- Published on
press release
Just in time for spooky season...
have you been NAUGHTY or NICE?
Written and Directed by Mike P. Nelson
Starring Rohan Campbell ("Halloween Ends") and Ruby Modine ("Shameless")
SILENT NIGHT, DEADLY NIGHT
WRITTEN & DIRECTED BY: Mike P. Nelson
CAST: Rohan Campbell, Ruby Modine, Mark Acheson, David Lawrence Brown, David Tomlinson
EXECUTIVE PRODUCERS: Yolanda Macias, Erick Opeka, Steven Schneider, Jed Benedict, Brad Miska, Brandon Hill, Anthony Masi, Victor Zimmerman, Sarah Eilts, Matthew Helderman, Luke Taylor, Grady Craig
PRODUCERS: Scott Schneid, Dennis Whitehead, Jame R. Thompson, Erik Bernard, Jeremy Torrie, Tanya Brunel
GENRE: Horror
SYNOPSIS: A twisted reimagining of the controversial classic – After witnessing his parents’ brutal murder on Christmas Eve, Billy transforms into a Killer Santa, delivering a yearly spree of calculated, chilling violence. This year, his blood-soaked mission collides with love, as a young woman challenges him to confront his darkness. “Have you been naughty?”
ABOUT CINEVERSE:
Cineverse (Nasdaq: CNVS) is a next-generation entertainment studio that empowers creators and entertains fans with a wide breadth of content through the power of technology. It has developed a new blueprint for delivering entertainment experiences to passionate audiences and results for its partners with unprecedented efficiency, and distributes more than 71,000 premium films, series, and podcasts. Cineverse connects fans with bold, authentic, independent stories. Properties include the highest-grossing non-rated film in U.S. history; dozens of streaming fandom channels; a premier podcast network; top horror destination Bloody Disgusting; and more. Powering visionary storytelling with cutting-edge innovation, Cineverse's proprietary streaming tools and AI technology drive revenue and reach to redefine the next era of entertainment. For more information, visit home.cineverse.com.
ABOUT CINEVERSE MOTION PICTURES GROUP:
Cineverse super-serves passionate audiences by distributing content across all windows and platforms, from theatrical to digital to physical. Following the breakout box office success of Terrifier 3, upcoming releases include the franchise expansions of The Toxic Avenger (August 29, 2025) and Silent Night, Deadly Night (December 12, 2025). Coming in 2026 include its first kids and family theatrical release, Air Bud Returns, as well as Return to Silent Hill (January 23, 2026) and Wolf Creek: Legacy, with more to be announced soon.
FOLLOW SILENT NIGHT, DEADLY NIGHT ON SOCIAL:
Instagram: @SNDNMovie
Facebook: @SilentNightDeadlyNight
TikTok: @SNDNMovie
X: @SNDNMovie
FOLLOW CINEVERSE ON SOCIAL:
Instagram: @CineverseTV
Facebook: @CineverseTV
TikTok: @CineverseTV
X: @Cineverse_Ent
CAST: Rohan Campbell, Ruby Modine, Mark Acheson, David Lawrence Brown, David Tomlinson
EXECUTIVE PRODUCERS: Yolanda Macias, Erick Opeka, Steven Schneider, Jed Benedict, Brad Miska, Brandon Hill, Anthony Masi, Victor Zimmerman, Sarah Eilts, Matthew Helderman, Luke Taylor, Grady Craig
PRODUCERS: Scott Schneid, Dennis Whitehead, Jame R. Thompson, Erik Bernard, Jeremy Torrie, Tanya Brunel
GENRE: Horror
SYNOPSIS: A twisted reimagining of the controversial classic – After witnessing his parents’ brutal murder on Christmas Eve, Billy transforms into a Killer Santa, delivering a yearly spree of calculated, chilling violence. This year, his blood-soaked mission collides with love, as a young woman challenges him to confront his darkness. “Have you been naughty?”
ABOUT CINEVERSE:
Cineverse (Nasdaq: CNVS) is a next-generation entertainment studio that empowers creators and entertains fans with a wide breadth of content through the power of technology. It has developed a new blueprint for delivering entertainment experiences to passionate audiences and results for its partners with unprecedented efficiency, and distributes more than 71,000 premium films, series, and podcasts. Cineverse connects fans with bold, authentic, independent stories. Properties include the highest-grossing non-rated film in U.S. history; dozens of streaming fandom channels; a premier podcast network; top horror destination Bloody Disgusting; and more. Powering visionary storytelling with cutting-edge innovation, Cineverse's proprietary streaming tools and AI technology drive revenue and reach to redefine the next era of entertainment. For more information, visit home.cineverse.com.
ABOUT CINEVERSE MOTION PICTURES GROUP:
Cineverse super-serves passionate audiences by distributing content across all windows and platforms, from theatrical to digital to physical. Following the breakout box office success of Terrifier 3, upcoming releases include the franchise expansions of The Toxic Avenger (August 29, 2025) and Silent Night, Deadly Night (December 12, 2025). Coming in 2026 include its first kids and family theatrical release, Air Bud Returns, as well as Return to Silent Hill (January 23, 2026) and Wolf Creek: Legacy, with more to be announced soon.
FOLLOW SILENT NIGHT, DEADLY NIGHT ON SOCIAL:
Instagram: @SNDNMovie
Facebook: @SilentNightDeadlyNight
TikTok: @SNDNMovie
X: @SNDNMovie
FOLLOW CINEVERSE ON SOCIAL:
Instagram: @CineverseTV
Facebook: @CineverseTV
TikTok: @CineverseTV
X: @Cineverse_Ent
- Published on
press release
CHAIN REACTIONS
DEBUTS ON DIGITAL PLATFORMS
OCTOBER 21st
The Latest From Alexandre O. Philippe
(78/52, MEMORY: THE ORIGINS OF ALIEN, KIM NOVAK'S VERTIGO)
Is a Cinematic Deep Dive Into the Lasting Impact of
Tobe Hooper's Slasher Masterpiece
THE TEXAS CHAIN SAW MASSACRE
Featuring In-Depth Interviews with
Patton Oswalt, Takashi Miike, Alexandra Heller- Nicholas, Stephen King, and Karyn Kusama
Synopsis:
Fifty years after Tobe Hooper’s THE TEXAS CHAIN SAW MASSACRE shocked the world and forever changed the face of global cinema and popular culture, CHAIN REACTIONS charts the film’s profound impact and lasting influence on five great artists – Patton Oswalt, Takashi Miike, Alexandra Heller- Nicholas, Stephen King, and Karyn Kusama – through early memories, sensory experiences, and childhood trauma. By crafting a dynamic dialogue between contemporary footage and never-before-seen outtakes and delving into personal impressions triggered by distinct audiovisual formats (16mm, 35mm, VHS, digital), CHAIN REACTIONS goes to the heart of how a scruffy, no-budget independent film wormed its way into our collective nightmares and permanently altered the zeitgeist.
Winner: Venice Classics Award for Best Documentary on Cinema
Official Selection: Telluride Film Festival, Sitges, BFI London Film Festival, San Francisco International Film Festival, Fantastic Fest, Beyondfest, Karlovy Vary Film Festival
"[An] exploration of our inexplicable attraction to horror."
—Indiewire
"An extraordinary documentary about and extraordinary film."
