Again, it goes without saying that not each and every talent gets the chance to truly shine in the realms of the Fantastic, but I've always tried to honor one of my own biggest tenets: if you've ever commanded a starship -- for better or for worse -- then you deserve a mention somewhere in the vast pages of SciFiHistory.Net.

And -- ahem -- that's kinda/sorta the thing with James B. Sikking.

He got the chance aboard Star Trek III: The Search For Spock (1984) to command the new iteration of starships for Starfleet when the USS Excelsior hit the silver screen for the very first time.  Granted, it probably wasn't the big launch that any captain could've asked for, but ... hey!  That's just how it was written, am I right?  The great Captain Kirk (then admiral) and his crew, after all, were on their ultimate mission to rescue a fallen comrade in a race against time and space; so I think we all knew that it was quite going to go spectacularly for Sikking (as Captain Styles).  It is what it is, and Sikking took in all in good graces.

Alas, the talented actor doesn't have a vast resume in Science Fiction and Fantasy, but there are some worth mentioning.  A quick rundown of his career shows stops to such adventures as The Outer Limits (two episodes), My Favorite Martian, My Mother The Car, The Invaders, The Immortal, Escape From The Planet Of The Apes (1971), The Night God Screamed (1971), The Astronaut (1972), Search, The Terminal Man (1974), Man From Atlantis, Capricorn One (1977), The Bionic Woman, The Incredible Hulk, Lucan, Outland (1981), Morons From Outer Space (1985), Ahhh Real Monsters, Invasion America, and Batman Beyond.

​Our warmest prayers are extended to the family, fans, and friends of James B. Sikking.

May he forever rest in peace.

-- EZ 
​

Back in the days when I was first getting started in blogging, I had a great, great, great many people who showed up frequently (and exhaustingly) trying to tell me what to do.

"Don't cover this person," they'd say, "or don't cover that movie or TV show."  "That isn't Science Fiction," they'd warn me, "and you're looking stupid if you put Starman alongside Battlestar Galactica."  "No one will ever take you seriously if you list ALF along with Alien," they'd insist.  "And stop using colorful graphics!"

You name it, and there'd almost always be someone showing up trying to offer me unsolicited advice over what they thought was a largely unsuccessful attempt on my part to say something different or be something different.  At first, you do listen, right?  You think that these folks wouldn't show up if they didn't care ... and, yet, it didn't take long for me to realize that the nameless knuckleheads were far more intrusive than they were constructive.  Besides: you gotta blaze your own trail, am I right?  You want to be a pioneer, then you have to live with taking a few arrows to the chest along the way ... and that's how I think of an astonishingly successful entertainer like Bob Newhart.

Back in the days when he first got into the business of making people laugh, no one was approaching material with such a stuffed shirt, starched color mentality; and -- believe it or not -- audiences ate up his observations.  Whether he was lampooning life itself or merely throwing out a quip about a hot topic of the day, he had a knack for finding something fresh about whatever he wanted and giving it his own unique and sometimes deadpan spin.  It was unreserved comedy delivered with occasional reservation, and -- when it worked as it often did -- it was damn funny.

​Of course, I'm not even going to try to convince you that his name will ever be matched up against some other genre heavyweights.  As I said, I'm not in the business of blogging for any other reason than to promote my own voice; and I'd like to believe that somehow along the way I learned a thing or two about communicating from the likes of Mr. Newhart.  He was a genius worth watching, so the fact that he dipped his toes into the realms of the Fantastic with appearances aboard Elf (2003) -- a holiday staple in this house -- and The Librarian should be good enough for us all.

Our warmest prayers are extended to the family, fans, and friends of Bob Newhart.

May he forever rest in peace.

-- EZ 
​

Awww ... did you miss me?

​Yes, yes, and yes: it goes without saying that, yes, there's been a brief delay in any updates to the SciFiHistory.Net MainPage ... and that's because I was on vacation, folks.  No, I didn't put up a post announcing that I was going on a brief vacation, and that's because I rarely do that.  I know I have in the post, but with the increase of identity theft and whatnot I just have tried to avoid making huge statements to that effect.  Instead, I slipped out while no one was watching, and I enjoyed a few days of rest and relaxation in the Great American Nowhere.

Literally: I got lost.

Briefly.

​We went on a nature hike.  We took a wrong turn.  We got turned around.  It happens.  And it was only for an hour or so, and I say, "No big deal."  Having taken a few trips into the wild, I'll confess it wasn't the first time ... and it likely won't be the last.

But ... I'm back at the SciFiHistory.Net News Desk this morning trying to catch up on a few notes and whatnot, so keep your eyes peeled, gentle readers.  I'll get an item or two up today -- maybe even a few more on Saturday or Sunday depending upon developments -- so just calm down.

For those of you paying attention, I really haven't had all that much to say about the demise of Star Wars.  No, I didn't watch The Acolyte.  In fact, we cancelled our Disney+ subscription once Star Wars: The Bad Batch ended.  (No, I wasn't that thrilled with that finale, either.)  I try -- whenever possible -- to avoid certain spectres of negativity, and Lucasfilm under Kathleen Kennedy's watch has been little more than a growing slate of disappointment ... but because I keep getting asked I promise I'll pen something shortly.  The biggest obstacle is having something to say that others haven't already said, you know?  It's pretty clear that our beloved franchise is in the proverbial sh#tter, so, yes, I'm just as disappointed as are all of you.

Yet ... I'm back at it, kiddies.  Vacation is over, and some thoughful reflection on Science Fiction, Fantasy, and Horror will commence again.

As always, thanks for reading!

-- EZ
​

For his particular time and particular place in our particular universe, Richard Simmons was certainly quite a character.

Though I never watched his programming with any degree of regularity, I think everyone knew of him back in the day.  He was one of those celebrities that seemed to pop up anywhere and everywhere for some time; and -- if you were anything like I was -- one never quite knew whether or not we were supposed to take him seriously.  No matter what he was doing, he was always this massive ball of human energy, jumping and bouncing and sweating to the Oldies at every given opportunity.  I remember remarking to a friend when we saw him on television that "He's all hair!"  He definitely had a head of it, that's for sure, and I never had much.

His personae ran over into any and every appearance he made beyond his fitness spots.  He turned up as a voice character in an episode of the fondly remembering Dinosaurs program as I recall, and IMDB.com also lists him as making a visit to the world of Steven Spielberg's Amazing Stories during its run on the Boob Tube.

