They still make monster movies, don't they?

I don't know what your childhood was like (FYI: I'm likely a bit older than most of you who read SciFiHistory.Net), but my young life was just time spent between one monster movie and the next.  I'd gravitate toward anything remotely monster-like on TV -- this was way back in the day when our only entertainment avenue was a handful of channels playing old movies in syndicated rotation -- so anything that even closely fit the bill I'd watch.  Werewolves.  Vampires.  Sea creatures.  Godzilla.  Mummies.  You name it.  If it was in the title, then I'd definitely be there, and even if there was the promise of something creature-like I was happy.

Sigh.

It would seem that -- to a degree -- monster movies aren't as stylish with the Hollywood elite as they used to be.  Granted, everything gets 'fixed in post' these days, so the prospect of suiting someone up in prosthetics, giving him some claws, scars, or the like may not be as easily cast, actors and actresses being ones more inclined to preserve the beauty of their appearances as opposed to hiding under all that make-up.  Still, when it's done right, I think audiences find it and appeciate it for the work that goes into crafting something legitimate and tangible as creatures go.

All of this springs to mind basically as I just watched the trailer for The Cursed (2021), a little something something which appears to have been conceived and shot in the United Kingdom.  Some of the scenery is definitely practical effects work, though I've no doubt there'll be more scars russled up in CGI or post-trickery as seems to be the case these days.  IMDB.com reports that the film has had a few festival airings and that it's also been the recipient of some praise.  A little bit of Googling will show you that it's been reviewed largely favorably; and the coming attraction definitely looks a bit Gothic and inspired.  It springs from the mind of Sean Ellis (a fairly slim resume on the web) and stars the likes of Boyd Holbrook (Logan, The Predator), Kelly Reilly (True Detective, Yellowstone), and Alistair Petrie (Rogue One, Hellboy).

Trailer is below.  You know what to do.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

Argh.

One of the things that's truly frustrating about being on the cusp of most entertainment news is that I learn a little bit about a lot of films that, sadly, I've no way of seeing ... well, until they drop onto either a streaming platform I'm familiar with or a distributor I have a relationship with comes calling with a DVD or Bluray.  So many of these smaller releases really do look like they might have something to offer audiences; while I'd love to cover them in greater detail, I just don't (yet) have the access to the movers and the shakers who can line me up with some connections.  I do work pretty hard at keeping my name and SciFiHistory.Net's presence out there these days, so let's all keep our fingers crossed that I'll eventually make it over that hump.

But -- in any event -- I saw the trailer for 2019's The Long Walk on a competitor's website, and I thought it worthy of sharing here.  Apparently, this is a Laotian film that tinkers in some very creative ways with the conventions of the traditional Horror/Ghost Story while also dipping just a bit into the possibilities of time travel.  (Haven't I been telling you folks for so long that these genres overlap like you wouldn't believe?)  Looking at its IMDB.com citations, the flick has garnered some praise on the festival circuit (sometimes that's a good thing, sometimes not so much); and while I didn't find the coming attraction anything Earth-shattering, it still managed to pique my interest just a bit.

So ... trailer is below.  You folks know what to do.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

Faithful readers: back in January 13th I waxed on just a little bit about the forthcoming release of The Sword And The Sorcerer (1982).  (Link)  I won't revisit the point suffice it to say that I'm not as big a fan of the film as are many of my contemporaries, but it's a nice little B-Movie, at best.  Essentially, I just wanted to let folks know that there would finally be a good release of the film that's deserved much better than what's been available before ... and now it looks like Scream Factory has answered that call.

I found the specs for their March 15th release this afternoon published on Bluray.com, and it's nothing short of spectacular.  Though this isn't a favorite of mine by any estimation, I might just have to pick this one up (since I can't get the folks at Scream to answer any of my email requests, not even to put on their mailing list for promotions it would seem).  It's an incredible package ("that's what she said"), and I've no doubt that fans might be lining up to purchase a copy of this one.

Details will be copied and pasted below.  You know what to do.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

Kino Lorber has quickly become one of my favorite outlets for movies new and old.  As a distributor, they have an incredible catalogue of prospects -- many of which I've never seen -- and they continue to roll out project after project to the delight of genre fans everywhere.  Though some of their prospects might seem a bit artsy or highbrow at times, I'm always willing to work my way through the treacherous fare in hopes of finding something that delights ... and I'm rarely disappointed.

As I've mentioned previously on SciFiHistory.Net's MainPage, Kino Lorber has followed suit with so many other outlets and have expanded into the streaming business: I mentioned their first assortment of movies thick and thin right here, for those who might wanna travel back in time a few weeks to check out what you've missed.  Well, just yesterday I received an update on some of what's in store for their subscribers in February, so I thought it appropriate to provide some promotion.