—Deadline
"A love letter to horror, art, influence, and how Tobe Hooper and THE TEXAS CHAIN SAW MASSACRE changed cinema forever, whether you can stomach it or not."
—Collider
"Brings reverence and respect to the classic film… five smart people
talking about a great film.
—Rue Morgue
"THE TEXAS CHAIN SAW MASSACRE is as timely as it’s ever been... If you’re a fan, you’ll need to add CHAIN REACTIONS to your watch list."
—Screen Anarchy
"Thought provoking... the different stories and viewpoints come together to create a fascinating dialogue that extends to the viewer."
—The Daily Dead
Written & Directed by: Alexandre O. Philippe
Produced by: Kerry Deignan Roy
Co-Produced by: Robert Muratore
Executive Produced by: Kim Henkel, Ian Henkel, Pat Cassidy, Hamza Ali, Badie Ali, Greg Newman
Director of Photography: Robert Muratore
About Alexandre O. Philippe
Throughout a body of work that includes 78/52 (Sundance 2017), Memory: The Origins of Alien (Sundance 2019), Leap of Faith: William Friedkin on The Exorcist (Venice 2019, Sundance 2020), and Lynch/Oz (Tribeca 2022), Alexandre has developed his own brand of “cinema essay,” exploring the art of filmmaking and its practitioners. He won the 2024 Venice Classics Lion for Chain Reactions, which also had its North American premiere at the Telluride Film Festival, and will soon be released in theaters. Alexandre is currently working on multiple feature documentaries on cinema. His latest, Kim Novak’s Vertigo, premiered at the Venice Film Festival.
Fifty years after Tobe Hooper’s THE TEXAS CHAIN SAW MASSACRE shocked the world and forever changed the face of global cinema and popular culture, CHAIN REACTIONS charts the film’s profound impact and lasting influence on five great artists – Patton Oswalt, Takashi Miike, Alexandra Heller- Nicholas, Stephen King, and Karyn Kusama – through early memories, sensory experiences, and childhood trauma. By crafting a dynamic dialogue between contemporary footage and never-before-seen outtakes and delving into personal impressions triggered by distinct audiovisual formats (16mm, 35mm, VHS, digital), CHAIN REACTIONS goes to the heart of how a scruffy, no-budget independent film wormed its way into our collective nightmares and permanently altered the zeitgeist.
Winner: Venice Classics Award for Best Documentary on Cinema
Official Selection: Telluride Film Festival, Sitges, BFI London Film Festival, San Francisco International Film Festival, Fantastic Fest, Beyondfest, Karlovy Vary Film Festival
"[An] exploration of our inexplicable attraction to horror."
—Indiewire
"An extraordinary documentary about and extraordinary film."
—Deadline
"A love letter to horror, art, influence, and how Tobe Hooper and THE TEXAS CHAIN SAW MASSACRE changed cinema forever, whether you can stomach it or not."
—Collider
"Brings reverence and respect to the classic film… five smart people
talking about a great film.
—Rue Morgue
"THE TEXAS CHAIN SAW MASSACRE is as timely as it’s ever been... If you’re a fan, you’ll need to add CHAIN REACTIONS to your watch list."
—Screen Anarchy
"Thought provoking... the different stories and viewpoints come together to create a fascinating dialogue that extends to the viewer."
—The Daily Dead
Written & Directed by: Alexandre O. Philippe
Produced by: Kerry Deignan Roy
Co-Produced by: Robert Muratore
Executive Produced by: Kim Henkel, Ian Henkel, Pat Cassidy, Hamza Ali, Badie Ali, Greg Newman
Director of Photography: Robert Muratore
About Alexandre O. Philippe
Throughout a body of work that includes 78/52 (Sundance 2017), Memory: The Origins of Alien (Sundance 2019), Leap of Faith: William Friedkin on The Exorcist (Venice 2019, Sundance 2020), and Lynch/Oz (Tribeca 2022), Alexandre has developed his own brand of “cinema essay,” exploring the art of filmmaking and its practitioners. He won the 2024 Venice Classics Lion for Chain Reactions, which also had its North American premiere at the Telluride Film Festival, and will soon be released in theaters. Alexandre is currently working on multiple feature documentaries on cinema. His latest, Kim Novak’s Vertigo, premiered at the Venice Film Festival.
AVAILABLE OCTOBER 21ST ON THE FOLLOWING:
APPLE TV / ITUNES (pre-order link here)
FANDANGO AT HOME
GOOGLE PLAY
YOUTUBE US
YOUTUBE CANADA
PRIME VIDEO
- Published on
press release
Dark Sky Films Presents
Cambodia's Official Entry For
Best International Film
At The 98th Academy Awards
TENEMENT
Directed By Inrasothythep Neth & Sokyou Chea and starring Thanet Thorn, Yoshihiko Hosoda, Sveng Socheata
In Theaters and on VOD October 24th
"Graced with spectacular visuals, a highly engaging technical skillset..." -Asian Movie Pulse
"In a bold and captivating debut..." - Khemer Times
SYNOPSIS:
Following the death of her mother, a Japanese-Cambodian manga artist decides to travel to Cambodia along with her boyfriend, in a quest to find out more about the country her mother fled. She reunites with lost family and moves into the apartment where her mother used to live. As she tries to find out more about her past, she’s confronted to strange events within the building that hint at something darker going on with the residents. What first appears as over-caring considerations from the community towards the new comers soon turns out to be part of a ritual. The residents are preparing a new host for the building’s evil spirit, before it starts killing them once again.
ABOUT THE DIRECTORS:
Thep is a Cambodian filmmaker who has worked as a director on various music videos, TV commercials, web series, and short films since 2015. His first short film, THE DINNER,earned him Best Cinematography and Best Short Film awards at the 6th Chaktomuk Short Film Festival in 2017. Two years later, the premiere of his second short film, BEFORE THE RAIN, earned him the Audience Choice Award and Best Short Film at the 8th Chaktomuk Short Film Festival in 2019. His short film (Before the Rain) went on to premiere at the 4th Busan Art Film Festival (South Korea), the 3rd Asia Peace Film Festival (Pakistan), 2020 Tokachi International Short Festival (Japan), and 2021 SeaShorts: Cambodia Retrospect (Malaysia). This will be his first feature film as a director.
Sokyou’s first attempt at filmmaking was when she was 13, using her dad’s camcorder to remake a folktale story, turning the house into a film set. Leaving her home village in Cambodia at the age of 11, she has lived and studied in Vietnam, Singapore and UK and is fluent in 4 languages. Her debut short film ‘The Ride’ was selected into the final of TROP- FEST SEA 2015. Soon afterwards, her unique 2- hander stage play ‘The Courageous Turtle’ was so well received that it went on to tour across schools in the kingdom for 3 years, attracting repeat funding from European agencies and local corporates to extend the run. A feature film concept project ‘Soul Searching’ with her as the writer and director was privileged to win the BUCHEON AWARD 2018 at BIFAN NAFF, South Korea and went on to represent Cambodia at FLY FILM LAB 2019 in Cebu. Tenement is her first feature film as a director.
Following the death of her mother, a Japanese-Cambodian manga artist decides to travel to Cambodia along with her boyfriend, in a quest to find out more about the country her mother fled. She reunites with lost family and moves into the apartment where her mother used to live. As she tries to find out more about her past, she’s confronted to strange events within the building that hint at something darker going on with the residents. What first appears as over-caring considerations from the community towards the new comers soon turns out to be part of a ritual. The residents are preparing a new host for the building’s evil spirit, before it starts killing them once again.