Alas, none of us gets out of here alive; and word has reached the Web of the man's passing.

Our warmest prayers are extended to the family, friends, and fans of Richard Simmons.

May he forever rest in peace ... though I suspect that -- even in the great hereafter -- he'll likely be whipping even the Angels into better cardiovascular shape.

-- EZ
​

Honestly, Charmed is a franchise I don't think I've ever watched.

Now, I may've seen an episode or two.  I know the wifey had it on in reruns one time -- she likes TV mostly for noise while she's puttering around the house -- and I saw a bit of it as a consequence.  But no, it just wasn't a program for me, much like a good deal of Fantasy-themed stuff that's come out in the past few decades.  I'd never malign it in any way: folks obviously tuned in because it stayed on for some time and even had a reboot, but -- from what little I know of it -- it just wouldn't have meant all that much to me.

But one of its stars -- Shannen Doherty -- certainly amassed a bit of a reputation in Hollywood for -- ahem -- being difficult to work with now and then.  I do recall her lampooning her own reputation in an appearance on Saturday Night Live -- another show I don't watch, but I've seen highlights when they've been shared in places -- and I have nothing but respect for talent who are willing and able to throw stones at themselves when the time is right.  Kudos for the lady stepping up to the plate and swinging for the fences.

I'd followed her struggles with cancer when it was first mentioned in the press, and I think we'd all watched her going through the highs and lows of that debilitating experience.  Sadly, it seems like the beast overwhelmed her, and the news has reported that she ultimately succumbed to something that's taken far too many good and decent people from us.

This morning, I did a bit of reading on her obituaries of note, and I learned that she earned not one but two Saturn Awards nominations for her work aboard the afore-mentioned Charmed.  If nothing else, her time in the spotlight remains a legacy that brought a bit of joy to so many; and I hope that her efforts on screens big and small continue inspire in the way good characters always do.

Our warmest prayers are extended to the family, friends, and fans of Shannen Doherty.

May she rest in peace.

-- EZ
​

Without naming names (which I'll sometimes do as a courtesy), I was once taken to task on social media by an actor who thought I was somewhat confused for considering ALF (1986-2004) as Science Fiction.  (It's not, but it's arguably Fantasy, which kinda/sorta still falls in my wheelhouse.)

There wasn't a lot of back-and-forth, honestly.  I think it was just intended as a good natured jab thrown my way, almost if to say that I was a polite rube for considering the sitcom anything that deserved any great recognition.  (FYI: per IMDB.com, the sitcom has 7 award wins, no easy feat in Tinseltown I've also been told.)  In any event, the back-and-forth stopped when I -- ahem -- educated the actor that the word alien was in the show's title.  Apparently, the man didn't know that ALF actually stood for Alien Life Form.  And ... there you have it.

​But, no, ALF was not a show I watched.  I may've caught the occasional episode when I couldn't find anything else on the Boob Tube.  I've never been a fan of sitcoms -- traditional or otherwise -- so I watch them sparingly.  (Same thing with musicals, as many readers here know.)  And the point I was ultimately making to the actor and anyone who followed the brief thread was that such genre projects big and small still deserve a bit of light shone on them from time-to-time because that's the right thing to do for serious thinkers in any collective.  ALF wasn't for everyone, but that doesn't make it forgettable.

I bring this up today because I noticed this morning that former child actor Benji Gregory -- one of the leads to the program -- was found deceased in his automobile; and I wanted to mark his passage, sad that it is.  As a talent, he stood toe-to-toe with that alien critter; and he helped bring laughter -- that spark of joy that makes us human -- to so many during his time in the spotlight.  IMDB.com reports that the young man even enjoyed three nominations from the Young Artists Awards in consecutive years 1987, 1988, and 1989 ... again, no small feat, indeed.

So our warmest prayers today are extended to the family, fans, and friends of Benji Gregory.

May he forever rest in peace.

-- EZ
​

Folks, I'm not one who worships at the trough of all things Stanley Kubrick.

I can't tell you how much hate I've endured over the years because of that, but -- at the end of the day -- it is what it is.  For example, I didn't (like so many) go absolutely gaga over the director's big screen adaptation of Stephen King's The Shining (1980).  While I'll concede that it's a good film, I struggle too often with its laconic pacing -- there are reasonably long stretches where just not all that much happens of interest -- and that just isn't my cup of tea.  My two cents has always been this: the longer I have to wait for a payoff, then the bigger than payoff really ought to be.  In that respect, the film just doesn't intrigue me the way it does so many others; and it is what it is.

Now, I will confirm that I think its performances are all pretty damn spiffy.  Shelley Duvall, in particular, really carries the film for me because she's one of the only folks I can relate to on any conceivable level.  As good as Jack Nicholson is, film frights only work when they're paired against someone who's enduring something unimaginable; and I think Duvall mightily conveys the sheer terror of her circumstances once everything spirals out of control.

​Of even greater interest to me as one who pontificates about films and film history is the fact that in the same year as The Shining the actress won the hearts of young'uns in the guise of 'Olive Oyl' aboard the somewhat unnecessarily maligned screen adaptation of Popeye The Sailor.  Since I'm no fan of musicals on any level, I think turning this one into a song-and-dance affair was a miss; and, yet, I think I was it more than a few times on the silver screen in my youth.  Yeah, it was a bit of lunacy here and there, but I honestly loved the late Robin Williams in the lead paired up against this surprisingly versatile actress.  Of course, I understand that so many "in the know" pretty much roasted the feature; but it tickled my fancy well enough in its time and place.

Alas -- as I always say -- none of us gets out alive, and word reached the World Wide Web just today of the actress' passing.  I've read some accounts that suggest this was owed to complications from diabetes, but as I'm not seeing any specific medical confirmation I'm not entirely certain that's accurate.  I mention it only because I've seen it a few times now, so I suspect it may be legitimate.

Our prayers are extended to the family, friends, and fans of Shelley Duvall.

May she rest in peace.

-- EZ
​

Though I could be wrong on some of the particulars, I think it was the late 1970’s and early 1980’s that saw the Horror industry grow suddenly interested in building its own reputable franchises.
 
