The Wages of Fear 4K UHD is the New Blu-ray Pick of the Week

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The public library in Bloomington, Indiana is an amazing place. I lived near there for a time and I always loved visiting. It was larger than any public library I’d ever been to before and it was well stacked with all sorts of books. Even more impressive was their collection of movies and music. Rumor had it that they had purchased all the movies some local video rental store had when that store went out of business. That must have been some cool rental store as the movies the library had were awesome.

They had foreign films, arthouse films, lots of cool British TV, and a solid collection from Criterion before I even knew what the Criterion Collection was. I became a true cinephile in that library and I’m forever grateful for it.

One of the movies I borrowed from there was Wages of Fear. I’m embarrassed to say that I did not finish it the first time I borrowed it. The film is one of the tensest films ever made and I have to admit I found it boring. In my defense, it does take a while to get going. There is a long section in the beginning that introduces our characters and the setting and it is intentionally paced slow.

But once it gets going oh man does it ever get going. In some backwater South American town, four desperate men drive two trucks loaded with nitroglycerin across treacherous mountain roads. It is a suicide mission but the men have no other choice. Director Henri-Georges Clouzot fills every second of their journey with fear and tension.

It is a fantastic film and the Criterion is releasing it on 4K UHD. I can’t wait to see it.

Also out this week that looks interesting:

Akira 4K UHD: One of the greatest animated movies ever made is getting the Ultra High-Def treatment from Crunchyroll.

Gladiator II 4K UHD: The original Gladiator film is a terrific bit of sword and sandal fun with some great action sequences and a fantastic performance from Russell Crowe. The sequel is a big fat dud. At least Denzel Washington appears to have had fun making it.

Film Noir: The Dark Side of Cinema XXIV: Everytime Kino Lorber puts out one of these sets I always think that they must surely be getting close to running out of films they can release and then they put out another one. This one has three films – Union Station / Jennifer / The Crooked Circle.

Play it Cool: Arrow Video is releasing this Japanese melodrama about the exploits of a Geisha.

My Girl (1991)4K UHD Reivew

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When my copy of this disc arrived in the mail, I was confused and a little disappointed. Confused because I couldn’t remember ordering it and disappointed because I knew I had to review it. I do that sometimes – I’ll get a series of PR emails offering all sorts of discs and that little kid inside of me who can’t believe they actually send me free movies if I’ll just write a few paragraphs about them gets all excited. I say “yes” to everything and then when they arrive I wonder what the heck I’m doing.

Generally, I love getting movies in the mail – watching them and reviewing them. But sometimes I get a little overwhelmed with them and I start thinking about the other movies I want to watch. Movies that might fit my monthly theme or something and I’m annoyed at being forced to do something. It is like in school when the teacher makes you read a book. You don’t want to do it even if it sounds interesting.

I was disappointed at receiving My Girl because my memory of it (admittedly a very vague one) was that I didn’t really like the film. Looking at Letterboxd confirmed that opinion with the general consensus being that it wasn’t great.

But I had to watch it and so I did. It was better than I remembered. It is a cute little coming-of-age tale set in the 1970s with a strong performance by the central moppet. It isn’t amazing or anything, but I’m glad I watched it again.

You can read my full review here.

The Movie Journal: February 2025

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I watched 29 movies in February. 21 of them were new to me. Seven of them were made before I was born. It was Foreign Film February, and I watched eleven films that were not made by Americans. I’ve intentionally slowed my movie-watching down this year. I decided I wanted to catch up on some television viewing.

As always I intended to watch more movies within my theme and write about them, and as always I got distracted by a lot of other things. I’m especially disappointed that I didn’t make any of my Friday Night Horror Movies fit because there are lots of great foreign horror films. But here we are.

The director and actor categories are still not really worth talking about. There are only four directors that I’ve watched more than a single film of and the actors have not risen above that number either.

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I do plan on doing Westerns In March again this year. I’ve already watched Hombre in preparation for it. Anyway, here’s the full list.