ABOUT THE DIRECTORS:
Thep is a Cambodian filmmaker who has worked as a director on various music videos, TV commercials, web series, and short films since 2015. His first short film, THE DINNER,earned him Best Cinematography and Best Short Film awards at the 6th Chaktomuk Short Film Festival in 2017. Two years later, the premiere of his second short film, BEFORE THE RAIN, earned him the Audience Choice Award and Best Short Film at the 8th Chaktomuk Short Film Festival in 2019. His short film (Before the Rain) went on to premiere at the 4th Busan Art Film Festival (South Korea), the 3rd Asia Peace Film Festival (Pakistan), 2020 Tokachi International Short Festival (Japan), and 2021 SeaShorts: Cambodia Retrospect (Malaysia). This will be his first feature film as a director.
Sokyou’s first attempt at filmmaking was when she was 13, using her dad’s camcorder to remake a folktale story, turning the house into a film set. Leaving her home village in Cambodia at the age of 11, she has lived and studied in Vietnam, Singapore and UK and is fluent in 4 languages. Her debut short film ‘The Ride’ was selected into the final of TROP- FEST SEA 2015. Soon afterwards, her unique 2- hander stage play ‘The Courageous Turtle’ was so well received that it went on to tour across schools in the kingdom for 3 years, attracting repeat funding from European agencies and local corporates to extend the run. A feature film concept project ‘Soul Searching’ with her as the writer and director was privileged to win the BUCHEON AWARD 2018 at BIFAN NAFF, South Korea and went on to represent Cambodia at FLY FILM LAB 2019 in Cebu. Tenement is her first feature film as a director.
TENEMENT
Release Date: 10/24/2025
Directed by: Inrasothythep Neth & Sokyou Chea
Written by: Inrasothythep Neth & Sokyou Chea
Produced by: Loy Te
Starring: Thanet Thorn, Yoshihiko Hosoda, Socheata Sveng, Mony Rous, Katsuya Maiguma
Genre: Thriller
Language: Khmer, English, Japanese
Distributor: Dark Sky Films
Run Time: 88 minutes
Release Date: 10/24/2025
Directed by: Inrasothythep Neth & Sokyou Chea
Written by: Inrasothythep Neth & Sokyou Chea
Produced by: Loy Te
Starring: Thanet Thorn, Yoshihiko Hosoda, Socheata Sveng, Mony Rous, Katsuya Maiguma
Genre: Thriller
Language: Khmer, English, Japanese
Distributor: Dark Sky Films
Run Time: 88 minutes
- Published on
press release
Release Showcases 19 Feature Films
Including Award-Winning Documentary,
Plus New 168-Page Book and
21+ Combined Hours of Bonus Features
Los Angeles, CA (October 8th, 2025) Severin Films today announced a landmark new exploration of transgressive Spanish cinema with the release of EXORCISMO: DEFYING A DICTATOR & RAISING HELL IN POST-FRANCO SPAIN. This groundbreaking box set includes 18 pivotal feature films released both during and in the wake of the Franco dictatorship, the award-winning documentary EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S” narrated by Iggy Pop and produced by Severin Films, plus the new 168-page book EXORCI“S”MO!
Having endured decades of strict censorship laws under General Franco’s authoritarian rule, Spain’s entertainment industry fought to liberate cinematic expression before and after the dictator's death in 1975. Faced with an opportunity to subvert the regime’s values and protest the Catholic Church’s rigid restrictions, Spanish filmmakers began to defiantly explore banned themes such as sex, violence and horror. With the post-Franco Clasificada “S” rating, which restricted these films to audiences over 18, this active rebellion marked a shift in the nation and audiences considered this period of cinema to be a cultural ‘exorcismo.’ Honoring the art of resistance-by-cinema, EXORCISMO: DEFYING A DICTATOR & RAISING HELL IN POST-FRANCO SPAIN spotlights 18 films that launched a celluloid revolution, including infamous features directed by Eloy de la Iglesia, León Klimovsky, Javier Aguirre and Eugenio Martín.
Also included is writer/producer/director Alberto Sedano’s acclaimed 2024 documentary EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S”, which explores the history behind the notorious rating that rocked Spanish culture, changed the face of genre films and left its mark on global cinema forever. The 168-page EXORCI“S”MO! features new essays by Alberto Sedano, Alejandro Melero, Álex Mendíbil, Shelagh Rowan-Legg and Daniel Kowalski, plus poster/stills galleries and more. The majority of the titles in this unprecedented collection are Worldwide Blu-ray Premieres scanned in 4K from original camera negatives, with over 21 combined hours of new and archival Special Features.
Pre-orders for the EXORCISMO: DEFYING A DICTATOR & RAISING HELL IN POST-FRANCO SPAIN box set begin today at SeverinFilms.com
Disc 1: Exorcismo: The Transgressive Legacy of Clasificada "S" / Far from the Trees (Lejos de los árboles)
Exorcismo: The Transgressive Legacy of Clasificada "S" Special Feature:
Runtime: 123 mins
Audio: Spanish / English 5.1, Spanish / English Stereo
Subtitles: English For Spanish Audio, English For All Audio
Region Free
Aspect Ratio: 1.78:1
Far from the Trees Disc Specs:
Runtime: 103 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 2: The Bell from Hell (La campana del infierno) / Creation of the Damned (El refugio del miedo)
The Bell from Hell Special Features:
Runtime: 97 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Creation of the Damned Special Features:
Runtime: 96 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Disc 3: The Devil's Exorcist (El juego del diablo) / After... Part One: Can't You Be Left Alone? (Después de... Primera parte: No se os puede dejar solos?)
The Devil’s Exorcist Special Features:
Runtime: 84 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.66:1
After... Part One: Can't You Be Left Alone? Disc Specs:
Runtime: 94 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 4: The People Who Own the Dark (Último deseo)
The People Who Own the Dark Special Features:
Runtime: 100 mins (Spanish Cut) / 83 mins (U.S. Cut)
Audio: Spanish Mono (Spanish Cut Only) / English Mono (U.S. Cut Only)
Subtitles: English (Spanish Cut Only) / English SDH (U.S. Cut Only)
Region Free
Aspect Ratio: 1.66:1 (Spanish Cut Only) / 1.85:1 (U.S. Cut Only)
Disc 5: Battered Flesh (Carne apaleada) / The Priest (El sacerdote)
Battered Flesh Special Features:
Runtime: 99 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
The Priest Special Features:
Runtime: 100 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Disc 6: Sins of a Nympho (Bacanal en directo) / Dimorfo
Sins of a Nympho Special Features:
Runtime: 85 mins
Audio: Spanish Stereo
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Dimorfo Special Features:
Runtime: 95 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.33:1
Disc 7: Bloody Sex (Sexo sangriento) / Morbus
Bloody Sex Special Features:
Runtime: 82 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Morbus Special Features:
Runtime: 87 mins
Audio: Catalan Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 8: Faces (Rostros) / Triangle of Lust (Desnuda ante el espejo)
Faces Special Features:
Runtime: 93 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Triangle of Lust Special Features:
Runtime: 91 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Disc 9: That House in the Outskirts (Aquella casa en las afueras) / Supernatural (Sobrenatural)
That House in the Outskirts Special Features:
Runtime: 101 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Supernatural Special Features:
Runtime: 90 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.66:1
Disc 10: Poppers / After... Part Two: Tied Up and Tied Up Well (Después de... Segunda parte: Atado y bien atado)
Poppers Special Features:
Runtime: 83 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
After... Part Two: Tied Up and Tied Up Well Disc Specs:
Runtime: 103 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Having endured decades of strict censorship laws under General Franco’s authoritarian rule, Spain’s entertainment industry fought to liberate cinematic expression before and after the dictator's death in 1975. Faced with an opportunity to subvert the regime’s values and protest the Catholic Church’s rigid restrictions, Spanish filmmakers began to defiantly explore banned themes such as sex, violence and horror. With the post-Franco Clasificada “S” rating, which restricted these films to audiences over 18, this active rebellion marked a shift in the nation and audiences considered this period of cinema to be a cultural ‘exorcismo.’ Honoring the art of resistance-by-cinema, EXORCISMO: DEFYING A DICTATOR & RAISING HELL IN POST-FRANCO SPAIN spotlights 18 films that launched a celluloid revolution, including infamous features directed by Eloy de la Iglesia, León Klimovsky, Javier Aguirre and Eugenio Martín.
