The kind of character-driven, late ‘60s/early ‘70s drama that doesn’t get a lot of play these days, GOODBYE, COLUMBUS (105 mins., 1969, R; Fun City Editions) was a big hit at the time of its release – a social satire in the form of an “unconventional movie romance” from Philip Roth’s novella, scripted by Arnold Schulman and helmed by Larry Peerce.
This is an entertaining if abrasive character study that charts the relationship between Jewish American Princess Ali McGraw and penniless librarian Richard Benjamin, their romance and class struggles once the two fall in love – and the assorted obstacles that ultimately prove too much for the duo to handle. Yet despite the traditional premise, “Goodbye, Columbus” is a fascinating look at class distinctions from that era, marked by superb performances from Benjamin, McGraw, and especially Jack Klugman as her father. Benjamin was able to project both empathy and brash obnoxiousness on-screen and there are times in this movie where he does both, the movie ultimately turning into a downer that ends a bit abruptly on top of it, intensifying the bitterness that develops between its characters.
Charles Fox provided the score and The Association supplied a handful of songs for “Goodbye, Columbus,” which despite being a hit, has received few releases on home video – in fact, I had forgotten I once reviewed the DVD, all the way back in 2004. Fun City’s Blu-Ray marks the movie’s long-overdue format debut with a 4K scan of the original 35mm camera negative providing another markedly clear, detailed image (1.85, mono) in keeping with the label’s superlative output.
Extra features here include a most welcome interview with Charles Fox and a new commentary by Bill Ackerman, an image gallery, and a terrific 2016 panel discussion with pertinent cast/crew members.
Arrow New Releases
It’s funny – sometimes, despite having published this column at the bare minimum twice a month (often weekly) since the late ‘90s, there are certain movies I missed reviewing. Not many, mind you, but a few. RED SONJA (89 mins., 1985, PG-13; Arrow) is one of those, and it speaks to how seldom the film was issued on home video that the Aisle Seat hasn’t reviewed it before. In fact, Arrow’s new 4K UHD marks its first U.S. appearance since a 2004 DVD, making it that rare title that bypassed Blu-Ray altogether en route to a brand-new UHD with Dolby Vision HDR.
This despite Arnold Schwarzenegger’s appearance in another Robert. E Howard-inspired, post-”Conan” adventure from producer Dino DeLaurentiis, who attempts to fashion a female hero here in the form of Danish model Brigitte Nielsen, playing the title role of a supernaturally-enhanced warrior out for revenge after the death of her family.
Red Sonja’s personal quest mirrors Conan’s from the original 1982 “Barbarian,” but this one is much more a Saturday Matinee type of ‘80s adventure – in concert with its previous year’s “Conan the Destroyer,” right down to the presence of its director, Richard Fleischer. In a story also more inspired by Sonja’s Marvel Comics run than Howard’s books, moppet Ernie Reyes, Jr. and his traveling companion Paul Smith help Sonja retrieve a magical talisman after it’s taken by the dastardly Queen (Sandahl Bergman, who memorably essayed Conan’s main squeeze in “Barbarian”) also responsible for her family’s executions.
Shot in Europe on a reduced budget than “Destroyer,” there were nevertheless an abundance of brilliant Italian cinematic artists involved in the production, from the great Ennio Morricone providing an effective score and veteran Giuseppe Rotunno capturing the action in scope. The script was even co-credited to George Macdonald Fraser, a veteran of Richard Lester’s “Musketeers” movies who was coming off the James Bond hit “Octopussy.”
You may, however, be hard pressed to notice some of their contributions, since “Red Sonja” – mildly entertaining as it is – is mostly a poky affair, even at a slender sub-90 minutes. The movie isn’t exactly overflowing with action and fun, with the story contrived and Nielsen pretty much a blank in the lead role. Thankfully, Arnold makes it somehow worthwhile as “Prince Kalidor,” in an extended cameo that turned into top billing once MGM/UA displayed concern over the movie’s commercial prospects if Nielsen were to serve as its most marketable element. The various sets are also interesting and the cast, which also features “Raiders” vet Ronald Lacey, at least cares – though sometimes too much in the case of Bergman, who vamps it up to such a camp degree she was mostly banished to small-screen, direct-to-video fare thereafter.