Again: folks, I have no dog in this fight.  Unlike other outlets, I'm not a paid shill on behalf of any outlet, studio, filmmaker, or storyteller.  All I'm doing here is facilitating some information from them to you, and I'm doing it because of my love of filmdom.  If you're looking for something a bit offbeat, quirky, and mystifying, then I'd encourage you to check out Kino Lorber at your leisure.  Who knows?  We just might make a film lover out of you yet!

I'll be copying and pasting below.  You folks know what to do.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

​THE BRONZE BUCKAROO
dir. Richard C. Kahn, 58m, 1939

In this delightful Western/musical/comedy, cowboy Bob Blake (singer Herbert Jeffries) and four friends ride to Arizona to help Betty Jackson (Artie Young) solve the mystery of her missing brother (Rollie Hardin). Costarring African American cinema pioneer Spencer Williams at Pete.

THE FLYING ACE
dir. Richard E. Norman, 65m, 1926

A rural crime drama revolving around a pair of rival aviators, The Flying Ace illuminates the fact that many films made for African American audiences were less concerned with race than with making popular entertainment in the traditional Hollywood style, offering matinee audiences the chance to see African Americans in heroic and romantic roles. Filmed in the Arlington area of Jacksonville, Florida, The Flying Ace is a unique aviation melodrama in that no airplanes actually leave the ground (the spectacular flight scenes are performed on terra firma, in front of neutral backdrops). A veteran World War I fighter pilot returns home a war hero and immediately regains his former job as a railroad company detective. His first case: recover a stolen satchel filled with $25,000 of company payroll, locate a missing employee, and capture a gang of railroad thieves.
​

THE CABINET OF DR. CALIGARI
dir. Robert Wiene, 75m, 1920

In 1920, one brilliant movie jolted the postwar masses and catapulted the movement known as German Expressionism into film history. That movie was The Cabinet of Dr. Caligari, a plunge into the mind of insanity that severs all ties with the rational world. Director Robert Wiene and a visionary team of designers crafted a nightmare realm in which light, shadow and substance are abstracted, a world in which a demented doctor and a carnival sleepwalker perpetrate a series of ghastly murders in a small community.
​

THE IRON ROSE
dir. Jean Rollin, 80m, 1973

The Iron Rose is a haunting experience - a macabre tone poem about youth and age, love and nihilism, nostalgia and superstition, and, above all, life and death. Francoise Pascal (There's a Girl in My Soup) and Hugues Quester (Three Colors: Blue) go on a metaphysical, Orpheus-like journey inside an ancient, all-but-abandoned graveyard but, as night falls, they cannot find their way out. As Quester's nihilism crumbles to impatience and terror, Pascal transfers her disappointed passion for him to the cemetery itself and becomes jubilantly (and dangerously) attuned to its dead. If Orson Welles was correct when he estimated that a film could only be considered good to the extent it represented the artist who made it, The Iron Rose is Jean Rollin's first authentic masterpiece.

THE COMEBACK
dir. Pete Walker, 100m, 1978

Pop star Jack Jones (best remembered for the theme from The Love Boat) plays a singer who is haunted by the death of his estranged wife, and led into a confrontation with the killer, in The Comeback. A sleek and entertaining slasher film from director Pete Walker, it is a bloody illustration of the costs of fame.

While recording an album he hopes will vault him back up the charts, singer Nick Cooper (Jones) begins suffering from hallucinations, pushing him to the brink of a nervous breakdown. When those close to him start dying in brutal murders, his connection to reality frays even more, until he himself is staring death in the face.

Rounding out the cast are cult movie and TV favorites David Doyle (Charlie's Angels), Pamela Stephenson (Superman III, Saturday Night Live) and Holly Palance (The Omen).
​

Many in academia have credited Alfred Hitchcock’s Psycho (1960) as the first Horror film of the modern era.
 
Far be it from me to dispute the status of the legendary film, but what has always impressed me about that singular tale is its setting: the quaint, rural, and roadside Bates Motel.  In the era of its production, such destinations rich in off-the-beaten-path Americana weren’t regarded as being locations involving such horrific circumstance.  Certainly, there were press accounts of seedy dealings that no doubt took place in such spots, but these road stops were largely considered safe havens from the evils of the big city or the sprawling interstate.  The average individual likely considered himself safe spending the night there, and it’s this narrative juxtaposition that gives Psycho its enduring punch.
 
Since those days, our society has evolved.  While hotels and motels are still out there for the traveling consumer, venues like bread-and-breakfast’s (BnB’s) have popped up with local homeowners renting out a room (or three) to weary tourists wishing for a more homegrown event.  Just this past year the wifey and I reached well outside our comfort zone and booked our first Airbnb – an entire (small) residence for our use on a holiday season excursion.  I’ll admit that it felt a bit odd, at first, staying in what clearly was someone else’s dwelling (when they were in town), but it was infinitely more relaxing having that kind of leg room to call your own … for a few days, at least.
 
