Most Disappointing Movie of 2024?? The acclaimed WHEN EVIL LURKS???

 

 

So yes WHEN EVIL LURKS is a 2023 Horror Movie that made MANY Best of the year lists. Directed by Demian Rugna who got on my radar I think in 2021 or  2022 when his 2017 film TERRIFIED finally made it on to SHUDDER. Not the crappy Torture Porn clown films called TERRIFIER, I’m talking about Rugna’s beautifully made, sensationally performed, and actully scary masterpiece TERRIFIED.

I really have very little interest in movies about humans being horrible to each other, there is enough of that in our nightly news. Of my fiction, I want it to be even in the genre of Horror, especially in the genre of Horror… I want it to (and I guess this comes from my UNIVERSAL MONSTER, HAMMER HORROR TV marathon roots) be tinged with the fantastic.

And TERRIFIED Does that but more, it is a genuinely masterful film. It joins a small handful of films such as IT FOLLOWS and THE AUTOPSY OF JANE DOE, REC, PARANORMAL ACTIVITY (like REC don’t let the diminishing returns of the sequels blind you to just how game changing and impactful the first film was), THE DESCENT, HOUSE OF THE DEVIL, MANDY, BONE TOMAHAWK, A GIRL WALKS HOME ALONE AT NIGHT, PONTY POOL, GINGER SNAPS 3 (Best of the series), WOLFMAN as true cinematic marvels and gifts of this still young century. And all of them share this common theme of mortal man and their brushes with the other, with the Fantastic.

So I LOVE Demian Runga’s TERRIFIED (ATERRADOS). As soon as it came to Bluray I purchased it. And was always on the lookout for anything new by this filmmaker. Last year WHEN EVIL LURKS  was all the talk on the streaming channels, and the talk was all glowing, I almost bought the film sight unseen.

But I waited. Here in 2024 I found the film on Amazon Prime to rent at a good price (only $3.99, I typically never rent films anymore. I figure that rental fee could go toward purchase of the actual Dvd, Bluray or UHD) and I watched the film.

 

And the film starts well, is well shot, and the premise, the conceit of the movie, of this particular brush with the fantastic,is very rich. I can see world of film around this concept, it is that provocative of a concept. Where the film goes wrong for me is in the execution. For such a smart concept, the protagonist is progressively stupider and stupider, until it actual becomes annoying. He is told repeatedly don’t do this or people will die, and repeatedly he does exactly what he is told not to… and people die. Over and over again. And whereas in TERRIFIED the Horror snuck up on you, and live up to its name. Here every scene, with a couple exceptions you see coming. It’s all very telegraphed, so you are closing in on the end, stuck watching a character, you have lost all empathy for, he should be the one dying not those around him.

By the ending I felt let down by the movie. By the writing, by ultimately the story and inept story beats (Why are you splitting up, why leave mom alone with you know what?). And I really wanted to like this film. From writing to direction to editing the team behind TERRIFIED is the same as WHEN EVIL LURKS, but unfortunately the former is one of my favorite films of the last few years, and the latter is so far my biggest disappointment of 2024.

Grade: C-/D+.

Movie of the Day : MACARTHUR (1977) by Director Joseph Sargent

1977’s MACARTHUR is largely a forgotten film, by a largely unjustly forgotten director.

Joseph Sargent was a young, new breed of director who would get his start in the 1960s directing TV shows, back in an age where directing TV was the B league, a stepping stone to the A league… directing theatrical releases.

Sargent, credited with 92 directing jobs, would do the vast majority of those jobs for TV, but he had a brief stint of a few theatrical releases, sandwiched in his long TV career as director. 

Sargent made his brief leap to the A league with some compelling and gripping features, dealing largely with the strange and dangerous place the late 60s, early 70s found us in. Namely an America and an American people caught in that brief, little understood period, where change and growth was not just a possibility, but an active path. Where we for a moment embraced this idea of a nation of the people, by the people, for the people, could actually be realized; where at the very least the conversation could be had.