While the Universal Monsters Universe certainly dabbled in that realm in the 1930’s and 1940’s, it wasn’t until the entries like 1973’s The Exorcist, 1976’s The Omen, 1978’s Halloween, and – inevitably – 1980’s Friday The 13th that true studio heavyweights recognized that there was an audience both willing and able to endure such frights on a regular basis.  As the audiences grew from the transition from Horror being a niche experience to more of a mainstream carnival-style attraction, studios were all too happy to invest more, and why wouldn’t they be?  At that time, sequels were basically little more than a copy of the original – with modest modifications, if any – so it wasn’t as if reinvention was ever ‘on the table.’  Though there were some rare entries that sought to build a wider mythology upon which to explore that which goes bump in the night, the central thrust remained ‘get it shot, then get it in theaters,’ and viewers were all too happy to show.
 
The video boom of the late 1970’s and early 1980’s also opened the door to damn near anyone with a camera to step up to the plate and deliver low-budget productions in the hopes of box office glory.  Once Beta and VHS players gave every Tom, Dick, and Harry the chance to watch and repeat such escapism in the comfort and privacy of his own home, it truly was off to races for every conceivable genre … but I’d argue that Horror benefitted the most.  Such entries could be shot on a shoestring budget (as compared to larger studio fare), so the real trick was finding a means to distribute this schlock in a timely fashion.  As such prospects grew, so did independent studios … and one of the best of record from the 1980’s was Charles Band’s Empire International Pictures.
 
Lasting only a slim few years (officially from 1983 through 1988), Empire – under Band and his merry ‘band’ of yarn spinners – crafted some of the slickest secondary fare to see the light of the silver screen.  Trafficking chiefly in Science Fiction, Fantasy, and Horror, the studio truly revolutionized what was possible outside of Hollywood by utilizing Band’s knack for knowing a good idea when he saw it, selling such ideas to hungry investors, and then – simply – getting it done.  Though chiefly remembered for visionary tales like Re-Animator (1985) and From Beyond (1986), Empire did far more in that short time than some outfits accomplish in decades.  While quality varies, the enthusiasm to do more rarely did; and folks like me are still hungry to discover a title or two that’s had little modern exposure.
 
All of this brings me to Ghoulies II (1987), the follow-up to Empire’s 1984 Horror/Comedy Ghoulies.  The flick enjoyed its U.S. theatrical premiere in Las Vegas, Nevada on July 31, 1987; and it turned up on U.S. home video about one year later.
​

(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:
“The Ghoulies wreak havoc at an amusement park, disposing of those who mistake them for mere fairground attractions.”
 
For those of you unaware, Ghoulies is arguably a theatrical variation (of a sort) on the same kind of madcap zaniness Steven Spielberg accomplished when he produced Gremlins (1984).  This is not to suggest – in any way – that one is ripping off the other; rather, it’s only a observation on how the two properties are foundationally.  Basically, you have this set of small critters whose sole purpose in life is to wreak havoc on mankind; and that’s the sum total of their existence.  We and they come together, antics ensue, and – ahem – we’re the ones lucky to get out alive.
 
In Ghoulies II, these gruesome little beasts are about to be destroyed by some fundamentalist preacher when Fate intervenes: a semi-truck pulls into a gas station in the dead of night, giving the monsters a means of escape they never predicted.  They stowaway in the truck’s trailer securely tucked away amongst the props and paraphernalia of “Satan’s Den,” the Horror house attraction for a failing travelling carnival.  Before Larry (played by Damon Martin) and Uncle Ned (Royal Dano) discover them in residence, the Ghoulies will have amassed a small pile of bodies and are intent on delivering a few more.
 
To the film’s benefit, Ghoulies II does make a broader effort at storytelling than just instilling fear with some comic undertones.
​

The film’s set-up involving the preacher and what looks to be some religious cult members quickly disappears after its expense, leaving the way free and clear for what follows.  Financially, the Hardin Carnival is in dire straits, a reality that forces company accountant P. Hardin (J. Downing) to show up with hopes of whipping the enterprise into fiscal shape.  As men in power happen to do, the strapping well-dressed P. sets his sights on romancing one of the midway’s lovely ladies – the belly dancing Nicole (Kerry Remsen) – whose heart seemingly already belongs to Larry, forcing the development of a modest love triangle.  It seems Uncle Ned has actually dabbled in some of the black arts, a plot development that ultimately sets up how these carnies can possibly best the Ghoulies in the last reel.  And all of it is held together around Sir Nigel Penneyweight (Phil Fondacaro), the good-hearted little man who’ll stop at nothing to keep his carnival family together.
 
Like some of the best that came from Empire Pictures, Ghoulies II moves along briskly, never giving the audience too much down time to stop and reflect on any of its inadequacies or lesser performances.  One body is really only a precursor for the next, and these demented little monsters – rather obvious puppets at every showing except for a few stop-motion bits – occupy only as much screen time as is absolutely necessary.  After all, this is meant to be the purest form of escapism – light on the brain and sugary to the taste – so thinking about how easily the local law authorities might take up arms on behalf of P. Hardin’s simple wishes would throw a veritable monkey wrench into the roller coaster.  Thus, director Albert Band keeps everything moving crisply from one grim laugh to the next.  If nothing else, the picture is about as lean as 89 minutes can be; and that definitely helps make it all go down easily.
 
Sadly, these Ghoulies really aren’t up to the brand of frenetic schtick delivered by Spielberg and director Joe Dante’s Gremlins.  In fact, I’d argue that they’re a pretty distant second.  If I wasn’t so much a fan of practical effects, then I might even rate this one a bit lower than I did then and still do today.  Gremlins delivers a big crowd-pleasing flourish in its showdown, but … here?  Well, you get some cheap laughs as the Ghoulies kinda/sorta try to ruin this small town’s night at the carnival.  It’s probably the best that could be accomplished on this budget.
 
Also, the script’s heroes don’t really get to be heroes in last reel.  Oh, yes, Larry and Nicole get to ride off (via Volkswagen) into the sunset; but they don’t get to save the day in dispatching the Ghoulies.  Black magic does – curiously in the shape of a man-sized Ghoulie, at that, a development that never gets explained, either – and then they have to clean up their mess by toppling that late-breaking addition to the script.  Granted, they’re ultimately successful, and yet I can’t dismiss that nagging feeling that Larry was somehow robbed of being the knight in shining armor the script could’ve, would’ve, and should’ve had him become.
 
