Despite what some might suggest, it isn’t always easy to present high Fantasy and have it entirely relatable to an attentive crowd.
 
For example, who among us is truly a vampire?  (Put your hand down, you.)  Are there are demons in the room?  And what is the exact number of legitimate, card-carrying, spell-practicing witches in any studio audience.  Because these entities are slim-to-none, Fantasy – both in literature and film – have to kinda/sorta tweak these beings in such a way as to have them truly relevant; and this is often accomplished by casting good-looking young(ish) talent in top roles, crafting their various yarns with similar struggles, and relying on fandom to both find similarities in their lives and chat the show up at each and every opportunity.
 
That said, TV’s A Discovery Of Witches largely benefits from being broadcast at a time when televised Fantasy has never been more popular.  Epic sagas like HBO’s Game Of Thrones, ABC’s Once Upon A Time, Netflix’s The Witcher, and even Amazon’s The Wheel Of Time pushed open the doors for the networks – conventional or streaming – to invest both time and money in them because audiences hungry for more showed up, continued to watch even through some respective narrative controversies, and – most likely – will be there tomorrow when an all-new franchise breaks some Nielsen ratings’ record.  While Witches may not quite resemble the scope of the world-building and mythmaking done by its competitors, it still offers like-minded viewers the opportunity to escape our humdrum existence with a trip through the looking glass into a place of fanciful possibilities.
 
Now that the show has finished its run on television, I thought I’d take a look back at some of what came before: the good people at RLJE have provided me with an incredible copy of A Discovery Of Witches: The Complete Trilogy, so buckle up and prepare for me to cast a spell in your direction.  Today, I review its third season premiere.
 
(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 my final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the episode’s IMDB.com page citation:
“Matthew and Diana return from Elizabethan London to find tragedy at Sept-Tours.  Agatha challenges Knox in the Congregation.  Diana learns she’s carrying twins.”
 
Season premieres can be tricky business, especially in today’s era of long-form storytelling.
 
Typically, the cast and crew are swinging open the doors from somewhat conflicting agendas.  First, they may have to wrap up – or clarify – moments that ramped up the intensity with the previous season’s finale.  Then, they need to both continue to build on those seminal events while introducing situations and circumstances that spell out a slightly new direction for these characters to explore.
​

In that regard, Witches’ third season premiere very comfortably brings its beloved couple – Diana Bishop (the lovely Teresa Palmer) and Matthew Clairmont (Matthew Goode) – both back from the past (they were trapped there for the bulk of the second season) and drops them in the middle of a brewing storm.  The loss of a familiar face (sorry, no, I won’t spoil it, but it’s very easy to figure out with a bit of research) puts the Congregation – this Fantasy world’s ruling authority – in a position to actually take a stand against one of its own, the villainous Peter Knox (Owen Teale).  Anyone who knows drama knows full well that bad guys don’t go down easily, and Knox exits with a threat to take action on those who failed to give him the support he thought he’d had.
 
So a fair amount of the episode does feel a bit routine, a bit obligatory.  The moments play out perfectly fine – honestly, there wasn’t all that much excitement – but Diana and Matthew still rather quickly accepted the loss of a loved one and then went about the business of focusing their own investigation into their respective DNA.  Why?  Well, I found that business a bit unclear.  It seems to be an extension of Matthew’s work into ‘Blood Rage’ – a condition which causes the property’s vampires to lose all control – and my assumption is that, yes, newly-introduced scientist Christopher Roberts (Ivanno Jeremiah) will figure prominently into this new research … but given that Diana’s pregnant with a set of twins might their upcoming birth figure into this project?  Aren’t they not concerned about what madness their coupling might unleash on all of mankind?
 
In this respect, I thought Lisa Holdsworth’s script could’ve been a bit tighter.  As a scribe, she invests well in some of the hour’s more emotional rewards – Matthew’s confrontation with family, Diana and Sarah Bishop (Alex Kingston) coping with a significant loss, etc. – but the harder plot developments just didn’t quite resonate as well as I think they could have.  Hinting at eventual conflicts is great for subtext, but in an era when audiences are expecting paths to be clearly laid out – especially when payoffs are so far away with this long-form tale – a bit more specificity never hurts.
 