This was a time sandwiched between the McCarthy 50s and the Reagan 80s, before America sold out to its corporate overlords, and the last defenders of American liberty and truth, Newspapers, were dismantled. Sargent’s films of the 70s, reflect the growing pains and possibilities of a changing, turmoiled America, at a crossroads between Liberty and Control; In an age before the corporate overloads learned to weaponize our illusions of freedom against us.

Sargent’s movies are gripping sign-posts to hard times, that were still replete with… possibilities. Among some of Sargent’s few theatrical movies are THE MAN (1972 – regarding the first Black President, and woefully unavailable on streaming or physical media) , NIGHTMARES (1983 Horror Anthology), THE TAKING OF PELHAM 1 2 3 (An undisputed masterpiece from 1974), and the film this post is dedicated to… his followup to PELHAM, 1977’s  MACARTHUR.

MACARTHUR sports a gripping score, a superb latter-day Gregory Peck role. Gregory Peck was very much a star as a young man, however his performances could be somewhat limited and wooden, I really find his later performances as an older man, is where he grows into his stardom. His 60s and 70s performances, are all just amazing. Gregory Peck grew into a great actor, and that greatness, and gravity are in full display in his role of MacArthur. In addition to score and acting, the film boasts some tremendous direction, that, seeing it for the first time in 2023, can be called nothing less than enthralling and epic.

Unfortunately this would be Sargent’s last theatrical film of note, and with a few un-noteworthy exceptions, he would finish out his career in TV. Why a film of such quality as MACARTHUR and the previous TALKING OF PELHAM 1 2 3, did not lead to a longer theatrical career is unknown, and seemingly unfortunate.

However thankfully we do have MACARTHUR. You can sample it on Streaming, but I highly recommend the Indicator Blu-ray release that includes both versions, the US and UK version. The US version, is the longer version, and is the way to go. The UK version, cuts minor scenes and adds a small scene between MacArthur and the Emperor of Japan, but that scene actually does not add anything to the story telling, and is a bit out of place, and feels like it weakens and confuses the narrative rather than strengthening it. It was wisely left on the cutting room floor in the US release.

Though with the Indicator release you can view this short minute sequence (that occurs at the 1 hour and 28 minute mark) and then return to the US release to conclude the movie.

All in all this is a fantastic film, and kudos to Blu-ray label Indicator for making this film available on Physical media. Streaming is nice, but ephemeral. I fear for the longevity of films that are left only to the impermanence of streaming. Hopefully a label will also release Sargent’s THE MAN.

In the meantime MACARTHUR, courtesy of British label INDICATOR is a wonderful addition to better home movie collections everywhere. Grade: A-.

Get your copy here!

 

 

 

 

 

 

FIVE Standout 3D Bluray Discs that are way better viewing experiences than UHD/4K!

FORCE AWAKENS

GHOSTS OF THE ABYSS

Young Detective Dee: Rise Of The Sea Dragon

LIFE OF PI

BILLY LYNN’S LONG HALFTIME WALK by Ang Lee

 

Movie of the Day : THE MAN FROM LARAMIE (1955) -The Last Mann and Stewart Film

“Hate’s unbecoming in a man like you… in some men it shows.” Charlie to Lockhart

THE MAN FROM LARAMIE- Marks the end of a five year partnership between Anthony Mann and star Jimmy Stewart, and it ends like it began, with a near biblical tale of frontier vengeance, only this time in rich technicolor as opposed to striking noirish black and white.

Stewart giving  a deeply felt performance, more nuanced and conflicted than the vengeance of the younger Stewart of their first collaboration, WINCHESTER 73.

In this film Stewart’s performance of vengeance is that of an older man, not the hot certain vengeance of youth,  but touched with fear and doubt, and makes it a different, and evocative and attractive performance. The film only slightly marred by a cartoony performance, by an actor seemingly miscast as the hothead son.

But that aside a fitting ending to their collaboration, and by any measure an essential western.

You can view it for free on streaming. And when suitably availed of its greatness, you can click the images to purchase your copy today. Masters of Cinema in 2016 released a Blu-ray 60 years in the making (almost sold out), improving on the 2014 Twilight Time release (which showed the film finally in its full widescreen glory) by adding a bevy of special features including an insightful audio commentary. I despair of a world where people are silly enough not to own these films in physical media 🙂 . If you are not one of these silly people, get yours by clicking the image below.