Richard Fleischer was on the back nine – and coming off “Conan the Destroyer” – when DeLaurentiis hired him for “Red Sonja.” Despite some scuttlebutt in the extras that he directed a “different film” than what was supposed to have been made, Dino was satisfied with the results, and brought Fleischer along to helm “Million Dollar Mystery” (the infamous Glad trash bag sweepstakes comedy) before closing out his prolific career.
“Red Sonja” is controlled overseas by Studio Canal, which issued Blu-Rays of the movie internationally and a 4K UHD a couple of years ago. In the U.S., the movie has always been under the distribution of Turner Entertainment/Warner Bros., so this 4K UHD (2.35) marks its first release since Warner put out a rough looking DVD over 20 years ago.
Arrow’s Special Edition 4K UHD works off the same Hiventy-produced 4K restoration that Studio Canal released on their UHD, with one major exception: the picture’s color tone has been tweaked here to a more natural hue in comparison with the Hiventy transfer, which favored a heavy yellow-tinted color scheme. This results in a smashing Dolby Vision HDR presentation with superb clarity and detail, and a color scheme more in sync with its original theatrical appearance. The movie’s original mono sound is its default, though I preferred the spaciousness of a 5.1 DTS MA remix also on-hand.
Supplements are superb, the best of which is a revealing interview with AD Michel Ferry that Studio Canal shot years back, wherein Ferry recounts Arnold hanging around the production a lot longer than he was supposed to – and nobody really knowing why. New interviews include commentaries by Dave Baxter on one channel and Eugenio Ercolani and Troy Howarth on another, while a slew of brand-new interviews include the great Vic Armstrong discussing stunts; Pietro Torrisi divulging his role of Arnold’s stunt double; plus conversations with assistant production manager Stefano Padoni, FX artist Domingo Lizcano, make-up artist Adriano Carboni, plus an archival talk with poster artist Renato Casaro, the vintage featurette “The Man Who Raised Hollywood,” still galleries, a collector’s booklet, mini-poster, and the trailer (which, as good as Morricone’s score is, seems more energetic with its use of Laurence Rosenthal’s “Clash of the Titans”).
“Red Sonja” was pretty flat when it opened on 4th of July weekend back in ‘85 but it’s an enjoyable enough diversion for Arnold and sci-fi/fantasy fans, dressed up in another lovely Arrow Limited Edition.
Also new from Arrow is a Limited Edition 4K UHD of director Tobe Hooper’s first take on Stephen King: the TV mini-series production of SALEM’S LOT (183/110 mins., 1979, PG; Arrow), which was initially broadcast on CBS in November of ‘79.
David Soul stars as a writer who returns back to his native Maine hometown, only to find the place overrun by an antiques shop owner (James Mason) who’s leading a parade of vampires into the community. Teacher Bonnie Bedelia is obviously concerned, as are many of the town’s parents, once the undead even begin claiming some of the children in Salem’s Lot.
“Salem’s Lot” was the first King made-for-TV project (and was adapted, after languishing in feature development hell, by Paul Monash), and the medium illustrated that what it lacked in showing on-screen violence, it compensated for in allowing additional character development, the product of longer running times. King has always recycled elements of his work in various novels and scripts (there’s a lot of “Salem’s Lot” in “Needful Things,” for example), but Hooper manages to create several memorable moments, and gets several good performances out of his cast (particularly the menacing Mason) along the way. The images of the undead child scratching on the bedroom window of his friend are disturbing and extremely effective, and the ending is satisfying even if the unnecessary epilogue was intended to launch a prospective weekly series that never materialized.