Call me old-fashioned, if you will, but those things still matter in my corner of the universe.
 
Ghoulies II (1987) was produced by Empire Pictures, Taryn Productions, and Empire Studios Rome.  DVD distribution (for this particular release) has been coordinated by the fine folks at MVD Visual Entertainment (under their MVD Rewind Collection).  As for the technical specifications?  While I’m no trained video expert, I honestly found the provided sights-and-sounds to this 4K Ultra HD Blu-ray to be damned exquisite!  Seriously, this flick looks and sounds incredible for its age, and I’ve no doubt that the fans of Band’s work will want the upgrade for their own collections.
​

Lastly, if you’re looking for special features?  On that front, I’m doing the reliable copy-and-paste as provided by MVD’s press release previously published on Blu-ray.com:
 
Special Features and Technical Specs:

• 2K RESTORATION OF THE FILM PREPARED ON BEHALF OF MGM
• Introduction by Screenwriter Dennis Paoli (HD, 1:15)
• More Toilets, More Terror: The Making of Ghoulies 2 (HD, 16:50)
• Under A Magic Moon: Interview with Dennis Paoli (HD, 33:36)
• Deleted Scenes (HD, 2:43)
• Photo Gallery
• Theatrical Trailer (HD, 1:23)
• 2-Sided Artwork
• Collectible Mini-Poster
• Limited Edition Slipcover (First Pressing Only)
• Optional English, French and Spanish Subtitles for the main feature

 
Sigh.  It’s a small thing to many, I realize, but I’m at that point in my life that I prefer audio commentaries over the usual produced featurettes.  Everything in those feels a bit obligatory: you might get a nice story here or there, but nothing replaces a grand commentary.  Sad that there isn’t any in sight for this release … but it is what it is.
 
Recommended.
 
In the catalog of Charles Band films, I’d argue that Ghoulies II (1987) is still one of his better efforts.  It has a narrative slickness that never slows down too much for any unnecessary weight to attach.  Oh, it might not answer all of the questions some of the audience wanted – such as where and why the imps came from and whatnot – but the story delivered adequately stakes out new territory, new characters, and new circumstances quickly enough that others may not notice, much less care.  As a PG-13 rated flick, it hits most of the right notes – never getting too bloody or too gruesome for the youngest-at-heart – but still showcases solid creature effects for fans of practical work.  A tighter finish would’ve made the happy ending even a bit happier, but that’s the risk you take when you gamble on the big attraction of any carnival … real or theatrical.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Visual Entertainment provided me with a complimentary 4K Ultra HD Blu-ray of Ghoulies II (1987) 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 
​

Back in my college days – many, many, many moons ago – I was once advised by a college professor that it was unfair of me to put the same expectations on foreign releases that I had for domestic films.
 
I know, I know, I know.  Calm down.  I can hear all of you shouting from the rooftops.  In fairness to the man, I think all he was honestly trying to convey was that I – as an American – have my own set of filters I use to evaluate art; and the foreign film production of the day couldn’t quite hold a candle to how much the U.S. had invested in the studio system.  Furthermore, the things I cared about as a citizen might not exactly mirror those of my international neighbors; they’d grown up with an entirely different set of happenings, and I shouldn’t force my values, perspectives, and mores onto what they put out into the marketplace of ideas.  Certainly, it goes without saying that not everything is universal; and, yet, at the end of the day every storyteller still has to produce a story that informs and entertains an audience, so I do try to stick to those rather narrow parameters when I believe they apply.
 
Besides, why shouldn’t a foreign monster movie work on the same intellectual level that should one of ours?  Don’t they share some common structures?  Aren’t they assembled with the same goal – of scaring folks silly – in mind?  Something as noble yet forgettable as Crocodile (1979) ain’t rocket science, and no one is ever going to convince me otherwise.  As for crafting compelling characters that both fit well within and demonstrably understand the narrative composition, there may be some negligible differences; and that’s perfectly fine.  But if it doesn’t scare – if it doesn’t terrorize – then what good is any of it whether it was made here, there, or anywhere?
 
Though the film occasionally has bite, it still feels all wet in all the wrong ways.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A giant crocodile is killing and frightening people living nearby rivers. Two men, whose wives and daughter have been killed by the crocodile, decide to chase and eliminate it.”
​

As a self-professed fan of monster movies, I do tend to look the other way a little bit when it comes to listing flaw after flaw after flaw of any feature; but that’s hard to do with a prospect like Crocodile.  First released on June 28, 1979, in West Germany, the story isn’t exactly one we haven’t seen before, and the wider Thailand film industry being what it was it arguably lacks any identifiable emotional core that could’ve propped it up in so many of its quieter moments.  While the truth could very well be that director Sompote Sands wanted nothing more to create an Eastern cinematic equivalent to what Steven Spielberg so capably did in 1975 when Jaws rocked silver screens around the globe, I’d argue that Sands should’ve done far more to distance himself and his project than he did.  The last reel, in particular, matches up with the superior effort almost beat-for-beat; that could’ve been a good thing … if the previous one hour hadn’t felt so deliriously flat.
 
Dr. Tony Akom (played by Nard Poowanai) finally manages to squeeze in time from his frantic schedule at the hospital in order to take his family and friends on a fun-filled vacation.  But when tragedy strikes – his wife and daughter vanish in the ocean, though a few pieces show up not long after – and the man can no longer commit to the business of saving lives.  Instead, he convinces his friend Dr. John Stromm (Min Oo) – whose wife also perished in the presumed crocodile attack – that only they have the smarts to hunt down and destroy the beast below the waterline.  A local fisherman, Tanaka (Kirk Warren), offers his services; and the team sets out … for adventure!
 
Sigh.
 
Essentially, what one gets with a story like Crocodile is a traditional monster movie.  What elevates it just a bit is that the script does dabble – albeit briefly – with suggestions of where this mighty critter may’ve come from.  While suggestions are that a release of atomic power possibly spurred on by a raging hurricane in the film’s set-up gets blamed; and suddenly the flick feels – again, albeit briefly – like Sands wanted to say something about mankind’s boldest use of science might have produced some unintended consequences.  None of this really matters, however, as the script then settles into scenes vacillating between Akom’s attempts to ‘understand’ the creature and the croc’s increased path of destruction on villagers aplenty.  Instead of being smarter, this one truly takes the low road.
 