Because such places are becoming a favorite amongst diehard travelers, there’s been an incredible sub-economy grow out of the hospitality industry, one taking advantage of the technology available to all of us via social media.  Lodgers will travel to these stops, they’ll spend a few days, and then they’ll share their review publicly for all to see.  Lo and behold, these influencers (as they’re called) have been able to turn that singular passion of theirs into their day jobs as Silicon Valley has given every reviewer and storyteller a means to monetize these videos for profit.  Yes, I’m oversimplifying the amount of work required to be successful, but rest assured that – right now – there are people doing this for a living … and many of them have never been happier.
 
Well, 2021’s Superhost cleverly meshes the new (Airbnb) with the old (Hitchcock’s film) to come up with a dynamic renovation on the old formula.  This Old House?  Meet MTV Cribs!  With blood!  It has thrills, chills, and spills aplenty; and it all comes together with three great performances of some young leads with even a little bit extra thrown in by way by a fourth performer who just happens to be one of the vanguard performers of modern horror.
 
Are you ready to check in?

(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 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 promotional materials:
“Teddy and Claire are travel vloggers who run a channel called ‘SUPERHOST’ where they travel and share their experiences in and around vacation homes, and until recently, had become successful doing it. With a dwindling subscriber count, they find the perfect opportunity to create content that people want to see when they meet Rebecca, the host of their most recent trip. Slowly they start to realize that something isn’t right with Rebecca, and as they investigate it further, they unlock a horrifying truth. She doesn’t just want a great review, she wants something far worse.”
 
On its most basic level, Superhost is little more than a Psycho re-imaging.  (I don’t say that as an insult; if you’re gonna steal, then steal from the best.)  It may not have the depth or the nuance dating back to the work of Anthony Perkins in a role he became known for, but it does cleverly update the story to the modern age by framing it through the eyes of its two narrators: Teddy (played by Osric Chau) and Claire (Sara Canning) star as vloggers racing against time to save both their professional and personal relationships from collapse.  Before you know it, they’re joined in a race for their lives, as well, when host Rebecca (Gracie Gillam) turns out to have a thirst for murder if she doesn’t get the attention she feels she and her isolated home deserve.
 
There’s a bit more of a big reveal surrounding Rebecca and her past (I won’t spoil it) but suffice it to say that she’s clearly disturbed.  At first, she appears to be harmlessly quirky, and audiences might think of her perfectly at home as any of the secondary players in either David Lynch’s Twin Peaks or the Coen Brothers’ Fargo.  She’s a bit slow on the uptake, taking a few extra seconds to consider what she’s heard.  Perhaps she’s even a bit overly dramatic in the manner in which she speaks casually.  Indeed, we’ve all likely known someone like dear Rebecca … let’s just hope they weren’t secretly as homicidal as this ‘Superhost’ turns out to be.
 
As the film’s villain, Gillam cuts from a cloth different than Perkins did in Psycho.  Though both had their respective emotional hang-ups, Perkin’s Norman Bates was never effuse, brusque, or loud in any way; he was tall, prim, and exceedingly proper at every opportunity.  (Exactly how mother would’ve wanted it, dare I say?)  In Gillam’s hands, Rebecca ticks and tocks like a clock on the wall that might be slowly failing.  Though her eyes give the impression of one occasionally lost in thought, you’re never quite sure she even heard the question you asked much less is processing the information needed.  It’s this coolly calculated unpredictability that makes her character a delight to behold.
​

As you can guess, writer/director Brandon Christensen puts these three players eventually at odds with one another, and it’s a process that takes some reasonable screen time.  Claire sees Rebecca’s eccentricities as something she and Teddy can exploit for their vlog: perhaps this confused young homeowner can generate some increased traffic to their website, thus pushing the couple back into the internet limelight they’ve previously enjoyed.   Begrudgingly, Teddy concedes, but he does so largely because he’s intent on making Claire happy again.  She’s fallen on bad spirits, much of it tied to the results of their internet show, and he’s intent on saving their partnership before that falls apart as well.  In fact, he has big plans for this trip – ones that include a ring and a proposal – and he’s learned well in advance the truth in that old saying, “happy wife, happy life.”
 
All of that said, Superhost is no complicated character study.  I think Teddy, Claire, and Rebecca intersect in exactly the way anyone watching expects, and Christensen utilizes an effective blue-color approach to knowing what to reveal when and how much tension to ratchet as a result.  Essentially, what audiences get here is everything one expects from a visual and vicarious thrill ride: you know it won’t be long before blood is spilled, and the excitement is trying to figure out which ill-timed decision is going to be the one that causes Rebecca’s psyche to finally crack so that she can show her true colors.  Though I left the film with a few small questions, none of these open ends impeded me from enjoying the story whatsoever.  Sure, a bit more may’ve been nice, but you get what you get when you purchase your ticket.
 
