Set during the summer of 1985, Blood Barn follows Josie, a camp counselor who reunites her closest friends for one last weekend together at her family’s secluded barn before they head off to college. What begins as a nostalgic getaway quickly feels off when the group realizes the property has been neglected for years - carrying with it a history Josie would rather forget.

As the weekend unfolds, restless energy, bad decisions, and curiosity about the barn’s past begin to stir something unnatural. Strange and violent events erupt without warning, turning the peaceful escape into chaos when a malevolent force awakens and begins to tear the group apart. 

As the night spirals out of control, Josie is forced to confront the legacy surrounding the barn before it consumes everyone inside. A high-energy, 80s-inspired horror-comedy, Blood Barn leans into camp, practical effects, and gleeful excess, delivering a throwback genre ride built for big reactions, dark laughs, and shared chaos.
​

Readers, the truth is I privately and publicly take a lot of flack for not unabashedly supporting a great deal of the franchises of my (somewhat) youth.

Well, in my own defense, the original He-Man series wasn't exactly something that fell on my radar at the time.  The animated He-Man And The Masters Of The Universe (1983-1985) aired in that fertile period when I was moving from high school into college, so my free time was reasonably limited to explore a great deal of broadcast entertainment.  I vaguely recall catching a few episodes here or there at the fraternity house -- and maybe even a few back at home before I went away for school -- but it just didn't do much for me then, nor did the -- ahem -- somewhat lackluster 1987 theatrical interpretation starring Dolph Lundgren.  Hate me if you must, but it was just far too campy for my liking.  Alas, it is what it is.

And, yes, I'm well aware that there was another animated version -- I think it was attached to Netflix, though I could be wrong on that point -- and I believe I even picked that one up on DVD based entirely on the suggestion of a friend.  As I recall, I watched a few episodes, still wasn't all that enamored with what went down, so I tuned that out as well.  What can I say?  This ultimately might wind up being the age old 'diff'rent strokes, diff'rent folks' issue, so you'll all have to pardon me if I'm still somewhat a bit skeptical with the -- ahem -- theatrical trailer that launched online today.

I couldn't say why specifically, but I'm rarely a big proponent of the whole 'fish out of water' framework when it applies to theatrical Fantasy.  It could be that such characters -- what with their muscular physiques and strongly spoken commitment to some easily identifiable moral -- just don't resonate (with me) as all that authentic when propelled out of their element into some new or wacky distant land; and, as such, I can't quite get drawn in signifcantly enough to care about the people, players, and performances.  Mind you: I always hold out hope that I could be wrong and wind up swept off my feet when the finished product finally appears on the silver screen ... so -- for today -- color me "curious" but not quite "cautiously optimistic" with this one.  Other than a pretty spiffy backing score, this still looks a bit too splashy in spots without enough substance.

I know, I know ... "Whatever."

In any event, the trailer is below.  You know you like to watch.

-- EZ
​

​One of the honest-to-God benefits to performing as much research as I’ve done over the years as the steward-in-chief of SciFiHistory.Net is that I’ve come across a pretty vast assortment of what could easily be called ‘forgotten gems.’
 
Now, this isn’t to say that each and every one of these older flicks are perfect because the sad truth there is that very few pictures fall into that rarified air.  The point is that over the years Hollywood and beyond have produced an ample supply of perfectly acceptable entertainment.  Not all of them get rediscovered, rebooted, redrawn, much less re-released; and yet there are distributor labels that make strides to insure some of these efforts don’t fall by the wayside or into the ash heap for lost tales.  Again, the films may not rise to the level of ‘Best Picture,’ but what remains is still something – a story, some sequences, or maybe a singular performance – that’s worth watching.  Isn’t that cause enough for them to be seen?
 