Now, there’s nothing wrong with that.
 
What I do have issues with are some – ahem – undercooked creature effects and – double ahem – some poorly utilized miniature sequences.  One would think that – since the tale revolves around an already large monster that’s apparently growing in size – everyone involved would have agreed in advance to exactly what size ol’ Toothy (my nickname for it) was in each and every scene.  That doesn’t appear to be the case here as it’s sometimes smaller than it was in the preceding attack although larger in the next before going back to damn near conventional size and shape.  I can overlook some minor blemishes – mostly because I do love practical effects – but the lack of continuity here was laughable far more than it should’ve been.
 
Plenty of other frights have taken the path most travelled and performed admirably – or ‘admirably enough’ to be engaging.  Crocodile’s problems mount, though, largely because it’s all captured and delivered with an increasingly predictable blandness; it isn’t until the big showdown that any true stakes are raised so far as I noticed and/or cared.  Akom and Stromm pursue vengeance more because that’s the way the story was written than they do from any heart wrenchingly delivering breakdown.  They’re men … and that’s what men do.  Presumably.  But following too closely to the prescription as written by Dr. Spielberg (snicker snicker) just isn’t enough to save this entire affair in the conclusion.  Technically, everything in here works, but it does so without building the level of audience commitment and tension that superior pictures – and superior directors – require.
 
On its own merits, this Crocodile barely stays afloat.
​

Crocodile (1979) was produced by Chaiyo Productions.  DVD distribution (for this particular release) has been coordinated by the fine folks at Synapse Films.  As for the technical specifications?  While I’m no trained video expert, I found the provided sights-and-sounds to be largely very good: there’s a great deal of grain in some sequences, but the bulk of the project is made up of fairly uninspired cinematography except for some better shots in the final reel. Lastly, if you’re looking for special features?  Well, for posterity’s sake, I’m doing the reliable copy-and-paste from the company’s press release previously published on Blu-ray.com:
 
Special Features and Technical Specs:

• 2K RESTORATION OF THE FILM FROM THE ORIGINAL CAMERA NEGATIVE
• Original theatrical trailer
• Audio commentary with writer and film historian Lee Gambin
• Video interview with original Crocodile Fangs director, Won-se Lee
• Deleted and alternate scenes
• Optional English SDH subtitles for the main feature
• REGION-FREE

 
Speaking frankly, I’d strongly encourage those who like thoughtful, insightful, and even educational audio commentaries to check out the one provided here by Mr. Gambin.  I may not always agree with his assessment of eco-Horror as it applies especially to this film, but he still serves up something that’s fabulous and far more stimulating than the accompanying theatrical experience.  Sometimes, truth hurts.
 
Alas … only Mildly Recommended.
 
While I’ll stop short of decrying Crocodile (1979) a total waste, it did truly test my patience in a great many ways.  The central problem with it is that it hosts far too much bloat for what essentially boils down to be little more than an obvious attempt to clone Spielberg’s Jaws (1975) as a kinda/sorta slightly different monster movie.  That alone might be reason enough to sit through it, but everyone should be forewarned that – unlike what Spielberg accomplished – these characters just don’t lift off the screen and feel real or interesting at any time except for when they’re in obvious jeopardy.  Without the association and resulting sympathy, they’re little more than pawns in service of a screenwriter and director … much like the puppety oversized crocodile and the corresponding miniatures.  Ouch.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Crocodile (1979) 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
​

Folks, you know me: I don't trouble the readership with the usual riffraff.

If I post something, then I'm giving you the SciFiHistory.Net guarantee that you definitely need to know about it.  And when it comes to promoting forthcoming home video releases, I'm trying to do more of it in this space especially when it comes to slates that dabble in the realms of the Fantastic that we take so seriously around these parts ... namely Science Fiction, Fantasy, Horror, Film Noir, Thrillers, and the occasional Western.  In that respect, I'm aiming to do my part to keep you up-to-speed with practical releases; and I've just received notice for some fabulous titles coming down the pike from the good folks at Kino Lorber, a personal and longtime favorite of mine.

Just take a gander at some of the goodness that'll be 'streeting' in August, 2024 from their catalogue; and I'd find it hard -- very hard -- for you to not find notice something of interest.  It's one of the best listings from them that I've seen in quite some time; and -- with my excitement boiling over -- I wanted to get up a post post-haste on the MainPage.

Read it and weep, my friends ... with tears of joy!
​

BOB LE FLAMBEUR (4KUHD) (4K UHD)

Directed by : Jean-Pierre Melville
Cast : Roger Duchesne, Isabelle Corey, Daniel Cauchy, Guy Decomble, Gérard Buhr, Claude Cerval
Available Date : 08/13/2024
Release Year : 1956
Running Time : 98
UPC : 738329267407
Country : France
Language: French with optional English subtitles
Genre : Thriller, Film Noir, Crime, World Cinema, 4K UHD DISC

From Jean-Pierre Melville, the legendary director of Le Doulos, Le Samouraï, Army of Shadows and Un Flic, comes this classic heist film noir, in the tradition of Rififi. Suffused with wry humor, Bob Le Flambeur melds the toughness of American gangster films with Gallic sophistication to lay the roadmap for the French New Wave. As the neon is extinguished for another dawn, an aging gambler (Roger Duchesne) navigates the treacherous world of pimps, moneymen and naïve associates while plotting one last score—the heist of the Deauville casino. This underworld comedy of manners possesses all the formal beauty, finesse and treacherous allure of green baize. Boasting a beautifully written screenplay by Melville and Auguste Le Breton (Razzia Sur la Chnouf) and stunning black-and-white cinematography by Henri Decaë (The 400 Blows, Purple Noon).