Like Psycho, Superhost also makes the best of its storied location.  Rebecca’s house is an idyllic cottage in the forest – the perfect romantic escape for a young couple – one that could’ve easily been ripped from the pages of any travel magazine promoting storied destinations.  Though it isn’t a haunted house, the lodge gradually becomes another character as its various corners slowly reveal state-of-the-art in-home video surveillance, a door with an ever benign ‘do not enter’ sign, and a main bathroom’s toilet with the grimmest clog imaginable.  Its sparsely decorated walls and its perfectly clean floors are veritable canvasses just waiting to be filled by something.  Rarely has emptiness felt so sterile yet oppressive.
 
Also, I’d be remiss if I failed to point out that Superhost brings in one of Horror’s more celebrated players in a small role: scream queen Barbara Crampton shows up as a homeowner with an axe to grind (well, not literally, bad choices of words?) against Teddy and Claire.  It would seem their internet expose into her lodging has left her in dire straits, and she shows up seeking to extract her own form of retribution on the young couple.  It’s a fabulous misdirect on Christensen’s part: casting Crampton (a pretty big name in Horror, mind you) served up a great curveball.  I was honestly watching closely for this story to go in a completely different direction once I saw her onscreen, but can you guess my surprise when she … oh, wait … I won’t spoil that, either.
 
Lastly, I’d also be remiss if I failed to report that the picture has been the recipient of some great praise while appearing on the festival circuit.  In 2021, the flick scored the ‘Best Feature Film’ award from Miami’s Popcorn Frights Film Festival.  Also in 2021, Christensen took home the ‘Best Director’ award and Clayton Moore snagged the ‘Best Cinematography’ trophy from the Sin City Horror Fest.  Hats off to a job well done.
​

Superhost (2021) was produced by Superchill. DVD distribution (for this particular release) is being coordinated by Shudder and RLJE Films.  As for the technical specifications, I watched this one via streaming, and I experienced no loss of image or sound from start-to-finish.  As for the special features?  Again, my access was only for the film, but the promotional materials list that the Bluray will be loaded with a director’s commentary, some behind-the-scenes shorts, bloopers, and a few other niceties.  A nice collection, if you can get your hands on them!
 
Highly recommended.

​I find it refreshing when films deliver on the promises they make, and – in that respect – I suppose one might argue that Superhost played it a bit too safe, a bit too conventional, and maybe even a bit too predictable.  Still, all of this works well because it’s pure showmanship exquisitely crafted from start-to-finish.  It’s concocted with just enough panache from its creative ensemble.  I didn’t sweat such small stuff.  I’m came for the weekend, and I – unlike others – got out with my life.  Sometimes, that’s enough.  Plus, I guess I’m a sucker for good cynicism and am thankfully still young enough to enjoy a classic movie line like, “I’m not a hero.  I’m a vlogger.”  Well delivered, Osric Chau.  Well done.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at RLJE Films provided me with a complimentary streaming link for Superhost (2021) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

Sweet mother of dragons!  Are you telling me that I'm going to have to convince the wifey to allow me to subscribe to another streaming service?!

That just may be the case as Arrow's subscription service continues to -- much like their home video releases -- blow the competition out of the water with incredible films, documentaries, and features the likes of which has them cornering the market on behind-the-scenes content.  Though some of the titles might be a bit obscure, those typically have the makings of some special experiences for those of us who like stories a bit 'different' in our regular entertainment diet.  February -- which is just around the corner, for those of you not paying attention -- looks to have a gangbuster line-up, including some old and new releases that sound dynamic.

Rather than belabor the point, let me go ahead and do the usual cut-and-paste below, so you can get it straight from the horse's mouth just what is waiting for you if you subscribe.  I dare you -- no, I triple dog dare you -- not to read on.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

London, UK - Arrow Video is excited to announce the February 2022 lineup of their new subscription-based ARROW platform, available to subscribers in the US, Canada, the UK and Ireland.

The February 2022 lineup leads with the ARROW release of David Buchanan's surrealist mayhem feature Laguna Ave, available to subscribers in the US, Canada, the UK, and Ireland. The film will debut on ARROW February 1 with a host of exclusive extras.
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February 1 will see the exclusive debut of Laguna Ave (UK/US/CA/IRE), David Buchanan's black and white bizarre comedy and The Sleeper Must Awaken: Making Dune (UK/US/CA/IRE), a feature-length documentary exploring the making of David Lynch's film, featuring dozens of new and archive interviews with the cast and crew of the 1984 cult classic. Also available February 1 are Angel (UK/US/CA/IRE), Avenging Angel (UK/US/CA/IRE), Spookies (US/CA), Pledge Night (US/CA), Blood Harvest (UK/US/CA/IRE), The House of the Dead (UK/US/CA/IRE), Demon Wind (US/CA), and Night Train to Terror (UK/US/CA/IRE).

