Connery Goes Topless in THE HILL

THE HILL (Blu-ray)

1965 / 123 min

Warner Archive Collection

Available at MovieZyng.com

Review by Mr. Paws😺

Released in 1965, this is notable for being an early effort by Sean Connery to do something completely different than the Bond films, even going without a toupee for the role. It’s also his first of many collaborations with director Sidney Lumet, and while it doesn’t rank among either man’s greatest films, The Hill is a gripping prison drama.

Connery plays Trooper John Roberts, one of five new convicts arriving at a British military prison in the middle of the African desert. In command is Sgt. Major Wilson (Harry Andrews), who claims his methods of discipline turn criminals into men again, but are physically gruelling and cruel. Worst of all is what’s known as “The Hill,” a towering mound of sand in the center of the complex. As punishment, men are forced to repeatedly run up and down The Hill in full gear - and sweltering heat - until told to stop. And Wilson seems to have it in for Roberts.

Roberts sets a trap.

As harsh as Wilson is, his ambitious, sadistic new guard, Staff Sgt. Williams (Ian Hendry), is even worse, and ultimately responsible for the death of cellmate Private Stevens (Alfred Lynch). The incident exacerbates Roberts' open defiance, as well as his surviving cellmates, save for weaselly Private Bartlett (Roy Kinnear). Meanwhile, the treatment of these guys grows steadily worse. Private Watson (Jack Watson) remains stoic, but Jacko King (Ossie Davis), who’s subjected to vicious racism, eventually goes mad. The men gain sympathy from the medical officer (Michael Redgrave) and another guard, Staff Sgt. Harris (Ian Bannen), the latter who implores Wilson to do something about Williams.

Narratively and aesthetically bleak, The Hill is nevertheless a compelling film. Similar to 1973’s Papillon, its harsh depiction of inmate treatment is kind of exhausting, with no respite in sight. The big difference here is these characters are incarcerated for offenses where the punishment doesn’t fit the crime. Connery stands out with an excellent performance, and most of the ensemble cast is very good. However, hearing Andrews rapidly screaming most of his dialogue eventually forced me to turn on the subtitles…

…on a related note, please forgive this brief detour, but while I was watching, my daughter came into the room to ask a question, so I paused the film, freezing Sgt. Major Wilson mid-shower:

I’m sure we’ve all paused films at an amusing moment, but that screenshot of Andrews vigorously enjoying his shower - along with the subtitle - made me laugh so hard I just had to share it. I also posted it on Facebook, without context. I’m not sure why the picture (taken with my phone) has such a blue tint, but since I posted it the day after the midterm election, a few friends might have mistaken it for a Blue Wave meme. I guess it kind-of works as one, doesn’t it? It’s certainly how I felt the next day.

But back to The Hill. I wouldn’t quite call it a “fun” film, but it’s pretty fascinating. Like his classics, 12 Angry Men and Fail Safe, Lumet opts for a level of aesthetic minimalism - stark black & white cinematography; no music score; no toupee for Connery(!) - that effectively underscores the overall tone. It didn’t do well in theaters and has since been sort-of forgotten over the years, but the film is well worth rediscovering.

EXTRA KIBBLES

FEATURETTE - The Sun…The Sand…The Hill features footage of the film’s premiere at Cannes, on-set stills and interview clips.

CARTOON SHORT - The Year of the Mouse, featuring Tom & Jerry.

AUDIO COMMENTARY - By Cinema Retro editor Lee Pfeiffer and historians Paul Scrabo & Tony Latino.

TRAILER

THE POOP SCOOP: A Clowder of Thrillers!

UPCOMING KIBBLES THAT MAKE US PURR!

Yeon Sang-ho’s zombie thriller COLONY debuts on 4K Ultra HD/Blu-ray Combo Pack and DVD December 15 from Well Go USA. Horror master Yeon Sang-ho (TRAIN TO BUSAN) directs a new Korean zombie thriller starring Gianna Jun and Koo Kyo-hwan. Professor Se-jeong (Jun) is thrust into a bloody nightmare when a rapidly mutating virus is released during a biotech conference, causing authorities to seal the facility. Trapped inside with no escape, Se-jeong, along with a small group of survivors, must fight to stay alive while the infected undergo horrific transformations. 