 

 

 

Movie of the Day : SOMETHING WILD (1961) Criterion Blu-ray — not on Streaming!

Click The Image Above to Purchase your copy today. Any purchases through the above link earn this Blog much appreciated pennies.

 

Something Wild (1961 — not the two decade later Melanie Griffith comedy vehicle)- Is a Criterion film I have heard virtually no one mention or talk about, Which is odd given it stars Carroll Baker and Ralph Meeker (one of my favorite actors) , and sporting some of the legendary Saul Bass’ best and most effective title credits.

Indeed the title sequence alone sells me on the film, and I’m worried once its over the film will not live up to the succinct but powerful storytelling in that credit sequence, as it tells wordlessly the fast paced, regimented, almost automaton like, lacking real connection, breakneck race on a rat wheel… that industrialized life has been broken down to.

It infers, the title sequence, of the individual being lost in the unending grinding of the wheels of industry and progress and the masses.

So I’m worried the film will falter from the title sequence.

Thankfully it doesn’t.

The opening sequence is as effective, and giving the time period, as groundbreaking and striking and shocking a bit of film-making as you can think of.

So to wrap up the non-spoiler section, I highly recommend seeing this film. Carroll Baker gives a raw, game changing performance, in a convoluted, messy, masterfully directed tale.

Special Features are limited but are excellent.

A rich, vibrant, informative, moving 2016 interview with Director Jack Garfein conducted by film critic Kimberly Morgan.

“I programmed it in 2010 on Turner Classic Movies, and never have I received so much email from viewers. And then we showed it in Telluride, and I spoke to you at Telluride and the  audiences there were really taken aback, really, in fact, shocked by the film in many ways.” Kim Morgan

‘So was I, you remember?” Jack Garfein

“Yes, I do remember.” Kim Morgan

“I was sitting next to you, and almost had a breakdown. Because, I suddenly… I looked at that film… I made that film, but any kind of real creation is a subconscious process. The artist himself doesn’t quite understand. I didn’t realize that this film… is me. This character of the girl… is me.

When I arrived here in Manhattan I feel the same pain, the complete isolation, in the sense I tried to connect but it was very difficult to connect. I had to keep everything in myself and go on. When I was liberated in Bergen-Belsen I weighed 48 lbs, I couldn’t walk. I was 14 years old.”

A riveting, must watch interview, about a Director I was unfamiliar with, and unfortunately he would not do another film after SOMEWHERE WILD failed to make an impact at the theater.

The loss is cinema’s.

And then a wonderful, deeply entertaining and humorous 2016 audio interview with star, the effervescent and lovely Carroll Baker. I am now on the lookout for all her films.

 

And lastly a video interview with Historian Foster Hirsch who breaks down the history of the Actor’;s Studio and Roots of Method Acting.

Watch the Blu-ray then come back and read the rest of this review.

You’re back… good.

Minor spoilers follow.

It’s a film about assault, about a rape. And you have to understand the time period this film was made against, for the protagonist behavior to be… properly framed. In an age where rape was something that happened to other people, not good girls from a good upbringing, was not talked about in polite company, much less admitted to or shared or confronted or reported, SOMETHING WILD tackles the assault in a frank, and in your face way, that no film before and very few since, have really captured.

Again, wordlessly, like the title sequence, in Baker’s performance, we see someone having been robbed of their own sense of their body… as their own; portrayed in the way she lays down and is afraid to even touch herself.

It is a striking bit of direction and an even more striking performance, of a woman in a world where there was no concept of ptsd, or believed avenue for redress for such a violation, that this was something to be hidden and buried, and you see the effects of this unrelenting trauma, like a fissure running through her, breaking everything apart.

The subway scene, again a master class in direction, and performance, as it imbues in the viewer a sense of that press of human bodies, the rising panic, the nausea. It is really powerful film-making. And then at about the hour mark or so, it deviates from where I thought the film was going (I do not read descriptions when blind buying a movie, just so I can walk into surprises like this film had for me), and becomes something different.

Something unexpected,

Something strange.

