Tag Archives: Blu-ray/DVD reissues

Blu-ray reissue: Slade in Flame (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

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Slade in Flame (BFI; Region ‘B’ only)

Akin to Mott the Hoople, it may be arguable among music geeks as to whether Slade was truly “glam” (they were a bit on the “blokey” side- as the Brits would say), but they are nonetheless considered so in some circles, and this 1974 film was released during the heyday of space boots and glitter, so there you go.

The directorial debut for Richard Loncraine (Brimstone and Treacle, The Missionary, Richard III) the film is a gritty, semi-biographical “behind the music” drama (don’t expect A Hard Day’s Night) about a working-class band called Flame (suspiciously resembling the four members of Slade, wink-wink) who get chewed up and spit out of the star-making machine (this just in: managers and A & R people are back-stabbing weasels).

It’s admittedly not a genre masterpiece, but the film is bolstered by a great soundtrack (all Slade originals, naturally) and the casting of Tom Conti (playing a soulless record exec with great aplomb). An amusing scene where lead singer Noddy Holder’s character gets locked into a stage coffin presages a similar hardware malfunction depicted in This Is Spinal Tap. Another memorable scene has the band risking life and limb to access the broadcast booth for an on-air interview at an offshore pirate radio station (the story is set in the late 60s).

BFI’s 2025 remastered Blu-ray edition is a vast improvement over Shout! Factory’s 2004 DVD, in both image and sound quality. Extras include a newly recorded audio commentary with the director and film critic Mark Kermode, a new 9-minute interview with Tom Conti, a 54-minute 2002 interview with Noddy Holder, and more. Note: Requires an all-region player.

Blu-ray reissue: Breaking Glass (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

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Breaking Glass (Fun City Editions)

Released on the cusp of the Thatcher era, writer-director Brian Gibson’s 1980 film is a No Wave take on A Star is Born, with a nod to the classic UK kitchen sink dramas of the 1960s. 26 year-old singer-songwriter Hazel O’Connor delivers a naturalistic performance as a disenfranchised young gas station attendant who aspires to be a rock star…but strictly on her own terms. To wit, the lyrics she furiously scribbles into her notebook are not exactly “moon-June” love sonnets; take “Big Brother”, for instance:

They’ll tear out your heart, throw it knee-deep in a cart
Cause that’s what they do with the scum like me and you
And you feel as if you died, whilst you’re standing on the line
And you wonder all the time why can’t you cry?
But the people in control don’t care for you
They are just a robot with a job to do
And when your used, exhausted, they’ll be rid of you
As soon as look at you, go to the back of the queue!

Not destined to be a chart-climber, that one. Despite the ridicule and sexism she constantly weathers, she eventually gets the attention of a street-hustling manager (Phil Daniels) who sees her potential and helps her put a decent band together (including a young Jonathan Pryce on sax). However, when she lands a recording contract, the inevitable compromises begin once a more seasoned, smooth-talking (and weaselly) industry exec (Jon Finch) begins to wrest control of her career (let the eternal battle between Art and Commerce commence).

O’Connor does her own singing (she also co-wrote the songs with soundtrack producer Tony Visconti). I see the film as a companion piece to Lou Adler’s 1981 Ladies and Gentlemen, the Fabulous Stains and Gillian Armstrong’s 1982 rock musical Starstruck (I wrote about both films here).

Fun City’s 2025 edition is a bit light on extras, but boasts a long-overdue restoration, improved audio, and (most notably) reinstates the original UK cut (the previous Olive Films reissue was not restored, and featured the U.S. cut, which is 10 minutes shorter).

Blu-ray reissue: This is Spinal Tap (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

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This is Spinal Tap (The Criterion Collection)

“May I start by saying how thrilled we are to have you here. We are such fans of your music and all of your records. I’m not speaking of yours personally, but the whole genre of the rock and roll.”