BEWARE BOIÚNA on Digital Now and Blu-ray (+Digital) December 15 from Lionsgate. Deep in the Amazon, a medical mission spirals into a fight for survival when Boiúna, a colossal ancient predator, awakens to reclaim her domain. In the jungle where nature holds absolute power, she decides who lives and who dies.Directed by Mike P. Nelson (Silent Night, Deadly Night), from a screenplay by Alan McElroy and story by Tony Giglio and Alan McElroy, BEWARE BOIÚNA stars Kiana Madeira (Fear Street film trilogy), Jessica Rothe (Happy Death Day), and Logan Marshall-Green (TV’s “Marshals”). 

VERITY, featuring Anne Hathaway, on 4K, Blu-ray and DVD December 15 from Alliance Entertainment. Lowen Ashleigh, a struggling writer, relocates to the remote estate of renowned author Verity Crawford to ghostwrite her next novel. When she uncovers what appears to be Verity’s chilling autobiographical notes, Lowen wrestles with disturbing confessions about Verity’s husband Jeremy, and finds it hard to separate fiction from reality, manipulation from attraction, and opportunity from obsession. 

Zack Cregger’s RESIDENT EVIL on 4K, Blu-ray and DVD December 29 from Sony. From the mind of visionary filmmaker Zach Cregger (Weapons, Barbarian) comes a thrilling — and terrifying — reinvention of the Resident Evil franchise. In an all-new story, Resident Evil follows Bryan (Austin Abrams), a medical courier who unwittingly finds himself in an action-packed, non-stop race for survival as one fateful, horrifying night collapses around him in chaos. 

THE DIRTY DOZEN Limited Edition on 4K and Blu-ray November 17 from Arrow Video.  The Limited Edition release features a brand-new 4K restoration from the original 35mm camera negative by Arrow Films. A Limited Edition Blu-ray release will also be available. 

Christopher Nolan’s THE ODYSSEY on 4K, Blu-ray and DVD November 17 from Universal. Now audiences can venture deeper into THE ODYSSEY with an essential collection of Special Features personally overseen by Christopher Nolan. A LIMITED EDITION 4K STEELBOOK IS ALSO AVAILABLE.

ROCKY 50th Anniversary 4K SteelBook coming December 15 from Alliance Entertainment. The 4K UHD includes three commentaries featuring Sylvester Stallone, members of the cast and filmmakers, and renowned boxing experts. The Blu-ray also offers more than three hours of additional bonus content, and the whole thing comes with a mini-poster..

THE MAN WHO WOULD BE KING on 4K/Blu-ray November 24 from Warner Archive. Based on a Rudyard Kipling story, Sean Connery and Michael Caine -- chins out, shoulders squared and with a sly wink -- star as British sergeants Danny Dravot and Peachy Carnehan. The Empire was built by men like these two. Now they're out to build their own empire, venturing into remote Kafiristan to become rich as kings. 

 

FALL 2: DEADPOINT on Digital now and Blu-ray & DVD November 17 from Lionsgate. On a perilous climb across Thailand's Mount Kwan, two climbers become trapped thousands of feet above the ground, where vertigo-inducing heights, sheer exposure, and impossible odds turn every moment into a fight for survival. 

IT’S A WONDERFUL LIFE 80th Anniversary Limited Edition Gift Set coming November 17 from Paramount. This new Amazon Exclusive set includes 4K, Blu-ray, DVD and digital copies, as well as a keepsake book by actor/author Jimmy Hawkins.

COYOTE VS. ACME on 4K and Blu-ray December 1 from Ketchup Entertainment. Teaming up with billboard accident lawyer Kevin Avery (Will Forte), Wile E. Coyote takes on slick corporate counsel Buddy Crane (John Cena) and ACME, Inc.. 

LOGAN’S RUN on 4K and Blu-ray December 8 from Arrow Video. This new limited edition features a new restoration with plenty of new and vintage bonus features.

BULLITT on 4K and Blu-ray December 8 from Arrow Video. This new limited edition features a new restoration with plenty of new and vintage bonus features.