Nightbreed (1990) **
Prince of Darkness (1987) ****
My Girl (1991) ***
The Long Night (1947) ***1/2
Danger: Diabolik (1968) ****
Le Corbeau (1943) ****
Nandor Fodor and the Talking Mongoose (2023) **
The Woman in Black (2012) **1/2
The Magician (1958) ****
Spider-Man: Across the Spider-Verse (2023) ****
Master and Commander: The Far Side of the World (2003) ****
The Outlaw (1943) ***
For Your Eyes Only (1981) ****
Mothra vs. Godzilla (1964) ***
The Lost King (2022) ***1/2
Choke (2008) ***
House (1985) ***
Eden Lake (2008) **
Drunken Master (1978) ***1/2
The Substance (2024) ****
Conclave (2024) ****
Porco Rosso (1992) ****
Hokuriku Proxy War (1977) ****
Dr. Terror’s House of Horrors (1965) ***1/2
Certified Copy (2010) ***1/2
When Harry Met Sally… (1989) ****1/2
Keep an Eye Out (2018) ***1/2
The Third Murder (2017) ***1/2
The Vanished Elephant (2014) ***

The Friday Night Horror Movie: Prince of Darkness (1987)

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A priest dies. With him is a cylinder that contains a key and diary. Another priest (Donald Pleasence) is called in. he discovers the key and opens the door to a basement inside an old, abandoned church. Inside he finds a large cylinder filled with swirling liquid. The priest calls his friend Professor Howard Birack (Victor Wong), a quantum physicist to investigate. He calls in a bunch of graduate students.

They discover the cylinder is ancient. The diary is coded, written in multiple languages, and full of equations. Decoded it says that the cylinder literally contains Satan and that Jesus Christ was an alien who came to Earth to warn humans about the cylinder. Jesus was killed by humans who thought he was insane.

The priest questions his faith. In some ways, Prince of Darkness is yet another inquiry into the age-old question of science versus faith. But told by horror maestro John Carpenter by way of B-movie genre cinema. It totally works for me.

Outside the church, a group of people (including a dude played by Alice Cooper) gather. They simply stand there and stare. Later one of the students will try to escape and he’ll be righteously killed by those people (and then somehow reanimated by bugs). Some of the canister goo will pour into another student’s mouth turning her into a Satan zombie. Or something. She’ll spit in other people’s mouths turning them into zombies as well.

Meanwhile, the priest, the professor, and the remaining students try to figure out how to keep the Satan goo from taking over the world.

As you can tell the plot of Prince of Darkness is pure schlock. It is goofy and weird, silly, and quite a bit dumb. But it looks great. Cinematographer Gary B. Kibbe lights the film to perfection, filling the screen with lots of beautiful candle-lit shots. And Carpenter is a master of this stuff.

It is a little disappointing that a film that promises Satan and the Apocalypse never gives us much more than goo in a jar and some silly zombies, but it doesn’t really matter. This is John Carpenter, genre master, having lots of fun. I did too.

Weak Spot (1975) Blu-ray Review

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Weak Spot is a film that is difficult to explain or sum up. I reviewed it for Cinema Sentries a little over a month ago. I’ve been meaning to link to that review in these pages. I’ve literally queued it up at least four different times. But each time I’ve stared at this blank page not knowing how to write this little summary to get you interested enough to click over and read my review.

It is a French-Italian-German coproduction based on a Greek novel. It takes place in an unnamed location that is under totalitarian rule. It follows a man who may or may not be a subversive who is caught possibly passing a secret message onto another subversive. He is very casually taken to the capital city for questions by police who don’t seem all that interested in their jobs.

It is full of ridiculous situations played totally straight. It is confusing and weird and rather delightful.

I recommend watching it. I hope this intrigues you enough to click on this link and read my full review.

Foreign Film February: Le Corbeau (1943)

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In a small French town, someone calling themselves The Raven (or Le Corbeau in French) is sending out poison pen letters – gossipy missives accusing various townsfolk of scandalous goings-on. Though letters are sent to nearly everyone in town, accusing loads of people of all sorts of terrible things, they concentrate on Dr. Rémy Germain (Pierre Fresnay) accusing him of having an illicit affair and of performing illegal abortions.

At first, the letters are kind of funny, at least to those who are not being accused, but as more and more of the townsfolk are being accused things become serious quickly. One man commits suicide after being told something in a letter. Fingers get pointed. Demands are made to those in power. The letters must be stopped.

