Presented from a new 4K restoration, Second Run are following their hugely popular release of the great Czech animator and filmmaker Karel Zeman’s The Fabulous Baron Munchausen, with his greatest and most famous work – Presented from new 4K restoration, Second Run are delighted to follow their hugely popular release of the great Czech animator and filmmaker Karel Zeman’s The Fabulous Baron Munchausen, with his greatest and most famous work – Invention for Destruction.
Network Releasing have announced that the bittersweet drama Anchor and Hope will be available for digital download and on DVD from 5th November. Starring Oona Chaplin (Game of Thrones), Natalia Tena (Game of Thrones/Harry Potter), David Verdaguer (10.000 Km) and Geraldine Chaplin the acclaimed and timely film has received critical acclaim at the numerous festivals it’s screened at as well as its Theatrical Release in September. From director Carlos Marques-Marcet (10.000 Km), Anchor and Hope explores the themes of surrogacy, adoption, same-sex relationships and what it means to be a parent in a modern-day world. Director Carlos Marques-Marcet says “Where does the desire to have kids come from? I am thirty, the age that biology obligates you to confront one of life’s most important questions: Do I want to have kids or not? And another question comes with it: Is there any other way of having a family that differs from the image I have known throughout my life? The story stems from a mixture between all of the
Coming from Powerhouse Indicator: WILLIAM CASTLE AT COLUMBIA, VOLUME ONE THE TINGLER (1959) 13 GHOSTS (1960) HOMICIDAL (1961) MR SARDONICUS (1961) Renowned for his imaginative and eccentric marketing ploys, William Castle became synonymous with delivering lurid horror films backed-up by his trademark publicity gimmicks (‘Illusion-O’, ‘Percepto’, the ‘Punishment Poll’, ‘Fright Breaks’, etc.). WILLIAM CASTLE AT COLUMBIA, VOLUME ONE features four classic fright films from the outrageous showman’s illustrious career with Columbia Pictures and presented on Blu-ray for the very first time in the UK. Containing a wealth of new and archival extras – including Jeffrey Schwarz’s acclaimed feature-length documentary Spine Tingler! The William Castle Story, newly filmed introductions and appreciations, exclusive new audio commentaries, interviews with actor Pamela Lincoln and publicists Barry Lorie and Richard Kahn, archival featurettes, and much more – this stunning Limited Edition Blu-ray Box Set is strictly limited to 6,000 copies. INDICATOR LIMITED EDITION BLU-RAY BOX SET Continue reading →
Barry Forshaw writes:
R. I. P., Stan. As the first mega-budget new Spider-Man movie created a white-hot fever of anticipation in cinema audiences, I spoke to Marvel Comics’ Stan Lee (who has died at 95), the creator of such enduring heroes as Iron Man, the Incredible Hulk and (of course) a certain web-slinging New Yorker. He had finally decided to reveal all in a very frank autobiography, Excelsior!
Barry Forshaw: With the new Spider-Man movie imminent, you must be undertaking a mass of appearances to promote this much-anticipated film of your creation. Are you starting to suffer from interview fatigue yet?
Stan Lee: I’m certainly in danger of that. Never in my life have I been called upon to talk to so many newspapers, magazines and TV shows about both my career and, of course, Spider-Man. At the moment it’s a dozen a day!
Barry Forshaw: And the real avalanche no doubt starts when the movie actually opens.
Stan Lee: Oh, I’m not even allowing myself to think about that – that’s too daunting.
Barry Forshaw: Excelsior!, your autobiography, is an absolutely wonderful read. It’s fascinating to learn how both you and your stellar artists Jack Kirby and Steve Ditko created all these pop culture icons, most of which have either been the subject of recent highly successful movies (such as X-Men) or forthcoming films (such as Ang Lee’s version of the Hulk).
Stan Lee: I’m glad you enjoyed the book. Actually, it’s not really an autobiography. It is, in fact, the world’s first bio-autography: George Mair supplied a lot of the information about my career, and I pick up from his introductions. But it’s 99% me. They wanted me to do an autobiography, but I said I’d never have the time.
Barry Forshaw: The book has a nicely self-deprecating tone; it’s not just a succession of self-aggrandising “and then I created…”
Stan Lee: It was important to me that I did that. For a start, I was keen to acknowledge all the incredible talents I’d worked with over the years. Marvel Comics was not a one-man show.
Barry Forshaw: Another refreshing thing about the book is its frankness: although you can never be accused of score-settling in the book, you pull no punches. Was there ever any pressure on you (even self-applied) to write a more anodyne book?
Stan Lee: There was no pressure in one direction or another. They just said, “Write the thing”. I tried to be frank, without really insulting too many people.
