2024 HOLIDAY GIFT GUIDE

‘Tis the season, when we present our annual Holiday Gift Guide, chock full of delicious crunchy kibbles for that special cinephile in your life. CLICK HERE!

THE INVASION: For Best Results, Lose The Baggage

THE INVASION (Blu-ray)

2007 / 100 min

FROM ARROW VIDEO

Review by Mr. Bonnie, the Body Snatcher😼

As the fourth (so far) official adaptation of Jack Finney’s original novel, The Body Snatchers, 2007’s The Invasion is generally considered the worst of them. While certainly not a great film, it isn’t truly terrible either. I think the biggest problem is that two of the previous versions rank among the greatest sci-fi/horror movies ever made. With that kind historical baggage weighing it down, of course it’s gonna look shitty.

Additionally, director Oliver Hirschbiegel and screenwriter David Kajganich do themselves no favors by applying radical changes to the basic story…specifically, depicting the invasion in the form of a space virus rather than replicating pods. So the population is actually infected, not replaced, which severely dilutes the body horror elements that made the original concept effective.

Also missing is any sense of slow-building dread. Right from the get-go, the audience is made privy to what’s happening, and barely a half-hour has passed before we know how it spreads and that millions have already been infected. The remainder consists of protagonist Carol Bennell (Nichole Kidman) and Ben Driscoll (Daiel Craig) searching for her son while on-the-run from legions of infected. There’s an increasing emphasis on action over atmosphere as the film progresses, and it comes to a pat and lazy conclusion…at least compared to the 1956 and 1978 versions. 

"Sorry...no I.D., no beer."

But you know what? Odd as it may seem, if viewed as more of a ripoff than a remake, The Invasion isn’t without merit. As horror goes, a contagion (even from space) isn’t as ominous as pods spawning emotionless replicants, but it’s still kind of interesting on its own terms, especially as the implications - however briefly - grow more apocalyptic. The film also features several suspenseful sequences and exciting chase scenes…

…all of which has me believing The Invasion is probably best appreciated by viewers who’ve never seen any previous version of the story. While no lost classic worthy of critical reassessment, it remains a slick and fairly engaging sci-fi action film.

EXTRA KIBBLES

NOTE: Free Kittens Movie Guide was provided with a promo disc for review purposes. Physical supplemental material included with the final product (booklets, artwork, inserts, etc) were not available for review.

VISUAL ESSAYS - Body Snatchers and Beyond features film critic Alexandra Heller-Nicholas, who discusses all four film adaptations of the novel; The Bug That’s Going Around features josh Nelson’s take on the so-called prophetic pre-pandemic aspects of the film, even going as far as drawing comparisons to Outbreak and Contagion.

FEATURETTES - We’ve Been Snatched Before is about how viral diseases are dealt with; Behind the Scenes consists of three promotional featurettes

AUDIO COMMENTARY - By podcasters Andrea Subisati and Alexandra West.

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MADE IN ENGLAND: Marty's Memories

MADE IN ENGLAND: THE FILMS OF POWELL & PRESSBURGER (Blu-ray)

2024 / 133 min

FROM COHEN MEDIA GROUP

Review by Princess Pepper😺

Of course, Martin Scorsese is a national treasure, and not just because of his slew of masterpieces. In addition to being one of our greatest living directors, he’s one of cinema’s biggest fans and few filmmakers have personally done more to preserve its long history. 

You’d also be hard pressed to name an American director more knowledgeable of its past…or present, for that matter (sorry fanboys, but he’s right about all those Marvel movies). So when he speaks, anyone possessing even half of his appreciation and knowledge tend to listen. And he speaks a lot in Made in England.

As the full title indicates, this is about the British writer-director team of Michael Powell and Emeric Pressburger, probably most famous on this side of the pond for The Red Shoes. As an introduction to their body of work, Made in England is indispensable. Part biography, part retrospective, part analysis, Scorsese narrates with a knowledge and enthusiasm that’s infectious. 

This scene from The Red Shoes was originally supposed to feature a T-Rex.

Reflecting on Powell and Pressburger’s lengthy career, Scorsese discusses individual films in considerable detail, providing historical background, summary & analyses, and most importantly, the duo’s considerable influence, not only on British cinema, but the director himself, both personally and professionally. Scorsese shares childhood recollections of seeing certain films for the first time - if even on a tiny black & white TV - and how specific sequences inspired his own work as a director.