A Discovery Of Witches was produced by Bad Wolf and Sky Studios.  DVD distribution (for this particular release is being coordinated by the good folks at RLJE Films.  As for the technical specifications?  Again, while I’m no trained video expert, and I thought the sights and sounds for this release were exceptional well done.  No expense appears to have been spared in bringing this fantastical and imagery world to life on the small screen.
 
Recommended.
 
Though I’m not all that sure this particular hour of A Discovery Of Witches – its third (and final) season premiere – offers an easy stepping-on point for new viewers, I suspect those faithfully joining the saga in process will feel rewarded.  The episode serves to reset the narrative, offering some reflection and reaction to the events of the second season’s finale as well as obviously charting out the trajectory for bringing these tensions to a head in what looks to be a potentially explosion conclusion.  A new face or two are brought into the mix … but precisely who might survive the inevitable deadly kerfuffle is as yet a mystery.  Stay tuned for more …
 
In the interests of fairness, I’m pleased to disclose that the fine folks at RLJE Films provided me with a complimentary copy of A Discovery Of Witches: The Complete Trilogy 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

Some days, there just aren't enough words in the English language for those us who so love the home video explosion of the 1980's to articule our fondness for these titles.

Seriously, you could drop into any corner video store -- big ones or small -- for the sole purpose of trying to discover some hidden gem.  On a weekly basis, there were new releases just waiting for a bit of attention.  Some of them were home grown.  Some of them were old films finding new life with the Entertainment Revolution.  And some of them were shot and produced overseas in such places with magical names like Italy, Spain, or Korea.  Granted, not all of them were home runs, but there were more than a respectable share of quality diversions -- one-time watchers that hit just enough of the right notes to make for a living room symphony.

And it seems to me that may've been the case with Programmed To Kill (aka The Retaliator).  While I'm pretty certain I saw it, I've little recollection of it, the sad effect of having absorbed so many flicks.  But thanks to the good folks at Kino Lorber, Kill is going to kill again with its projected street date of January 17, 2023.  So let the good times -- and the body count -- roll.

As per IMDB.com, the SciFi/Thriller was directed by Allan Holzman (with additional footage provided by Robert Short).  His is a name genre fans may recognize from the SciFi/B-Movie goodness known as Forbidden World (thank you, New World Cinema, for so many subversive classics).  Short is also credited with the screenplay, and the film starred Robert Ginty, James Booth, and the perfectly fetching Sandahl Bergman.  Bergman, in particular, was probably the 'name draw' at the time, as she had emerged as one of the lesser genre queens with work aboard Conan The Barbarian (1982), She (1984), and Red Sonja (1985).  No doubt her fixture prominent on the box art drew the attention of young males (or females of a particular persuasion), and the sex appeal propelled this one to solid home rental business.

As is my custom, I'll post the publicity materials below.  Fans interested in pre-ordering a copy can do so at either Amazon.com (link) or even the Kino Lorber website (link).  

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

​-- EZ
​

From time to time, I’ve found that – as a writer on the subject of film – it helps to refresh one’s perspective by dabbling in motion pictures outside of the usual; and for this reason I’ll occasionally take in a great movie classic – often from the genre of film noir – to mull over.  In order to keep it somewhat aligned with what I do here on SciFiHistory.Net, I’ll craft reviews under the heading of ‘Monsters Of A Sort’ and have a bit of fun with them.  Honestly, there are so very many good releases from the past, and I do like shining a bit of light on them whenever the spirit moves me.
 
Today, I’ve had the good fortune to watch a little something something titled A Woman’s Vengeance (1948).
 
IMDB.com indicates this one was directed by Zeltan Korda, a talent with a tie to genre properties in that he’s often cited as the ‘uncredited’ director of 1940’s The Thief Of Baghdad as well as the credited director of 1942’s The Jungle Book.  (FYI: he also directed Humphrey Bogart in 1943’s Sahara, one of my personal favorite World War II flicks, but that’s a whole other issue.)  Interestingly enough, Vengeance has another fascinating tie-in with Science Fiction in that its screenwriter is none other than Aldous Huxley, the genius behind the novel Brave New World originally published in 1932 and eventually adapted on film.
 
But who are its players, you ask?
 