Filmed as a two-part TV movie, “Salem’s Lot” was released to European theaters in an abbreviated 112 minute version that added several shots of gore not included in the official mini-series. Arrow’s 4K UHD is a double-disc set that gives you both versions – actually three of them, when you consider the first disc preserves both the mini-series in either 2-part form or as an extended, single picture.
This new 4K restoration (1.37, mono) sports Dolby Vision HDR and looks so good that one is aware of the production’s limitations from a cinematography standpoint in certain points. Harry Sukman’s occasionally heavy-handed score also comes across well in the punchy, DTS MA encoded mono soundtrack, and there’s a theatrical trailer (for the overseas version) included as well.
In addition to reprieving the Warner commentary with Tobe Hooper, with the director offering tidbits of information in between lengthy stretches of silence, the disc includes a new commentary from Bill Ackerman and Amanda Reyes (mini-series) plus alternate TV footage and commercial bumpers. The rarely-distributed (in the U.S.) movie version offers a new commentary from Chris Alexander plus fresh interviews with Douglas Winter, Mick Garris, critics Grady Hendrix, Heather Wixson, Joe Lipsett and Trace Thurman, plus a locations featurette, the trailer, the shooting script gallery, a Salem’s Lot town sign sticker (!), fold-out poster, and extensive critical writing from historians.
Also new from Arrow on 4K UHD is the bizarre THE BIRTHDAY (120 mins., 2005), a film I hadn’t heard of that apparently has maintained a (very) small cult following.
Corey Feldman stars and nets top billing (for the final time?) here as a hapless sort who decides it’s time to propose to his girlfriend (Erica Pryor) at her father’s big birthday bash. Along the way he finds out the surrounding hotel is about to hatch an occult prophecy in a film from director Eugenio Mira that seems as if it was aiming for a kitchen sink approach mixing everything from Raimi-esque black comedy to Lynchian-levels of nightmarish conspiracy. Naturally, “The Birthday” isn’t up to either of those levels, but I suppose curious viewers may be interested – for me, a little of this went a long way, and the two-hour running time seemed extended (to put it charitably!).
Arrow brings “The Birthday” back into circulation for the first time in years, boasting a new restoration (2.39) with Dolby Vision HDR. Supplements include a commentary by Feldman and Mira; a new interview with the director, exclusive to Arrow’s release; an in-depth scene breakdown from Mira; a 2024 Q&A with Feldman and Mira from Austin, Texas; trailers; and booklet writing from Bryan Reesman.
Coming March 31st from Arrow, SAMURAI REVOLUTION TRILOGY is a groundbreaking series of Japanese films that impart director Eiichi Kudo’s realistic (as opposed to idealistic) depictions of Samurai in a world with corrupt political and social systems.
Kudo’s three films, 13 ASSASSINS (125 mins., 1963), THE GREAT KILLING (118 mins. ,1964) and 11 SAMURAI (100 mins., 1967), showcase similar themes and stark B&W scope cinematography to convey their unrelenting messages and balanced critique of Japan’s medieval history. All three films were critical favorites and offer ample action to go along with their thematic components, and have been collected here in a new Limited Edition Arrow Blu-Ray box-set.
The hardbound box offers lossless Japanese audio with English subtitles and a perfect bound booklet featuring writing from Alain Silver, Earl Jackson and Chris D. Special features include commentaries by Tom Mes and David West, video essays by James Balmont (on Akira Ifukube’s “13 Assassins” score), Jonathan Clements and Daisuke Miyao, archival interviews with Fabrice Ardunini plus Kudo former AD Misao Arai and Dirty Kudo and trailers. A must for Japanese cinephiles!
88 Films New Releases: Two new numbered “Japanarchy” titles join a trio of Limited Editions from 88 Films this month.
From the “Japanarchy” series come a pair of films from director Mika Ninagawa: SAKURAN (111 mins., 2007), the photographer’s debut feature that adapts a popular manga by Moyocco Anno about a young courtesan hoping to break out of a Yoshiwara “red light district,” and HELTER SKELTER (127 mins., 2012), a horrific depiction of Kyoko Okazaki’s manga about a fashion model whose assorted cosmetic surgeries and pressure to maintain an idealized appearance lead to her breakdown.