Barry Forshaw: You put the record straight on many issues that have exercised people over the years. The famous conflicts with Steve Ditko (who drew Spider-Man) and Jack Kirby (who drew the Fantastic Four, Thor, and so many other Marvel characters) are handled with disarming honesty. Both men expressed resentment at the media perception of you as the sole creator, but you were always ready to acknowledge their considerable achievements.
Barry Forshaw: I’m so glad that comes across in the book. At first I wasn’t sure whether I should mention this at all, but, as you say, it’s been an issue for many people over the years, and I really did feel it was time to set the record straight.
Barry Forshaw: Both Kirby and Ditko complained that it was always you talking to the media when Marvel Comics became such an astonishing cultural phenomenon. But, as you say, the personalities of both men did not lend themselves to public appearances, and Ditko in particular rarely gave interviews. But you were doing your best to promote the company and the characters.
Stan Lee: Absolutely. In fact, I did a radio show with Jack Kirby years ago when our characters appeared to be achieving an amazing popularity. Jack began to say that we were bigger than DC Comics (who owned Superman and Batman) and that we were going to obliterate them – something along those lines. And I was kicking Jack under the table, trying to signal to him, “Jack, nobody likes to hear people talk that way!”. I said to the interviewer, “We’re like a little puppy dog yapping at the heels of the big guy” – I suppose this ties in with what you said earlier about self-deprecation. But Jack never really understood that there are certain ways you conduct yourself in an interview so that you don’t sound like a conceited braggart. And it’s true that I did get many invitations to do such things. But when I suggested that Jack or Steve come along, most of the time they — Kirby and Ditlko — weren’t interested.
Barry Forshaw: You go on record in the book as unequivocally acknowledging them as the co-creators of these great characters.
Stan Lee: Of course! And so they were. These were tremendously talented men with whom I worked for many years – long before the superhero era in fact.
Barry Forshaw: Of course, your career, as you mention, extends way back beyond super-powered characters in colourful costumes. You created some of the most ingenious comics in all genres in the 1950s: horror, science fiction, war books.
Stan Lee: That was in an era when you really didn’t admit that you wrote for comic books. The respectability and acclaim came much later. But all of us would soft-peddle what we did if we were asked at parties. There was, of course, the hysteria about the horror comics, but the Atlas line – Marvel’s predecessor – was relatively mild compared to the gruesomeness of, say, EC Comics. Certainly when the superhero era really took off, our readers became older, we became phenomenally popular on campuses and we were being profiled in everything from <I>Rolling Stone</I> to <I>Time</I> magazine had many invitations to speak at colleges. We began to be written about overseas: in England, Italy and Japan. Nobody was reading my horror comics around the world.
Barry Forshaw: Actually, you’re wrong about that. English port cities such as Liverpool had masses of American comics such as your work from that period brought over as ballast; many a schoolboy in England read your pre-superhero stories.
Stan Lee: Really? I had no idea. That was before letter columns, so we never heard from any English readers.
Barry Forshaw: Does it not seem strange to you that these characters you created 40 years ago have now taken on a life of their own? Somebody else other than you writes the Spider-Man movie, or the new Daredevil film with Ben Affleck. Do you still regard them as your “babies”?
Barry Forshaw: You know, it’s a funny thing. I never regarded them as my “babies”. When you don’t own something – when somebody else makes the decisions as to what to do with the properties – you lose the feeling that they are your creations. I was just the guy who wrote the stories; they caught on – and I’m glad they did – but I never felt all that possessive about them, because I never really possessed them.
Barry Forshaw: So you were happy to regard yourself as a “pen for hire”? Your book implies that you’ve been treated pretty shabbily at times by the people you’ve worked for.
Stan Lee: Well, I never became wealthy. I was always treated well, and rather respectfully, and I earned a respectable salary. If I made a trip abroad, I could go first class and charge it to the company, and my time was pretty much my own. And I didn’t have to answer too much to any one person, except in a general way. If I decided I wanted to spend time lecturing about Marvel at colleges, I could. I was like the boss, without being the boss. Creatively, I was in charge of everything while I was there, but I wasn’t in charge of the big things, like what we should do with the characters.
Barry Forshaw: After the success of the DC-related Superman and Batman movies, people would often say, “Why did Stan Lee allow that indifferent Captain America movie to be made?”… And why was the first Fantastic Four movie an unreleasable item that nobody’s ever seen?
Stan Lee: Those weren’t my decisions. But I suppose it’s inevitable that people would assume I had something to do with the mishandling of the Marvel legacy in the movies in the past. But, by the same token, it’ll be nice if I get a bit of credit now that the Spider-Man and X-Men movies have comprehensively reversed that trend!