It might be his autobiographical asides that ultimately render Made in England such an entertaining, insightful film, which includes Scorsese’s own personal encounters with Powell (a friendship based on mutual respect). If nothing else, this film shines a light on the work of a filmmaking team that may not be household names, but certainly impacted the life of a man who is.

CORA: The Economical Apocalypse

CORA (Blu-ray)

2024 / 100 min

FROM LEOMARK STUDIOS

Available at www.MovieZyng.com

Review by Mr. Bonnie, the Barbarian😺

It’s always interesting to check out apocalyptic disaster movies put together with limited resources. Most are utter crap, of course, but every now and then, you come across one that reflects a genuine effort to create something serious, intelligent and engaging, with a narrative that actually benefits from the lack of a budget. As such, Cora is a pleasant surprise, though definitely a Debbie Downer.

The movie is about the title character (Felicia Rhylander), one of many working in isolation for a company trying to save the world after a mysterious mist has killed most of the population (going outside without a mask is almost instantly fatal). When equipment starts malfunctioning and she eventually loses contact with her superiors, Cora and her computerized drone venture out to contact a colleague at the next outpost. 

But when she arrives, he’s already dead. Having committed suicide, he left a note explaining the company had long since abandoned trying to save humanity and went into hiding. They simply left Cora and the others to die alone in their bunkers. So she decides to find headquarters, but when she arrives, Cora’s captured by a gang of psychos led by Joseph, who not only has a vendetta against the company, he threatens to kill Cora if she doesn’t turn her drone over to him. However, during an escape attempt and violent shootout, she’s rescued by someone who looks exactly like her (I won’t reveal why, though the audience will probably figure it out before Cora does).

When you're forced to use a truck stop restroom.

Considering the budget, Cora is very well made and features an interesting protagonist. She initially seems somewhat vulnerable, but not only is she tough and resilient, Cora as no qualms about killing, even if it means shooting first. The character is made more compelling by a solid performance from its star, who’s on the screen by herself for a great deal of the running time. 

The film is relentlessly bleak, a tone greatly exacerbated by grungy production design, bursts of brutal violence (much of it perpetrated by Cora and her new “friend”) and an overall aesthetic that reminded me a little of the Russian classic, Stalker. While it ain’t exactly a barrel of laughs, Cora is a great example of dark sci-fi on a low budget. And for those who favor story over spectacle, it’s got a hell of an ending.

THE CROW and the Long Wait

THE CROW (Blu-ray)

2024 / 110 min

FROM LIONSGATE

Review by Stinky the Destroyer😾

I never felt 1994’s The Crow was such a sacred cow that a remake was out of the question. While certainly stylish and benefiting from Brandon Lee’s charismatic portrayal of the title character, it was a lot of fun, but nothing particularly inventive. At the risk of raising hackles among its fans, I believe the tragic circumstances surrounding its production are a major reason the film still resonates emotionally…even 30 years later. 

If nothing else, this new adaptation deserves at-least an attaboy for trying to do something besides remaking the exact same movie (though the basic plot is similar). Additionally, The Crow (2024) boasts one hell of an action scene, where Eric Draven (Bill Skarsgard) storms into an opera house with a sword and systematically slaughters a slew of tuxedoed henchmen like an undead John Wick. Lengthy, skillfully choreographed and creatively gory, it’s the best sequence in the entire film. 

Eric prepares for a job interview.

Unfortunately, we gotta wait a long time to get there. Until then, The Crow is kinda drab and depressing, to say nothing of long-winded. The story is essentially the same, with Draven returning from the dead to avenge his and girlfriend Shelley’s (FKA Twigs) murder. However, the narrative tosses in too many superfluous detours, such as a crime boss who’s made a pact with the Devil in exchange for immortality, the search for evidence on a cell phone and a spirit that mostly exists just to offer exposition. 

Not only that, most of the first act focuses on Eric and Shelley’s relationship. The actors try their best, both neither character is particularly interesting, despite spewing plenty of dialogue that’s supposed to establish them as soulmates. It’s almost a relief when they’re finally murdered so we can get to the revenge, but even then, it seems like forever before Eric actually transforms into the title character (the aforementioned opera house sequence)

While not necessarily a “bad” movie, The Crow is simply uninvolving. Despite efforts to make everything - especially Eric Draven - look and sound hip for modern young audiences, the film technically proficient but ultimately unremarkable, only coming to life when things get bloody. 