Product Extras :

• UHD SDR Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative
• Audio Commentary by Film Critic Nick Pinkerton
• Diary of a Villain: Documentary by Dominique Maillet (25:45)
• Theatrical Trailer
• In French with Optional English Subtitles

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LE DOULOS (4KUHD) (4K UHD)

Directed by : Jean-Pierre Melville
Cast : Jean-Paul Belmondo, Serge Reggiani, Michel Piccoli, Jean Desailly, René Lefèvre, Fabienne Dali, Monique Hennessy
Available Date : 08/13/2024
Release Year : 62
Running Time : 108
UPC : 738329267414
Country : France
Language: French with optional English subtitles
Genre : Thriller, Film Noir, Crime, Action, World Cinema, 4K UHD DISC

​From Jean-Pierre Melville, the legendary director of Bob Le Flambeur, Le Deuxième Souffle, Le Cercle Rouge and Un Flic, comes this highly influential film noir classic. The backstabbing criminals in the shadowy underworld of Le Doulos have only one guiding principle: “Lie or die.” A stone-faced Jean-Paul Belmondo (Classe Tous Risques) stars as enigmatic gangster Silien, who may or may not be responsible for squealing on Faugel (Serge Reggiani, Army of Shadows), just released from the slammer and already involved in what should have been a simple heist. By the end of this brutal, twisty, and multilayered policier, who will be left to trust? Shot and edited with Melville’s trademark cool and featuring masterfully stylized dialogue and performances, Le Doulos (slang for an informant) is one of the filmmaker’s most gripping crime films. Co-starring Jean Desailly (Un Flic) and Michel Piccoli (Max and the Junkmen), written by Melville, from the best-selling novel by Pierre Lesou (The Cop) and beautifully shot in glorious black-and-white by Nicolas Hayer (Le Corbeau).

Product Extras :

• UHD SDR Master by StudioCanal – From a 4K Scan of the 35mm Original Camera Negative
• Audio Commentary by Film Historian Samm Deighan
• Melville - The Demon Within Him: Interview with First Assistant Director Volker Schlöndorff (29:34)
• Birth of the Detective Story Melville Style: Documentary (32:46)
• Theatrical Trailer
• In French with Optional English Subtitles

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99 RIVER STREET (SPECIAL EDITION) (BLU-RAY)

Directed by : Phil Karlson
Cast : John Payne, Evelyn Keyes, Brad Dexter, Peggy Castle, Jay Adler, Frank Faylen, Jack Lambert
Available Date : 08/13/2024
Release Year : 1953
Running Time : 83
UPC : 738329267421
Country : U.S.
Language: English
Genre : Film Noir, Action, Crime, Drama, Thriller

​In this classic film noir, a down-on-his-luck former boxing contender (John Payne, Larceny, The Boss), turned cab driver has to hide from the police when he’s accused of murdering his badgering wife when her lifeless body turns up in the back of his cab. On the run and out of time, he needs to bring the real killer to justice before the cops and the thugs responsible for the set-up get their hands on him. Top-notch direction by the great Phil Karlson (Kansas City Confidential, The Phoenix City Story) and featuring a great cast that includes Evelyn Keyes (Iron Man), Brad Dexter (Run Silent, Run Deep), Frank Faylen (The Looters), Peggie Castle (Back from the Dead) and Jay Adler (The Killing).

Product Extras :

• 2016 HD Master by Kino Lorber – From a 2K Scan of the 35mm Fine Grain
• Audio Commentary by Film Historian and Host of TCM's Noir Alley Eddie Muller
• Theatrical Trailer
• Optional English Subtitles

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​THE FOOD OF THE GODS (SPECIAL EDITION) (BLU-RAY)

Directed by : Bert I. Gordon
Cast : Marjoe Gortner, Pamela Franklin, Ralph Meeker, Ida Lupino, Jon Cypher, John McLiam, Belinda Balaski
Available Date : 08/20/2024
Release Year : 1976
Running Time : 88
UPC : 738329267469
Country : U.S.
Language: English
Genre : Horror, Sci-Fi, Science Fiction, Adventure

​Get ready for a taste of HELL! B-movie maestro Bert I. Gordon (Village of the Giants, Empire of the Ants)—the godfather of the “gigantic creature” genre—delivers the biggest Midnight Movie of all with this spine-tingling tale of ecology gone berserk. Based on H.G. Wells’ classic tale of sci-fi terror, The Food of the Gods predicts a future where animals are suddenly at the top of the food chain…and eager to get their fill! On a remote island, a mysterious substance is oozing from the ground. A farmer sees that it acts as a growth hormone and thinks his fortune is made. But when rats, chickens, worms and wasps begin sampling the potent substance, they morph into bloodthirsty giants! Now, it’s up to the island’s few residents and visitors (including Marjoe Gortner, Pamela Franklin, Ralph Meeker, Jon Cypher and Ida Lupino) to destroy “the food of the gods”…before the animals take over for good!

Product Extras :

• NEW Audio Commentary by Film Historians Lee Gambin and John Harrison, Author of WILDCAT!: The Films of Marjoe Gortner
• Audio Commentary by Writer/Producer/Director Bert I. Gordon
• Interview with Actress Belinda Balaski
• Theatrical Trailer
• Optional English Subtitles

​

EMPIRE OF THE ANTS (SPECIAL EDITION) (BLU-RAY)

Directed by : Bert I. Gordon
Cast : Joan Collins, Robert Lansing, John David Carson, Albert Salmi, Robert Pine, Jacqueline Scott, Pamela Susan Shoop, Tom Fadden
Available Date : 08/20/2024
Release Year : 1977
Running Time : 89
UPC : 738329267476
Country : U.S.
Language: English
Genre : Horror, Sci-Fi, Science Fiction, Adventure
​
​It’s no PICNIC! From sci-fi mastermind H.G. Wells and B-movie bigwig Bert I. Gordon (Village of the Giants, The Food of the Gods)—brace yourself for mutant mayhem and pestilent payback in this cult classic creature feature about good bugs gone BAD! Starring queen of mean Joan Collins (The Stud), this incredible insect extravaganza is swarming with flesh-crawling chills, hair-raising thrills and spine-tingling terror...with a venge-ANTS! A heavenly paradise becomes a hellish nightmare when a toxic spill turns harmless ants into rampaging, radioactive reprobates! Stumbling into their creepy lair, a sleazy land developer (Collins) and her clients (including Robert Lansing and John David Carson) are horrified to realize that the ants are having a picnic...and humans are on the menu! Fleeing for their lives—only to be squashed underfoot—they soon discover that these bad-boy bugs are hell-bent on exterminating mankind, and building an evil empire where humans check in...but they can’t check out!

