CUJO

It has long been universally excepted that Dogs are Man’s best friend, so of course the Horror Master himself Stephen King turned that idea wildly on its head in the best-selling novel Cujo in 1981. Just two years later, Director Lewis Teague brought the terror to life in the film adaptation that was not only ahead of its time but also brought us another stellar performance from Scream Queen Dee Wallace who at the time was fresh off of the success of E.T the Extra-Terrestrial.

Cujo‘s premise is simple: a truly loveable St. Bernard named Cujo is bitten on the nose by bats that are infested with rabies and slowly turns into a vicious killer. However, what makes this a truly remarkable and gripping story is Donna Trenton (Wallace) battle between suffering through a rocky marriage and then being thrust into a fight for survival in a car with her and her young son Tad slowly succumbing to the burning heat whilst also being stalked by a furry nightmare.

At 93 minutes, the film takes quite a while getting started with a few plot strings introduced that, as someone who hasn’t witnessed the source material, felt very flimsy and unnecessary until the eventual and somewhat understandable payoff towards the final act. However, the true star and defining factor of the film was the titular character Cujo. As the audience are presented with the backstory of the Trenton family, Cujo’s transformation and descent into madness is interspliced in creating a growing sense of dread and are easily the most appealing aspects of the film especially considering the special effects on the dogs (which include non-St Bernard’s being suited up to look like Cujo and dog heads soaked in puss and blood) were far ahead of its time of 1983. These special effects are definitely enhanced by the fact that this particular presentation of the film on Blu-Ray brings new life and looks honestly magnificent for its entire runtime. Throughout the film, a fair portion of it tells its story and characters progression through the wonderful score by composer Charles Bernstein. For example, the opening scene is almost exclusively dialogue-less and relies on its music to set the narrative.

Stephen King himself has come out and stated that this is one of his favourite adaptations which could be down to the fact that it is faithful to the source material, but the glaring difference is the polar opposite ending which, even though the book version was controversial, unfortunately, left the conclusion feeling incredibly lacklustre and unrewarding considering the journey we, as an audience, and Donna as our protagonist had just ventured through.

At its core, Cujo is a solid Stephen King adaptation that starts of slow but is worth the admission alone for the chaotic and action-packed second act along with some truly breath-taking practical special effects that still hold up to this day but is ultimately let down by a sudden and dissatisfying ending to an otherwise entertaining horror thriller that has been wonderfully restored on the Blu-Ray format.

Special Features:

For the Cujo faithful, the Blu-Ray restoration of 1983’s Cujo is packed full of incredibly interesting and in-depth special features including up-to-date interviews with various cast and crew members who worked on the project over 35 years ago. So many fascinating tidbits of information are revealed within these interviews and are a crucial watch for die-hard fans of Stephen King’s work. The inclusion of these special features add to great package that is a must own for Stephen King fans and general horror fans.

(Special Features presented by EUREKA! Classics:)

Disc 1:

  • FEATURE LENGTH AUDIO COMMENTARY BY LEE GAMBIN (AUTHOR OF NOPE, NOTHING WRONG HERE: THE MAKING OF CUJO)
  • INTERVIEW WITH DEE WALLACE (“WHAT A TOUR DE FORCE PART FOR A WOMAN”) [41:34] – a recent in-depth interview with Lead Actress Dee Wallace about her memories of filming CUJO.
  • INTERVIEW WITH CHARLES BERNSTEIN (“A COMPOSER REALLY CAN’T ASK FOR ANY MORE”) [35:37] – composer Charles Bernstein remembers creating the score to CUJO.
  • INTERVIEW WITH GARY MORGAN (“I DID THE THINGS THAT THE DOG WAS TOO SMART TO DO”) [26:10] – stuntman Gary Morgan sheds light on what it was like to play the role of CUJO during scenes that the dog couldn’t perform due to various reasons.
  • INTERVIEW WITH JEAN COULTER (“IT WAS ALL JUST A GAME”) [21:09] – stuntwoman Jean Coulter talks about her time working on CUJO as the stunt actress for the character of Donna.
  • INTERVIEW WITH MARCIA ROSS (“THE CIRCUS LEAVES TOWN”) [20:03] – the casting director of CUJO talks about how she found all of the talented cast members.
  • INTERVIEW WITH KATHIE CLARK LAWRENCE (“THE PASSION WAS PRESENTED TO ME”) [13:55] – CUJO’s SFX artist recalls working on the film and creating the practical effects seen in the film.
  • INTERVIEW WITH ROBERT CLARK (“A DOG ON A DOLLY”) [12:50] – SFX artist Robert Clarke discusses his time working on CUJO and with the various animals on set.
  • INTERVIEW WITH TERESA ANN MILLER (“INSIDE THE DOG’S HEAD”) [28:14] – the daughter of the (now sadly deceased) animal trainer Karl Lewis Miller talks about her dad and his love and commitment to training animals.
  • TRAILERS & TV SPOTS: Original Trailer [1:49], TV Spot #1 [0:30], TV Spot #2 [1:29]
  • DOG DAYS: THE MAKING OF CUJO [42:48] – an in-depth feature taking a look at the creation, inception and adaptation of Stephen King’s legendary story.

