Edge of the Axe (José Ramón Larraz, 1988)

81VnMcy4quL._SL1500_“Unavailable on home video since the VHS era, Edge of the Axe gets a finely honed Blu-ray presentation from Arrow Video.”

Ready my review of this oddball Spanish slasher over at Slant Magazine.

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Black Angel (Roy William Neill, 1946)

71RlfaSlBDL._SL1500_Black Angel plumbs a world rife with deviousness, desperation, greed, and betrayal, and it gets a solid A/V transfer and set of extras from Arrow Films.”

Read my entire review of this little-known noir title over at Slant Magazine.

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House by the Cemetery (Lucio Fulci, 1981)

91uvv9rVuZL._SL1500_The House by the Cemetery remains prime real estate for horror film aficionados.”

Read my entire review of Blue Underground’s luscious new 3-Disc Blu-ray upgrade over at Slant Magazine.

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House by the River (Fritz Lang, 1950)

housebytheriverbr“Now looking better than ever, House by the River is a fascinating, bewitching, and hitherto largely neglected entry in Fritz Lang’s filmography.”

Read my entire review of the extras and technical specs on Kino’s new Blu-ray release over at Slant Magazine.

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Rock ‘n’ Roll High School (Allan Arkush, 1979)

91d4EoKdR2L._SL1500_“The release of George Lucas’s American Graffiti in 1973 unleashed a groundswell of films and television shows that wistfully gazed back at the “good old days” of the late 1950s and early ‘60s, before the “loss of innocence” signaled by the JFK assassination and the escalation of the Vietnam War. Fueled by a double LP’s worth of period needle drops, Lucas’s film presents an anodyne, nostalgia-hazy view of the era intended as a kind of comfort food for the turbulent early ‘70s. Conversely, Rock ‘n’ Roll High School taps into the primal energy and anarchic brio of early rock music as the ideal analogue for the emergence of the punk movement in the face of late-‘70s social anomie and economic stagnation.”

Read my entire review of Shout! Factory 40th anniversary Blu-ray over at Slant Magazine.

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Charley Varrick (Don Siegel, 1973)

81YQ+2VdjuL._SL1500_“Flush from the success of Dirty Harry, Don Siegel at last found himself possessed with sufficient clout to imprint his next work, Charley Varrick, with the auteurist stamp “A Siegel Film,” a rubric that appears on screen before any other title cards. Siegel’s identification with the film’s doggedly professional protagonist extended even to its working title, Last of the Independents, a slogan we see emblazoned across the side of the eponymous character’s crop-dusting company van.”

Read my entire review of Kino Lorber’s new Blu-ray over at Slant Magazine.

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63 Up (Michael Apted, 2019)

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Intimations of mortality inform much of 63 Up, the ninth and latest installment of director Michael Apted’s monumental Up series, which has checked in with a representative cross-section of 14 Britons every seven years since 1964, when they were seven years old.”

Read my entire review over at Slant Magazine.

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