WILLIAM CASTLE AT COLUMBIA, VOLUME ONE THE TINGLER (1959) 13 GHOSTS (1960) HOMICIDAL (1961) MR SARDONICUS (1961)/William Castle, director/Powerhouse Indicator The British label Powerhouse Indicator continues its very welcome series of excavations of the byways of popular cinema– and in the process, is producing absolutely definitive packages which have everything (and more) that the collector could wish. Nothing could encapsulate the company’s range of ambition more than this delightful set. William Castle is most celebrated (and most notorious) for his outrageous showmanship and publicity gimmicks which – let’s be frank – are probably better remembered than the films themselves. But that is a real shame, as Castle’s funhouse horror movies are almost invariably lively and entertaining, delivered with an irresistible mix of straightfaced seriousness and tongue-in-cheek hucksterism – qualities perfectly encapsulated in the performances of the matchless Vincent Price, star of two of the best films in this collection, The Tingler and House on Haunted Hill, both of which look better in these new transfers than they ever have before. But perhaps the real revelation in this handsome set is Castle’s Homicidal, which is without doubt the most accomplished of all the homages-cum-ripoffs of Psycho to appear in Hitchcock’s wake. And even something as slight as the kiddie-friendly 13 Ghosts has things to applaud, particularly in a transfer as impressive as this – and the one period-set piece here, Mr Sardonicus, does full justice to Ray Russell’s novel, one of the best modern Gothic exercises in Edgar Allan Poe-style macabre. Of course, with this Blu-ray company, it is the extras that provide unique selling points – and they are very plentiful here. Castle’s famous publicity gimmicks (‘Illusion-O’, ‘Percepto’, the ‘Punishment Poll’, ‘Fright Breaks’, etc.) are celebrated, along with a slew of of new and archival extras: Jeffrey Schwarz’s feature-length documentary Spine Tingler! The William Castle Story, newly filmed introductions and appreciations, exclusive new audio commentaries, interviews with actor Pamela Lincoln and publicists Barry Lorie and Richard Kahn, archival featurettes, and much else.
CITY OF THE LIVING DEAD, Lucio Fulci, director/Arrow Blu-ray No genre director divides opinions as much as the Italian shockmeister Lucio Fulci – but for those who can find much to admire in his films (with some reservations!), a case can be made for his best work. A Lizard in a Woman’s Skin (Una Lucertola nella Pelle di una Donna), while by no means a total success, is a fascinating pointer to later ideas in Fulci’s more blood-splattered epics. Basically a Hitchcock-style crime thriller set in a jaded ‘Swinging London’ milieu, it has several virtuoso set-pieces, Zombie Flesh Eaters (Zombi 2, 1979), Fulci’s calling-card movie, is a grisly Romero-inspired corpse epic in which state-of-the-art special effects of dismemberment and carnage offer a challenge to all but the most stout-hearted. It’s in this film that Fulci’s flat, comic-strip narrative grip flourishes – the plot (Ian McCulloch and Tisa Farrow stumbling through implacable, worm-infested zombie hordes) offers nothing of Romero’s claustrophobic image-making, but is powerful enough in its own way. And then we come to the film under discussion, now in a strikingly detailed Arrow Blu-ray. Despite his statements that he wished to concentrate on generating suspense in City of the Living Dead (Paura nella Città dei Morti Viventi, 1980) while playing down the horror aspects, Fulci provides more than enough graphic gore in his follow-up to Zombie Flesh Eaters. Certainly there is considerably less full-scale mayhem as the revived dead of Dunwich stalk their hapless victims, but the famous sequence of a girl being ‘willed’ to evacuate her entire inner organs through her mouth scores high in what Stephen King describes as the ‘gross-out factor’, and the zombies’ favourite method of dispatching the town’s inhabitants – clutching a handful of hair, scalp and brains from the back of peoples’ heads – was (surprisingly) left untouched by the British censor (while performing excisions elsewhere, restored in this uncut edition). There is an undoubted grand guignol energy tapped at times, with the usual satisfying atmospheric tracking shots down misty, threatening streets. Plentiful extras from Arrow, as ever.
HITLER’S HOLLYWOOD, Rüdiger Suchsland, director/Eureka Blu-ray If you think that the Nazi period of filmmaking is of limited historical interest, think again — this utterly mesmerising documentary samples and examines one of the most striking and controversial eras in the history of German cinema (and also includes the celebrated documentary From Caligari to Hitler). Nazi cinema was of course state-controlled and the strictest censorship along ideological lines was exercised – but within the confines of these strictures, some remarkably accomplished work was done, as Rüdiger Suchsland’s film amply demonstrates. Along with the original German language version, there is an English language narration by the cult actor Udo Kier. As an examination of Weimar Republic cinema, this will — quite simply — never be bettered.