Disc 2 (Exclusive to the Limited Edition version):

  • DEE WALLACE Q&A (FROM CINEMANIACS & MONSTER FEST 2015), MODERATED BY LEE GAMBIN [1:40:53] – a feature-length Q&A panel with CUJO’s leading lady Dee Wallace.
  • KIM NEWMAN ON CUJO [27:03] – a new interview with Critic and Author Kim Newman on the influence and impact of CUJO and Stephen King adaptations as a whole.

CUJO / CERT: 18 / DIRECTOR: LEWIS TEAGUE / SCREENPLAY: DON CARLOS DUNAWAY, LAUREN CURRIER / STARRING: DEE WALLACE, DANIEL HUGH-KELLY, DANNY PINTAURO, CHRISTOPHER STONE, ED LAUTER / RELEASE DATE: OUT NOW

SCARED STIFF

In the 1850s, an evil – some might even say monstrous – slave trader murdered his family and locked their bodies away in the attic of his colonial mansion. Fast forward to the late 1980s, and pop singer Kate moves into the house with her son, Jason, and her boyfriend David, who also happens to be Kate’s former psychiatrist. But something isn’t happy about their presence in the house, and (eventually) makes its feelings known in some terrifying (for the 80s, at least) ways…

A lot of what happens during the film probably provided some medium-strength scares back in the day, although there’s not a whole lot going on for most of the first 75 minutes or so. The visions and possessions are well done for the most part, but it takes a more than a few crazy-eyed glances and ghostly reflections in shiny surfaces to get a reaction from audiences these days. It’s a slow burner for sure, with the idea of making a serious ghost story not quite paying off in today’s climate. Despite the lingering danger, there’s no real feeling of tension or suspense, and anyone watching this for the first time is likely to come away feeling a little underwhelmed.

Having said that, the final 15 minutes are tons of fun. Many of the small (yet extremely obviously signposted) details from earlier in the movie reappear during the finale, which sees all attempts at seriousness go flying out of the window in a practical effects-laden thrill ride that almost make it worth the price of admission. Almost.

Over in the extra features, we find a 33-minute “making of” which includes interviews with many of the cast and crew. It’s revealed that Twin Peaks co-creator Mark Frost wrote the original draft of the screenplay, which was then re-written before filming. One can’t help but wonder how the film might have turned out if that original screenplay had been kept. Director Richard Friedman and producer Dan Bacaner provide a full-length audio commentary, and there’s an additional interview with Billy Barber, the man responsible for Scared Stiff‘s annoyingly/wonderfully catchy theme tune.

It might not be up there with the best 80s movies, but it’s passable enough for a couple of hours worth of entertainment on a rainy afternoon.

Special features: Brand new 2K restoration from original film elements, original uncompressed Stereo audio, English subtitles for the deaf and hard of hearing, brand new audio commentary with director Richard Friedman, producer Dan Bacaner and film historian Robert Ehlinger, Mansion of the Doomed: The Making of Scared Stiff: brand new documentary featuring interviews with Richard Friedman, Dan Bacaner, Robert Ehlinger, actors Andrew Stevens and Joshua Segal, special effects supervisor Tyler Smith and special effects assistants Jerry Macaluso and Barry Anderson, brand new interview with composer Billy Barber, Image Gallery, Original Theatrical Trailer, Reversible sleeve featuring two original artwork options (first run only)

SCARED STIFF / CERT: 18 / DIRECTOR: RICHARD FRIEDMAN / SCREENPLAY: MARK FROST, DANIEL BACANER / STARRING: ANDREW STEVENS, MARY PAGE KELLER, DAVID RAMSEY, JOSH SEGAL / RELEASE DATE: OUT NOW

BLACK MOON RISING

Have you ever wanted to watch a leather-clad Tommy Lee Jones team up with Linda Hamilton to steal a one of a kind supercar? Well here’s your chance, as Arrow Video has released a brand new 2K restoration of Black Moon Rising, packed to the brim full of extras.