Product Extras :

• NEW Audio Commentary by Film Historian David Del Valle and Filmmaker/Historian Michael Varrati
• Audio Commentary by Producer/Director Bert I. Gordon
• Theatrical Trailer
• Optional English Subtitles

​

FROGS (SPECIAL EDITION) (BLU-RAY)

Directed by : George McCowan
Cast : Ray Milland, Sam Elliott, Joan Van Ark, Adam Roarke, Judy Pace, Lynn Borden, Mae Mercer, David Gilliam
Available Date : 08/20/2024
Release Year : 1972
Running Time : 91
UPC : 738329267483
Country : U.S.
Language: English
Genre : Horror, Sci-Fi, Science Fiction, Mystery, Thriller 
​
​Today the pond…Tomorrow the world! A shocker reminiscent of Hitchcock’s The Birds, this amphibious horror flick is teeming with thousands of nasty-tempered creatures that are hopping mad—and murderous. Jumping with action, suspense, revenge and Southern Gothic charm, Frogs’ stars Ray Milland (The Thing with Two Heads), Sam Elliott (The Legacy) and Joan Van Ark (The Last Dinosaur) are constantly a lily pad away from croaking! Jason Crockett (Milland) is an aging, physically disabled millionaire who invites his family to his island estate for his birthday party. The old man is more than crotchety…he’s crazy! Hating nature, Crockett poisons anything that crawls on his property. But on the night of his shindig, it’s nature’s payback time, and thousands of frogs whip up every bug and slimy thing into a toxic frenzy until the entire environment goes environ-mental. Directed by George McCowan (H.G. Wells’ The Shape of Things to Come).

Product Extras :

• NEW Audio Commentary by Film Historian David Del Valle and Film Historian/Producer Dan Marino (son of NFL legend)
• Interview with Actress Joan Van Ark
• 4 TV Spots and 3 Radio Spots
• Theatrical Trailer
• Dual-Layered BD50 Disc
• Optional English Subtitles

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KINGDOM OF THE SPIDERS (SPECIAL EDITION) (BLU-RAY)

Directed by : John 'Bud' Cardos
Cast : William Shatner, Woody Strode, Tiffany Bolling, Lieux Dressler, David McLean, Natasha Ryan, Altovise Davis, Joe Ross, Roy Engel, Hoke Howell
Available Date : 08/27/2024
Release Year : 1977
Running Time : 97
UPC : 738329267506
Country : U.S.
Language: English
Genre : Horror, Science Fiction, Sci-Fi, Adventure 

A living, crawling HELL ON EARTH! This classic 1977 creepshow stars the legendary William Shatner (Star Trek, The Devil’s Rain) as veterinarian “Rack” Hansen, faced with the puzzling death of a number of local farm animals. As even greater numbers of the helpless animals meet their deaths it is discovered that hundreds of tarantulas occupy the farm land. This is strange indeed! Tarantulas don’t live in colonies…or do they? An attractive entomologist (brilliantly portrayed by Tiffany Bolling, The Candy Snatchers) is called to the dusty little Arizona town to explain the sudden arrival of the spiders and their usual behavior. But is it too late? Time seems to be running out as the new species of eight-legged freaks now number in the thousands! Is it even possible to halt this arachnid explosion? The spiders are everywhere—and man is their prey! Directed by John “Bud” Cardos (The Dark, Mutant) and featuring Woody Strode (The Violent Breed), Lieux Dressler (Truck Stop Women) and Altovise Davis (Can’t Stop the Music).

Product Extras :

• NEW Audio Commentary by Author/Film Historian Lee Gambin
• Audio Commentary by Director John "Bud" Cardos, Producer Igo Kantor, Spider Wrangler Jim Brockett, Cinematographer John Morrill, Moderated by Lee Christian and Scott Spiegel
• Audio Commentary by Producer Igo Kantor, Actress Tiffany Bolling, Moderated by Marc Edward Heuck
• Interview with actress Tiffany Bolling
• Interview with Writer Steve Lodge
• Radio Spot
• Theatrical Trailer
• Dual-Layered BD50 Disc
• Optional English Subtitles

​

SQUIRM (SPECIAL EDITION) (BLU-RAY)

Directed by : Jeff Lieberman
Cast : Don Scardino, Patricia Pearcy, R.A. Dow, Joan Sullivan, Peter MacLean
Available Date : 08/27/2024
Release Year : 1976
Running Time : 92
UPC : 738329267490
Country : U.S.
Language: English
Genre : Horror, Sci-Fi, Science Fiction 

​​The worms crawl in, the worms crawl out…and to their ravenous intent, they leave no doubt! A truly frightening account of an infestation of biting worms, Squirm is guaranteed to make you do just that! When a powerful storm knocks Fly Creek, Georgia’s power lines down onto wet soil, the resulting surge of electricity drives large, bloodthirsty worms to the surface—and then out of their soil-tilling minds! Soon, the townspeople discover that their sleepy fishing village is overrun with worms that burrow right into their skin! Inundated by hundreds of thousands of carnivorous creatures, the terrorized locals race to find the cause of the rampage—before becoming tilled under themselves! Try to sit still for Squirm, the cult eco-horror classic from director Jeff Lieberman (Blue Sunshine, Just Before Dawn) and makeup F/X legend Rick Baker (An American Werewolf in London)!

Product Extras :

• NEW Audio Commentary by Film Critics/Authors Lee Gambin and John Harrison
• Audio Commentary by Writer/Director Jeff Lieberman
• Digging In - The Making of Squirm: Documentary with Jeff Lieberman, Actor Don Scardino and Special Effects Artist Bill Milling (33:11)
• Eureka: A Tour of Locations with Jeff Lieberman
• TV and Radio Spots
• Theatrical Trailer
• Dual-Layered BD50 Disc
• Optional English Subtitles

​

ALPHAVILLE (4KUHD) (4K UHD)

Directed by : Jean-Luc Godard
Cast : Eddie Constantine, Anna Karina, Akim Tamiroff, Jean-Pierre Leaud, Valérie Boisgel, László Szabó, Howard Vernon, Christa Lang
Available Date : 08/27/2024
Release Year : 1965
Running Time : 99
UPC : 738329267391
Country : France
Language: French, with English subtitles
Genre : Science Fiction, Mystery, World Cinema, Film Noir, 4K UHD DISC, RT Certified Fresh 

​​From Jean-Luc Godard, the influential filmmaker behind the French New Wave classics, Breathless, Contempt, Band of Outsiders and Pierrot Le Fou, comes this futuristic noir masterpiece. American secret agent Lemmy Caution (Eddie Constantine, Attack of the Robots) is sent to the distant space city of Alphaville where he must find a missing person and kill the inventor of fascist computer Alpha 60. Anna Karina (The Nun) and Akim Tamiroff (Touch of Evil) co-star in this cockeyed fusion of science-fiction with pulp characters and surrealist poetry. Godard’s irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Beautifully shot in glorious black-and-white by Raoul Coutard (Jules and Jim, First Name: Carmen).