LONG WEEKEND, Colin Eggleston director/Second Sight Blu-ray In an age when suspense/horror films are obliged to deliver the goods every 10 minutes or so, it’s really refreshing to see a film that trusts its audience’s patience and delivers its effects steadily but inexorably. On its first appearance, Long Weekend drew many plaudits for the director’s command of the medium, and the steady accretion of eerie elements is adroitly handled as the macabre climax approaches. The Australian-made film is possibly the best example of the revenge-of-nature theme which followed in the wake of Hitchcock’s The Birds (and, as a nod to The Master, there is an avian attack in this film). But director Colin Eggleston has different fish to fry with the troubled relationship between his hapless protagonists at the centre of the narrative here, and the excellent performances by his actors – unfamiliar then and now to British audiences — really pay off. The Guardian got it right: ‘Colin Eggleston’s hybrid horror and relationship drama sets man against nature in a kind of David Attenborough special gone heinously wrong.’ Peter (John Hargreaves) and Marcia’s (Briony Behets) relationship is on the rocks, so they head to the wilderness for an away from it all, make or break long weekend. But in their wake, they leave a trail of destruction – animals run over and tormented, their dog uncared for at home and fires started by their carelessness. They destroy both the countryside around them and any animal or creature that crosses their path…
THE MIRACULOUS VIRGIN, Štefan Uher, director/Second Run Blu-ray Something of a find: Štefan Uher’s striking and elusive 1966 classic The Miraculous Virgin (Panna zázracnica) is a prime example of Czech avant garde/New Wave inventiveness. This new issue also includes the director’s 1959 short Marked by Darkness (Poznačení tmou). For those with a taste for more adventurous film fare, this is a journey to take you into unusual realms.
CANDYMAN, Bernard Rose, director/Arrow Blu-ray The reputation of Candyman has grown steadily over the years, as has that of its director Bernard Rose. And although the latter perhaps did not quite live up to the expectations of his early work, this new issue is a reminder of just how good he was — with a particular skill at finessing the visual aspect of his films. Starring Tony Todd and Virginia Madsen, this brand new 2K restoration (from a 4K scan of the original negative) is eye-popping fare.
THE MUSIC OF SILENCE, Michael Radford, director/4 Digital Media Whether or not you are an admirer of the internationally acclaimed tenor Andrea Bocelli, this documentary about the blind singer’s life makes for a compelling experience – and that’s even without the copious examples of the singer’s art, recorded in impressively detailed sound.
TWELVE MONKEYS, Terry Gilliam/Arrow Blu-ray Acquiring cult status almost immediately on its first release, Terry Gilliam’s Twelve Monkeys. Is a film that has grown in appeal over the years. Those familiar with Terry Gilliam’s initial impact (even pre-Monty Python) as a protégé of Mad magazine creator Harvey Kurtzman will know that Gilliam’s quirky visual skills were in evidence from the very start of his career. By the time of this SF classic, we knew exactly what to expect him, and this is one of the director’s most fully achieved films.
The Man of Steel by Brian Michael Bendis et al In a poll of the best-known fictional characters some years ago, Sherlock Holmes and Tarzan inevitably figured — but it was no surprise that DC Comics’ two heavy hitters, Superman and Batman, were in the upper echelons. The durability of these late Forties creations is attested by the fact that both superheroes are capable of almost endless re-invention, as long as certain basic tenets are maintained. And, in fact, the reappearance of those crucial elements — both Bruce Wayne and Clark Kent are orphans, for instance – is one of the incidental pleasures afforded by the new iterations. When Sigel and Shuster created their ‘strange visitor from another planet’ decades ago, they can have had no idea that it would still be being finessed by other talents in the 21st-century. The latest is in fact the current ruling comics superstar writer, Brian Michael Bendis, whose six-issue run, The Man of Steel, is collected in this handsome volume. Bendis’s approach to the character is not a radical one, but subtly (and cleverly) ringing the changes on certain aspects while touching all the familiar bases. Some may find the world-killing villain Rogol Zaar not notably different from his many predecessors, but the real pleasure here is in the exuberant treatment of Superman himself (and his cousin Supergirl) fighting against the complete annihilation of the Kryptonian race. With several of the current top illustrators (such as Jim Lee and Steve Rude) illuminating the text, this is a truly diverting volume – even for those who feel that this particular Kryptonian well has been sampled too many times. It seems that new versions of the Man of Steel will be possible for decades to come.
The Man of Steel is published by DC comics