Tasked with stealing a tape which contains evidence of corporate crime, Sam Quint is a master thief who finds himself biting off more than he can chew. After being discovered during a botched robbery, things go from bad to worse when the prototype vehicle he hides the tape in is stolen by a gang of car thieves. When the FBI shows up, Quint is given three days to retrieve the tape back or suffer the consequences.

From a story by John Carpenter, the Black Moon has returned once again on Blu-ray to show everyone how cool the 80s really were. So if you’re an aficionado of 80s cinema and looking for some brainless fun, Black Moon Rising will take care of all your nostalgic needs. Directed by Harley Cokeliss who is responsible for a handful of other notable cult films from the past, there’s a real mixture of unique talent both in front of the camera and behind. Although the script may have gone through several rewrites, it still maintains that John Carpenter feel with random moments of hilarious violence and crazy set pieces scattered throughout.

One of the biggest surprises, however, has to be how well the special effects have stood the test of time. Thanks to the clever use of miniatures, one of the film’s biggest set pieces still looks just as impressive today as it did back then. While there are times when Black Moon Rising feels like a disjointed mess, it does manage to gradually find its feet towards the latter half when the heist aspect finally kicks in. There’s no denying how daft the film can be,especially when it edges closer to many of the action sequences which it manages to handle with the right level of absurdity. Still, this was the 80s after all, and it’s only natural that we’re able to witness a sex scene between two characters who play by their own rules. A sex scene which is, of course, accompanied by the good old saxophone.

A fun caper for those who love a solid heist movie, Black Moon Rising is a nuts and bolts pedal to the metal romp which has moments of real ingenuity. It may not look as polished as some of the blockbusters from its time, and it may not shine as bright as some other cult classics, but it still manages to be gloriously over the top. Loaded with extras for diehard fans, Arrow Video has done a great job at delivering an array of content to keep viewers busy.

Special Edition Contents: Brand new 2K restoration of the film from the original 35mm interpositive, High Definition Blu-ray (1080p) presentation, New audio commentary by Lee Gambin author of Show Me: The Making of Christine, Black Moon Ascending: a new interview with director Harley Cokeliss, Thief in The Night: Producing Black Moon Rising: a new interview with producer Douglas Curtis, Sound of Speed: Composing Black Moon Rising: a new interview with composer Laio Schifrin and music historian Daniel Schweiger, Carpenter’s Craft: a new video essay on co-writer John Carpenter’s screenwriting career by author and critic Troy Howarth, Making Black Moon Rising: an archival documentary feature behind the scenes footage and cast and crew interviews, Alternative Hong Kong version scenes, a presentation of selected scenes from Hong Kong theatrical version with a different score and sound effects, Theatrical trailer and radio spots, Reversible sleeve featuring original and newly commissioned artwork by Haunt Love.

BLACK MOON RISING / CERT: 15 / DIRECTOR: HARLEY COKELISS / SCREENPLAY: JOHN CARPENTER, WILLIAM GRAY & DESMOND NAKANO / STARRING: TOMMY LEE JONES, LINDA HAMILTON, ROBERT VAUGHN, BUBBA SMITH / RELEASE DATE: OUT NOW

IRON SKY: THE COMING RACE

race

In 1945, the Nazis went to the moon. In 2018, they came back and changed the world forever. In 2047, the surviving humans now call the moon home but are on the brink of extinction.

After seven years of raising money on Indiegogo, director Timo Vuorensola is back with a sequel to the cult 2012 comedy sci-fi film Iron Sky. After the last film ended in nuclear war, the remaining humans have taken over the abandoned Nazi Moon Base and have made peace with the refugees in order to call it home. But after Obi Washington (Lara Rossi) encounters someone from her mother’s past, the truth of what lies buried underground back on Earth is, revealed which could allow Obi and the last of humanity, who are living in poverty, to survive for the rest of time.

For those familiar with the original film, this is one story that clearly does not take itself seriously – that is apparent from the tagline alone. It may not be 100% politically correct but it manages to take the right approach of a surreal comedic angle in order to present a bonkers concept that will entertain without offending. They successfully did this in 2012 and they’ve done it once again.