Such is the case with 1939’s On Borrowed Time.  The fanciful family film was directed by Harold S. Bucquet as an adaptation of a recently published novel turned into a stage play then turned into this motion picture.  It starred Lionel Barrymore, Cedric Hardwicke, Beulah Bondi, Una Merkel, and Bobs Watson in prominent roles; and it told the story of an aged grandfather fast approaching his expiration date who discovers he has the ability to extend his mortal coil by trapping the Angel of Death in the magical apple tree that just so happens to reside in his backyard.  In the process, he accidentally uncorks an existential crisis for all of mankind by creating a world wherein no one dies any longer, a development that might seem winning at first blush but turns dire very quickly when life and unhappy accidents intervene.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A cantankerous old man takes in his beloved, orphaned grandson, whom he must protect at all costs with the help of an agent of Death and a magical apple tree.”
 
It’s been said that Death awaits us all; and, while that might be true, Hollywood would likely never let that stand in the way of telling a good story.
 
Essentially, that’s what one gets with On Borrowed Time, a screen Fantasy that explores a wonderful relationship between Julian Northrup aka ‘Gramps’ (played by the revered Lionel Barrymore) and his grandson Pud (Bobs Watson).  When Pud’s birth parents are tragically killed in the opening sequence – complete with the arrival of Death himself (Cedric Hardwicke) as the hitchhiker they pick up on their way to a holiday – the young boy is taken in by Julian and Nellie (Beulah Bondi) who consent to raise him as if he were their very own.  Alas, it doesn’t take long for the lady of the house to question the efficacy of their decision given that she and her dear hubby are experiencing rapidly declining health already; and this opens the door for the scheming Demetria Riffle (Eily Malyon) – Pud’s aunt – to get her hands on both the young whippersnapper – whom she desperately loathes – and his $50K inheritance money.
 
An early near-miss with Death alerts Gramps to the fact that he isn’t long for this world.  Eventually, Nellie succumbs to the Heavenly call to pass away; and this prompts her surviving husband to set his personal affairs into motion, willing over his house and property to the young Marcia Giles (Una Merkel) so that the lady Riffle can’t get her hooks into those.  Yet when Death finally arrives to settle the score with Gramps, both he and Pud – who mysteriously can also see and converse with the dark angel – lure the smartly-dressed specter up an apple tree wherein he’s imprisoned by magic that’s – sigh – never quite explained.
 
From here, On Borrowed Time pivots ever so slightly on its heels when ol’ Julian realizes that – by preventing the Grim Reaper from doing his business – he no longer needs to watch what he eats – nor how often – a twist of Fate that has Gramps and Pud partaking of every sugary delight they’ve avoided for so long.  Fearless in the face of mortality, the two become partners in (un-prosecutable) crime by living their lives to their fullest.  Inevitably, their small-time debauchery draws the attention of the authorities – namely Julian’s doctor and the town sheriff – a development that again has the elderly man’s fitness to raise a child under collective suspicion.
 
Of course, there’s a bit more to the story, including Demetria’s attempt to have Julian carted off to the state psychiatric facility, but none of that distracts focus from the story’s central complexity: eventually, Death will be released, and the normal order of things must be restored.  The cost for such hubris turns out to be surprisingly high for Julian – I won’t spoil it, but it’s a rather dark turn for such a family-friendly project.  Thankfully, the film still manages to give both life and death the requisite bittersweet packaging, and Time rewards itself nicely in the last reel.
 
What works best throughout the picture is a trinity of performances.  Pud remains that wild-eyed sprite who knows only what dear ol’ granddad has passed down in colloquial wisdom.  Gramps somewhat still lives his life with a measure of wide-eyed optimism usually reserved for youth.  Death – known in the script chiefly as Mr. Brink – gets depicted not as some heartless ghost but isn’t above employing a bit of trickery when it best suits his consequential agenda.  These three players – once they’re tied together by decisions of their own making – give Time an impressive undercurrent, one that never shortchanges the fact that all of this is relevant even though presented through the framework of Fantasy.  Each actor delivers precisely what’s needed in their respective moments, making it easy to see how On Borrowed Time drew the positive praise it did from Photoplay back in its day.
 