Also included is writer/producer/director Alberto Sedano’s acclaimed 2024 documentary EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S”, which explores the history behind the notorious rating that rocked Spanish culture, changed the face of genre films and left its mark on global cinema forever. The 168-page EXORCI“S”MO! features new essays by Alberto Sedano, Alejandro Melero, Álex Mendíbil, Shelagh Rowan-Legg and Daniel Kowalski, plus poster/stills galleries and more. The majority of the titles in this unprecedented collection are Worldwide Blu-ray Premieres scanned in 4K from original camera negatives, with over 21 combined hours of new and archival Special Features.
Pre-orders for the EXORCISMO: DEFYING A DICTATOR & RAISING HELL IN POST-FRANCO SPAIN box set begin today at SeverinFilms.com
Disc 1: Exorcismo: The Transgressive Legacy of Clasificada "S" / Far from the Trees (Lejos de los árboles)
Exorcismo: The Transgressive Legacy of Clasificada "S" Special Feature:
- Trailer
Runtime: 123 mins
Audio: Spanish / English 5.1, Spanish / English Stereo
Subtitles: English For Spanish Audio, English For All Audio
Region Free
Aspect Ratio: 1.78:1
Far from the Trees Disc Specs:
Runtime: 103 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 2: The Bell from Hell (La campana del infierno) / Creation of the Damned (El refugio del miedo)
The Bell from Hell Special Features:
- Audio Commentary With Kat Ellinger, Author Of Daughters Of Darkness
- Audio Commentary With Rod Barnett, Film Historian And Co-Host Of NaschyCast, And Robert Monell, Writer And Editor Of I'm In A Jess Franco State Of Mind
- Censorship And Curses – Film Scholar Dr. Álex Mendíbil On THE BELL FROM HELL
- Trailer
- LUCIANO (1965) – Short Film Co-Written/Directed By Claudio Guerín, Director Of THE BELL FROM HELL
Runtime: 97 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Creation of the Damned Special Features:
- Audio Commentary With Antonio Lázaro-Reboll, Author Of Spanish Horror Film
- I'm Proud Of My Films – Interview With Director José Ulloa
- Being There – Interview With Camera Assistant Paco Marín
- Trailer
- Still Gallery
Runtime: 96 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Disc 3: The Devil's Exorcist (El juego del diablo) / After... Part One: Can't You Be Left Alone? (Después de... Primera parte: No se os puede dejar solos?)
The Devil’s Exorcist Special Features:
- Play Film With Alternate Opening
- Audio Commentary With Shelagh Rowan-Legg, Author Of The Spanish Fantastic, And Film Critic/Educator Simon Laperrière
- A Daring Film – Interview With Actor Jack Taylor
- Horror Comes From The Church – Interview With Cinematographer José Luis Alcaine
- Sound Experiments – Interview With Composer José Nieto
- Trailer
Runtime: 84 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.66:1
After... Part One: Can't You Be Left Alone? Disc Specs:
Runtime: 94 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 4: The People Who Own the Dark (Último deseo)
The People Who Own the Dark Special Features:
- Audio Commentary With Rod Barnett And Troy Guinn, Film Historians/Co-Hosts Of NaschyCast (Spanish Cut Only)
- Joking On Set – Interview With Actor Antonio Mayans
- A Unique Iconography In Spanish Terror – Ángel Sala, Head Of Programming At The Sitges Film Festival, On THE PEOPLE WHO OWN THE DARK
- Trailer
Runtime: 100 mins (Spanish Cut) / 83 mins (U.S. Cut)
Audio: Spanish Mono (Spanish Cut Only) / English Mono (U.S. Cut Only)
Subtitles: English (Spanish Cut Only) / English SDH (U.S. Cut Only)
Region Free
Aspect Ratio: 1.66:1 (Spanish Cut Only) / 1.85:1 (U.S. Cut Only)
Disc 5: Battered Flesh (Carne apaleada) / The Priest (El sacerdote)
Battered Flesh Special Features:
- Audio Commentary With Shelagh Rowan-Legg, Author Of The Spanish Fantastic, And Spanish Cinema Professor/Scholar Alejandro Melero
- A Spain To Break – Interview With Actress Sandra Alberti
Runtime: 99 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
The Priest Special Features:
- The Socialist Priest – Interview With Actor Emilio Gutiérrez Caba
- A Provocative Filmmaker – Interview With Actor Martín Garrido Ramis
- EL OTRO LUIS (1975) – Short Film By Eloy De La Iglesia’s Friend And Collaborator Alejo Loren
Runtime: 100 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Disc 6: Sins of a Nympho (Bacanal en directo) / Dimorfo
Sins of a Nympho Special Features:
- I Regret Nothing – Interview With Assistant Director Alejo Loren
- Trailer
Runtime: 85 mins
Audio: Spanish Stereo
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Dimorfo Special Features:
- The Haunted Cartoonist – Spanish Film Scholar Dr. Álex Mendíbil On The Films Of Rodjara
- Alternate Credit Sequences
Runtime: 95 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.33:1
Disc 7: Bloody Sex (Sexo sangriento) / Morbus
Bloody Sex Special Features:
- Audio Commentary With David Flint, Author Of Babylon Blue: An Illustrated History Of Adult Cinema
- A Bohemian Life – Interview With Producer Gloria Sancho
- Lobby Card Gallery
Runtime: 82 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.85:1
Morbus Special Features:
- Sex And Horror – Interview With Director Ignasi P. Ferré
- A Well-Deserved Recognition – Interview With Actress Carmen Serret
- THE EVIL FACES OF VĺCTOR ISRAEL (2010) – Archival Documentary
Runtime: 87 mins
Audio: Catalan Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Disc 8: Faces (Rostros) / Triangle of Lust (Desnuda ante el espejo)
Faces Special Features:
- An Unclassifiable Movie – Ángel Sala, Head Of Programming At The Sitges Film Festival, On FACES
- Trailer
Runtime: 93 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Triangle of Lust Special Features:
- Audio Commentary With David Flint, Author Of Babylon Blue: An Illustrated History Of Adult Cinema
- Extended/Alternate Scenes
Runtime: 91 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.85:1
Disc 9: That House in the Outskirts (Aquella casa en las afueras) / Supernatural (Sobrenatural)
That House in the Outskirts Special Features:
- A Very Strong Character – Interview With Actress Silvia Aguilar
- Trailer
Runtime: 101 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
Supernatural Special Features:
- Audio Commentary With David Flint, Editor Of Desperate Living
- Supernatural Effects – Interview With Actor Máximo Valverde
- English Title Sequence
- Trailer
- TV Spot
Runtime: 90 mins
Audio: Spanish Mono, English Mono
Subtitles: English, English SDH
Region Free
Aspect Ratio: 1.66:1
Disc 10: Poppers / After... Part Two: Tied Up and Tied Up Well (Después de... Segunda parte: Atado y bien atado)
Poppers Special Features:
- A Bold And Delirious Movie – Interview With Art Director Javier Fernández
- A Film Like No Other – Interview With Assistant Director Eduardo Campoy
- Trailer
Runtime: 83 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
After... Part Two: Tied Up and Tied Up Well Disc Specs:
Runtime: 103 mins
Audio: Spanish Mono
Subtitles: English
Region Free
Aspect Ratio: 1.66:1
- Published on
I’ve mentioned this little factoid dozens of times, but I think it’s definitely relevant again today: I read my first comic book – as a little guy – all the way back in 1971.