– Lt. Hooksratten (played by Fred Williard), from This is Spinal Tap

Has it really been 41 years since one of the loudest English bands that never lived set off to “tap into America” on their imaginary comeback tour? (Checks calendar) Yes, that tracks. Director Rob Reiner co-wrote this 1984 mockumentary with Christopher Guest, Harry Shearer and Michael McKean, who play Spinal Tap founders Nigel Tufnel (lead guitar), Derek Smalls (bass) and David St. Hubbins (lead vocals and guitar), respectively (several actors portray the band’s revolving door of drummers, who tend to meet untimely ends such as spontaneous combustion, “a bizarre gardening accident”, and perhaps most famously, choking on “somebody else’s vomit”).

Reiner casts himself as “rockumentary” filmmaker Marty DiBergi (a goof on Martin Scorsese, who similarly interjected himself into The Last Waltz) who accompanies the hard rocking outfit on a tour of the states (“their first in six years”) to support the release of their new LP “Smell the Glove” (DiBergi has been a fan since first catching them at the “Electric Banana” in Greenwich Village in 1966).

By the time the film’s 84 minutes have expired, no one (and I mean, no one) involved in the business of rock ’n’ roll has been spared the knife-musicians, roadies, girlfriends, groupies, fans, band managers, rock journalists, concert promoters, record company execs, A & R reps, record store clerks…all are bagged and tagged.

Nearly every scene has become iconic in muso circles; ditto the plethora of quotable lines: “These go to eleven.” “I mean, it’s not your job to be as confused as Nigel.” “You can’t really dust for vomit.” “It’s such a fine line between stupid and clever.” “No…we’re NOT gonna fucking do ‘Stonehenge’!” “We’ve got armadillos in our trousers-it’s really quite frightening.”

The great supporting cast includes Tony Hendra (who steals all his scenes as the band’s prickly manager, clearly modeled after Led Zeppelin’s infamously fearsome handler Peter Grant), Bruno Kirby, Ed Begley, Jr., Fran Drescher, Parick Macnee, June Chadwick, Billy Crystal (“C’mon…mime is money!”), Howard Hesseman, Paul Shaffer, and Fred Williard.

Third time’s a charm for Criterion, who released previous editions on LaserDisc and DVD. The label does their usual voodoo with a sparkling new 4K transfer (supervised and approved by director Reiner) and 5.1 Surround DTS MasterAudio (“Big Bottom”, “Hell Hole”, and “Sex Farm” have never sounded so…robust).

Extras include an engaging conversation between Rob Reiner and Spinal Tap superfan Patton Oswalt, three audio commentaries, media appearances, trailers, and music videos. The 90 minutes of outtakes is a real treat for fans of the film; when you see the quality of what ended up on the cutting room floor, you marvel even more at the cast’s improvisational skills (Reiner had 100 hours of footage to pare down).

Blu-ray reissue: Withnail & I (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

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Withnail & I (Criterion Collection)

Writer-director Bruce Robinson’s 1987 study of two impoverished actors slogging through 1969 London with high hopes and low squalor has earned a devoted cult following (guilty as charged). Richard E. Grant excels as the decadently wasted Withnail, ably supported by Paul McGann (he would be the “I”).

The two flat mates, desperate for a break from their cramped, freezing apartment and mutual descent into creeping fear and paranoia, take a trip to the country, where Withnail’s rich eccentric uncle (Richard Griffiths) keeps a cottage. There are so many quotable lines (“We want the finest wines available to humanity. And we want them here, and we want them now!” or “We’ve gone on holiday by mistake.”). Ralph Brown nearly steals the film as Danny the drug dealer.

Previous DVD and Blu-ray editions have been frustratingly problematic in terms of image and/or sound quality (I think I’ve owned them all), but the 2025 Criterion edition finally puts those issues to rest with a proper 4K restoration (granted, the film was purposely shot in low light and muted brown and grey tones to match the characters’ melancholic mood; still, this is the best print I’ve seen to date). Extras include two audio commentaries, a new short with Robinson and Grant, and Withnail and Us (1999), a documentary on the making of the film.

Blu-ray reissue: The Three Musketeers / The Four Musketeers (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

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The Three Musketeers/The Four Musketeers (Criterion Collection)

I try to avoid utilizing trite descriptive phrases like “rollicking adventure” – but prithee forgive me, good sir or madam if I doth declare Richard Lester’s diptych to be a right rollicking adventure, indeed (bet you’re glad I didn’t say “bawdy romp”). This umpteenth adaptation of Alexandre Dumas’s classic swashbuckler (screenplay by George MacDonald Fraser) was filmed in one shoot but released in 1973 and 1974.

