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domino harvey wrote: Sat Jul 06, 2024 8:45 pm After the news that Mill Creek will release the whole series on Blu, Imprint is releasing Bewitched in two-season sets

Yakushima wrote: Thu Nov 21, 2024 4:54 pm I don't see any reviews of Directed by Roman Polanski box set, so I share my observations here for those interested in this edition.

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Bitter Moon looks very similar to the OOP Kino Lorber Blu-ray, but it appears that Imprint fixed the notorious sound problem.

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domino harvey wrote: Fri Nov 01, 2024 9:31 am I’ve got good news and bad news. The good news is Alfred Hitchcock Presents is coming! The bad news is it’s the 80s revival and DVD only

swo17 wrote: Fri Feb 07, 2025 5:06 am Ivy

therewillbeblus wrote: Fri Sep 09, 2022 4:59 pm This may be the best wartime prison camp movie I've ever seen, stripped-down Hobbes vs Locke philosophies perversely presented in raw form without lending credence to either usurping the other, because that would necessitate transcending the survivalist exhaustion these soldiers have been conditioned to by their context. Forbes instead respects his characters and their predicaments, and balances several ambitions with deftness and restraint. He paints a fair and brutal portrait of the immature stages of socially-constructed systems, draws rich characterizations that develop without a clear or direct narrative structure, and concocts his pathway of delivering information around a series of wild and entertaining episodes that weave in and out, existing on their own merits of diversity that funnel into homogenous tangible sensations to indicate its umbrellaed theme. This last piece of irregularity was so effectively implemented that at times I felt Forbes was intentionally taking a surrealistic approach to temporal nonlinearity, as some running plots seemed out of order which only heightened the fever dream of Sisyphean existence we're being acclimated to for two-plus hours (and as long as this film is, the length is necessary to drench us in the atmosphere to the point where we're vicariously depleted right along with the principals in the camp).

Even in the film's last act, when it postures at taking an ethical stance, Forbes (and presumably Clavell's source) subvert their own established expectations. If anyone thinks Forbes wants us to take a particular 'side' here, notice how Courtney's character is cheekily left to the sidelines and elided from the narrative's most crucial moments only to show up as a post-incident finger-wagger. Or take Fox's final lines to Courtney, when he balks at the latter's moralism only to issue a formulation on what Segal provided Courtney that's equally obtuse if we look at it objectively. Each man is seeing in emotional tunnel vision, and neither is right nor wrong. What does right and wrong even matter when the circumstances you're in necessitate self-preservation? And -what I think Forbes and Clavell are really getting at with their coy ending of combative perspectives- when we are finally freed from that reptilian state, what do right and wrong matter when the situation demands emotional -rather than logical- release?

NEW Audio Commentary by film historians Rodney Barnett and Adrian Smith
NEW Video Essay by film scholar Joseph Dwyer
NEW Interview with Jon Towlson, author of “The Turn to Gruesomeness in American Horror Films, 1931 – 1936”

NEW Audio Commentary by critic and film historian Pamela Hutchinson
NEW Interview with author John Llewellyn Probert on the popularity and history of British horror anthologies and Dead of Night
NEW Interview with author Dr. David Huckvale on Dead of Night
Remembering ‘Dead of Night’ – documentary
Stills Gallery
Restoration Comparison