Now, I don’t bring this up to suggest in any way that I’m any kind of expert on comics or the comics industry as a whole: rather, I’m just trying to demonstrate how long and deep my affection for these characters and their stories go. Over the course of a few decades, I’ve read titles that lasted only a handful of issues, and I’ve read rather long and reasonable success runs of some signature characters. Though I appreciate a great deal of what’s been accomplished with Marvel and some independent publishers, my heart has been and likely will always be a DC guy because – for reasons for too many to share – I’ve just always been drawn to Batman, Superman, and Wonder Woman … mostly in that order. But like so many readers of a generation, I made my way around the block, reading just about anything that was popular in its heyday even though I recognized fairly early on I wasn’t going to stick with it.
Yes, Todd McFarlane’s Spawn was one of those books.
I picked up its first issue back in 1992, and I actually hung with it longer than I probably wanted, mostly because I dug its vibe though found its plotline more than a bit confusing. While I don’t remember all that much of the specifics regarding my disinterest, I do recall it centering around not quite grasping complete understanding of the world as envisioned there; and I suspect some of this involved McFarlane’s push to broaden the character’s horizons fairly early on by bringing in other writers to pen a few standalone issues. Regardless, Spawn and his alter ego Al Simmons definitely lit a fire in certain circles; and Hollywood – always willing to explore such phenomena – eventually jumped at the chance to bring this spectral anti-hero to life on the silver screen.
1997’s theatrical outing was directed by Mark A.Z. Dippé. The script shows attributed to McFarlane (clearly as the source material) along with Dippé and Alan B. McElroy. The cast included Michael Jai White, John Leguizamo, Martin Sheen, Theresa Randle, D.B. Sweeney, and others. Online box office materials suggest that the flick was a modest success financially, amassing just under $90M worldwide on a reported budget of $40M. While the end result did garner a 1998 Saturn Awards nomination in the category of ‘Best Make-Up,’ it also received top honors at the 1998 Fangoria Chainsaw Awards in the category of ‘Worst Picture.’
Ouch. That’s gotta leave a mark!
Let me try to explain why.
(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 …)
Now, I don’t bring this up to suggest in any way that I’m any kind of expert on comics or the comics industry as a whole: rather, I’m just trying to demonstrate how long and deep my affection for these characters and their stories go. Over the course of a few decades, I’ve read titles that lasted only a handful of issues, and I’ve read rather long and reasonable success runs of some signature characters. Though I appreciate a great deal of what’s been accomplished with Marvel and some independent publishers, my heart has been and likely will always be a DC guy because – for reasons for too many to share – I’ve just always been drawn to Batman, Superman, and Wonder Woman … mostly in that order. But like so many readers of a generation, I made my way around the block, reading just about anything that was popular in its heyday even though I recognized fairly early on I wasn’t going to stick with it.
Yes, Todd McFarlane’s Spawn was one of those books.
I picked up its first issue back in 1992, and I actually hung with it longer than I probably wanted, mostly because I dug its vibe though found its plotline more than a bit confusing. While I don’t remember all that much of the specifics regarding my disinterest, I do recall it centering around not quite grasping complete understanding of the world as envisioned there; and I suspect some of this involved McFarlane’s push to broaden the character’s horizons fairly early on by bringing in other writers to pen a few standalone issues. Regardless, Spawn and his alter ego Al Simmons definitely lit a fire in certain circles; and Hollywood – always willing to explore such phenomena – eventually jumped at the chance to bring this spectral anti-hero to life on the silver screen.
1997’s theatrical outing was directed by Mark A.Z. Dippé. The script shows attributed to McFarlane (clearly as the source material) along with Dippé and Alan B. McElroy. The cast included Michael Jai White, John Leguizamo, Martin Sheen, Theresa Randle, D.B. Sweeney, and others. Online box office materials suggest that the flick was a modest success financially, amassing just under $90M worldwide on a reported budget of $40M. While the end result did garner a 1998 Saturn Awards nomination in the category of ‘Best Make-Up,’ it also received top honors at the 1998 Fangoria Chainsaw Awards in the category of ‘Worst Picture.’
Ouch. That’s gotta leave a mark!
Let me try to explain why.
(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:
“An elite mercenary is killed but comes back from Hell as a reluctant soldier of the Devil.”
Let me dispense with one key observation right up front: the visual effects work – especially anything CGI-related – is arguably the flick’s single greatest disappointment.
I lack the technical expertise with which to fully dissect what exactly is wrong with so much of the picture. Having read a few reviews online which have gone into some very specific failures, I’d really have nothing to add of merit. I can say that the sequences staged in Hell (or Purgatory, depending upon one’s spiritual definitions) are particularly egregious, looking as if they had much more in common with late 1980’s television than they did late 1990’s. Given the progress that features like Terminator 2: Judgment Day (1991), Jurassic Park (1993), and even Toy Story (1995) had so prominently shown, Spawn is definitely a theatrical throwback not in a charming way – by almost a decade, in fact – and it shows. Horrifically.
Unfortunately, my estimation of the picture itself doesn’t get much better.
Al Simmons (played with pure tough guy stoicism by Michael Jai White) is no noble warrior. A mercenary for hire, he’s built a career alongside military industrialist Jason Wynn (Martin Sheen, in a role probably best suited for Eric Roberts or Mickey Rourke) in dispensing chaos around the world. Eventually, his bad deeds catch up with him, and Wynn pays another hired hand – Jessica Priest (Melinda Clarke) – to K.O. his henchman once and for all; and Simmons goes down in decidedly fiery fashion.
Flash forward a few years, and Simmons finds himself on the streets of Rat City, a kinda/sorta world between Hell and urban America. Lacking any command of memories for this lost time, he sets out to find his love Wanda (Theresa Randle) and daughter Cyan (Sydni Beaudoin) only to learn that they’ve moved on under the love and care of Terry Fitzgerald (D.B. Sweeney), Al’s former best friend. Before these four can sort things out, Simmons is hauled off in the arms of the vicious clown known as the Violator (John Leguizamo) who’s been sent from the fire below seemingly to give the man his new marching orders. You see, Simmons is a Hellspawn – known more commonly as merely ‘Spawn’ – and he made a deal with the towering Malebolgia – one of Hell’s many kings – to serve (basically) as the head of Satan’s army in exchange for walking Earth to see his former loved ones.