Both movies include numbered OBI strips and assorted extras, in addition to 1080p (1.85) transfers and 5.1/2.0 Japanese audio with English subtitles. Special features on “Sakuran” include a booklet essay by Jasper Sharp, commentary by Josh Slater-Williams, trailers, and a filmed-introduction by Amber T. “Helter Skelter” offers a commentary by Amber T. and Tori Potenza, interviews with Ninagawa and Erika Sawajiri, a behind-the-scenes featurette, Japanese premiere stage greeting, a Taipei film festival Q&A, still gallery and rehearsal footage.
Newly available from 88 Films is DUEL TO THE DEATH (87 mins., 1983), an early ‘80s widescreen action outing from Golden Harvest. Just as China and Japan each send their best swordsmen to participate in a ritual duel, an attack on a Shaolin Temple threatens the mutual respect between Japan’s ninja master (“Norman Tsui,” aka Tsui Siu-Keung) and China’s champ (Damian Lau).
Action specialist Tony Ching made his directorial debut with this fast-paced period martial arts import, presented by 88 Films in a slipcase-covered limited edition. In addition to a new 2K restoration (2.35) with Cantonese mono with English subtitles, the Blu-Ray sports an English dub, commentary with critic Frank Djeng, interviews with actor Eddy Ko and writer Manfred Wong, plus archival interviews with Tsui Sui-Keung and Flora Cheung, an archival “Wirework” featurette, alternate English credits, an image gallery, and trailers.
PICTURE OF A NYMPH (98 mins., 1988) is an interesting late ‘80s Hong Kong fusion of romance, martial arts and fantasy, starring Yuen Baio as a scholar who falls in love with a strange young woman, only to have to defend her from a centuries-old demon. The ancient Chinese settings and Baio’s charisma make for a memorable and well-regarded film from its era, as crisply delivered battle sequences intertwine with an appealing story line.
88 Films’ Limited Edition Blu-Ray (1.85) includes a new 2K restoration from the original negative; Cantonese audio with English subtitles; commentaries from both Frank Djeng and David West; an image gallery, original trailer, O-ring and rigid slipcase with Sean Longmire’s artwork, a postcard, and 40-page book sporting notes by Fraser Elliott and Paul Bramhall.
Finally, now available from 88 is SHE SHOOTS STRAIGHT (92 mins., 1990), a contemporary police thriller with a strong feminist push courtesy of director Cory Yuen. This one finds the widow and sisters of a slain Hong Kong cop hunting for vengeance with Samo Hung offering some support and also producing this Golden Harvest import marked by solid action and a decent pace. 88’s Blu-Ray includes a new 1080p (1.85) transfer via a 2K scan of the OCN; Cantonese mono or stereo tracks plus an English dub and a 5.1 remix of the latter; a commentary from Frank Djeng; interview with screenwriter Yuen Kai-Chi; alternate English credits; an image gallery, and original HK trailer.
CRUEL TALE OF BUSHIDO Blu-Ray (122 mins., 1963; Eureka): Japanese director Tadashi Imai’s “Cruel Tale of Bushido” focuses on a number of men all belonging to the same family – seven generations of them, and all played by Kinnosuke Nakamura. Imai’s picture looks at the contemporary and past tragedies that befell these generational characters, who have in common a shared amount of untold suffering and sacrifice in the name of the samurai code (or “bushido”). An interesting drama vividly shot in scope, Eureka’s Blu-Ray (2.35) includes a new 4K restoration from Toei plus subtitled Japanese audio, a 3-channel stereo soundtrack, new interview with critic Tony Rayns, a video essay on the film by Jonathan Clements, a limited edition booklet sporting writing by Hayley Scanlon, and a limited-edition O-card slipcover.