February 1 begins this month's Seasons with Vinegar Syndrome Collection Volume I (UK/US/CA/IRE).
​
Vinegar Syndrome restore and distribute genre and underground films, mostly those produced between the 60s and 80s, to ensure that these kinds of movies - that would typically be neglected or at the back of the line when it comes to film preservation - aren’t lost to the passage and ravage of time and the “vinegar syndrome”: the chemical reaction that destroys celluloid film.

Titles include: Angel, Avenging Angel, Blood Harvest, The House of the Dead, and Night Train to Terror. 

February 7 assembles a new Season with Man/Machine (UK/US/CA/IRE).
The fusion of flesh and metal; the forcing together of a human being with cold hard steel to create something new, something other, something cybernetic: a Man/Machine. Russell gets a taste of the power and pleasure caused by mechanically augmenting his body in Laguna Ave, and, if after watching David Buchanan's hilarious hangout cyber horror, your interest has also been piqued, then put down those pliers for a sec and beam our season of biomechatronic movies into your visual receptors first - because you might then decide you're better off steering clear of any artificial improvements or VR dalliances.

Titles include: Laguna Ave, Tetsuo: The Iron Man, Jesus Shows You the Way to the Highway, Burst City, and Dead or Alive: Final.

On February 11, ARROW hands the keys to the kingdom to filmmaker Gareth Evans (Apostle, Havoc) with Gareth Evans Selects (UK/US/CA/IRE). Evans is the writer-director of the explosive The Raid and The Raid 2, a fan favorite segment in V/H/S 2, the chilling folk horror Apostle starring Dan Stevens, this year's Havoc starring Tom Hardy, and a creator, writer and director of last year’s acclaimed summer TV sensation "Gangs of London". 

ARROW is extremely proud and pleased to present to you Gareth Evans Selects, Evans' carefully picked favorites from the ARROW vault. Full of classics and deep cuts from the length and width of ARROW’s spectrum, every selection is a firecracker - so you should most definitely choose to put an evening, or ten, in his hands.

Selections include: A Snake of June, Dark Water, Versus, Audition, and The Ballad of Narayama.
​

​On Valentine's Day, February 14th, Cupid puts ARROW in his bow with two Seasons that will shoot audiences straight in the heart.

Kick-start My Heart (UK/US/CA/IRE)
Action films are a different breed on ARROW. Our blow-em-ups go further than you could ever imagine and contain wilder and crazier carnage, genre crossovers and plot turns than your eyes and mind can manage. So if you’re sick of seeing hearts and flowers everywhere this Valentine’s season, turn up the volume and forget any heartaches or breaks with a selection of wild action movies unlike any you’ve seen before.
​
Titles include: The Zero Boys, Wolf Guy, White Fire, Blood Tide, and Bad Black.

The Curse of True Love (UK/US/CA/IRE)
The bard said that “the course of true love never did run smooth”, but we bet Shakespeare could never have imagined in his wildest midsummer night's dream what that would mean here on ARROW. We can be soppy romantics at this time of year too, and there are some genuinely stirring, sweet and tender love stories in this selection, but our lovey-dovey offerings may also have the odd monster, murder, zombie or ghost too.

Titles include: A Ghost Waits, Zombie for Sale, Manon, Marty Loves Katie, and The Love of a Woman.

February 18th bites into Dan Curtis' Dracula (UK/US/CA/IRE), the 1974 TV movie adaptation from the creator of "Dark Shadows".

February 21st caps this month's lineup with two films for North American subscribers. Next of Kin (US/CA):  When a young woman inherits a creaky retirement home, she'll find herself in a waking nightmare of murder, madness and a legacy of evil that may be inescapable.The atmosphere is deepened by an intense synth score by Klaus Schulze of Tangerine Dream.
​
Turkey Shoot (US/CA): In a totalitarian near future, defiant citizens are labeled "deviants" and sentenced to brutal "behavior modification" camps. But when new prisoners Anders and Walters are chosen as human prey for rich people to hunt, they will be thrust into a nightmare of depravity, dismemberment, the insane hungers of a deformed cannibal circus freak, and more.
​

Laguna Ave.: Russell, a burned-out television editor and middle-aged slacker with a prosthetic hand futilely searches for work in Hollywood's brutal, exploitative underbelly. His former boss owes him money, his partner Rita is always out of town and inaccessible, and his new downstairs neighbor, Gary keeps him awake at night with mysterious, disturbing noises. But everything changes one evening when Gary pays Russell a visit introducing him to a sinister world of an accelerationist conspiracy.
​

The brand new feature-length documentary The Sleeper Must Awaken: Making Dune chronicles the creation of David Lynch’s 1984 adaptation of Frank Herbert’s beloved sci-fi epic which starred Kyle MacLachlan, Patrick Stewart, Sean Young, Virginia Madsen, Brad Dourif, Jürgen Prochnow, Max von Sydow and Sting.