The bulk of the action takes place between philandering Henry Maurier (played by Charles Boyer) and Janet Spence (Jessica Tandy), a family friend who has spent years pining for Henry’s carnal affections but has been ignored.  But when the elder gentleman instead takes the hand of the very young Doris Mead (Ann Blyth), the lady Spence decides her secret attempt to garner the man’s attention can instead be used to spell his private doom.  But with all of this intrigue, who would’ve expected the private workings of Dr. James Libbard (Cedric Hardwicke) might steal the show?
 
Why, it’s enough to keep one up at night!
 
(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 cheating husband is charged in the poisoning death of his invalid wife, in spite of other women and suicide also being suspected.”
 
Described as a classic film-noir, I didn’t think that the plot of A Woman’s Vengeance would have the feature truly standing side-by-side with other significant entries of that genre, and I stand by that.  Stronger stories of this type tend to involve action and (especially) danger a bit broader in scope than what Huxley’s script squeezes into its 96 minutes, and I wonder if viewers drawn to the picture with such expectations might even turn away at the film’s midpoint.  In fact, there’s really no intensity to the flick at all until the second half, at which point Maurier’s bad habits catch up with him in the worst way imaginable.  Charged with a murder he insists he never committed (we’re not quite sure yet, though the suspect list is considerably slim), there’s finally some greater linkage to noir beyond the obvious stylings.
​

But the first half does boast some great acting by both Boyer and Tandy.  In fact, there’s an incredible vivid scene involving a dark room and an unfurling thunderstorm that is the kind of thing that makes film the form of art many of us love.  It isn’t particular big – nor is it all that lavish – and yet it’s the kind of sequence that perfectly illustrates the storm raging just out of reach of these two central individuals.  This kind of stuff elevates a yarn because it gives it visual subtext, and I hope director Korda with his crew of craftsmen (and craftswomen) were pleased with the end result.
 
The greatest drawback to the narrative as presented is that – in all honesty – there really isn’t all that much mystery here.  As I said, the suspect list is very small, and the tale unfolds in a way that points rather heavily in a single direction.  (No, no, no: I always try to avoid spoiling the big details, even though this one is well beyond spoiler rules.)  Those watching closely will undoubtedly have a solid theory regarding precisely ‘whodunnit,’ though I’ll admit the script gave the culprit a bit of wiggle room up until a point wherein there was a well-timed confession.  At that point, why go on?
 
Well, that’s because Sir Cedric Hardwicke damn near steals the entire picture in the finale.  As the town doctor, he’s a kindly gentleman who both has and keeps his suspicious to himself, but he isn’t above pointing you and me – the audience – in the right direction with that knowing glance.  Motivating by his professional oath to ‘first do no wrong,’ Dr. Libbard bends the rule just enough to finally get to the heart of the matter.  Though today’s science would probably not allow such a confession to hold up in a court of law, it works rather brilliantly on film, making the closing exchange a high point to the whole sordid affair.
 
A Woman’s Vengeance (1948) was produced by Universal International Pictures (UI).  DVD distribution (for this particular release) is being coordinated by the good folks at Kino Lorber.  (For clarity’s sake, this was part of their Film Noir: The Dark Side Of Cinema XI Collection, in case you’re looking to pick up a copy.)  As for the technical specifications?  While I’m no trained video expert, I thought that the sights and sounds to this 4K digitally restored version (from the 35mm Nitrate Original Negative) were very, very good: there are some very good sequences photographed in heavy darkness that stand out incredibly well in here.  Lastly, if you’re looking for special features, there’s an audio commentary from film scholar Jason A. Ney and the original theatrical trailer to enjoy.
 
Highly Recommended.
 
Oh my gosh, I do so very much prefer watching older films, and A Woman’s Vengeance – a flick I’d honestly heard very little about – was a delight.  Aldous Huxley’s script (thankfully!) wasn’t heavy on melodrama – as even noirs of this era can be – and there was a good balance between conventional mystery and traditional suspense that made this one work very well.  Still, I would’ve approved a bit more screen time somehow given to the sleuthing physician who truly cracks this case when others should’ve, but that’s small potatoes with a flick that embraced the unconventional at a time when Hollywood was producing a catalogue of fairly predictable fare.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray of A Woman’s Vengeance (as part of their Film Noir: The Dark Side Of Cinema XI Collection) 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

There was a time when I penned reviews almost exclusively for foreign releases.
 