Not So HOT SPOT

HOT SPOT (Blu-ray)

2026 / 101 min

Universal

Review by Stinky the Destroyer😾

This Polish oddity has a good premise. In the near future, most of the world is an uninhabitable wasteland, save for a city that’s overseen by an AI entity known as The Head, which meets everyone's needs. All humans are required to do is stay telepathically connected to The Head and eat a “jelly bean” each day, otherwise their heads will explode. 

However, Hot Spot squanders that premise from the get go, because someone behind the scenes decided this needed to be an art film. I’m assuming that someone is director Agniescka Smoczyriska, who’s put together an interminable slog of a movie that’s both baffling and pretentious. 

The basic plot has portly detective Jan 623 (Andrzej Konopka) instructed by The Head to investigate the murder of at a refugee camp (where newcomers who refuse to connect to The Head are forced to stay). One refugee is Rana (Noomi Rapace), who is his primary suspect. Unlike others, she’s able to telepathically communicate without connecting to The Head, which really messes with Jan’s mind. Meanwhile, Jan’s wife, Ayka (Reika Kirishima) repeatedly disconnects from The Head, as well as causing citywide “blackouts.”

Sammy Hagar at home.

Oh, and at one point, Jan turns into a tiger. Literally. I don’t know if that’s supposed to symbolize his further detachment from reality, but it seems more symbolic of the “throw-it-at-the-wall-and-see-what-sticks” mentality that a college student might apply to an analytical essay in order to come across as more insightful than they really are. But even that doesn’t explain Jan’s comical costume choices, the preponderance of ‘80s rock songs or any number of isolated sequences that make no narrative sense. 

Don’t get me wrong…I enjoy an artistic, challenging film as much as the next stuffy cinephile, so long as I don’t feel like the filmmaker’s vision is actually just empty calories. As far as I could tell, there’s nothing behind the film’s surreal imagery and bizarre elements. And worst of all, Hot Spot is really boring, the closest I’ve come this year to shutting off a movie before the end credits.

THE END OF OAK STREET: Destined To Be A "Comfort Movie"

THE END OF OAK STREET (Blu-ray)

2026 / 99 min

Warner Bros

#InPartnershipwithWB

Review by Mr. Bonnie, the Brontosaurus😺

In nearly every way, The End of Oak Street offers little that hasn’t been seen before, from the special effects to the characters & narrative structure, right down to its ‘80s suburban setting. This may be the most Spielbergian movie that Spielberg himself had nothing to do with. So why does it feel like such a breath of fresh air?

I suppose part of the reason is that it’s one of the few high-concept audience pictures released this year that isn’t a sequel or remake, nor does it appear to have been made with franchise aspirations. And despite dinosaurs being central to the plot, it doesn’t play like it was calculated to amuse kids or sell tie-in toys (though what kid wouldn’t love to see dinos stomping through their neighborhood?). 

But maybe the bigger reason is the film’s earnestness. While Spielberg’s influence is everywhere (as is a bit of Stephen King), there isn’t a trace of cynicism to be found. With the amount of enthusiasm on display, it’s as though director David Robert Mitchell, the cast and an over-achieving special effects team had never heard of Jurassic Park. And while we’re watching, that enthusiasm is infectious, resulting in a ride that’s more fun than any of Jurassic Park’s sequels.

The story is awesome in its simplicity. The Platt family is your typical middle class family in your typical suburban neighborhood. Denise (Anne Hathaway) and Greg (Ewan McGregor) are going through a typical marital rough patch, which concerns their typical teenage kids, Audrey and Brian (Maisi Stella & Christian Covery). However, those problems are set aside (but not forgotten) after the entire neighborhood gets swallowed by a not-so-typical wormhole and transported back to the dinosaur era. With no power, limited food & water and not much in the way of weapons, the Pratts are forced to fight for their lives to avoid being eaten, unsure if returning to their own time is possible.

"I told the kids to stop taunting the neighbor's T-Rex."

The first act is kind of meandering, mainly because the main characters and their conflicts are pretty familiar (though the performances are good, Hathaway in particular). But the interest level picks up considerably once the narrative shifts to the phenomenon itself, which is gradually revealed, sometimes in amusing ways. It isn’t long before a variety of dinos are chasing down and killing the neighbors. 