Radiance New Releases
Highlighting Radiance’s latest releases is the 4K UHD premiere of Ivan Passer’s 1981 film CUTTER’S WAY (109 mins., R: Radiance), a gritty tale of a Santa Barbara gigolo (Jeff Bridges) who teams up with a wheelchair-bound Vietnam vet (John Heard) and their equally alcoholically-impaired female friend (Lisa Eichhorn) to solve the murder of a young woman whose body Bridges unknowingly saw being thrown into a dumpster one night.
The performances of Bridges and especially Heard go for broke in “Cutter’s Way,” which is a gritty, narcissistic little picture that’s easy to admire but hard to like. That’s because the embittered protagonists and their respective hang-ups, while believably rendered, aren’t especially appealing, and Jeffrey Alan Fiskin’s script – adapting a Newton Thornburg novel – leads to both a predictable climax involving a local business tycoon (Stephen Elliott) and a bleakly downbeat ending.
A movie that understandably failed to muster much commercial business (UA released it through their “United Artists Classics” specialty label), “Cutter’s Way” does carry a rep amongst some film buffs as being brilliant. I wouldn’t quite go there personally, but the picture does have its admirers, seeing as Radiance’s 5000-copy UHD/Blu-Ray marks the third appearance of the film on Blu-Ray and first on UHD, following a 2016 Twilight Time disc and Fun City’s 2022 presentation.
This new 4K restoration with Dolby Vision HDR (1.85) hails from the OCN and offers a splendid enhancement on Jordan Cronenweth’s cinematography based on past releases (by comparison, the Fun City release was a 2K restoration from an interpositive). The disc includes a new featurette offering appreciations from crime fiction authors Megan Abbott, Jordan Harper and George Pelecanos; an audio intro from Jeff Bridges; introduction from Bertrand Tavernier; archival conversations with cast/crew; a tribute to composer Jack Nitzsche and an isolated score track; the original opening credits; the trailer; and a limited edition 80-page book sporting essays by Christina Newland, Nick Pinkerton and Travis Woods.
AGITATOR Blu-Ray (130/200 mins., 2001; Radiance): Takashi Miike’s “Agitator” spins a chronicle of Japanese crime as evidenced by a gang war that breaks out after the death of a Yakuza who assaulted a hostess while on their rival’s turf. Miike’s film examines the high-powered players running the Yakuza as well as the day-to-day goons along its underbelly who exact the mob’s laws on a street level; a dense and dark picture, “Agitator” makes its Blu-Ray domestic premiere from Radiance sporting an HD transfer of its theatrical version (130 mins.) as well as its 200-minute extended cut presented in its original, two-part form (200 mins., standard-def only). Extras include a Tom Mes commentary, new interview with Miike, the trailer, and a booklet featuring notes by Mes.
Also new from Radiance this month is THE DANCING HAWK (99 mins., 1977), the story of a peasant’s son who navigates through rural life in post-WWII Poland, only to leave his soul behind in an increasingly industrial world. Grzegorz Krolikiewicz’s acclaimed import debuts on Blu-Ray from Radiance in a 4K restoration (1.37, mono, Polish with English subtitles) and extras including two shorts shot by cinematographer Zbigniew Rybczynski, an interview with critic Carmen Gray, and limited edition booklet notes by Piotr Kletowski.
BLUE SUNSHINE 4K UHD (95 mins., 1977, R; Synapse): Jeff Lieberman didn’t helm a ton of features but the few that he turned out mostly hit cult status: “Squirm,” “Just Before Dawn,” “Remote Control” and, of course, “Blue Sunshine.” This odd picture stars future soft-core producer Zalman King as the target of a series of brutal killings at a party where one of the guests goes nuts, loses their hair and becomes the most violent member of Blue Man Group ever envisioned. From there, King uncovers a conspiracy involving a drug now causing its users to become psychotic killers years after the fact, along with its dealer who’s now running for Congress.