Some of this was owed to the fact that – at that time – I had very good relationships with a solid handful of film distributors here within the United States, and these companies were actively pushing foreign releases almost as strongly as they were domestic ones.  Over time, some of these businesses went under, a few were acquired, and even a few more changed their policies, which eliminated me and my outlet from contention of receiving complimentary copies.  Regardless of that reality, I realized that I had grown to enjoy these non-U.S. flicks far more than things I’d venture to the nearest cineplex to see.  In fact, I often argued that the benefit of a non-studio environment helped these pictures to feel more authentic – sometimes more relatable – meaning that a great time could be had by folks who discovered them, and I was thrilled to be a member of that small contingent.
 
About the time that many of these relationships were going away, I had noticed that countries like Japan, South Korea, and China had begun dramatically incorporating vastly greater special effects into their projects.  I’ve long cautioned that the increase of heavier post-production requirements requires (obviously) more capital, more capital requires more investors, and – ahem – more investors almost inevitably requires – you guessed it – a motion picture studio.  This meant that the charm of these foreign films had a shelf life … and – just like that – some of the bigger and bolder yarns began looking like your typical 20th Century Fox attempt at Marvel Entertainment packaging.
 
Essentially, that’s what you get with Alienoid (2022).  It’s a good idea with maybe forty minutes of legitimate storytelling expanded to a bloated two-and-one-half hours … and it’s still incomplete!
 
Egads!
 
(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 product packaging:
“Alienoid – directed by Choi Dong-hoon and starring Ryu Jun-Yeol, Kim Woo-bin, and Kim Tae-ri – is the first in a planned serires of two epic sci-fi action time-warpers.  A tale of two eras, Alienoid follows two Goryeo Dynasty (918-1392) shamans seeking a legendary, time-bending blade as they unexpectedly cross paths with modern-era people hunting down a dangerous alien concealed inside a human’s body.”
 
Just to avoid any confusion right up front, let me clarify all my remarks with this: I liked the premise behind Alienoid.
 
See, despite its weaknesses (and there are many), the whole project begins with this nifty little idea: let’s take time travel beyond what has conventionally been explored on television and film, combine it with a bit of alien skullduggery, blend it a healthy sampling of Chinese mysticism and classic martial arts, and we’ll have something totally different, totally original, and – ahem – totally entertaining for all ages!
 
Well …
​

Therein lies one of the property’s bigger challenges: folks drawn in to features of martial arts – from my experience – aren’t all that interested in other genres, nor do they follow them with the same level of devotion.  They’re showing up for Crouching Tiger, Hidden Dragon and not some effects-laden Power Rangers knock-off with a greater SciFi twist; so I’m not entirely convinced this combo platter was meant to go down easily.  As a consequence, I can’t help but wonder how successful the film may’ve been in its native China, much less how jumbled all of it might feel to the rest of the world and parts unknown.
 
Though others might take issue with my ‘Power Rangers’ attribution, I do want to be perfectly clear on this point, as well: these effects – especially the heavily-loaded CGI sequences – really aren’t that much better than what studios near and far have delivered in franchises like the Rangers or anything reasonably similar.  The BBC’s long-running Doctor Who even in its last few seasons (on the Modern Era) have also expanded the canvas so far as heavy use of computer graphics, so dishing out a theatrical release with some undercooked imagery (so far as this viewer is concerned) does not bode well.  Yes, they’re good – I’m not discounting their effectiveness – but when home audiences can see better on HBO and Netflix without having to venture to the theaters, we’re risky failure right out of the gate.
 
Setting aside the technical merits (or lack thereof), Alienoid is still fairly heavy with characters, some of which serve little more than comic relief.  Writer/director Choi truly mashes an awful lot of content into this 143-minute running time, and not all of it flows smoothly.  It’s one thing to herk and jerk an audience across various time periods, but doing so while continuing to both define and re-define your characters (I won’t spoil it, but identities and secret identities figure significantly into the plot) puts a terrific weight on the shoulders of the viewers … and I suspect some might have trouble keeping up with even a few benign developments.
 
That said, will folks return for a sequel?
 
Well, stranger things has happened, and Alienoid isn’t all bad.  In many ways, it feels more like a property that could’ve worked with greater efficiency as a streaming series, one that could both give depth and add greater context to its cast and circumstances.  If this one runs 2.5 hours and a planned sequel does minimally the same, then why not retool it all, add in some flavor, and make a go of it that way?  I realize that may not be what’s intended, but I think a ten-hour series could’ve worked more strongly at conveying the breadth of this world while giving time to its involved plot.
 