Structurally, Spawn – as a movie – is a bit of a mess.
“An elite mercenary is killed but comes back from Hell as a reluctant soldier of the Devil.”
Let me dispense with one key observation right up front: the visual effects work – especially anything CGI-related – is arguably the flick’s single greatest disappointment.
I lack the technical expertise with which to fully dissect what exactly is wrong with so much of the picture. Having read a few reviews online which have gone into some very specific failures, I’d really have nothing to add of merit. I can say that the sequences staged in Hell (or Purgatory, depending upon one’s spiritual definitions) are particularly egregious, looking as if they had much more in common with late 1980’s television than they did late 1990’s. Given the progress that features like Terminator 2: Judgment Day (1991), Jurassic Park (1993), and even Toy Story (1995) had so prominently shown, Spawn is definitely a theatrical throwback not in a charming way – by almost a decade, in fact – and it shows. Horrifically.
Unfortunately, my estimation of the picture itself doesn’t get much better.
Al Simmons (played with pure tough guy stoicism by Michael Jai White) is no noble warrior. A mercenary for hire, he’s built a career alongside military industrialist Jason Wynn (Martin Sheen, in a role probably best suited for Eric Roberts or Mickey Rourke) in dispensing chaos around the world. Eventually, his bad deeds catch up with him, and Wynn pays another hired hand – Jessica Priest (Melinda Clarke) – to K.O. his henchman once and for all; and Simmons goes down in decidedly fiery fashion.
Flash forward a few years, and Simmons finds himself on the streets of Rat City, a kinda/sorta world between Hell and urban America. Lacking any command of memories for this lost time, he sets out to find his love Wanda (Theresa Randle) and daughter Cyan (Sydni Beaudoin) only to learn that they’ve moved on under the love and care of Terry Fitzgerald (D.B. Sweeney), Al’s former best friend. Before these four can sort things out, Simmons is hauled off in the arms of the vicious clown known as the Violator (John Leguizamo) who’s been sent from the fire below seemingly to give the man his new marching orders. You see, Simmons is a Hellspawn – known more commonly as merely ‘Spawn’ – and he made a deal with the towering Malebolgia – one of Hell’s many kings – to serve (basically) as the head of Satan’s army in exchange for walking Earth to see his former loved ones.
Structurally, Spawn – as a movie – is a bit of a mess.
The story lacks cohesion in far too many places about Simmons, how he got into such lowly straights, and precisely what the extent of his powers are. Making matters even worse, there’s no fundamental rationale for why he has all these special abilities he never makes use of even after he’s grown aware of them, instead choosing to run about the screen in sequences of rather conventional fisticuffs and gunplay. There is a suggestion that his choices are tied to his usage has limits, but – if that’s the case – then why does his suit of armor seemingly do things without his knowledge or consent? While some could recommend that this is owed to the fact that Spawn is really only in relative infancy as a user of such gifts, there remain huge inconsistencies regarding why a man who can seemingly simply fly or float away from such carnage would choose to walk, run, or steal a motorcycle.
And why does he keep a weapons locker – one filled with CONVENTIONAL WEAPONS – in Rat City? Does he not know what he can do even after being told?
Because these narrative hiccups are perpetual throughout the picture, I suspect a great many viewers will find themselves scratching their heads. Just why is it that Spawn’s memories are gone? Why did the film rely on so many voiceovers from a secondary character – Cogliostro (Nicol Williamson) – while leaving him, too, a man of mystery? What in the hell was Wynn hoping to accomplish by essentially destroying life on our planet that in any way could’ve tied to a financial, professional, or personal motive? Erm … wouldn’t he die, too? Why couldn’t any of these faces – Fitzgerald, Wanda, or even the young Zack (Miko Hughes) – have any motivations or any sense of purpose other than serving as a plot point here or there? Who in the Hell wrote such gibberish, and how did it get past so many in the production?
And … had anyone of the screenwriters besides McFarlane even been circumstantially familiar with Spawn’s actual origins?
One of the special features on the Arrow Films set is an old interview with McFarlane who kinda/sorta clarifies that he and the studio agreed to drastically water down the dark and supernatural tones of the comic book in order to get a PG-13 rating for mass consumption; and perhaps this is the biggest mistake and disservice to an otherwise interesting protagonist. I’ve also read online that Spawn was experiencing an all-time-high in popularity in the year of the project’s theatrical release; and I’m wondering – in retrospect – if one beast actually fed the other, meaning the book bolstered prospects for the picture or vice versa. Whatever the case may be, I can’t imagine anyone watching this on the silver screen leaving the theater and immediately heading to the nearest comic book store to invest in purchases … except maybe those who wanted to understand what all of the fuss was about.
Beyond the script ambiguities and the lackluster effects work, Spawn really suffers from poor staging, always looking and feeling like a television project instead of a big budget motion picture adaptation. Most interior sets are small – Fitzgerald’s living room as a setting for what was planned to be the film’s big showdown – is particular vexing, every major player being crammed into a small venue with the fireplace magically serving as a portal to Hell (without any reasonable explanation for such a conduit). Furthermore, far too many character exchanges are accomplished via single-shot exchanges; and rarely does more than one player appear on screen at any given moment. This technique is widely used to TV production, but visionary directors typically make better use of space afforded by the silver screen. That’s just not the case here.
And why does he keep a weapons locker – one filled with CONVENTIONAL WEAPONS – in Rat City? Does he not know what he can do even after being told?
Because these narrative hiccups are perpetual throughout the picture, I suspect a great many viewers will find themselves scratching their heads. Just why is it that Spawn’s memories are gone? Why did the film rely on so many voiceovers from a secondary character – Cogliostro (Nicol Williamson) – while leaving him, too, a man of mystery? What in the hell was Wynn hoping to accomplish by essentially destroying life on our planet that in any way could’ve tied to a financial, professional, or personal motive? Erm … wouldn’t he die, too? Why couldn’t any of these faces – Fitzgerald, Wanda, or even the young Zack (Miko Hughes) – have any motivations or any sense of purpose other than serving as a plot point here or there? Who in the Hell wrote such gibberish, and how did it get past so many in the production?
And … had anyone of the screenwriters besides McFarlane even been circumstantially familiar with Spawn’s actual origins?
One of the special features on the Arrow Films set is an old interview with McFarlane who kinda/sorta clarifies that he and the studio agreed to drastically water down the dark and supernatural tones of the comic book in order to get a PG-13 rating for mass consumption; and perhaps this is the biggest mistake and disservice to an otherwise interesting protagonist. I’ve also read online that Spawn was experiencing an all-time-high in popularity in the year of the project’s theatrical release; and I’m wondering – in retrospect – if one beast actually fed the other, meaning the book bolstered prospects for the picture or vice versa. Whatever the case may be, I can’t imagine anyone watching this on the silver screen leaving the theater and immediately heading to the nearest comic book store to invest in purchases … except maybe those who wanted to understand what all of the fuss was about.