Aside from some light court intrigue, both films tend to forgo any deep narrative exposition in favor of acrobatic swordplay and door-slamming slapstick…but are you not entertained? How could you not be with such a fabulous cast: Musketeers Michael York, Oliver Reed, Frank Finlay, and Richard Chamberlain are ably supported by the likes of Raquel Welch, Faye Dunaway, Geraldine Chaplin, Charlton Heston, and Roy Kinnear. Colorful, exciting, frequently hilarious and rich in period detail, it’s perfect escapism.

Criterion’s 2025 double disc set features gorgeous new 4K restorations of both films. Extras include a new documentary by critic David Cairns, a 1973 featurette with behind-the-scenes footage of director Richard Lester, and a written essay by film critic Stephanie Zacharek.

Blu-ray reissue: Sorcerer (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

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Sorcerer (Criterion Collection)

The time is ripe for a re-appraisal of William Friedkin’s expertly directed, terrifically acted update of Henri-Georges Clouzot’s classic 1953 noir, The Wages of Fear. This existential action adventure (which I think is closer in spirit to Herzog’s Aguirre, the Wrath of God than Clouzot’s original film) was greeted with indifference by audiences and critics when it was released in 1977. Maybe it was the incongruous title, which likely led many to assume it would be in the vein of his previous film (and box-office hit), The Exorcist. Then again, it was tough for any other film to garner attention in the immediate wake of Star Wars.

Roy Scheider heads a superb international cast as a desperate American on the lam in South America, who signs up for a job transporting a truckload of nitroglycerin through rough terrain. Excellent screenplay by Walon Green.  Tangerine Dream provides a memorable soundtrack. They don’t make ‘em like this anymore-a genuinely pulse-pounding adventure that slips in a fair amount of subversive political commentary.

Criterion’s 4K restoration displays a marked improvement in image quality over the relatively bare bones 2016 Warner Blu-ray edition. Extras include the excellent full-length 2018 documentary Friedkin Uncut, a new conversation between filmmaker James Gray and film critic Sean Fennessey, a written essay by film critic Justin Chang, and more.

Blu-ray reissue: Night Moves (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

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Night Moves (Criterion Collection)

Set in Los Angeles and the sultry Florida Keys, Arthur Penn’s 1975 sleeper stars the late Gene Hackman as a world-weary private investigator with a failing marriage, who becomes enmeshed in a case involving battling ex-spouses, which soon slides into incest, smuggling and murder.

As always, Hackman’s character work is top-notch. Also with Jennifer Warren (in a knockout, Oscar-worthy performance), Susan Clark, Edward Binns, Harris Yulin, James Woods and Melanie Griffith (her first credited role). Alan Sharp’s intelligent, multi-layered screenplay parallels the complexity of the P.I.’s case with ruminations on the equally byzantine mystery as to why human relationships almost seem engineered to fail. One of the best neo-noirs of the 1970s.

Criterion’s 2025 reissue marks the third edition of this film I’ve owned; the image quality of the new 4K digital restoration handily tops all previous home video versions. Extras include a new audio commentary by Matthew Asprey Gear, author of Moseby Confidential (a terrific read for fans of the film), a new audio interview with actor Jennifer Warren, a written essay by critic Mark Harris, and more.

Blu-ray reissue: The Linguini Incident (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25, 2025)

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The Linguini Incident (MVD Marquee Collection)

While this film was originally released to theaters in 1992, it may be a misnomer to label the 2024 Blu-ray as a “reissue”, due to the project’s strange and byzantine history. As director/co-writer Richard Shepard explains:

The movie was taken away from me, re-cut, barely released, and opened on the weekend of the 1992 L.A. riots. Even though it garnered some nice reviews, many missed the point (I believe the San Francisco Chronicle complained about the number of trees that were destroyed printing the script), and the film soon disappeared onto dusty video store racks of unloved VHS, and inglorious midnight cable runs. Still, the film had its ardent fans, but the fact was — I wasn’t one of them. […] The film was released at various times [in different cuts and lengths] not only as The Linguini Incident but also as Houdini & Co., The Robbery, The Restaurant, The Incident, and yes, Shag-a-Rama.