As is?  I found it a challenge to stay focused.
 
Alienoid (2022) was produced by Caper Film.  DVD distribution (for this particular release) is being coordinated by the good folks at Well Go USA Entertainment.  As for the technical specifications?  Well, while I’m no trained video expert, I thought the sights and sounds were pretty good, though I will admit to some disappointment with several CGI sequences.  They’re good, but I’ve seen better.  As for the special features?  There’s a brief making-of and some character bits, but it’s pretty slim pickings.
 
Mildly Recommended.
 
Alienoid is more than a bit long … and the sad thing is that it feels too long.  Pacing could’ve been improved, but the film also relies on multiple time periods, a bigger-than-usual cast, and an involved plot that might be too much for a single outing.  (FYI: this is only part one to a two-part story, and it’s hard to figure out what could possibly be ‘yet to come’ in this saga.)  The mixing of genres does create some interesting moments, and this is a case wherein you may just have to see this one to know whether or not it’s your particular cup of tea.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of Alienoid (2022) 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

What with the silly season unfolding right before us, I thought I'd take the time to alert SciFiHistory.Net's readers to an incredible product that you just might wanna pick up for that special someone in your life.

In case you missed it, TV's A Discovery Of Witches recently concluded its three-season run on television (on both sides of the pond, as it were), and an absolutely fabulous-looking trilogy collection hit shelves this past November.  (I know it's still out there even today as I've seen it in stores myself just this past weekend while doing some shopping.)  I caught a few episodes of its first season when it aired originally, but then -- for whatever reason -- I tuned it out, mostly as it genuinely felt a bit more 'soap opera' in Fantasy than I usually go in for.  But in 2021, the good folks at Acorn Media Group provided me with a complimentary DVD set of the show's second season (review available here), so I gave it a watch to see where it had evolved.  The overall feel of the program hadn't changed all that much -- it still had the soapy elements -- but there was a greater discussion of magic -- as well as a meatier look at the various creatures (witches, demons, etc.) ... so I was glad to have given it a fresh glance.

Now, I have the opportunity to digest the sum total of its magical goodness as I have laid my hands on A Discovery Of Witches: The Complete Trilogy.  Rest assured that I'll happily be spending some time with this over the next few days, taking in a solid look at its third (and final) season just to see where this miraculous journey arrives in its big finish.  As I do, I'll definitely be putting up some individual episode reviews, so keep your eyes fixed on the MainPage.

But because this is such a bit of cool packaging, I wanted to share some snaps with readers.  It's honestly one of the best-looking collections I've had the good fortune to consider -- with charater pictures and the like.  I'm guessing that fans of this TV incarnation of the popular book series might wanna pick this up, especially if they're completists.

​And with packaging that looks this good?  Who could blame you?
​

Again: if you're interested in episodes reviews -- especially for the third season -- those will be following shortly.  I'm excited to get back into this world ... but I'll work hard to avoid spoiling you from how it all winds down!

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

​-- EZ

In the words of a well-played Mel Brooks’ character: “It’s good to be the king.”
 
This is a phrase I jokingly use probably much more than I should, but I think I rely on it because it so perfectly exemplifies my mindset when it comes to moving ‘outside the box’ with some coverage choices I make for SciFiHistory.Net.  Like anyone who writes, I occasionally like to sound off on something that may not be directly Science Fiction or Fantasy or Horror related – as when I do with noirish flicks from time-to-time – and why shouldn’t I use my very own little empire to do so?  I have the space.  I know how to use it.  And it isn’t like I’m going to offend myself!  So, yes, it’s good to be king!
 
That’s why I’m taking this opportunity today to write about 5-25-77.
 
In case you haven’t heard of the flick, 5-25-77 is the story of one young budding storyteller’s unusual connection back to George Lucas’s original Star Wars film.  (Yes, yes, yes, I know it’s now called “Star Wars: Episode IV – A New Hope,” but it wasn’t back then, and that’s why I’m diverging.)  Autobiographical in nature, it clearly is not SciFi or Fantasy, but because it ties in centrally with a pop culture phenomenon that began on that day back in 1977 and continues to this day, I figure it’s damn near close enough that fans of the franchise wouldn’t mind knowing my two cents on the picture.
 