Lieberman’s independent film is one of his best, well-written and suspenseful despite being, technically, a little rough around the edges. Synapse’s UHD carries its 4K platter from its Limited Edition from last year into a standalone release. This means a reprise of that UHD disc, which sports a Dolby Vision HDR transfer (1.85) with 5.1/2.0 sound (remixed stereo/mono). On tap for supplements are two commentaries with the director; a new intro from Lieberman plus two additional conversations with the director; a recent 4K premiere Q&A; anti-drug scare movies from the late ‘60s; two versions of Lieberman’s debut film, “The Ringer,” with optional commentary from Lieberman and Howard S. Berger; trailers; and a still gallery.
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Severin New Releases
The worldwide Blu-Ray debut of LOOKIN’ ITALIAN (101 mins., 1994) highlights Severin’s latest releases.
This taut and rich character study falls within other mob-related, Scorsese homages you’d find throughout the ‘90s, whether it was Michael Corrente’s “Federal Hill” or Guy Magar’s homegrown effort here. Jay Acovone stars as a former mob member trying to go straight while working in Los Angeles when his hot-tempered nephew (Matt LeBlanc) drags him into the fray once again.
LeBlanc was just months prior to his breakout role on “Friends” when he starred in this little-seen but fairly well-reviewed drama co-starring Lou Rawls (yes, the R&B soul legend). Severin’s Blu-Ray (1.85, 2.0 stereo) includes a new 4K scan from the OCN plus an interview with Magar, a 1994 festival Q&A featuring cast/crew, archival cast/crew interviews, gag reel, trailer, and an “Inside Edition” look behind the scenes.
Director Magar first burst onto the scene with RETRIBUTION (109 mins., 1987), a horror film featuring Dennis Lipscomb as a suicidal man who becomes possessed by a goon just murdered by the mob. Not only that, but Lipscomb is not just haunted by visions of another life but has the power to exact revenge on those who wronged his spectral brother-in-spirit.
Newly scanned in 4K here on UHD (1.85, 2.0 stereo) from the OCN, “Retribution” is a weird but enjoyable mid/late ‘80s video piece with a surprise appearance by Billy Peltzer’s dad, Hoyt Axton, plus sufficient gore FX and a bonkers story to keep genre fans invested. Not only that, but Severin uncovered an unrated cut in the process of their restoration, so viewers get to choose between both versions here in addition to tons of extras.
These include commentary by Magar, interviews with co-writer Lee Wasserman, actresses Leslie Wing and Suzanne Snyder, plus castmate Mike Muskat, composer Alan Howarth, FX supervisor John Eggett, artist Barry Fahr, production designer Robb Wilson King, Magar’s student short “Bingo,” trailers, and a poster gallery.
Finally, the Italian thriller THE GHOST (95 mins., 1963) rides onto 4K UHD in a 4-disc Limited Edition from Severin as well. This vintage effort from director Riccardo Freda stars the great Barbara Steele as a conniving Scottish woman who, together with her able-bodied accomplice, murder her disabled husband – one who promptly returns from the grave in order to dole out his own brand of justice.
Severin found the OCN and was able to produce a dynamic 4K UHD (1.85, English or Italian mono) of “The Ghost” packed with special features. These include a commentary with Kat Ellinger; audio interviews with Barbara Steele, co-star Harriet Medin and Tim Lucas; and genre expert Roberto Curti. There’s also a restoration intro from Steele, a video essay on her from Alexandra Heller-Nicholas, another video essay from Tim Lucas, and trailers.
The third disc in Severin’s set is a documentary, “Executioners, Masks, Secrets: Italian Horror of the 1960s” while the fourth disc is a CD celebrating the work of composer Francesco De Masi. Heartily recommended for ‘60s Italian horror fans!
THE CLOSER – Complete Series DVD (2005-12; Warner): Kyra Sedgwick’s role as Deputy Police Chief Brenda Leigh Johnson was a career highlight for the actress, with the star essaying Brenda through seven seasons of the hit TNT series “The Closer.” This appealing crime procedural, backed by Segdwick’s winning performance, has been collected in a new DVD Complete Series set from Warner, sporting all seven seasons in 16:9 transfers and 2.0 (Season 1)/5.1 (Seasons 2-7) soundtracks. Extras include unaired scenes, gag reels, featurettes, music videos and more in the deluxe Warner package, now available.