Along the way, there are some subplots which vary in interest. Denise and Greg’s relationship ends up being important to the narrative, especially for emotional impact during the final act. Conversely, plot threads involving the kids are underdeveloped and essentially go nowhere. But fortunately, most of the focus is on survival, which isn’t always assured.

Unlike Jurassic Park, the dinos themselves don’t inspire awe (in the characters or the audience), nor are they intended to, which makes sense at this point because that ship sailed back in 1993 and attempting to do it again would be futile. Still, they’re convincingly brought to life with excellent special effects, so it always looks like they’re sharing the same space as the actors. I even found myself rooting for them on occasion, at least when they’re chowing down on some of the secondary characters.

This isn’t to say The End of Oak Street is a great film destined to be a classic. It’s probably a little too derivative for that. But it’s a pretty damned entertaining one and assembled with consummate skill. So perhaps it’s more destined to become one of those “comfort movies,” the kind you pop-in from time to time when all you wanna do is vibe on the sofa with something familiar and reliable.

EXTRA KIBBLES

FEATURETTES - Banding Together: The Making of The End of Oak Street runs about 20 minutes and features interviews with director David Robert Mitchell and most of the main cast; Every Creature Tells a Story: The Dinosaurs of The End of Oak Street focuses on the creation of the various dinosaurs; The Spinosaurus Attack: Driving Fear on Oak Street goes inside the making of one of the movie’s more impressive action sequences.

DIGITAL COPY

FRANZ Is Fittingly Kafkaesque

FRANZ (Blu-ray)

2025 / 127 min

Cohen Media Group

Review by Stinky the Destroyer😽

My knowledge of Franz Kafka and his work is pretty limited. Like a lot of English majors, I’m mostly familiar with The Metamorphosis, a surreal, allegorical tale of a beleaguered salesman who turns into a giant cockroach. It’s also typical of a lot of his fiction, which serves-up gloomy protagonists confronted by bureaucracy and societal expectations, with a side order of self-persecution. 

Such recurring themes prompt one to assume that ol’ Franz was largely writing about himself. When I first read The Metamorphosis, I was mostly disappointed that it didn't end with this giant cockroach slaughtering the whole ungrateful Samsa family, but if Gregor was indeed meant to represent Kafta, I’ll bet his own family couldn’t have been very happy with him.

But in Franz, a (sort of?) biography about the author, Kafka’s surly father (Peter Kurth) is the only one who openly disparages him, disapproving of his son’s dedication to writing over the insurance business. He’s quite a bastard about it, too, displaying little concern over Franz’ goals and/or personal insecurities. As played by Idan Weiss, Kafka is outwardly aloof, socially awkward and only comfortable expressing himself through writing. 

Franz orders an "Unhappy Meal."

The film is a semi-chronological account of the author’s short life, from childhood to his death from tuberculosis. But it’s not a biography in the purist sense, nor is it as cheerless as one might expect. True to the nature of the author’s prose, the narrative throws in a lot of surreal elements (including a gruesome depiction of the story, “In the Penal Colony”), as well as secondary characters frequently breaking the fourth wall, addressing the audience directly to provide exposition. There are also numerous sequences blurring the past and present, with tourists visiting various posthumous attractions dedicated to Kafka.

It’s an interesting approach, though sometimes those elements come across as arty and pretentious…often at the expense of characterization. Weiss plays the title character well, both physically and emotionally, but the screenplay ultimately subverts his dedication to the role. In a way, Kafka ends up being more of a caricature than a protagonist we’re emotionally invested in. And for a biography about a writer, his actual career as one almost feels like an afterthought…with almost no backstory behind his most famous works (not even The Metamorphosis or The Trial).

Still, Franz has some great moments, particularly those where reality and fantasy collide, which are well-realized by director Agniezka Holland. We don’t end up knowing much more about Kafka himself than what a Wikipedia article provides, but considering his legacy as a surrealist, I suppose it’s fitting that a film about the man would be similarly “Kafkaesque.”

EXTRA KIBBLES

INTERVIEW - filmmaker Jeremy Kagan interviews director Agnieszka Holland before a live audience.