Beyond the script ambiguities and the lackluster effects work, Spawn really suffers from poor staging, always looking and feeling like a television project instead of a big budget motion picture adaptation. Most interior sets are small – Fitzgerald’s living room as a setting for what was planned to be the film’s big showdown – is particular vexing, every major player being crammed into a small venue with the fireplace magically serving as a portal to Hell (without any reasonable explanation for such a conduit). Furthermore, far too many character exchanges are accomplished via single-shot exchanges; and rarely does more than one player appear on screen at any given moment. This technique is widely used to TV production, but visionary directors typically make better use of space afforded by the silver screen. That’s just not the case here.
Burying White under layers and layers and layers of latex truly didn’t do the actor any favors, either. Granted, there was some necessity to it – Simmons was scarred beyond recognition in his death sequence – but the rather obvious thickness to the material likely impacted the man’s ability to emote in any substantial way. Aside from raising his voice on occasion and some mild intonations when called for, it’s still a very sedate look if not frozen visage throughout most of these 90+ minutes; and more flexibility was required to convey the depth of his personal pain in several key scenes. Sometimes, words are not enough, and actors need to convey something deeper through expression. Sadly, that never happens, and I think a good deal of the story falls flat as a consequence.
Lastly, there’s the thing of casting Leguizamo as a villain, something that might’ve actually played to the man’s strengths (i.e. infantile humor, volatile sways of emotion, farting, etc.) as an actor and possibly a person. As scripted here, the Violator never comes off with any degree of menace, making him more of a nasty inconvenience with a bad attitude and one whose personal scheme for global or underworld domination is equal parts confusing, sometimes contradictory, and unanchored to motivation. Instead of being a foil to an emerging superhero, the Violator really should’ve had some bigger and better explained purpose in life … or, at least, a desire to do something other than pass gas because he thinks it’s a profound observation.
We all can fart, John. That doesn’t make it screen worthy.
Spawn (1997) was produced by McFarlane Films (Todd McFarlane Entertainment), New Line Cinema, and Pull Down Your Pants Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that the provided sights-and-sounds – including those aforementioned vastly sub-standard visual effects – probably look about as good as they’ve ever looked … which is, frankly, to say “not very good.” Sorry, folks, but sometimes you gotta call it as you see it in completely unvarnished language. Lastly, if you’re looking for special features? To Arrow’s credit, the disc boasts two different cuts – the original theatrical one and a director’s cut with about 2-3 minutes extra – with two commentaries and a great assortment of extras (many archival) that should keep fans on the couch for some time.
Alas … this one is personally Hard To Recommend.
A total, complete, and utter misfire on almost every level. As much as I love comic book inspired properties, Spawn (1997) is one of those rare experiences that’s flat-out hard to love in any appreciable way. The film is so deeply flawed on technical levels but even the script ignores so much of what makes the central character (from the books) valued that – in small ways – it feels like an entirely different creation, something vastly watered down from the narrative and creative peak in pop culture. Add to that the fact that there’s really no stand-out performance from any of the principles and one’s left with little more than a rather generic entry in the whole Fantasy/Action landscape. The character – and its fandom – deserved better, and here’s hoping the long-promised theatrical reboot finally cleanses this first attempt from our collective memory.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Spawn (1997) 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
Lastly, there’s the thing of casting Leguizamo as a villain, something that might’ve actually played to the man’s strengths (i.e. infantile humor, volatile sways of emotion, farting, etc.) as an actor and possibly a person. As scripted here, the Violator never comes off with any degree of menace, making him more of a nasty inconvenience with a bad attitude and one whose personal scheme for global or underworld domination is equal parts confusing, sometimes contradictory, and unanchored to motivation. Instead of being a foil to an emerging superhero, the Violator really should’ve had some bigger and better explained purpose in life … or, at least, a desire to do something other than pass gas because he thinks it’s a profound observation.
We all can fart, John. That doesn’t make it screen worthy.
Spawn (1997) was produced by McFarlane Films (Todd McFarlane Entertainment), New Line Cinema, and Pull Down Your Pants Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that the provided sights-and-sounds – including those aforementioned vastly sub-standard visual effects – probably look about as good as they’ve ever looked … which is, frankly, to say “not very good.” Sorry, folks, but sometimes you gotta call it as you see it in completely unvarnished language. Lastly, if you’re looking for special features? To Arrow’s credit, the disc boasts two different cuts – the original theatrical one and a director’s cut with about 2-3 minutes extra – with two commentaries and a great assortment of extras (many archival) that should keep fans on the couch for some time.
Alas … this one is personally Hard To Recommend.
A total, complete, and utter misfire on almost every level. As much as I love comic book inspired properties, Spawn (1997) is one of those rare experiences that’s flat-out hard to love in any appreciable way. The film is so deeply flawed on technical levels but even the script ignores so much of what makes the central character (from the books) valued that – in small ways – it feels like an entirely different creation, something vastly watered down from the narrative and creative peak in pop culture. Add to that the fact that there’s really no stand-out performance from any of the principles and one’s left with little more than a rather generic entry in the whole Fantasy/Action landscape. The character – and its fandom – deserved better, and here’s hoping the long-promised theatrical reboot finally cleanses this first attempt from our collective memory.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Spawn (1997) 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
- Published on
press release
Val Kilmer and Carrie-Anne Moss headline the sci-fi adventure Red Planet, an exciting glimpse into a future where humankind's last hope for survival rests on escaping the bounds of Earth and colonizing the cosmos.
In the not-so-distant future, the ecological crisis on Earth has taken a turn for the worse, and humanity's only hope may lie in seeking refuge on neighbouring Mars. After years of unmanned missions to terraform the planet, a crew of astronauts aboard Mars-1 are finally sent to establish Earth's first Martian colony. But a giant solar flare sends their landing module crash-landing on the planet, leaving our pioneers stranded in a harsh crimson wasteland. As the crew battle the elements and rising inner tensions, they soon discover that Mars' newly formed atmosphere has had unexpected and terrifying consequences.
With a stellar supporting cast including Tom Sizemore and Terence Stamp and cinematography by Peter Suschitzky (The Empire Strikes Back), Red Planet is an out-of-this-world spectacle presented here in stunning 4K Ultra HD.
The story's strong point isn't psychological depth or complex relationships, but brainy scientists trying to think their way out of a box that grows smaller every minute
—Roger Ebert, Chicago Sun Times
Underneath the striking visuals this is a throwback to the no nonsense spirit of such seminal sci fi fare as 'Destination Moon.' It's a glorified B movie in the best sense of the term
—Michael Sauter, Entertainment Weekly
Production designer Owen Patterson fully deserves an Oscar nomination. The same goes for Peter Suschitzky, whose vibrant cinematography is a consistent highlight. Mars itself is just as generously envisioned as the ship is
—Paul Tatara, CNN
In the not-so-distant future, the ecological crisis on Earth has taken a turn for the worse, and humanity's only hope may lie in seeking refuge on neighbouring Mars. After years of unmanned missions to terraform the planet, a crew of astronauts aboard Mars-1 are finally sent to establish Earth's first Martian colony. But a giant solar flare sends their landing module crash-landing on the planet, leaving our pioneers stranded in a harsh crimson wasteland. As the crew battle the elements and rising inner tensions, they soon discover that Mars' newly formed atmosphere has had unexpected and terrifying consequences.
With a stellar supporting cast including Tom Sizemore and Terence Stamp and cinematography by Peter Suschitzky (The Empire Strikes Back), Red Planet is an out-of-this-world spectacle presented here in stunning 4K Ultra HD.