After witnessing the events of Iron Sky, we honestly did not think it could get any stranger, but it did! On the dark side of the moon where humanity resides, Renate Richter (the returning Julia Dietze) rules over the last shred of humanity – split into various groups including the Jobists, a cult of Steve Jobs worshipers led by Donald (Tom Green) – you may think that it doesn’t get weirder than that, but believe us, when it gets to a parody of the Last Supper you will understand. Renate’s daughter Obi, after discovering the news about what in hidden back on earth, puts together a band of survivors to take on a suicide mission to the centre of the earth which consists of the aforementioned Donald, the martial arts master Malcom and grease monkey Sasha. When the group reaches Earth, a whole other conspiracy opens up.

Although never setting out to break any records, it truly manages to accomplish its goal of providing audiences with ludicrous entertainment that will also completely baffle them without question. After the first instalment, you think the story is going to go one way before they take a bewildering conspiracy theory of the Vril and take you on a rollercoaster ride in a whole new direction with yet more room for expansion due to the ending if they do a third movie.

For an independent film that relied on a mixture of crowdfunding and the Finnish Film Foundation for its budget, the team have made a highly enjoyable 90 minute thrill ride that contains questionable special effects and relatable humour but manages to get away with it due to its concept that instantly makes the viewer suspend their disbelief and embrace the mayhem; for example, the film features Adolf Hitler riding a T-Rex; yes, you read that correctly. A barmy popcorn flick in a nutshell.

IRON SKY: THE COMING RACE / CERT: 18 / DIRECTOR: TIMO VUORENSOLA / SCREENPLAY: DALAN MUSSON, TIMO VUORENSOLA / STARRING: LARA ROSSI  KIT DALE, VLADIMIR BURLAKOV, TOM GREEN, JULIA DIETZE, UDO KIER / RELEASE DATE: MAY 6TH

BEYOND THE SKY

Chris Norton is a filmmaker who wants to discover the truth about the alien abduction phenomenon. It is a personal quest, as his recently deceased father always believed Chris’ mother was abducted by a UFO on his seventh birthday. Chris has always remained sceptical about his dad’s viewpoint and seeks to get to the bottom of the mystery by making a documentary about the subject with his mate Brent.

His quest begins at an International UFO Congress being held at Roswell, New Mexico (the site of the famous/infamous flying saucer crash in 1947). Here he meets the attendees and is told about their experiences. In particular, he interviews on-camera Adam Williams who tells of seeing a white light, being paralysed and losing his memory back in 2009. He says it was like a nightmare, to which Chris asks if it was only a nightmare and nothing more. In response Adam gets aggressive and tells them to get lost (in a less-polite manner). Also at the conference is Emily Reed, whom Chris discovers has been abducted every seven years since her seventh birthday. In the search for physical evidence for these experiences, Chris and Brent are shown a ‘memory stealing’ device that was attached to the back of Emily’s neck during one of her abduction episodes.

To add some authenticity, the film includes a few real ufologists in the background and includes a short statement by abductee Travis Walton about his experience (which was given the full Hollywood treatment in the 1993 film Fire in the Sky). There are a few twists and turns in Beyond the Sky, and reference is made to the CIA-sponsored MKULTRA mind control experiments of the 1950s and 1960s. It is questioned whether alien abductions are just the product of set design and hallucinogenic drugs – well, maybe…Earlier in the story, Emily takes them to a native indian shaman who conducts an unsuccessful ceremony to ward off the attention of the aliens. Could the aliens be the stuff of legends or mind control? The closing scenes give us some possible answers… Chris, and the film itself, never seriously questions the reality of the abduction phenomenon, so it will please believers who think that we are being visited by something beyond our nightmares.

Not Earth-shattering, but an efficient and well-made low budget film about an intriguing topic.

BEYOND THE SKY / CERT: UNRATED / DIRECTOR: FULVIO SESTITIO / SCREENPLAY: MARC PORTERFIELD, ROB WARREN THOMAS / STARRING: RYAN CARNES, JORDAN HINSON, CLAUDE DUHAMEL / RELEASE DATE: 29TH APRIL

SHOWDOWN (1993)

Ken is the new kid in town, struggling to fit in at a new school where the only person who will hang out with him is a goofy outcast who nobody likes. After talking to the ravishing Julie, Ken finds himself embroiled in a feud with Tom, Julie’s over-protective boyfriend, who happens to be a bit of a karate fan and also the biggest bully in school. The two get into a fight, and Ken is saved by Billy the janitor (played by martial arts expert Billy Blanks) who, wouldn’t you know it, turns out to be a martial arts expert. Halfway through the film, Billy agrees to train Ken, and so begins his path to glory and the eventual showdown in an underground kickboxing club.