And something that just keeps getting stranger. It’s a deeply morally problematic film, especially viewed from a modern lens, I can see this film being… taken to task for its choices. They are not admirable or sensible choices, and arguably that is the point. Trauma breeds trauma, and damaged people make imperfect choices.

It’s a deeply troubling film, but I have to say, while I watched the latter half of the film slack jawed and disbelieving, not agreeing with any of the choices made, I found it a captivating, daring, incredibly strange, movingly performed and strikingly filmed movie about broken people caught in regimented, grinding wheels from within and from without.

I can understand, particularly if you are a victim of trauma, not jibing with this film. It does not give us the resolution we want, all of the people in this film have feet of clay, but maybe that is why I do, appreciate it. It shows us people in the way we seldom see them, or ourselves, as victims of our unfaced traumas.

It is a horror film of a sort. But it is the horror of real life.

A deeply interesting film, that I am very glad I have viewed.

Movie of the Day : SLAYGROUND (1983)

“You come highly recommended.”

“I know I do.”

“Do you know what is required?”

“Vengeance, I believe.”

With those lines, balefully delivered, you know everything you need to know about why you should run out and watch or buy the 1983 film SLAYGROUND, right now.

I picked up this film on a bit of a whim, during the recent Kino Lorber sale. Kino Lorber introducing me to this almost 40 year old film, that I had never heard of. The price was right, and the cover and blurb… caught my eye.

Boy am I glad I purchased this film.

From the opening scene, with that wonderful soundtrack, it grabs and does not let go. Peter Coyote has never been better, and it is masterfully directed by a director, that like the film, I was unfamiliar with, Terry Bedford.

This would be his first and only film. What a debut and what a denouement. The 1980s was very much the age of the iconic boogeymen, from halloween’s michael  myers to nightmare on elm streets freddy kreuger, to friday the 13th’s jason, to the end of the cycle with 1992’s candyman. slayground is a far more mature, complex and both sophisticated and convoluted, laconic film which explains why it flew under the radar and the tastes of the ‘get to the point, show me’ 80s.

however this film very much creates an iconic boogeyman for the ages, an implacable shadowman, played by philip sayer, once heard, once glimpsed… is every bit as terrifying and arguably more disturbing, than the more supernatural tinged monsters of the 80s.

there are good movies that are pushed over into great, by that exact perfect voice casting. james earl jones in star wars, his voice is pivotal in establishing the character of darth vader as iconic, and establishing that character is essential in establishing the film as iconic. the same with his voice in CONAN THE BARBARIAN. Other examples of great voices that helped carry/elevate movies are liam neesen in dark man, stephen mchattie in ponty pool, aDRIENNE BARBEAU IN THE FOG, And virtually anything orson welles has starred in.

to that list you can add philip sayer‘s voice acting in slayground. he creates an iconic villain, largely with his voice, and kudos to the filmmakers for their top notch direction and decision, to create their villain largely by suggestion.

and Praises to boutique Bluray Label KINO LORBER for rescuing this film from obscurity. I would have preferred more special features, but I am happy just to have this wonderful slice of period Americana available on Bluray.

 

The interview by Peter Coyote (done when he was 77, and we should all look as good as Mr. Coyote does at 77) is as essential as the film. It is a film class in one informative and engaging interview. A great special feature.

“Well I mean Terry’s {the Director] a really genial guy, you know I liked these guys… he was easy to get along with, … he made it fun, but there is such … the English have such class consciousness that the actor is one step above a peon, unless he is banking the film. And I certainly wasn’t banking the film. I was a Jew with an animal name, that they hired from somewhere…probably because I was cheap. So, you know, I was frustrated oftentimes being asked to do things that made no sense whatsoever… they just defied logic. And, you know, at a certain point it’s like you can fight everyday and get fired, or throw it in. I didn’t care, I tried my best, I gave it my 2 cents.”

Get your copy by clicking the image below:

 

 

 

Best of the 2nd Quarter 2022 : Best Classic TV Show – ALFRED HITCHCOCK HOUR’s ‘RIDE THE NIGHTMARE’

ALFRED HITCHCOCK HOUR was a followup to the far more well known ALFRED HITCHCOCK PRESENTS, except true to this revival’s name it offered hour long tales of mystery and suspense.