Containing dozens of new interviews, as well as archival interviews with Frank Herbert, David Lynch and members of the cast and crew, The Sleeper Must Awaken exhaustively explores the making of Dune from the well-known, and not so well-known earlier attempts to bring the story to the screen, to Lynch’s troubled production - examining every single element from script development to the shoot to post-production and the film's release.
​
Gain new insight into Dune, a film dubbed a “failure” by Lynch, but that went on to become a cult classic which we are still captivated by and talking about to this day, through the fascinating full-length making-of, The Sleeper Must Awaken: Making Dune.
​

ARROW is available in the US, Canada, the UK and Ireland on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Android TV and mobile devices, Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.

ARROW Essentials curates collections based on genre, decades and themes; and ARROW Stories takes a fresh look at the world of film and TV with exclusive documentaries, interviews and video essays diving deeper into the many curated seasons and titles on the platform for a richer and deeper viewing experience.

With a slickly designed and user-friendly interface, and an unparalleled roster of quality content from westerns to giallo to Asian cinema, trailers, Midnight Movies, filmmaker picks and much, much more, ARROW is the place to go for the very best in on-demand entertainment.
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​From Arrow Films, a recognized world-leader in curation and creation, ARROW (previously known as Arrow Video Channel) is a premium platform giving audiences an unparalleled viewing experience across multiple devices, so fans can explore the films and TV shows that the Arrow brand is famous for.

Specially curated by members of the ARROW team, ARROW is home to premium film and TV entertainment, exclusive new premieres, cutting edge cinema, international classics and cult favorites - such as the works of Lars Von Trier, Brian De Palma, Dario Argento, David Cronenberg and Park Chan-wook, and brand-new short films from both new and established filmmakers.

In the coming months, ARROW will be adding Oscar-winning hits, European classics, Asian cinema masterworks, rediscovered Westerns, offbeat gems and much more as part of ARROW’s international strategy to support and celebrate the medium of film.

ARROW is also home to ARROW Stories - an ever-growing collection of interviews, trailers, documentaries and additional extras, both newly created exclusives for the service and from the company's extensive archives. The service will be updated regularly with fresh content, new curation focuses and never-before-seen content, all selected by the ARROW team as well as the filmmakers themselves. With a slickly designed and user-friendly interface ARROW is the new alternative place to go for the very best in On-Demand entertainment.

Yes, yes, and yes: like so many of you, there was a time when I was heavily into collecting action figures from a variety of product lines.  In all honesty, my main interests were (and likely always will be) DC Comics' great one-two punch of Batman and Superman, but I strayed well outside the lines when I found something on the shelves that suitably tickled my fancy.  I never spent all that much money on any one item -- though I may one day tell the story of the one that got away -- and I have as of late parted with a reasonable number of finds from the collection thanks to the consumerism giant that is Ebay.

But I digress ...

Another one of my long-term favorites has always been Flash Gordon, perhaps the original SciFi space hero.  In my mind, Flash has just never got enough love both from Hollywood and beyond, and I've long argued that it's a property -- if done right -- could be as enduringly popular as George Lucas' Star Wars.  I think the original serials from the 1930's are fabulous.  I think the cartoon and movie from the 1980's are spectacular.  While there have been a few other iterations that largely missed the mark for any number of reasons, Flash -- 'savior of the universe' -- deserves another day to win the hearts and minds of viewers.

Thankfully, it looks like he'll be getting a bit of a resurgence as Boss Fight Studio is dipping back into those days of yesteryear to bring Flash, a few of his comrades, and some other King Comics heroes to bold new life (well, in plastic anyway) with what looks to be one of those 'blind box' toy programs in 2022.  I'll be copying and pasting their release materials below, but fans who are interested in checking out the complete set (it's a bit steep for my slim budget) can follow the link right here.

Sure, I get that some of these heroes from your granddad's era might not be of insurmountable interest, but back in the day (and with some of us who still worship genre) these characters were exactly what young skulls were looking for.  They were icons of a kinder, gentler, simpler time, and I challenge readers to go out and discover them once more.  Who knows?  If they prove popular in the consumer marketplace, then you can bet movie and TV producers will be more than willing to dip back into that well for new trips to the silver screen.

Rest assured: I'd likely be first in line on opening night.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

Y​our favorite King Comics Super Heroes come to life in brand new epic mini-figures! 

Each PDQ contains 18 blind-boxed mini-figures in an eye-catching display. 

Each blind box contains a bold figure posed just like your favorite comic scenes. Character choices include Flash Gordon, Ming the Merciless, Prince Thun, Phantom (Blue), Diana Palmer, King Vultan, Dale Arden, Phantom (Purple), Phantom in Disguise, and Devil. 

Average size: 3 inches high 

This is a pre-order item and is expected Summer 2022

​*These figures are adult collectibles for Ages 8 and up. Contains functional sharp points and small parts.