It sounds a little familiar, and The Karate Kid even gets a mention in the script (“to let people know were aware of the similarities”, says the director in the extras), but Ken’s training is even less glamorous than that afforded to Daniel-san in the 1984 classic. “It’s like wax on wax off”, says Ken, to which Billy replies “no, this is called toilet cleaning. It teaches humility.”

There’s some fairly wooden acting from most of the cast – Ken is especially “drama school” with his post-scrap “pretend you’re injured and exit stage left” stagger, which we get to see a fair few times. There’s a few fairly abrupt edits, and all in all it’s a rather substandard 90s high school movie with nothing really to bother writing home about. It takes nearly 45 minutes to even get a hint of there being any sort of actual fighting going on, and those 45 minutes feel like 45 hours…

Unless you’re already a fan and might get a kick from revisiting it out of pure nostalgia, there’s not a whole lot to recommend about the film itself. But if you’re the sort of maniac that counts this as an all-time favourite, you’re likely to find something of interest in this Blu-ray release’s special features.

The extras include a brand new 100-minute Making of Showdown documentary in which Billy, Ken, and crazed dojo master Lee (Patrick Kilpatrick from Class of 1999, 3 Ninjas Knuckle Up and, erm, Free Willy 3) all thankfully appear much more at ease than they do in the movie. The same faces appear in the 47-minute Fights of Showdown which focuses on, surprise surprise, the fights of Showdown. Billy Blanks and director Robert Radler get their own 10-15 minute mini-features where they talk about their career highlights, and a couple of galleries and a bunch of trailers for other releases on the same label round off the special features. Oh, and you get a slipcase and a mini poster of the main lads looking all shiny and sweaty (and, weirdly, much better looking than they do in the actual film), if that floats your boat in any way. 5 for the film, a high 6 for the extras.

SHOWDOWN / CERT: UNRATED / DIRECTOR: ROBERT RADLER / SCREENPLAY: STUART GIBBS / STARRING: BILLY BLANKS, KENN SCOTT, CHRISTINE TAYLOR, PATRICK KILPATRICK / RELEASE DATE: OUT NOW

BEYOND ATLANTIS [1973]

atlantis

REGION 1 BLU-RAY IMPORT / DIRECTOR: EDDIE ROMERO / SCREENPLAY: CHARLES JOHNSON / STARRING: PATRICK WAYNE, JOHN ASHLEY, LEIGH CHRISTIAN, SID HAIG, LENORE STEVENS / RELEASE DATE: OUT NOW (US ONLY)

The presence of Patrick (son of John) Wayne in this waterlogged “adventure” – and, indeed, its very title – might lead you to believe that we’re in store for some fanciful romp involving unconvincing sea creatures and dinosaurs stamping around in a lost kingdom populated by nubile pouting slave girls and dominated by big blokes with growly voices and silly bears. Patrick Wayne, after all, eventually graced the world of fantasy cinema in The People that Time Forgot and served time as the legendary saucy sailor in Sinbad and the Eye of the Tiger (both released in 1977). Maybe Beyond Atlantis was an early calling card for his brief tenure as a big, bold action hero?

No chance. Beyond Atlantis is a horribly dull and turgid yarn in which nothing of any interest happens for a good eighty minutes and when it does start to display a pulse, it’s far too late for us to even begin to care. Two strangers wash up on a remote island populated by inbred with oversized – and rather laughable-looking – eyes. Somebody gets a spear in his back for his sins – whatever they are. A bunch of sleazy mainland hustlers come into possession of some rare pearls and, together with boatman Vic Mathias (Wayne) they set off to find the source of the pearls along with scientist Katherine Vernon (Stevens). Inevitably they find the island and its peculiar inhabitants (they can live both on land and in the sea) but the island leader decides, for reasons far too boring to recall here, that his daughter Syrene (Christian) should mate with Vic. Syrene’s Dad then decides that the intruders should all be killed which is when stuff starts to happen but it’s all far, far too late for anyone watching to even pretend to give a damn

Patrick Wayne apparently agreed to star in this howler on the understanding that it was made and promoted as a ‘family film’ which makes its themes of incest and inter-species breeding and scenes of violence – the spear-in-the-back incident and one unfortunate islander devoured by piranhas – seem a little misplaced and entirely at odds with the actor’s well-meaning intentions. But more crucially, Beyond Atlantis is just desperately boring and uninvolving. None of the characters are remotely interesting or likeable, there’s no sense of excitement or tension, and the script lumbers along dragging its actors in its wake with director Romero utterly unable to wring any sense of wonder or drama out of its lifeless story. But because we like to try to find the good in everything – even when there’s very little of it about – we’re happy to report that the numerous underwater sequences are well-filmed (even though Romero’s camera seems to be fixated on Christian’s loincloth-clad posterior) and we laughed like drains at the fight sequences punctuated by a score which includes the theme to ITV’s News At Ten but without the bongs.

