and robbers’ spectacle, Hill uses the buddy-cop structure to offer a layered look at the cultural tensions of the decade. Stacking the Russia/US political tensions on top of an endearing chemistry between two of the decades biggest stars was a great idea. Schwarzenegger is typically dedicated, superb in the action sequences, charming in the quieter moments. Belushi makes for a surprisingly convincing hard-boiled, if wise-cracking, cop, holding his own in shoot-outs Schwarzenegger could do in his sleep.

In other hands, Red Heat could have been skimpy fun, but Hill brings a consummate idea of place/politics and the film benefits for it, just like a disposable Scorsese/Ferrara feature. The mise en scène of downtown Chicago, the steamy underbelly of the city, and all the people who live there, Hill really captures a sense of life. James Horner’s score blends militaristic classic music with bluesy jazz, pulling the neo-noir undertones to the forefront. Characters who might have otherwise been skimmed over feel like a part of the story, if only captured for a brief scene.

As a buddy comedy Red Heat falls short against something like Lethal Weapon. But as a snapshot of the times and a cops and robbers thriller, the film proves far more able. Hill brings social awareness and a sympathetic angle to US/Russian relations, years before he would make films brazenly lacking in that awareness.

Expected Rating: 5 out of 10