I've often said what I find immeasurably beautiful about Science Fiction and Fantasy is that its a genre that can be form-fitted to damn near any creative need.

With a bit of spit and polish, SciFi can encompass comic ideas, dramatic ideas, horrific ideas ... practically anything a storyteller might need.  It has no limits -- visually, aesthetically, thematically -- and consequently it can achieve great things on budgets big and small because what propels it is the ideas.  (Well, that and great talent, of course.)

And distant frontiers have often been painted in palettes resembling our own past.  These space-aged pioneers will no doubt encounter many of the same struggles our great-great-grandfathers and great-great-grandmothers did when they first crossed the plains, built a ranch, or plowed the land.  Many SciFi films have benefitted from such comparison, and it looks like we've got one more that we can add to the list: 2021's Settlers.  Here's the plot summary for the motion picture as provided by our friends at IMDB.com:

"Mankind's earliest settlers on the Martian frontier do what they must to survive the cosmic elements and each other."

I don't know about you folks, but this is one I missed when it apparently made the round in theaters.  It looks like it launched its U.S. theatrical run in July of 2021 -- at the height of the dreaded COVID -- so perhaps it came and went pretty quickly.  In any event, I'd received confirmation that it's heading to home video in February compliments of my friends in the distribution business, so I wanted to put up their announcement as a public service.  I'll be doing the usual copy and paste below.

It definitely looks like a return to the days of the Old West in the aptly-titled Settlers.  As is always the case, it looks like we humans are bringing our emotional baggage with us when we venture out into the stars.

God help us all.

As always, thanks for reading ... and live long and prosper!

-- EZ

SETTLERS 

Available on DVD & Blu-ray on February 15, 2022 
​

​How utterly ironic that on the day I was all set to interview actor and producer Osric Chau about his latest project Superhost – a Horror film loosely exploring the dangers of our modern technology – that my iPhone telephone recording APP would utterly fail!  (Curse you, modern technology!)  Fortunately, it wasn’t a total loss as the two of us were eventually able to connect, though your faithful correspondent was forced to conduct the interview old-school style … with pen and paper!
 
Chau is certainly no stranger to the world of genre entertainment.  Fans likely recognize him most from his time as the prophet ‘Kevin Tran’ aboard The CW’s long-running and popular Supernatural, a role that saw the character suffering a grim fate at the hands of the angel Gadreel.  Though it’s always sad to see a fan-favorite player exit a show, Chau has nothing but fond memories and praise for his time aboard the Horror serial.
 
“I’m nothing but grateful for the time I spent on Supernatural,” he says.  “I’m a Vancouver native – born and raised here – and Supernatural brought me back home so that I could stay instead of traveling around for work.  It was a great opportunity.  I love that show and its fans.”
 
Still, his time exploring things that go bump in the night isn’t his only experience with Science Fiction and Fantasy.  A quick perusal of his IMDB.com profile proves his flexibility as a talent as he’s secured screen time in such projects as Roland Emmerich’s 2012 (2009), Halo 4: Forward Unto Dawn, The 100, Dirk Gently’s Holistic Detective Agency, Demon X, DC’s Legends Of Tomorrow, Nancy Drew, and The Flash.  And – as a creative person – Chau’s begun expanding his net worth by branching out with screenwriting, producing, directing, and more.
 
“I wrote and directed my first short film recently,” he confirms, “so I’m looking at opportunities to do more of that in the future.  That, and I’ve opened a couple of restaurants!”
 
Indeed, expanding his creative portfolio is front-and-center with the young entrepreneur as 2021’s Superhost appears on IMDB.com to be his first foray into producing a full-length feature film.  The film premiered at Miami’s Popcorn Frights Film Festival in 2021 before release for streaming in the U.S. via the Internet.  As of today’s date, RottenTomatoes.com has the flick with an 87% Tomatometer rating (with critics) while dipping a bit to 57% with audiences.  IMDB.com scores the film with a 5.7 on its 10.0 scale.  (For the record: my review is embargoed until January 31st, but I’m excited to write about it already so watch our MainPage for coverage.)
​

“Superhost was a fun project that was perfect to produce during the COVID pandemic,” Chau explains.  “I got involved with it very early on as Brandon Christensen (screenwriter and director) and I were rooming together at the time, and he had this great idea for a Horror film.  I was able to talk about it with him and Kurtis David Harder (producer), and I even gave some writing suggestions and feedback.  But it was Brandon who pulled it all together, and I’m glad it all worked out the way it did.”
 
For those unaware of the story, Superhost explores the tale of two social media influencers – Teddy (played by Chau) and Claire (Sara Canning).  In their bid to recover from their web show’s sagging ratings, Teddy finally secures what he believes will be the dream destination for their airBnB vlog: this remote villa has finally become available, and he secures it for their stay, also secretly planning on using the opportunity to propose to the love of his life.  As fate would have it, their host – Rebecca (Gracie Gillam) – has decidedly darker intentions behind inviting them to stay, and it just might prove to be their ultimate undoing.
 