Rarely seen, or referenced, this series tends to languish in obscurity in comparison to its far more popular and well remembered sibling, AHP. Which is unfortunate because, for the most part I am finding the hour long time-frame (that could easily feel padded) being effectively used by the host of talented writers, directors and stars involved. Not in all cases of course, some episodes do fail or feel overlong, but so far the majority of the ones I have seen, are satisfying and compelling additions to the output of the great Alfred Hitchcock.  

While few of these are directed by Alfred Hitchcock, the best of them live up to the high bar of cinematic mystery and suspense that Alfred Hitchcock helped set.

Case in point, RIDE THE NIGHTMARE.

Directed by Bernard Girard (an unknown to me Director, who seemingly spent the bulk of his career directing various Television shows, the movies that are credited to him at the end of his directing career, seem poorly received critic wise, but all sound intriguing to me, and worth a look, especially based on how impressed I am with the visuals in RIDE THE NIGHTMARE) and with a screenplay by the great Richard Matheson, that he adapted form his own novel, RIDE THE NIGHTMARE is a gripping, exciting, amazingly directed episode of television.

Beautifully lensed by cinematographer William Marguiles (a relatively prolific DP in late 50s thru the early 70s, primarily in television) , from the first shot I was asking myself, “who the heck directed this? It looks stunning!”

From evocative low angle shots, that make the ceilings loom above us like the hand of doom, to 270degree close-up pan around an embracing couple, to a series of doorways the character walk through as they quietly discuss their relationship’s immolation (the doorways at dutch angles to represent a world no longer reliable and steadfast, but rather menacing and predatory)… the episode enthralls.

And for an unknown tv episode from 1962, to invoke those impressions on someone watching it for the first time, 60 years later in 2022… I think says much about the visual language of the episode. It also says much about its star, Gena Rowlands.

Known for her later lauded pairings with her husband and paramour (their relationship had that type of oxymoronic duality, and iconoclastic fire, both on and off screen, that he could at once be her husband, and at once be the seducer who swept her away) John Cassavetes; Gena Rowlands, who at the time of this writing is still with us, in this episode (the first of three yearly episodes she would do for ALFRED HITHCHCOCK HOUR) commands the screen with her beauty and her presence. In RIDE THE NIGHTMARE she offers a beguiling performance, that well foreshadows, while giving us a less damaged version, of those later legendary pairings with Cassavetes.

Also with great performances by genre stalwarts Hugh O’Brian and John Anderson — this is a brutal little bit of unheralded television noir, that builds to a [mild spoiler, skip to next paragraph to avoid it] surprisingly near apocalyptic ending.[end spoiler]

The plot has in the 60 years from there to here, been reused countless times, even in 1962 was slightly formulaic, but what was not and is not formulaic… is the craft that it is told with. That had, and still has, the power to rivet.

These shows can be viewed via streaming. Either free if you can deal with the criminal # of commercials (I can not), or via purchase on (typically) an episode by episode basis. I chose neither of those routes and purchased the entire series on DVD to watch at my leisure.

To get your copies go here:

Thanks for looking, and click the image above to purchase. you get a great item, and this blog earns a few appreciated pennies to keep the proverbial lights on.

a win, win!

that’s it for this segment. Oh, and for those of you staying for my rant… read on. The rest of you come back next time, and be well!!

 

*********

“What did he say “DVD”? HaHa!! What a geezer!! Wake up Grand-pa! There’s this thing called streaming!! Ha! Ha!”

Yes, thank You.

Very enlightening. I happen to be a big fan of digital and streaming… In its place.

I like streaming for discovering things I want to revisit or own (if ownership by individuals is not a forbidden word in this new age of solely corporate ownership and corporate freedoms), however for revisiting these things, or owning these things, or enjoying these things, I want it in a format where I can enjoy it whether or not I have an internet collection, whether of not a corporate site is down, whether or not that corporate gatekeeper has decided to stop serving that particular show or episode or album or video game.