Also New From MVD
SPACEBALLS: THE ANIMATED SERIES DVD (329 mins., 2008; MVD): With the prospects of “Spaceballs 2” looming, it seems like a good time to issue this weak, short-lived but (apparently by fans) fondly remembered 13-episode animated continuation of the original movie. Mel Brooks produced, co-wrote and participated in this series, which also sported the involvement of Joan Rivers and Daphne Zuniga – he even wrote some original song material, along with old friend Thomas Meehan, as well. Sadly, the series is done in by poor animation and even worse writing, which tries to lampoon current movies and TV series but fails to mine a consistent stream of laughs. MVD’s DVD includes all 13 episodes (the previous MGM DVD only contained four of them) with trailers for both “Spaceballs” movies, stereo sound and a mini-poster (1.33, 2.0 stereo).
HIGHWAY TO HELL Blu-Ray (90 mins., 1990; MVD/Visual Vengeance): Micro-budgeted, Texas-lensed early ‘90s thriller took off on the VHS circuit, at least in the southwest, where video stores rented out this tale of a serial killer who has escaped from prison and taken a female hostage, all the while being pursued by the cop who nearly had him executed years before.
A raw sense of independence makes this a fun, nostalgic ride – one that originated from a small production that thrived on high spirits and captured a sense of time and place in the process. MVD’s Blu-Ray hails from an SD master from “original tape elements” (1.33, 2.0) with loads of extras: commentary by director Bret McCormick; interviews with McCormick, star Richard Harrison, actress Blue Thompson, screenwriter Gary Kennamer (plus his own shot-on-video effort “Redneck County Fever”), commentary with the writer and director, trailers, a VHS sticker set and mini-poster.
Quick Takes: David Markey’s documentary THE SECRET LIVES OF BILL BARTELL (101 mins., MVD) looks at the multi-talented, enigmatic protagonist who was able to infiltrate the inner circle of Yoko Ono, KISS and Kurt Cobain, all before his tragic end. Over an hour of bonus material is included in MVD’s Blu-Ray (1.85, 2.0) including deleted scenes, a Slamdance Q&A and the trailer…Coming April 3rd from MVD, BORN INNOCENT: THE RED KROSS STORY (88 mins.) profiles the rock band in a 2-disc Special Edition. Commentary from members Jeff and Steven McDonald plus director Andrew Reich is on tap in MVD’s Blu-Ray along with new featurettes on their “infamous” 1979 Pillowog Park Show with Black Flag and the 1982 Santa Monica Pier show; footage of the 2015 rehearsal and reunion show; 40 minutes of outtake footage of the McDonalds playing acoustic Red Kross songs; extended outtakes, an interview with Kim Shattuck, and plenty more (1080p, 5.1).
ELVIS ‘56 (61 mins., 1987 compilation) sports some 20 vintage Elvis TV performances from his “breakthrough year” and appearances on “The Dorsey Brothers Show” and “The Ed Sullivan Show,” interpsersed with additional rare footage. This is a 1080p (1.33) upscale of standard-definition sources with 2.0 stereo sound, newly available from Lightyear…the ‘80s hard rockers Cinderella perform their biggest hits in CINDERELLA IN CONCERT, newly available on Blu-Ray from Cleopatra featuring 17 tracks (hit singles “Nobody’s Fool,” “Gypsy Road” and “Shelter Me” among them), all in either 2.1 or 5.1 stereo sound.
Finally, Blood Sick brings genre fans a pair of outings on Blu-Ray: COVEN OF THE BLACK CUBE (97 mins., 2024) which also sports a commentary, trailer, and behind the scenes material; and BUSTED BABIES (97 mins., 2024), a strange montage from director Kasper Meltedhair (yes!) which also sports an additional short, outtakes and more.
NEXT TIME: More of the latest releases! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers everyone!