Beyond Atlantis is irredeemably worthless, a 1970s relic done no favours by a washed-out, rather scratchy print which doesn’t even manage to make the most of vivid and colourful locations. Beyond Atlantis deserves to sink without trace.

 

JUSTICE LEAGUE VS. THE FATAL FIVE

Justice League vs. the Fatal Five

Whether you’ve been a fan of their recent big-screen output or not, there’s no doubting that DC is most certainly king when it comes to the world of animated superhero shenanigans. So with that in mind, let’s take a look at Warner Bros. and DC Entertainment’s latest animated release, Justice League vs. the Fatal Five.

Now whilst the majority of recent DC’s animated offerings have existed in the crafted and created world left behind after 2013’s Justice League: The Flashpoint Paradox, this latest movie takes place in a very different, but also very familiar, setting: the classic DC Animated Universe that began with Batman: The Animated Series and largely concluded with 2006’s Justice League Unlimited.

Plot-wise, we open the action in the 31s century as three of the nefarious Fatal Five – Tharok, Persuader and Mano – attack the Legion of Super-Heroes’ base of operations in search of a time travel device. Overpowering the Legionnaires present, the three no-good bad guys manage to make off with said device and head on back to the present day. Luckily for the 21st century, Star Boy has managed to tag along for the ride to the present, although it comes at a cost. Devoid of his memories and unable to find anything close to the mind-stabilizing medicine he needs from his own time, one of the Legion’s finest ends up locked up in Arkham Asylum as the threat of the Fatal Five zones in on reluctant new Green Lantern, Jessica Cruz. With some classic Justice Leaguers around to help fight the good fight, the battle is on to protect the present and the future of Earth and the stars beyond our planet.

Pretty heavy stuff, right? For sure, for Justice League vs. the Fatal Five has so much on the line should our heroes not be able to step up to the plate and defeat what is positioned as a truly unstoppable threat. Hell, the battle lines are well and truly drawn from the moment we see Superman left bloody and defeated! But while it’s the physical battles that are so often highlighted in such movies, here we also see mental battles delicately showcased by the creative team involved in the feature. At the forefront of this issue, we find Star Boy and Jessica Cruz. For Star Boy, his mental instability has seen him shunned by the Justice League and locked up with some of Arkham’s most infamous villains. Whereas for Jessica, she is suffering heavily from PTSD and is often far too scared to even leave her own apartment, yet alone embrace her Green Lantern ring and be tasked with protecting a corner of the galaxy.

In comparison to other animated DC offerings, Justice League vs. the Fatal Five is an utterly unique beast due to the issues that it highlights. Far more than just the usual collection of capes ‘n’ tights fighting the good fight – to be fair, the DC animated efforts do often tend to offer up more than generic paint-by-numbers action, of course – the characterisation of Jessica Cruz and Star Boy is refreshing as we see that even the most powerful of heroes have their own personal turmoil and personal battles to deal with. It may be iconic returning voices such as Kevin Conroy, George Newbern and Susan Eisenberg that might attract in many fans, but you’ll leave Justice League vs. the Fatal Five wowed by the nuanced, multi-faceted performances put in by Elyes Gabel as Star Boy and Diane Guerrero as Jessica Cruz.

Key to making Justice League vs. the Fatal Five work, mind, is the story at the core of this adventure. In the Fatal Five, we have some truly badass and brutal villains, while the writing team of Eric Carrasco, Jim Krieg and the legendary Alan Burnett manage brilliantly to make the lesser-known duo – at least in a mainstream sense – of Jessica Cruz’s Green Lantern and Star Boy feel like hugely compelling characters who are positioned as genuinely big deals that don’t look out of place alongside some of DC Comics’ greatest heroes. And again, this feature is another string to add to Sam Liu’s ever-expanding director’s bow; Liu having previously helmed Teen Titans: The Judas Contract, Batman: The Killing Joke, Batman: Gotham by Gaslight and the recent, monumental two-part adaptation of The Death of Superman.