As the whole world races to embrace ever more gatekeepers on everything the individual touches, it increasingly becomes clear that you can not buy, or sell, or read, or watch, or listen to something whether in your house or your car, without a log of what you have consumed and when you consumed it being stored somewhere, approved somewhere. Something about that does not agree with me.

Something about not being able to buy or sell without having the mark, whether the mark digital or the mark proverbial, something biblically off-putting about that :).

I tend to like being off grid for my entertainment when I can, when I choose. It is the iconoclast in me. I resist the religion of hegemony and the glory of social media in all things.

 

Here Endeth the Recommendation and the Rant!

 

:).

 

Essential Films for Black History (or any) Month : Today’s Entry… EL BENNY!

 

Based on the life of Benny Moré, the film concentrates on a period in the early 1950s when Moré leaves the orchestra of Duany and starts his own ‘Banda Gigante’. In flashback we learn of his success in Mexico. Moré is caught in the events connected to Batista’s coup in Cuba. Also, he tours Venezuela, where he suffers the machinations of a vengeful businessman.

• Director
  • Jorge Luis Sánchez
• Writers
  • Abrahán Rodríguez
  • Jorge Luis Sánchez
• Stars
  • Rakel Adriana
  • Ulyk Anello

  • Renny Arozarena

  I had the great pleasure to see this film at a film festival, nearly 15 years ago, and the memory of this film, the texture of this film, has not left me in all that time.

  The fact this film is completely unavailable on physical media (no in-production feature rich  DVDs exist, No Blu-rays exist, no UHD discs exist) is a crime against cinema and art, that greatly needs to be rectified.

  CRITERION I am looking at you. VINEGAR SYNDROME I am looking at you. INDICATOR I am looking at you. This is a film that should be available not just for Black History month, but for every month.

THE LAST HURRAH : Ten Greatest Film Noirs of the 20th Century and their best physical releases here in the 21st Century!

I have not put CASABLANCA or THIRD MAN on this list, because although they have noir elements, there is an A picture scope to them in terms of not just budget but aspiration, that transcends the conventions of the noir, they ultimately tell larger tales than the fall or redemption of a single man, which is the heart of the noir aesthetic.

With that caveat aside, onto the list.

1. MALTESE FALCON (1941)

2. DOUBLE INDEMNITY (1944)

I don’t love the cover art for the Eureka release of Billy Wilder’s DOUBLE INDEMNITY (I think they should have gone with the art used for DVD and other releases) , but the film itself is magnificent, one of the greatest film noirs of all time. And a very good Blu-ray release. It is currently the must own version of this film.

3. MURDER MY SWEET (1944)

4. KISS ME DEADLY (1955)

5 DEVIL IN A BLUE DRESS (1995)

Walter Mosley’s DEVIL IN A BLUE DRESS remains a watershed book, in many ways improving on the pulp noir and film noir roots laid by writers like Hammett And Chandler. As someone who has read the book, listened to the audio book, and seen the film, Director and Screenwriter Carl Franklin’s take on DEVIL IN A BLUE DRESS is just as watershed a film. With a stellar cast, the film is Noir distilled, while being one of the most beautiful color films, and is endlessly watchable and compelling. Indicator Films finally releases this film on Blu-ray, with Booklet and one newer special feature… a charming 2018 Interview– Carl Franklin: DANCING WITH THE DEVIL. That said I do wish they had sprung for new interviews and commentaries to go along with the ported features from the original 20 year old DVD; but that aside this is a must own limited-special edition release, that is  25 years in the making.

6. LADY FROM SHANGHAI (1947)

7. THE BIG HEAT (1953)

8. THE BIG SLEEP (1946)

9. I WAKE UP SCREAMING (1941)

While ostensibly 1941’s MALTESE FALCON is recognized as the first FILM NOIR, this film, I WAKE UP SCREAMING, made at the same time as MALTESE FALCON, actually is the first film to put together all the iconic elements we would later associate with film noir.

In addition to the Femme Fatale, and the morally challenged protagonist, this film adds the heavy use of shadows, the Venetian blinds, the stylish dutch and off-center shooting angles, in essence the visual language of film noir shows up first in this least heralded of films. And with a winding script that keeps you shifting your belief of “who done it” from one character to another, and some strange and compelling performances and laudable direction, you end up with a film that deserves to be better known.