EXTRA KIBBLES 

TRUE LOVE NEVER DIES - This is an hour-long, multi-chapter making-of documentary featuring a lot of the cast & crew. Overall, it’s more interesting than the movie itself, partially because of the journey to the big screen was a fairly long one.

FEATURETTES - Dark Romance focuses on the film’s score and composer; Reborn Through Revenge covers the opening credits sequences.

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BLU-RAY, DVD & DIGITAL COPIES

THE HITCHER: A Cult Classic Comes Home...Again

THE HITCHER (Blu-ray)

1986 / 97 min

FROM WARNER BROS

Available at www.MovieZyng.com

Review by Mr. Paws😺

It’s safe to say a lot of physical media collectors have just scratched a missing title off their list, because The Hitcher is finally available on Blu-ray and 4K in the U.S. 

For those unaware, this 1986 horror/thriller features a young man named Jim Halsey (C. Thomas Howell), who’s heading the California in a drive-away car. He foolishly picks up hitchhiker John Ryder (Rutger Hauer), a psychotic killer who proceeds to terrorize Halsey throughout the remainder of the film, pursuing him down barren Texas highways while also framing the kid for his own handiwork (having already slaughtered an entire family and several cops).

With kindly waitress Nash (Jennifer Jason Leigh) ending up along for the ride - she’s the only one who believes he’s innocent - that’s pretty much the entire story. Drawing clear inspiration from classics such as Duel (with a little Vanishing Point thrown in for atmosphere), The Hitcher includes intriguingly ambiguous elements to Ryder’s character and his relationship with Halsey. This aspect exacerbates the film’s emphasis on style and tone over logic and plausibility. 

Rutger is forced to explain the punchline.

Speaking of which, there has always been two ways to watch The Hitcher. As a straightforward thriller, it doesn’t hold up at all, loaded with glaring plot holes, lapses in logic and often inexplicable actions by its main characters. It’s never been a film for anyone hung-up on realism. But viewed as a surreal fever dream or waking nightmare - like Dario Argento’s Suspiria - The Hitcher more than earns its status as a cult classic. And if one wanted to be truly analytical, certain elements of the narrative could even be interpreted as supernatural.

Either way, The Hitcher remains a stylish film with a nasty mean streak, though not nearly as violent as its reputation. The most horrifying deaths occur either off-screen or are shown after-the-fact. Another critically-reviled film that didn’t find an audience until it became a massive hit on home video, The Hitcher features one of Rutger Hauer’s most iconic performances and has aged remarkably well. Now that it’s available on Blu-ray (and 4K) with a pretty great transfer, some of us can finally retire our beat-up old VHS copies.

EXTRA KIBBLES

BULLSEYE - An excellent 41 minute interview with director Robert Harmon.

AUDIO COMMENTARY - By director Robert Harmon and screenwriter Eric Red.

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BLINK TWICE: A Missed Opportunity?

BLINK TWICE (Blu-ray)

2024 / 102 min

FROM WARNER BROS

#InPartnershipwithWB

Review by Mr. Bonnie, the Buttnugget

Trailers had me thinking this might be similar in tone and satirical edge to 2022’s The Menu. However, Blink Twice is something entirely different, but considering the actual subject matter - which is kind of horrific - I imagine it would have been a nightmare to market otherwise. 

So I went into the film relatively cold, being only aware of the basic premise, in which enigmatic billionaire Slater King (Channing Tatum) hosts an elaborate days-long party on his own private island. Along with his friends, he appears smitten enough with waitress Frida (Naomi Ackie) to invite her and her roommate, Jess (Alia Shawkat). For the first half of the film, these characters - five men, five women - enjoy elaborate meals, fun in the sun and endless amounts of drugs & booze.

We’ve actually seen this set-up plenty of times before…the protagonist lured into a seemingly idyllic location, where everything is fun and festive, at least until they begin to suspect something ain’t quite right. Blink Twice does a tremendous job luring its characters and the audience into a false sense of security, much of it perpetrated by King, who comes across as philosophical, caring and charismatic. But things take a dark turn when Jess disappears, and more ominously, no one but Frida is aware she was even there.