- 4K ULTRA HD BLU–RAY LIMITED EDITION CONTENTS
- 4K Ultra HD (2160p) Blu-ray presentation in Dolby Vision (HDR10 compatible)
- Original lossless DTS-HD MA 5.1 audio
- Optional English subtitles for the deaf and hard of hearing
- The Martian Chronicles, a brand new interview with visual effects supervisor Jeffrey A. Okun
- Suit Up, a brand new interview with helmet and suits designer Steve Johnson
- Angry Red Planet, a brand new visual retrospective with film critic Heath Holland
- Deleted scenes
- Theatrical trailer
- Reversible sleeve featuring original and newly commissioned artwork by Matt Griffin
- Illustrated collector’s booklet featuring new writing on the film by Mark A. Altman
The story's strong point isn't psychological depth or complex relationships, but brainy scientists trying to think their way out of a box that grows smaller every minute
—Roger Ebert, Chicago Sun Times
Underneath the striking visuals this is a throwback to the no nonsense spirit of such seminal sci fi fare as 'Destination Moon.' It's a glorified B movie in the best sense of the term
—Michael Sauter, Entertainment Weekly
Production designer Owen Patterson fully deserves an Oscar nomination. The same goes for Peter Suschitzky, whose vibrant cinematography is a consistent highlight. Mars itself is just as generously envisioned as the ship is
—Paul Tatara, CNN
- Published on
in memoriam
Ach. This one hurts.
Honestly, I was never that much a fan of the works of Diane Keaton, not that such a position means much. She never found herself in a great number of genre projects -- something that obviously occupied a lot of my time back in the day and even now -- so I didn't see her all that much. But that doesn't mistake the fact that -- as an actress and as a person (in interviews and whatnot) -- she always came across like a real stand-up person, you know? Someone who enjoyed what she did and pretty much stuck to exploring her craft as opposed to using celebrity for something more.
As for her genre appearances?
Well, early in her time in the business, she did have a guest spot aboard Rod Serling's Night Gallery series (an underrated show but certainly not as good as The Twilight Zone); and there was this larger bit in Woody Allen's Science Fiction Comedy Sleeper from 1973. Sleeper is a good watch -- it's back at the time when Woody was really sticking close to pure Comedy without a great deal of social messaging -- and I remember falling for her loveliness back then.
Alas, none of us lasts forever; and word reached the World Wide Web over the weekend regarding the actress' passing. Be sure to check out her profile over on IMDB.com as there are an incredible number of award-winning performances worthy of distinction.
Our warmest prayers are extended to the family, friends, and fans of Diane Keaton.
May she rest in peace ...
-- EZ
Honestly, I was never that much a fan of the works of Diane Keaton, not that such a position means much. She never found herself in a great number of genre projects -- something that obviously occupied a lot of my time back in the day and even now -- so I didn't see her all that much. But that doesn't mistake the fact that -- as an actress and as a person (in interviews and whatnot) -- she always came across like a real stand-up person, you know? Someone who enjoyed what she did and pretty much stuck to exploring her craft as opposed to using celebrity for something more.
As for her genre appearances?
Well, early in her time in the business, she did have a guest spot aboard Rod Serling's Night Gallery series (an underrated show but certainly not as good as The Twilight Zone); and there was this larger bit in Woody Allen's Science Fiction Comedy Sleeper from 1973. Sleeper is a good watch -- it's back at the time when Woody was really sticking close to pure Comedy without a great deal of social messaging -- and I remember falling for her loveliness back then.
Alas, none of us lasts forever; and word reached the World Wide Web over the weekend regarding the actress' passing. Be sure to check out her profile over on IMDB.com as there are an incredible number of award-winning performances worthy of distinction.
Our warmest prayers are extended to the family, friends, and fans of Diane Keaton.
May she rest in peace ...
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1973 (in the United Kingdom), the big city of London, England played host for an exclusive theatrical premiere engagement of Don't Look Now. Directed by Nicolas Roeg from a story by Daphne Du Maurier, Allan Scott, and Chris Bryant, the film starred Donald Sutherland, Julie Christie, Hilary Mason, and others. According to our friends at IMDB.com, here's the plot summary:
"A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond."
For the record:
-- EZ
On this day in 1973 (in the United Kingdom), the big city of London, England played host for an exclusive theatrical premiere engagement of Don't Look Now. Directed by Nicolas Roeg from a story by Daphne Du Maurier, Allan Scott, and Chris Bryant, the film starred Donald Sutherland, Julie Christie, Hilary Mason, and others. According to our friends at IMDB.com, here's the plot summary:
"A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond."
For the record:
- At the 1975 Saturn Awards, Don't Look Now received a nomination in the category of 'Best Horror Film.'
- At the 1974 Edgar Allan Poe Awards, the picture received a nomination in the category of 'Best Motion Picture.'
- At the 1974 BAFTA Awards, the film received nominations (but no wins) in the categories of 'Best Actor,' 'Best Actress,' 'Best Sound Track,' 'Best Film Editing,' 'Best Film,' and 'Best Direction.' Cinematographer Anthony B. Richmond did take home top honors in the category of 'Best Cinematography.'
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1974 (in Canada), Black Christmas (aka Silent Night, Evil Night) rang in the holidays in bloody spectacular fashion. Directed by Bob Clark from a story by Roy Moore, the film starred Olivia Hussey, Keir Dullea, Margot Kidder, and others.
According to our friends at IMDB.com, here's the plot summary:
"During their Christmas break, a group of sorority girls are stalked by a stranger."
For the record:
-- EZ
On this day in 1974 (in Canada), Black Christmas (aka Silent Night, Evil Night) rang in the holidays in bloody spectacular fashion. Directed by Bob Clark from a story by Roy Moore, the film starred Olivia Hussey, Keir Dullea, Margot Kidder, and others.
According to our friends at IMDB.com, here's the plot summary:
"During their Christmas break, a group of sorority girls are stalked by a stranger."
For the record:
- At the 1976 Saturn Awards, Black Christmas received a nomination in the category of 'Best Horror Film.'
- At the 1976 Edgar Allan Poe Awards, the flick received a nomination in the category of 'Best Motion Picture.'
- At the 1975 Canadian Film Awards, Black Christmas took home three bigs wins in the categories of 'Best Editing (Feature),' 'Best Sound Editing (Feature),' and 'Best Performance By A Lead Actress' for Margot Kidder.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2016 (in Spain), audiences of the Sitges Film Festival were treated to the theatrical premiere of Ares. Written (in part) and directed by Jean-Patrick Benes, the film starred Ola Rapace, Micha Lescot, Thierry Hancisse, and others.
According to our friends at IMDB.com, here's the plot summary:
"In a future France with many unemployed, big companies run the country. Ares is a loser boxer. When his sister's arrested, he agrees to a new drug, that'll help him win."
-- EZ
On this day in 2016 (in Spain), audiences of the Sitges Film Festival were treated to the theatrical premiere of Ares. Written (in part) and directed by Jean-Patrick Benes, the film starred Ola Rapace, Micha Lescot, Thierry Hancisse, and others.
According to our friends at IMDB.com, here's the plot summary:
"In a future France with many unemployed, big companies run the country. Ares is a loser boxer. When his sister's arrested, he agrees to a new drug, that'll help him win."
-- EZ