 

10. RAW DEAL (1948)

Being the single best of Anthony Mann’s and John Alton’s magnificent collaborations makes RAW DEAL a must for any top ten list. This special edition, complete with booklet  is a must own release.

Well, that’s it my top 10 list.

2020 saw all ten of these films available on quality, feature rich Blu-Ray releases (eff barebone, questionable quality 4K releases — I despise the “no interior artwork, lacking new artwork” 4k releases. I also blame 4k for the further fragmentation and dwindling of a market, that can not survive anymore fragmentation. If you are going to do UHD releases, release them with the Blu-Ray and/or DVD in multi-packs. You eliminate having to have a DVD market and a Bluray Market and a UHD market, and the associated expenses of trying to package for 3 different formats ) for the first time in the relatively short history of physical media. And arguably by the end of 2021 these ten movies will never again all be available in quality, feature rich, physical media versions.

I hope that will not be the case, but hope for the best, but prepare for the worst.

If you want these films in physical media, pick all ten up today, while they are still in stock. Click the images to be taken to the movies in question.

If  you have enjoyed this post, then like, subscribe and come back for more of our coverage of physical media and the… Last Hurrah.

Song of the Day: HALLELUJAH by the late, great Jeff Buckley

One of the reasons I love the Snyder Cut Trailer, despite the fact I do not think a reedited film will make that C-/D+ movie substantially any better ( though I would love to be pleasantly surprised, the trailer does look great), is simply because I love the song HALLELUJAH. Many years ago I listened to the Jeff Buckley version, and my –appreciation– for that song remains undiminished, regardless who sings it. But for that song at its best, you have to go to the Jeff Buckley version, of the Leonard Cohen classic.

First let’s start with the OG, Leonard Cohen.

Now let’s move on to the version that made me a fan of the song:

And finally this live performance video is not Buckley’s best performance of the song. It is tired and worn and imperfect, and tortured, but for all those reasons, it is an essential glimpse at Jeff Buckley before his untimely passing, and an essential inspiration to all of us, in what it means to perform, even when you are not sure if you have anything left to perform with.

 

 

 

After doing this post I checked and to my dismay realized I did not have the Legacy CD version of GRACE. For a physical media head like me, that’s an unforgivable omission.

Come the beginning of the world or the end of it there are a few things every man or woman of note should have: A good pickup truck, a good shotgun, a good knife, some good books, some good movies, some good CDs, and a portable DVD player to platy them all on.

Jeff Buckley’s GRACE should be one of those cds.

Get yours by clicking the image above.

And get a decent portable player, as well as the headphones I recommend, here:

 

 

Jeff Buckley Lyrics

“Hallelujah”
(originally by Leonard Cohen)

Well, I heard there was a secret chord
That David played and it pleased the Lord
But you don’t really care for music, do you?
Well it goes like this:
The fourth, the fifth, the minor fall and the major lift
The baffled king composing HallelujahHallelujah, Hallelujah, Hallelujah, Hallelujah…Well your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew ya
She tied you to her kitchen chair
She broke your throne and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah, Hallelujah, Hallelujah, Hallelujah…

Well, baby, I’ve been here before
I’ve seen this room and I’ve walked this floor (you know)
I used to live alone before I knew ya
And I’ve seen your flag on the marble arch
And love is not a victory march
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah, Hallelujah, Hallelujah…

Well, there was a time when you let me know
What’s really going on below
But now you never show that to me, do ya?
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was Hallelujah

Hallelujah, Hallelujah, Hallelujah, Hallelujah…

Maybe there’s a God above
But all I’ve ever learned from love
Was how to shoot somebody who outdrew ya
And it’s not a cry that you hear at night
It’s not somebody who’s seen the light
It’s a cold and it’s a broken Hallelujah

Hallelujah, hallelujah, hallelujah, hallelujah…
Hallelujah, hallelujah, hallelujah, hallelujah…
Hallelujah, hallelujah, hallelujah
Hallelujah, hallelujah