Like life, Time is both wholesome and bittersweet in the right measure.
 
On Borrowed Time (1939) was produced by Metro-Goldwyn-Mayer.  DVD distribution (for this particular release) has been handled by the fine folks at Warner Archive.  As for the technical specifications?  While I’m no trained video expert, I can assure readers that this Blu-ray both looks and sounds pretty spectacular for its age.  Lastly, if you’re looking for special features?  Well, there’s nothing I’d christen ‘film-specific’ here, but there are a few radio adaptations of the story along with some other shorts drawn from the era.  Even though it’s nice to have something extra, I do tend to prefer stuff related a bit more directly to the feature presentation.  Call me old fashioned!
 
Strongly Recommended.
 
Though I’ve yet to be fully bowled over by any 1930’s or 1940’s era screen Fantasies, I’ll easily concede that On Borrowed Time (1939) easily ranks up there with one of the better attempts.  A great deal of its reputation rests on the central relationship between the elderly grandfather and his grandson: it feels as if it could easily have been drawn from real-life inspirations and necessarily given the Hollywood treatment in order to bring the audience along properly for the Drama and Comedy.  Yes … cultural sensitivities being what they were back in the day, some of it – especially it’s kinda/sorta weird Fairy Tale ending – might feel a bit saccharin to most; but there’s no denying that it and all of its characters’ hearts were in the right place.
 
In the interests of fairness, I’m pleased to disclose the the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of On Borrowed Time (1939) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

It’s often been said that – regardless of the generation – youth are far more apt to experiment with living experiences than are adults.
 
Of course, there’s no denying the truth of this statement.  As a person’s brain grows, so does that person’s predilection for trying new things both good and bad.  He seeks to add some new encounter to his growing reservoir of activity; and – as a consequence – he’s willing to embrace just about anything painted as fresh, novel, or innovative because “What could it hurt?”  Scientifically, it’s also been alleged that the brain’s ‘reward center’ develops more quickly than does an individual’s ability to control his impulses, so this, too, leaves a young person susceptible to engaging in breaking down frontiers between what he knows and what he doesn’t.  Naturally, there’s also that little thing called peer pressure – the phenomenon wherein one’s friends and enemies coerce children, tweens, and teenagers to do something their upbringing might otherwise encourage them to avoid – so let’s just agree that – when it comes to experimentation – the youth clearly have their work set out for them.
 
As the boy matures and learns from the mistakes he’s made as well as learning lessons from those around him, an equilibrium – or ‘adulthood’ – takes over for better or for worse.  These emotional, intelligent, and psychological changes often times see one young man leaving some of his friends behind because he’s ‘seen the light’ and now seeks association with what some might suggest is his tribe of choice.  While some of these older relationships might hang over into the new consciousness, they may not ever be as strong as they once were: nostalgia – or the desire to keep certain elements of the past alive – can be a powerful motivator, even though he might privately acknowledge that there’s arguably no going back to the days of one’s childhood.
 
This fertile territory is kinda/sorta that which is staked out in writer/director Miguel Llansó’s Infinite Summer (2024) but with an admittedly Science Fiction technological angle.  It stars Teele Kaljuvee-O’Brock, Johanna-Aurelia Rosin, Hannah Gross, Ciaron Davies, Denise Moreno, Steve Vanoni, and Katariina Unt in prominent roles.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“Three young women's week at the beach turns into a transhumanist mystery romp in one Estonian summer.”
 
Summer is a time when the youth get to toss off their cares of completing their education in favor of spending more time with their friends; and – for a good portion of Infinite Summer’s running time – that’s entirely all that was on Mia’s mind (as played by Teele Kaljuvee-O’Brock) in the reunion with her best bud Sarah (Hannah Gross).  Sadly, not only has Sarah introduced a new partner into the midst – the high-minded Muki (Denise Moreno) clearly thinks she’s better than anyone else in the current vicinity – but also there’s this new dating app that’s all the rage.  So when Mia just wants a bit of quality friendship and fellowship to distract her from her otherwise disaffected existence, she can’t help but be constantly disappointed with the lack of any real attention.  Why, what’s a girl to do with herself?
 