TRAILER

Revisiting GONE WITH THE WIND in 4K

GONE WITH THE WIND (4K UHD)

1939 / 223 min

Warner Bros

#InPartnershipwithWB

Review by Mr. Paws😸

I’m have no illusions here. With the possible exception of my wife, absolutely nobody cares about my critical opinion of Gone with the Wind, and even she just nods politely when I hop on my soapbox to blather over the film’s overly-romanticized depiction of slavery in the Civil War era south, to say nothing of questionable elements related to marital rape. 

But even keeping in-mind the context of the era in which it was made, I’ve never been bowled over by its story, characters or performances, and nobody cares about my opinions on that, either. Why would they? Over the course of nearly 90 years, Gone with the Wind has become “critic proof.” So I’ll spare you the usual plot synopsis (which self-respecting classic movie lovers know by heart anyway) and personal assessment of the movie itself. The last thing anyone reading this needs is one guy’s "hot take.” (a stupid, meaningless term that reeks of self-importance).

Besides, I never said Gone with the Wind wasn’t a great film. It remains a stupendously epic cinematic achievement that deserves its status as an inarguable classic. There hasn't been a movie quite like it before or since, and even countless contrarians who’ve enjoyed retro-condemning its themes and misguided nostalgia must concede it’s brilliantly made (if they’re being honest). It’s okay to acknowledge a movie’s greatness without actually loving it.

Here's the part for those who do love the film, who know the dialogue by heart, stay clued to the set whenever it pops up on TCM, or have owned it in every home video format dating back to the VHS days. Gone with the Wind is now available in long-overdue 4K UHD, in three different versions, no less. The film has been released and re-issued countless times in various formats over the years, which of-course prompts the obvious question: Is this upgrade worth owning? The answer to that would be a resounding yes.

*slurp*

There's a version for every level of GWTW fandom, the most elaborate being a Collectors Edition loaded with additional physical swag. But for those whose pockets aren’t quite so deep, it’s also available as a standard 3-disc release, which is the version reviewed here. The most obvious reason to upgrade is the video transfer. The film has always been visually stunning, with (still) jaw-dropping production design, special effects and creative use of color, all of which are beautifully rendered in 4K. Simply put, it has never looked better on home video. Even this ol’ party pooper enjoyed revisiting the film for the image quality alone.

I’m also impressed with the two English audio options, especially the DTS-HD Master Audio 5.1 track, which nicely showcases Max Steiner’s iconic score (always my favorite aspect of the film) without sacrificing other audio elements. A 2.0 Mono mix is also included in three different languages. 

Fans will also enjoy the brand new bonus features, along with some substantial archival material (all outlined below). While the new features are entertaining, they mostly serve to confirm GWTW’s place in movie history without really delving into the controversies it generated. Like it or not, those controversies are definitely a part of its legend and objectively acknowledging them would’ve provided a more complete historical picture without diminishing the film’s importance. 

All that being said, this 4K edition of Gone with the Wind is the definitive version for fans and collectors. Whether it’s your favorite film or you simply appreciate its sweeping cinematic impact, this is a must-own.

EXTRA KIBBLES

NEW KIBBLES - In Gone with the Wind: The Influence The Endures, several critics and historians discuss the movie’s impact on Hollywood and pop culture; Scarlett O’Hara: A Woman Ahead of Her Time features most of the same participants, this time focusing on Vivian Leigh’s iconic character; Gone with the Wind: Restoring and Preserving an Epic is the best of the new kibbles, which takes a look at the film’s 4K upgrade.

OLD KIBBLES - The Making of a Legend: The Restoration of Gone with the Wind is a retrospective making-of doc; Gone with the Wind: The Legend Lives On features many filmmakers and critics discussing the movie’s impact and legacy; MGM: When the Lion Roars focuses on some of the studio’s history.

AUDIO COMMENTARY - By historian Rudy Behlner.

THE 1939 ATLANTA PREMIERE is a vintage newsreel.

FOREIGN LANGUAGE DUBBER CLIP

HISTORICAL DOCUMENT NEWSREEL FOOTAGE

TRAILERS

DIGITAL COPY