(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 my 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:
“Alienated film-maker hopeful Pat Johnson’s epic story of growing up in rural Illinois, falling in love and becoming the first fan of the movie that changed everything.”
 
While some may not feel it entirely germane to understand going into writer/director Patrick Read Johnson’s seminal 5-25-77 that this was a labor of love filmed over the course of a decade and one-half, I’d argue that I think it helps best position the importance of its subject matter to the storyteller.  Like so many creatives of his era, Johnson was heavily influenced by the original Star Wars (1977), so much so that the man’s narrative autobiography ties directly back to those days of his youth.  To give it the proper reverence, he’s fashioned this story to kinda/sorta parallel that trajectory – to explore how precisely his life changed leading up to his first viewing of the film and beyond – and it’s equally moving as it is insightful about the teenage experience … at least, that’s from the geek’s perspective … of which I consider myself, too.
 
John Francis Daley plays a pitch perfect young version of Johnson.  It’s easy to see that the young man is interpreting the memories of the elder filmmaker, and their collaboration here in bringing these experiences to life is no doubt the flick’s greatest asset.  Daley imbues the teenager with the kind of youthful exuberance many of us likely dealt with at that age; and he rather effortlessly communicates the naiveté that leads to so very many bad (or inferior) decisions made on this journey (like snubbing Steven Spielberg).  Johnson clearly accomplished what he did with the Herculean enthusiasm known only to those who see the world as it is with the intent to change its shape, so it’s only perfectly natural for him to find himself in dire straits when nothing quite goes according to plan.

The great Austin Pendleton also turns in an incredible performance, even though his screen time is a bit limited here.  In the guise of a Hollywood insider with a heart of gold still beating somewhere under that tarnished chest, his ‘Herb Lightman’ can’t help but give in to Janet Johnson (the great Colleen Camp) when she pleads with him over the phone to please help her son find an opportunity to land a job in Tinsel Town.  Pendleton delivers lines both knowing and comic with a wry sensibility, always challenging the teenager to truly think about what it is he might be getting into; and – in no short fashion – Lightman becomes the ‘male role model’ the young storyteller has been missing from his life and perhaps never knew he needed.  It could’ve all turned a bit mawkish in the hands of a lesser talent, but Pendleton showed up with his A-game, giving the tale the pulse it needed in the knick of time.
 
Still, as much as I could both enjoy 5-25-77 and relate to its sometimes-cautionary madness, I’d argue that this particular cut feels overly self-involved and simply too long.
 
There is a wealth of material that serves as a build-up to those elements most involved with Star Wars; and – as a consequence – it sometimes feels like there are two separate stories at work … and they don’t seamlessly combine.  Some of the ‘coming of age’ stuff could’ve honestly been sacrificed (there are several subplots involving Johnson’s troop of friends, and not all of it was relevant in my estimation), allowing what remained of the material to flow together more easily.  For example, there’s an ongoing comic bit involving our lead taking a hit to the stomach from the school jock, and it wears out its welcome probably after the first time it was tried.  But perhaps Johnson’s closeness to his own life experience distracted him from the core plot … or maybe, like Star Wars, he was thinking of a trilogy?
 
Ouch.
 
The Force is strong with this one, true … but it could’ve been much, much stronger.
​

5-25-77 (2022) was produced by Filmio and Moonwatcher, Inc.  DVD distribution (for this particular release) is being coordinated by the folks at MVD Visual.  As for the technical specifications?  Well, most of the time, the sights and sounds are very, very good – exactly what you would expect in this kind of a feature.  Occasionally – however – writer/director Johnson peppers the visual canvas with some odd film choices – usually it involves a grainy palette – and, if a few spots, I couldn’t say why.  In fact, the shift in a few spots was extremely distracting … so make of it what you will.  (But again – for the record – I’m no trained video expert.)  Lastly, if you’re interested in special features, then you do have a few items to look forward to, including:

• An audio commentary with Johnson;
• The Q&A from the 2013 Fantasia Film Festival, also with Johnson;
• A gallery of theatrical trailers; and
• Photo galleries.

 
Recommended.
 