The loss of attention ultimately forces her to consider hooking up with one of her online dating matches: Ivo (Ciaron Davies) refers to himself publicly under the moniker of ‘Dr. Mindfulness,’ and he’s become smitten with the latest and greatest high-tech wizardry – a respirator attachment that when worn gives the user access to “Eleusis,” a powerful mood-enhancing app which promises to deliver a transcendent experience (without much clarification) though only to the right user when the right time has neuro-chemically arrived.  Even though the self-proclaimed doctor behaves like a bit of an online stalker of young women, Mia is sufficiently tempted by his personality and his burgeoning technology to risk it on herself to the dismay and chagrin of Sarah and Muki.  Eventually, all three ladies succumb to Ivo’s temptations, but – for reasons never quite completely explained – Mia initially fails to achieve the promised euphoria while her partners do, only to emerge from their experiences in a somewhat zombie-like state.
 
Initially, the subtext for Llansó’s might be the usual cautionary reminder about be careful what you experiment with, but that’s a message we’ve all seen before. 
 
Ultimately, merging with Eleusis proves to be a far more curious encounter – those who reach a oneness with the app are turned into smoke creatures uploaded into (literally) some cosmic, existential cloud – and, yet, there’s no real warning issued to audiences at any time.  Instead, our characters are merely allowed to vanish into whatever theatrical afterlife the story concocts with only a light suggestion that it might be linked to Artificial Intelligence devising a means to give Earth’s resident animals – meaning every creature on the planet – a shot at living out eternity amongst the ether.  All of it is tied to the A.I. serving as the caretaker over a nearby zoo wherein detectives – Jack (a leathery Steve Vanoni) and Katrin (Katariina Unt) – are investigating the disappearance of the animals.  Though there’s clearly the suggestion of something somewhat nefarious going on, Llansó’s script is sorely short on specifics.
 
Otherwise, I got nothing.
 
Unfortunately, there’s just not enough substance with which to make all that much of Infinite Summer.  Actor Ivo Uukkivi gives a somewhat grounded performance as Mia’s nameless father (if his name was mentioned, then I completely missed it).  He uses his time to both be an inspired supporter in Mia’s various hobbies (they’re shown screaming out the same song lyrics in the opening) as well as to provide a nice reflective moment late in the picture when he warns her about how easy it is to make mistakes in one’s youth.  But as she inevitably ignores his advice and continues to seek out and explore the limits of her own inhibitions (or lack thereof), Mia never quite grows into a fully-fleshed being the audience understands … except for the fact that she’s a kid, and kids will be kids, so there’s no telling them nothing.
 
It isn’t as if Summer doesn’t make use of its interesting ideas and players.  Something could be said about the nature of friendships as well as the youth’s willingness to dabble in dangerous situations because they’re hardwired to go where no one has gone before.  But because there’s no through-line – no undercurrent driving this story anywhere substantial – I’ve absolutely no idea of what to make of Mia’s disappearance into some kind of magical afterlife.  Is she dead?  Or – in Llansó’s worldview – are we all just smoke creatures waiting for a place to belong.
 
Infinite Summer (2024) was produced by Lanzadera Films, Savage Rose Films, and Tallifornia.  DVD distribution (for this particular release) has been coordinated by the fine folks at Indiepix.  As for the technical specifications?  While I’m no trained video expert, I can assure readers that the provided sights and sounds are quite good: while the audio mix and effects are fairly simple, the visuals eventually get highlighted by some solid special effects imagery.  It all has a fanciful quality to it, which tonally matches what gets done with them in what story there is.  Lastly, if you’re looking for special features?  Alas, you’ll have to look elsewhere as this is a bare bones release providing nothing supplemental whatsoever.
 
Mildly Recommended.
 