Directed by Henri-Georges Clouzot who also helmed the masterful Diabolique (1955) and The Wages of Fear (1953) Le Corbeau is a terrific little mystery in which the answer to who The Raven really is doesn’t matter nearly as much as what those letters do to the townspeople.

Made in the middle of the Nazi occupation of France the film can be seen as a commentary of the paranoia many French people felt during this period. Never knowing who to trust or what to believe. Interestingly, it also caused problems for its directors since it was produced by a German company, and the French were none too accepting of Germany-made things after the war. They eventually got over it.

It is sometimes called the first French film noir and I can totally see that with the moody black-and-white photography and Dutch angles. It falls just short of being the masterpiece that the two other films of his I mentioned earlier in this review, but Le Corbeau is still a wonderful film deserving your attention.

Amadeus is the New Blu-ray Pick of the Week

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Thus far this year has been a knockout in terms of physical media releases. Usually, releases didn’t start getting good until about March as January and February were considered low months as everyone was still recovering from spending all that money on Christmas. But dang if every week this year hasn’t been a banger.

I haven’t watched Amadeus in a couple of decades but I remember loving it. And now you get the original version (there was a director’s cut released in 2002 pushing the original cut into obscurity) in glorious 4K UHD. Call that my pick of the week.

But we’ve got some Classic Doctor Who coming out this week, a couple of cool-looking Japanese films, two Criterion releases, and more. Click here to read my full rundown.

Foreign Film February – Mothra Vs Godzilla (1964)

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When I was a kid, all those old Godzilla movies were on television regularly. I’m guessing they were Saturday night movies on one of the local UHF stations, but I don’t really remember. What I do remember is how much I loved them. My favorite was Godzilla vs. Mechagodzilla. Not because I thought the film was superior to the others but because in that boyhood way of arguing who could beat who in a fight, I thought Mechagodzilla was best equipped to defeat regular Godzilla. T my young mind a robot Godzilla was the coolest. My friends would choose King Ghidorah, or Rodan, or one of the other monsters and we’d endlessly argue over who would win in a fight.

I more or less forgot about Godzilla once I became a teenager. I had no interest in the 1998 film starring Matthew Broderick or the 2014 film with Aaron Taylor Johnson. And then the Criterion Collection released the original Godzilla.

The original Godzilla was released in 1954. It was a huge success in Japan and in 1956 the rights were sold for an American release. The Americans dubbed it into English, cut most of the political allegory out of it, and did a bunch of inserts starring Raymond Burr. I’m sure it was that version I watched growing up. The Criterion release included the Japanese version of the film and that got a lot of press. I bought that disc and loved the film.

Later Criterion released an incredible boxed set featuring all of the so-called Showa Films. I bought that set (it sits proudly next to my Ingmar Bergman boxed set from Criterion making it look like Godzilla is touching Liv Ullmann’s face.)

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I’m slowly working my way through all the Godzilla films and I recently sat down with Mothra vs Godzilla. Like a lot of Godzilla films from this era, there is a lot of buildup before we even get to Godzilla much less his battle with another monster.

A beach is wrecked by a typhoon. Afterward, a giant blueish egg washes ashore. Some greedy businessmen purchase the egg from the fishermen who have rights to everything inside the cove. They immediately start building a theme park around the egg dreaming of the millions they will make off of it.

They are visited by a couple of twin fairies who say the egg was laid by Mothra a giant moth-shaped god that protects their island. They beg the businessmen to return the egg to Mothra, but instead, the men try to capture the fairies.

After I watched the film I learned there was a previous film entitled Mothra that deepens the legend behind the moth-god. The fairies befriend some kindly reporters before returning home.

Enter Godzilla. Once again he wreaks havoc upon the Japanese island. The reporters beg the fairies to help them destroy Godzilla. Mothra agrees only when Godzilla makes eyes for the giant egg.

Before you think that a moth, no matter how giant, could do anything against an enormous radioactive dinosaur, let me just tell you that Mothra’s wings are so powerful they essentially cause a hurricane whenever she flies. She’s also got some badass powder that hurts Godzilla in some way.