The director expounds further in that essay, which is included in the accompanying booklet-it’s quite a saga. So what version is on the 2024 Blu-ray? Well, it’s what one assumes to be the ultimate (and belated) director’s cut (which according to Shepherd is essentially a new film).

Having never seen any of the previous (and next to impossible to find) versions, I can’t compare the newly minted cut to anything but itself-which I found to be a quirky, uneven but ultimately fun and undemanding 90-minute caper dramedy.

I’ll admit to never having even heard of the film until this release; what intrigued me to check it out was a.) David Bowie’s involvement and b.) Shepherd at the helm (huge fan of his hit man dramedy The Matador). The main attractions here are the two leads (Bowie and Rosanna Arquette) and the New York City setting. While it was shot in 1990, the film shares an identifiable vibe with 1980s “downtown scene” time capsules like Desperately Seeking Susan, Liquid Sky, After Hours, Smithereens, and Downtown 81.

MVD’s package includes a sparkling 4K transfer of the new cut; the original theatrical cut (not restored), a full-length documentary about the making of the film, and a commentary track with the director and members of the cast and crew. Perhaps not essential viewing for all tastes, but a definite must-have for Bowie completists (guilty!).

Blu-ray reissue: Prime Cut ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25,2025)

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Prime Cut  (KL Studio Classics)

This spare and offbeat 1972 “heartland noir” from director Michael Ritchie (with a tight screenplay by Robert Dillon) features one of my favorite Lee Marvin performances. He’s a cleaner for an Irish mob out of Chicago who is sent to collect an overdue payment from a venal livestock rancher (Gene Hackman) with the unlikely moniker of “Mary Ann”.

In addition to overseeing his meat packing plant (where the odd debt collector ends up as sausage filler), Mary Ann maintains a (literal) stable of naked, heavily sedated young women for auction. He protects his spread with a small army of disturbingly uber-Aryan young men who look like they were cloned in a secret Nazi lab.

It gets even weirder, yet the film has a strangely endearing quality; perhaps due to its blend of pulpy thrills, dark comedy and ironic detachment. It’s fun watching Hackman and Marvin go mano a mano; and seeing Sissy Spacek in her film debut. Also with Gregory Walcott (a hoot as Mary Ann’s oafish, psychotic brother) and Angel Tompkins.

Gene Polito’s artful cinematography comes to the fore with Kino’s new 4K transfer, taken from the original 35mm camera negative (delivering an image far superior to the 2014 German Region B Blu-ray, which I happily retired). No extras to speak of, but there are two new commentary tracks, one by a Lee Marvin biographer and another by two film historians.

Blu-ray reissue: Heavy Traffic (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25, 2025)

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Heavy Traffic (Sandpiper Pictures)

Within the realm of animated films, Ralph Bakshi’s name may not be as universally recognizable (or revered) as Walt Disney or Studio Ghibli, but I would consider him no less of an important figure in the history of the genre. During his heyday (1972-1983) the director pumped out 8 full-length features (including Fritz the Cat, The Lord of the Rings, Wizards and American Pop) using his signature blend of live-action, rotoscoping, and  traditional cel animation.

I view this semi-autobiographical 1973 entry (his 2nd feature) as Bakshi’s Mean Streets. A young man obsessed with drawing cartoon caricatures lives in a cramped Brownsville apartment with his constantly bickering parents (a Jewish mother and an Italian father).

Yearning to strike out on his own to sow his wild oats, he moves out and ingratiates himself with an array of dubious characters who lurk in some of NYC’s seedier neighborhoods. The ensuing eye-popping (and very adult) misadventures may (or may not) be a figment of the budding artist’s wild imagination. Surreal, outrageous, cringing, hilarious and guaranteed to contain something to offend everybody in a contemporary audience (you have been warned).

This is my first awareness of Sandpiper Pictures; the image and sound quality is decent, but the package is bare bones; no extras or commentary track. That said, I’m glad to see this belated Blu-ray release, as it officially completes my Ralph Bakshi collection!