It isn’t as if Infinite Summer (2024) is a film to dislike; rather, there just isn’t quite enough chocked in here for an authentic story to appreciate.  Some might see it instead as a series of mildly-related events strung together around a central premise, and I think that’s a more apt description of the narrative.  Everything winds up being a bit too opaque – not unlike the featherlike quality of these smoke creatures – and the lack of a substantive explanation for what’s taking place will always keep any film from building an audience beyond just, say, film festival fanatics.  Summer is most definitely the kind of quirky journey that crowd celebrates, so maybe its best left to such confines.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Indiepix provided me with a complimentary DVD of Infinite Summer (2024) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

So many movies ... so much to celebrate!!!

On this day in 2016 (in the U.S.), The Veil enjoyed its first release ever via the Information Superhighway.  Directed by Phil Joanou from a story by Robert Ben Garant, the film starred Jessica Alba, Thomas Jane, Lily Rabe, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"Twenty-five years after members of a religious cult committed mass suicide, the lone survivor returns to the scene of the tragedy with a documentary crew in tow."

-- EZ
​

About Blumhouse Productions:

Blumhouse Productions, founded by Jason Blum, is a highly successful film and TV company famous for its low-budget, high-profit horror films like Get Out, The Purge, Insidious, and Paranormal Activity, known for its "micro-budget" model empowering directors and creating hit franchises. Merging with James Wan's Atomic Monster in 2024, Blumhouse dominates the horror market, producing successful IPs, critically acclaimed dramas (Whiplash, BlacKkKlansman), TV shows, and games, with a key partnership with Universal Pictures. 

So many movies ... so much to celebrate!!!

On this day in 2016 (in the U.S.), Batman: Bad Blood took his pursuit for justice to audiences with its very first home video release via the Information Superhighway.  Directed by Jay Oliva from a story by J.M. DeMatteis, Bob Kane, and Bill Finger, the Animated/Fantasy featured the voices of Jason O'Mara, Yvonne Strahovski, Stuart Allan, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"Bruce Wayne is missing. Alfred covers for him while Nightwing and Robin patrol Gotham City in his stead. And a new player, Batwoman, investigates Batman's disappearance."

-- EZ

About Warner Bros. Discovery:

Warner Bros. Discovery is a major global media and entertainment company formed by the merger of WarnerMedia and Discovery, Inc., owning iconic brands like HBO, CNN, Discovery Channel, DC Comics, and the historic Warner Bros. film studio, known for pioneering sound in film with The Jazz Singer and creating extensive franchises like Harry Potter and Looney Tunes, encompassing movies, TV, streaming (Max), and gaming under the leadership of the four Warner brothers who founded it in 1923. ​

So many movies ... so little time ...

On this day in 2022 (in the U.S.), the bloody holiday Horror that was Violent Night enjoyed its first exhibition ever when it was part of a special advance screening event.  Directed by Tommy Wirkola from a story by Pat Casey and Josh Miller, the film starred David Harbour, the insufferable John Leguizamo, Beverly D'Angelo, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"When an elite team of mercenaries breaks into a family compound on Christmas Eve, a disgruntled Santa Claus must take them out to save both the hostages and his Holiday."

-- EZ

About Universal Pictures:

Universal Pictures is a major American film studio, a division of NBCUniversal (owned by Comcast), known for producing and distributing hit movies from franchises like Jurassic World, Fast & Furious, Minions, and Bourne, alongside classic films, and operating theme parks worldwide. Founded in 1912 by Carl Laemmle, it's one of Hollywood's "Big Six" studios, famous for its diverse content and iconic brand. ​

With his ravishing third feature, visionary director Bi Gan takes his deepest plunge yet into the realm of pure dreamscape. In a world where humans have forsaken dreams in exchange for immortality, a dreaming monster (Jackson Yee) embarks on a shape-shifting odyssey through illusion, beauty, and terror that takes him across a century of cinema and to the end of time. Unfolding in five dazzlingly imagined chapters that encompass everything from silent-era expressionism to film noir to a delirious vampire love story shot in one of Bi’s signature long takes, Resurrection is a work of breathtaking imagination in which cinema is the ultimate portal to the unconscious mind.
Criterion Premieres is a selection of new theatrical films presented on Blu-ray and DVD, released in association with the Criterion Channel.