Product Extras :

• 2023 HDR/Dolby Vision Master by StudioCanal – From 4K Scan of the Original Camera Negative
• Audio Commentary by Novelist and Critic Tim Lucas
• Anna Karina Interview (4:31)
• Colin McCabe Introduction (5:26)
• Includes Both Original French and English Audio with Optional English Subtitles
• Theatrical Trailer

​

FILM NOIR: THE DARK SIDE OF CINEMA XX
[CAPTAIN CAREY USA / APPOINTMENT WITH DANGER / MAKE HASTE TO LIVE]
​(BLU-RAY)

Directed by : Mitchell Leisen, Lewis Allen, William A. Seiter
Cast : Alan Ladd, Dorothy McGuire, Jack Webb, Stephen McNally, Jan Sterling, Wanda Hendrix, Joseph Calleia, Francis Lederer, Russ Tamblyn, Phyllis Calvert, Paul Stewart, Harry Morgan, Mary Murphy, Edgar Buchanan, Carolyn Jones, John Howard
Available Date : 08/27/2024
Release Year : 1950-1954
Running Time : 263
UPC : 738329267056
Country : U.S.
Language: English
Genre : Film Noir 

This collection features three film noir classics.
CAPTAIN CAREY, U.S.A. (1950) – Screen legend Alan Ladd (Lucky Jordan) plays the title role in this outstanding noir tale of a former OSS operative who returns to Italy after the war to avenge the death of resistance worker Giulia (Wanda Hendrix, Sierra)—only to find out that his “deceased” lover is not only still alive, but also now the wife of a powerful Italian baron (Francis Lederer, Midnight). Carey decides to stick around, hoping to flush out the traitor who had caused the wartime deaths of several of his OSS colleagues and resistance fighters. Enhanced by the musical number “Mona Lisa,” which won an Academy Award (Best Original Song, 1950) and later became an all-time classic. Directed by Hollywood great Mitchell Leisen (No Man of Her Own).

APPOINTMENT WITH DANGER (1951) – Ladd is back as the U.S. Mail’s Ace Agent Smashes the Biggest Mail Robbery Plan in History! Screen legend Alan Ladd (Chicago Deadline) is Postal Inspector Al Goddard, assigned to investigate the murder of a fellow officer. The only witness to the crime is Sister Augustine (Phyllis Calvert, Time Out of Mind), who identifies the photograph of one of the assailants. This leads Goddard to a seedy hotel where he learns that the assailant is a member of a gang headed by Earl Boettiger (Paul Stewart, Kiss Me Deadly), and he soon discovers that the gang is planning a million-dollar mail robbery. This taut and thrilling film noir also features Jan Sterling (Female on the Beach) and future Dragnet stars, Jack Webb and Harry Morgan, as Stewart’s henchmen. Directed by noir master Lewis Allen (So Evil My Love).
​
MAKE HASTE TO LIVE (1954) – Only a Gangster Killer Knew the Secret of Her Past! In this taut noir melodrama, Crystal (Dorothy McGuire, The Spiral Staircase) has unknowingly married a murderer. She knew Steve (Stephen McNally, The Raging Tide) was handsome and charming. But by the time she discovered he was a cold-blooded killer, it was too late: he had already become her husband. So she ran like never before, and built herself a new life together with her daughter. And years later, when she learns that Steve had been jailed for murder, Crystal thought she was safe. But when Steve is released from prison, he has a deadly reunion in mind. With Mary Murphy (The Wild One) and Edgar Buchanan (Human Desire), Make Haste to Live was the final feature film by veteran director William A. Seiter (Hot Saturday).

Product Extras :

• 2020-2022 HD Masters by Paramount Pictures - From 4K Scans
• NEW Audio Commentary for CAPTAIN CAREY, U.S.A. by Film Historian/Screenwriter Gary Gerani
• NEW Audio Commentary for APPOINTMENT WITH DEATH by Heath Holland, Host of Cereal at Midnight Podcast with Max Allan Collins, the Author of Road to Perdition
• NEW Audio Commentary for MAKE HASTE TO LIVE by Film Historian Samm Deighan
• Theatrical Trailers
• Optional English Subtitles

​

LAST YEAR AT MARIENBAD (4K UHD)

Directed by : Alain Resnais
Cast : Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoeff
Available Date : 08/27/2024
Release Year : 1961
Running Time : 94
UPC : 738329267377
Country : France
Language: French
Subject : Film and Media Studies - Classic Cinema
Genre : Drama, World Cinema, Academy Award Nominees 

​Winner of the Golden Lion at the 1961 Venice Film Festival, Last Year at Marienbad is a hypnotically beautiful puzzle box of a film, and one of the most influential in history. Alain Resnais’s sensuous tracking shots and Delphine Seyrig’s iconic Chanel gowns have become part of the cinematic lexicon, and can now be seen in a gorgeous 4K restoration from StudioCanal. In a large international hotel in the European resort town of Marienbad, with a sumptuous but austere décor—a marble universe with gold paneling, statues, and stiff servants—the rich, anonymous clientele circulates. A man (Giorgio Albertazzi) is convinced he met an enigmatic woman (Seyrig, Jeanne Dielman) the previous year at the same location, and perhaps had a flirtation. A second man (Sacha Pitoëff, Inferno), possibly the woman’s lover or husband, repeatedly intimidates the first man. Their relations unfold through flashback shards that never quite fit into place, their lives a hall of mirrors that never reflect a true self.

Product Extras :4K UHD (DISC 1):

• Audio commentary by film historian Tim Lucas

BLU-RAY SPECIAL EXCLUSIVES (DISC 2):

• Interview with filmmaker Volker Schlöndorff
• Last Year at Marienbad A to Z, a visual essay by film historian James Quandt
• Memories of Last Year at Marienbad
• Toute la mémoire du monde (1957, short film by Alain Resnais)

​