When asked about the heavy weight social media influencers have on the modern world, Chau grows a bit reflective.
 
“I am not a social media personality,” he confesses.  “There was a time when I did engage more, but I reached a point where I didn’t want that to dictate my life.  As an artist, I’m always trying to find my ‘authentic self,’ and I just found that difficult when trying to balance time on social media.  I don’t really gravitate toward sharing my life the way others do.  I commend those who do it.  There are many who do it and are great at it.  It’s just not a skill set I possess.”
 
Superhost’s script definitely revolves around its central characters being tied closely to the age of Twitter, YouTube, and TikTok.  Teddy and Claire’s relationship experiences some highs and (bloody) lows in the 90-minute feature as the story explores how both vloggers have invested their separate and shared identities in hit-and-click programming to the point of risking some financial collapse.  Though some might find Christensen’s particular take a bit cynical, others will more likely see it as a cautionary tale about the dangers of taking unwarranted risks.
 
“Horror is a great genre to tell this story,” Chau expands as we talked about the enduring quality of films engineered to scare us silly.  “Horror doesn’t rely on known commodities the way that all other genres do.  That’s what makes it unique.  And Superhost is a great ‘what if’ story.  There’s the added benefit that all of this could be real.  Is it found footage, or did all of this really happen?  So there’s always an audience for Horror.  It doesn’t have to be expensive, and it can be made on almost any budget.  People will pay money to see that.  That’s what makes Horror different than drama or comedy.”
 
Superhost (2021) is scheduled for home video retail on February 1st.  The film is up for pre-order on Amazon.com and other retailers.  It was produced by Superchill, and it is being distributed as a Shudder Original.  Bluray.com reports that the Bluray will include some behind-the-scenes shorts, bloopers, and a few other surprises.

-- EZ
​

Yes, yes, and yes: we fans love to get up on our soapboxes from time-to-time; and with the morning I've had I think I'll take a therapeutic jaunt myself and climb up on way.  Bear with me.

I have a standard response when I'm asked about upgrading my DVD collections.  I always tell folks that I'm holding out for the inevitable 10K versions.

Yes, most folks don't get it, and that's OK.  I don't always seek first to be understood (in contrast to what the teachings of Stephen Covey taught me ... or didn't) because sometimes it's just more important to risk making a point.  But the straight skinny here is that studios -- especially Paramount, especially as it applies to Star Trek -- continue to roll out new editions of their older properties seemingly with no other desire (truly) than to make a buck.

First, we were offered Classic Trek on VHS.  (Ask your parents, kids.)  Then, it became laserdisc.  Then, it become DVD.  Then, it became HD-DVD which inevitably went away with the advent of Blu-ray.  Now, they're shucking 4K restorations ... and in lieu of asking when it'll ever end (it won't) I just tell people -- here it comes -- "I'm holding out for the inevitable 10K versions."

I'm all for enjoying a higher quality viewing experience, and I'd imagine I'm not alone on that point.  Many of us invest a reasonable amount of capital into having a great home entertainment system for that very reason: we want the best we can have stopping short of seeing something on the silver screen.  But at what point have we really strayed into 'this is just getting silly' territory?

Having review a small handful of 4K restorations for my day job here on SciFiHistory.Net, I can say in total honesty that I've really only experienced one upgrade that truly made a difference: I won't name the film, but I will say that earlier prints were incredibly dark in place, so much so that it was occasionally hard to make out what was truly going on without context.  Films from 40 years ago, however, were shot on film; and I've read that there are going to be some inherent difficulties in restoring them via 4K without bringing along a bit of grain here and there.  But is there really that much demand for restoring something 40+ years old?

Purists will certainly suggest that it's all about experiencing art, but I've always thumbed my nose at that because I've heard directors and producers suggest that, on an occasion or two, these restored prints really looked like a completely different film to them.  Is that experiencing the art, or is it merely trying to give the art another outlet now that it's -- well -- 40 years old?  Are studios doing little more than just trying to drum up more consumers?

And may I ask: are viewers truly seeing anything fresh in these restorations that wasn't there before?  I understand that there might be a modicum of greater detail -- all well and good -- but the story remains the same.  Nothing all that new is being added to the experience except some visual bells and whistles, so at what point do we culturally just have to accept that enough is enough?  I'm all for stopping at whatever version allows me to insert myself digitally into the film, but that's never gonna happen!

At some point, these double and triple and quadruple dips really need to stop ... or maybe studios need to start offering digital codes for future releases: buy our 2K restoration now, and you get a digital code for the eventual 4K restoration!

All of this comes about largely because I've read a bit about Star Trek: The Motion Picture (Director's Cut) being prepped for release.  It was in article on ComicBook.com, and interested parties can check it out right here.

As always, thanks for reading ... and live long and prosper!

-- EZ