INCLUDES

• Meet the Filmmakers: Bi Gan, a Criterion Channel original interview
• Trailer
• Notes by film critic Siddhant Adlakha

​

It’s often been said that older movie stars never die.  They just turn up forever in syndicated broadcasts of their finest wares.
 
Definitely, the advent of physical media – alongside the much more recent digital streaming explosion – has given a good many cherished talents from the days of yore their own respective afterlives.  The phenomenon to both experience and re-experience films of every conceivable genre has given life to modern cinephiles discovering actors and actresses from bygone eras truly had something special even if their tenures were as long or as reputable as today’s social media circus promotes or destroys.  The single greatest plus to this phenomenon is that some of these learned talent see a bit of a cultural resurgence when newfound fans from the modern age build up their own fan communities around them, adding just one more piece of evidence to the old adage, “Film is forever.”
 
Of course, there can be inevitable dark sides to celebrity, too.  Some screen talent really don’t tolerate the whole idea of being in the public eye, much preferring to live their lives without the constant intrusion of invasive publicity; while they might occasionally enjoy a bit of fawning praise, they’re still opposed to having their every movement scrutinized under the proverbial microscope.  And – on the other side of that coin – fandom can be downright rabid in its endless pursuit of an autograph, a celebrity sighting, or even the dreaded shared ‘selfie.’  Because there’s often as much bad as there is with good, calmer minds hold out hope that somehow in some way we’ll all find a means to spend the best part of our time in this reality without the shackles of pain that superstardom might entail.
 
Still … what’s a deceased Horror icon to do when a group of film aficionados won’t let him go quietly into the beyond?
 
Well, that’s the subject of 1983’s Frightmare, an affable enough chiller from writer/director Norman Thaddeus Vane recently re-released on Blu-ray from Troma Entertainment.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“When his loyal fans decide to steal his fresh corpse from the mortuary to party with it all night long, a true horror film star returns from the grave as a ghastly blood-sucker, bent on revenge. At least, will he spare his followers?”
 
Conrad Radzoff (played by Ferdy Mayne) may not be the most accomplished Thespian of his era, but he might be the most overtly theatrical.  Sporting a practiced delivery style not unlike the great Vincent Price, he’s spent the lion’s share of his career bringing Horror to the silver screen to the delight of fans young and old.  Known for his screen chewing presence, he built a legacy worth celebration in the light and shadows; and now that he’s nearing the end of his life, he’s begun pondering if his firsthand knowledge with the supernatural might well present him with the opportunity to return from the hereafter in some immortal guise.
 
Lo and behold, Radzoff does eventually pass his expiration date not long after dispensing with a few ‘peasants’ who treated him poorly along the way.  To celebrate his life and career, he’s built a private mausoleum outfitted with a video console where family, friends, and fans can come to reconnect with his broadcast image a constant reminder that he’ll never be that far away.  It’s here where a group of supporters of a local Horror Society – a collegiate club praising vintage Horror films – decide that they’d love to spend their own ‘Weekend At Bernie’s’ (1989) with Radzoff’s recently expired body only to discover that the late actor might very well be everything but late!
 
If it’s all the premise that you need, then you’ll like find just enough fun and frights in Frightmare.  It isn’t a particularly smart story nor it is particularly scary as writer/director Vane largely pays homage to chills already a decade or two overused; but he and his cast and crew stay true to the central idea consistently through the final reel.  These young upstarts could’ve, should’ve, and would’ve known better if there were serious about their Horror studies – has anything good ever come from disturbing the dead? – but we’ll cut ‘em a modicum of slack for not knowing in advance just how invested in returning to form the dearly departed Radzoff truly was.
 