Godzilla ultimately defeats Mothra with his radioactive breath. But it is the egg that saves the day. When it hatches it releases some killer caterpillars with monster choppers and an ability to spray weblike stuff from their hind quarters.

Godzilla movies are inherently silly. And awesome. You can spend all sorts of time trying to point out their various themes and trying to suss out some deeper meaning. Or you can just enjoy a giant lizard fighting an enormous moth.

Full Moon In Blue Water (1988)

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There is a certain type of film that Hollywood doesn’t seem to make anymore. They used to make a lot of mid-budget dramas that were made for adults but weren’t necessarily rated with a hard “R.” They’d have solid directors and well-known actors. They weren’t always the best movies, but they were well-made and enjoyable enough. Now it seems like everything is made to please the algorithm, with stars that have to have enough social media followers in order to get made.

Full Moon In Blue Water is exactly the kind of movie I’m talking about. It isn’t a great movie by any means, but it is a good one. The kind of film you can watch on a lazy Sunday afternoon and be glad you did. They don’t make this kind of film very much anymore, but I’m glad they are at least releasing them on Blu-ray.

You can read my full thoughts on it here.

Foreign Film February: The Magician (1958)

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The Magician often gets overlooked when it comes to discussing the films of Ingmar Bergman. Part of this is due to timing. Made just a year after the duo masterpieces The Seventh Seal and Wild Strawberries it feels small and lesser in comparison. He followed it with The Virgin Spring, Through a Glass Darkly, and Winter Light, three deeply felt films that wrestle with the existence of God and human suffering.

But while The Magician certainly is a lesser film when compared with those movies, I wouldn’t skip it when taking in Bergman’s filmography. Were it made by a lesser director, or perhaps if it had even fallen somewhere else in his oeuvre I suspect The Magician would be talked about much more.

A traveling troupe of performers who sometimes sell themselves as magicians or spiritualists, and sometimes work as healers selling various medicinal concoctions are on the run from the law.

When they arrive in a small village in Sweden they are immediately stopped by the police and taken to a large house where they are questioned by the Police Superintendent (Toivo Pawlo), Dr. Vergerus, the Minister of Health (Gunnar Björnstrand), and Consul Egerman (Erland Josephson). Egerman, who is fascinated by the occult makes a wager with Vergerus, a skeptic, about the veracity of the troupe’s supernatural abilities.

After answering some questions the troupe agrees to perform their act the next morning. The troupe is ostensibly led by Tubal (Åke Fridell) who is the talker, the showman of the bunch, but the Magician is Vogler (Max Von Sydow) who pretends to be mute for much of the film. He is assisted by his wife Manda (Ingrid Thulin) who dresses as and pretends to be a man. There is also an old lady, simply called Granny (Naima Wifstrand), and their driver Simson (Lars Ekborg).

Because this is a Bergman film he is interested in the tension between the supernatural and science, faith and unbelief. It plays a little with whether or not the troupe has real powers before they admit they are frauds.

At the evening meal, Tubal tries to sell some of Granny’s potions. One of the maids is very interested in a love potion. She happily buys it from him then sly admits she doesn’t want it, but rather she wants him. Another maid (Bibi Andersson) drinks the potion and uses it as an excuse to seduce Simson. Everyone uses superstition to get what they want.

One of the other reasons I suspect this film doesn’t get its due is that tonally it is working in a few different playgrounds. It is sometimes a farce, playing the situation for laughs, and then it will switch into something more dramatic, towards the end it gives us a ten-minute scene that is pure horror. Those things don’t always gel well, but it mostly worked for me. The horror segment especially. It isn’t particularly scary, but Bergman, working with cinematographer Gunnar Fischer are such great technicians the scene works perfectly on a technical level.

The cast is as good as you would expect. I love when Von Sydow works with Bergman and he’s as wonderful as ever. It is a beautifully shot and constructed film. I’m always in awe of how gorgeous Bergman’s films look and this is especially beautiful, even though most of it takes place indoors.

It isn’t Bergman’s best film by far, but it proves that even when his films aren’t masterpieces, there is still plenty to enjoy and ponder.