As ever, this release also includes several classic animated episodes of yesteryear – which, let’s face it, is never a bad thing – and the chat track and Batman: Hush preview round out a overall great package. Mark this one down as another home run for DC Entertainment’s animated output.

Special Features: Audio commentary / Two featurettes / Sneak peek at Batman: Hush / Revisited sneak peeks of Justice League Dark and Justice League vs. Teen Titans / Justice League Unlimited episode ‘Far From Home’ / Legion of Superheroes episode ‘Man of Tomorrow’

JUSTICE LEAGUE VS. THE FATAL FIVE / CERT: 12 / DIRECTOR: SAM LIU / SCREENPLAY: ALAN BURNETT, ERIC CARRSACO, JAMES KRIEG / STARRING: ELYES GABEL, DIANE GUERRERO, KEVIN CONROY, SUSAN EISENBERG, GEORGE NEWBERN, DANIELA BOBADILLA, KEVIN MICHAEL RICHARDSON, TOM KENNY / RELEASE DATE: APRI 29TH

SPIDER-MAN: INTO THE SPIDER-VERSE

The origins of Spider-Man seems to be a tale as old as time and one that we have seen on multiple occasions. Peter Parker lives with his Aunt May and Uncle Ben, loses said Uncle, gets bit by a radioactive spider and becomes your friendly neighbourhood Spider-Man. So, after all these years, what makes this instalment different and fresh? It’s simple: meet Miles Morales.

Miles is a bright teenager from Brooklyn who struggles to meet his Police Officer father’s high standards. Whilst out tagging an underground tunnel with his Uncle Aaron, Miles is bitten by a strange robotic-looking spider which gifts him the powers of Spider-Man. Unbeknownst to him, Miles is quickly thrust into the limelight after his dimension’s Peter Parker meets a tragic end and he must become Spider-Man. Whilst coming to terms with his new powers, Miles meets another Spider-Man from another dimension and swiftly realises that the evil Fisk is not just about to destroy his reality, but in fact multiple realities. With the help of his fellow Spider-people, Miles must become the hero that he was always meant to be.

Spider-Man: Into the Spider-Verse marks the first time that Miles has been seen on the big screen and offers a brand new and multicultural take on the classic Spider-Man story. After being first seen in Ultimate Fallout #4 issue of Marvel comics, Miles’ popularity skyrocketed and has since become a fan favourite. What is plain to see, especially from this film, is that his message and story is universal – it doesn’t matter who you are or where you come from; we can all be Spider-Man.

As is clear to see from the trailer and screenshots alone, Into the Spider-Verse possess some of the most unique and striking visuals to have ever been used in animation. Each frame is perfectly crafted to envoke reactions and emotions to the very last detail – just as you would get if you were reading the comic book that a lot of these characters are from. It is literally a comic come to life in the most wonderful way imaginable. After our first viewing alone, it was easy to see why the Academy selected Persichetti, Ramsey and Rothman’s love letter to the world famous web-slinger to be the first non-Disney or Pixar film to take home the gold.

Morales is brought to life by the phenomenally talented Shameik Moore (The Pretenders) whose performance embodies a layered and realistic teenager which is exactly what Miles is. Moore is joined by an outstanding ensemble cast containing the likes of Hailee Steinfeld, Jake Johnson, Mahershala Ali, Lily Tomlin, Nicolas Cage and Liev Schreiber whose collaborative efforts breathe pure life into this world allowing it to become accessible for new and old fans alike.

Whether you are a diehard Spidey fan or are only familiar with his antics in the MCU, there is plenty for every single audience member to enjoy – brilliantly realised verbal and physical humour, incredibly well fleshed out characters and an epic soundtrack to wrap this adventure up in a neat web-tight package.

As for the Special Features contained on the Blu-Ray edition of Spider-Man: Into the Spider-Verse, there is a wonderful selection of behind-the-scenes and bonus content to explore. From music videos to the catchiest songs featured in the film to a wonderfully beautiful tribute to the legendary Stan Lee and Steve Ditko, there’s a wealth of awesome add-ons for old and new fans of the world’s favourite web-slinger which falls perfectly in line to the tone of the film as previously mentioned creating the perfect package.