A glance into Vane’s career reveals that he wasn’t exactly the most accomplished auteur.  In fact, one might determine that the majority of his pedigree was in B-Movie exploitation at best though – as a writer, at least – it looks like he stretched his legs a bit outside his usual fare.  Indeed, Frightmare feels like a modest step up from being mostly forgettable because the production quality and casting choices minimally showed some investment in time and capital.  The flick is punctuated with some familiar faces – Mayne is joined by Nita Talbott, Leon Askin, Scott Thomson, and a young Jeffrey Combs – and when you get that weight in talent into a feature goods things can (and do) happen.  Sadly, Vane’s story never quite expands from its central idea – Radzoff will stop at nothing to make everyone pay – and the staging of these ensuing killings grows more and more predictable and protracted.
 
Frightmare (1983) was produced by Screenwriters.  DVD distribution (for this particular release) has been coordinated by the fine folks at Troma Entertainment.  As for the technical specifications?  While I’m no trained video expert … wow.  The film looks surprisingly good throughout: while it would be easy to nitpick the plainness of some sequences, Vane clearly had an idea of what he wanted to achieve and delivered.  Lastly, if you’re looking for special features?  The disc boasts multiple commentaries (Vane’s is a bit hard to listen to as it was conducted via telephone, and the audio is not that good), some interesting supplemental interviews, and a few other of the usual fare.  It is a great assortment regardless, so kudos to Troma for as delivering the goods.
 
Alas … only Mildly Recommended.
 
As a junkie for older films, I appreciated what Frightmare (1983) set out to do with its slim narrative focus; and yet I found myself increasingly disappointed over what little it ultimately produced.  Yes, it’s all more than a bit predictable; and, yes, there might be a scene here and there that could’ve been stronger.  However, Mayne didn’t chew enough scenery anywhere in the picture to make be believe that his villain – Golden Age actor Conrad Radzoff – legitimately earned the reputation these film nerds attached to him.  There’s even a thread dangled here and there that never quite gets followed up on – i.e. the fetching Donna clearly caught our lead’s lecherous eye in an early bit that never gets expanded – so the end result is – even in death – Radzoff was a bit too tame for authentic Horror history.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Troma provided me with a complimentary Blu-ray of Frightmare (1983) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

The anarchic irreverence of British comedy legends Monty Python is at its most inspired in this brilliant send-up of the blockbuster biblical epic. In a stable in ancient Jerusalem, a child is born—a child who will grow up to be . . . Brian (Graham Chapman), an ordinary Judean who goes on to live an extraordinary life, becoming entangled in a plot to overthrow the Roman empire and being mistaken for the Messiah, among other unlikely events. Featuring ribald Roman puns, sharp political commentary, and an audacious crucifixion-themed musical number, the Pythons’ most ambitious film is a hilarious satire of dogma and blind faith in which nothing is sacred.

​PYTHON-APPROVED 4K-UHD SPECIAL EDITION FEATURES

• New 4K digital restoration, supervised by Monty Python’s Terry Gilliam, with 2.0 surround DTS-HD Master Audio soundtrack
• Alternate 5.1 surround DTS-HD Master Audio soundtrack
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the special features
• Two audio commentaries featuring Pythons Gilliam, John Cleese, Eric Idle, Terry Jones, and Michael Palin
• The Story of Brian (2007), a making-of documentary
• The Pythons (1979), a documentary about Monty Python filmed on location for Life of Brian
• Behind-the-scenes Super 8 film shot by Palin
• Five deleted scenes with commentary by the Pythons
• Original British radio ads starring Mrs. Cleese, Mrs. Gilliam, Mrs. Idle, and Palin’s dentist
• Original illustrated recording by the Pythons of an early version of their screenplay
• Animated stills gallery
• Trailer
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by film critic Bilge Ebiri
  
  Cover based on an original theatrical poster by Terry Gilliam

​