Smoke on the water.

At this point, I was half-expecting the narrative to take a direction similar to The Most Dangerous Game (arguably the granddaddy of stories like this). It’s also at this point I’ll refrain from revealing what’s actually going on because it’s best going into the film without being aware of what it’s ultimately about. I will say that director/co-writer Zoe Kravitz, however briefly, has more on her mind than just another psychological thriller, addressing themes that are unquestionably of current social relevance.

How successfully she accomplishes this, however, is certainly subjective. The narrative features a monstrous surprise, and as depicted, the revelation is effectively horrifying. But afterwards, it seems like Kravitz is content to simply move on and turn the film into just another revenge thriller. Not that there’s anything inherently wrong with that, especially since it’s handled quite well and, by this point, we’re invested in Frida’s character. But considering the psychological ramifications of what she (and others) endure, it’s kind of a shame how superficially those issues are addressed.

Then again, maybe that’s too much responsibility for a movie like this to be burdened with. As a thriller, Blink Twice works just fine, with solid performances from a loaded cast (Tatum & Ackie are especially good), many tension-filled moments and a bloody, revenge-fueled climax. However, some viewers might view it as a missed opportunity.

TRAP Is Far-Fetched Fun

TRAP (Blu-ray)

2024 / 105 min

FROM WARNER BROS

#InPartnershipwithWB

Review by Princess Pepper😺

Regardless of what one thinks of M. Night Shyamalan’s overall body of work, you gotta give him props for one thing: He continues to demonstrate a knack for coming up with intriguing premises. When it comes to actual execution, sometimes he bites off more than he can chew, especially when trying to create final acts worthy of his ambitions. But hey, two-thirds of a good film is better than all of a bad one. 

Like such recent efforts as Old and Knock at the Cabin, Trap walks a fine line between brilliant and ridiculous, but is pulled off with enough panache that it’s easier to accept the latter. As usual, it has an irresistible premise. Firefighter and family man Cooper Abbott (Josh Hartnett) takes teenage daughter Riley (Ariel Donoghue) to see her favorite artist, Lady Raven (Saleka), in concert. Cooper also happens to be a notorious serial killer known as “The Butcher,” and somewhat implausibly, the FBI knows he’s inside the venue.

Led by FBI profiler Dr. Grant (Hayley Mills), hundreds of agents and cops begin searching the arena for the man who matches witness accounts from previous murders. The first half of the film focuses on Cooper’s efforts to remain unnoticed as he tries to find a means of escape while placating his oblivious daughter. This is all presented almost entirely from Cooper’s point of view, and even though he’s the antagonist, some scenes generate genuine suspense. Watching him come up with plans of action - often on the fly - is pretty engaging, but sometimes does require suspension of disbelief.

Josh enjoys a Jolly Rancher.

Much of that is due to Hartnett’s performance, which is a striking balance of congeniality and menace. We’re aware of his sinister side, but everyone else simply sees a charming, loving dad. He’s so compelling in the role that watching him repeatedly figure his way out of various predicaments - no matter how far-fetched - is pretty damned entertaining. Personally, I haven’t rooted for a serial killer like this since The Silence of the Lambs. 

The film becomes less interesting - and more preposterous - outside of the arena, probably because Hartnett ends up sharing more screen time with Saleka, who also happens to be M. Night’s daughter and ends up being the main protagonist. She was fine just belting out a plethora of pop tunes during the first half, but making her character integral to the story was the narrative wrong turn I’d been waiting for Shyamalan to make. Not only is Lady Raven less engaging, her actions aren’t particularly believable and Saleka’s performance pales in comparison to Hartnett’s (though she isn’t Sofia Coppola-terrible). 

Still, Trap is generally pretty enjoyable, and frequently funny, even with perceived nepotism and the hard-to-swallow plot turns during the final act (including a few which aren’t sufficiently explained). Shyamalan keeps things fast paced and does a good job building tension during numerous sequences. 

EXTRA KIBBLES

FEATURETTES - Setting the Stage: A New M. Night Shyamalan features the director talking about his approach to making the film; Saleka as Lady Raven focuses on the co-star, who also wrote and performed all the songs.

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DIGITAL COPY