Special Features:

  • FILMMAKERS COMMENTARY (Directors Peter Ramsey, Bob Persichetti, Rodney Rothman)
  • “CAUGHT IN A HAM” Short Film [4:01] – A very Looney Tunes-esque short cartoon about Spider-Ham vs Dr CrawDaddy and how he ended up in Miles Dimension.
  • WE ARE SPIDER-MAN [7:51] – Interviews with cast and crew about the unique story and the message of the film.
  • PREVIEWS (Hotel Transylvania)
  • LYRIC VIDEOS (“Sunflower” (Post Malone, Swae Lee) “Familia” (Nicki Minaj, Amiel AA, Bantu))
  • THE SPIDER-VERSE EASTER EGG FAN CHALLENGE [5:02] – Some of the filmmakers run down the meaning behind some of the Easter Eggs hidden in the movie.
  • A TRIBUTE TO STAN LEE & STEVE DITKO [8:34] – A beautiful series of interviews with the filmmakers showing their appreciation of Stan Lee & Steve Ditko’s work and inspiration.
  • SPIDER-VERSE: A NEW DIMENSION [5:09] – Behind-the-scenes about the animation and all of the challenges it presented and how they wanted it to look like a comic book come to life.
  • THE ULTIMATE COMICS CAST [15:02] – Behind-the-scenes look at the talented voice actors who brought the characters to life.
  • DESIGNING CINEMATIC COMIC BOOK CHARACTERS (“Heroes & Hams” [7:45] “Scoundrels & Scorpions [5:11]) – Filmmakers discuss the challenges of bringing multiple supervillains into the story and giving them all a good representation.

 

SPIDER-MAN: INTO THE SPIDER-VERSE / CERT: PG / DIRECTOR: PETER RAMSEY, BOB PERSICHETTI, RODNEY ROTHMAN / SCREENPLAY: PHIL LORD, RODNEY ROTHMAN / STARRING: SHAMEIK MOORE, HAILEE STEINFELD, JAKE JOHNSON, MAHERSHALA ALI, LIEV SCHREIBER / RELEASE DATE: OUT NOW

THE WHITE REINDEER (1952)

Reindeer

The White Reindeer is a 1952 collaboration between renowned Finnish cinematographer Erik Blomberg and his partner Mirjami Kuosmanen, both writing the script and with Blomberg directing. The result is a remarkable, beautiful, and compelling film that is fascinatingly rooted in Lapland mythology and Sámi practices. It stars Kuosmanen as Pirita, a young woman who willingly enters into a marriage with Aslak, a reindeer herder in the small village both live in. Initially the union is blissfully happy but as Aslak’s work takes him away from home frequently and for long periods, Pirita becomes frustrated and visits a local wizard. There she hopes to come away with a potion that will make her irresistible to her husband. What Pirita doesn’t know is that there will be a terrible price linked with her heritage that turns her into both bloodthirsty vampire and has her shapeshifting into the titular harbinger of doom.

The film is shot as part dream, part nightmare with its almost fairy tale-like beginning as Pirita and Aslak become a couple. As her frustration and loneliness grows, so the darkness enters the film in greater depth. From her visit to the wizard, via a graveyard of reindeers surrounding a monument to a god to the stark deaths of the curse’s victims, the way in which Blomberg’s film twists the initial happiness of the couple towards a bleak, tragic conclusion is expertly done. There is some incredible imagery in The White Reindeer, with many compositions hauntingly beautiful. Kuosmanen is outstanding as Pirita, surrounded by excellent support. Its themes remain absolutely relevant, most particularly the punishment meted out to Pirita for daring to feel desire (witch here being easily equated with the character’s quiet refusal to conform to the role her society dictates for her). This is a fantastic film, ripe and deserving for discovery by new fans.

The accompanying extras on this new release provide welcome context and consideration of its place in Finnish cinema and as a genre film. There’s a feature-length commentary by Kat Ellinger that is very informative, covering a lot of ground to support the case for The White Reindeer’s place as classic. An audio essay by Amy Simmons further places it within the history of cinematic depictions of witches in Nordic film and is a very worthwhile piece. There’s Blomberg’s own 1947 short on reindeer herding as well as some brief but captivating colour test footage, and from the 1952 Jussi Awards ceremony. Finally, it comes with a booklet featuring writing from Alexandra Heller Nichols and Philip Kemp. It’s a solid package, more so when you consider the film itself is more than enough reason to pick this up. Highly recommended.

THE WHITE REINDEER (1952) / CERT: PG / DIRECTOR: ERIK BLOMBERG / SCREENPLAY: ERIK BLOMBERG, MIRJAMI KUOSMANEN / STARRING: MIRJAMI KUOSMANEN, KALERVO NISSILÄ, ÅKE LINDMAN / RELEASE DATE: OUT NOW