While I’ll admit to some disappointment with Johnson’s obvious desire to give damn near each and every element of his youthful existence a kind of Kubrickian significance, I still had a lot of fun with 5-25-77.  Its characters are, perhaps, as accurate a depiction of Illinois teens and tweens I’ve seen – I’m from there – and they’re very close to those shown in the great John Hughes flicks (but with less comic energy).  These are real ‘salt of the Earth’ kinda folks, and it shows, though with a bit of forced movie magic.  If anything, I’d argue that there’s probably a near-genius cut of this material – something reasonably shorter than the kinda/sorta bloated 132 minutes – but this take is not it.  Who knows?  Perhaps Johnson – as the represented lead and the storyteller – needed another pair of eyes in the editing suite to tighten up the pace where this one just gets too … erm … spatial?
 
In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Visual provided me with a complimentary Blu-ray of 5-25-77 (2022) 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

As I've often pointed out, one of the greatest honors of remaining 'on the edge' of breaking news is that I'm kept reasonably well informed of some of the past features in the realm of Science Fiction, Fantasy, and Horror getting prepped for all-new releases.  This doesn't mean that I'll always be screening them for the purposes of reviews; while that's genuinely a 50/50 proposition, I do manage to get to a fair number of them, posting notices and the like on the MainPage for readers to enjoy.

That's why I'm pleased to announce that the folks at Kino Lorber are prepping 1984's Ghost Warrior for release.  According to their publicity information that I'm looking at this morning, it looks like this title will street on January 17, 2023.  Interested folks might wanna head on over to Amazon.com or even the Kino Lorber website to put in an advance order if you're so inclined.

Honestly, it's a title I don't believe I've ever seen (the memories are a bit murky on this one), but I know that I've come across it several times in research I've done for the site.  IMDB.com reports that this one was directed by J. Larry Carroll (Beauty And The Beast, Thundercats, and Stargate) from a script by Tim Curnen (1982's Forbidden World).  It stars Hiroshi Fujioka (of Kamen Rider fame), John Calvin (TV's Alien Nation, Critters 3), and Janet Julian (Battlestar Galactica, Knight Rider).

As per my usual policy, I'll be copying and pasting the publicity materials below.

As always, thanks for reading ... and live long and prosper!
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Ghost Warrior
(1985, 81m)
Blu-ray
Prebook Date: 12/20/2022
Street Date: 1/17/2023

​Director: J. Larry Carroll
Cast: Hiroshi Fujioka, Janet Julian, John Calvin, Charles Lampkin, Bill Morey, Frank Schuller


In the time-warp tradition of Iceman comes Ghost Warrior, an inventive fantasy-adventure from cult-movie king Charles Band (Parasite). Suddenly awake after 400 years of frozen sleep, a valiant samurai warrior struggles to survive the harsh challenges of modern-day Los Angeles. This action-packed tale is the thrilling saga of Yoshi (Hiroshi Fujioka, High Seas Hijack, In the Line of Duty III), a master of Japan’s 16th-century fighting arts who is accidentally frozen in time and miraculously revived in the 1980s. On the run from the institute that ended his sleep of centuries, Yoshi must pit his ancient skills and power against the forces of a violent and confusing world. He has vanquished enemies from a distant time—but can he prevail on the streets of the future? Also known as Swordkill, Ghost Warrior co-stars the wonderful Janet Julian (King of New York).


Bonus Features:
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DIE BY THE SWORD: NEW Interview with Special Makeup Effects Artist Robert Short
Audio Commentary by Action Film Historians Brandon Bentley and Mike Leeder
Theatrical Trailer
​Optional English Subtitles

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ABOUT KINO LORBER:

With a library of over 4,000 titles, Kino Lorber Inc. has been a leader in independent art house distribution for 35 years, releasing 30 films per year theatrically under its Kino Lorber, Kino Repertory and Alive Mind Cinema banners, garnering seven Academy Award® nominations in nine years. In addition, the company brings over 350 titles yearly to the home entertainment and educational markets through physical and digital media releases. With an expanding family of distributed labels, Kino Lorber handles releases in ancillary media for Zeitgeist Films, Milestone Films, Cohen Media Group, Greenwich Entertainment, Artsploitation, Palisades Tartan, Menemsha Films, Raro Video, and others, placing physical titles through all wholesale, retail, and direct-to-consumer channels, as well as direct digital distribution through over 40 OTT services including all major TVOD and SVOD platforms. In 2019, the company launched its new art house digital channel Kino Now which features over 1300 titles from the acclaimed Kino Lorber library. In response to the COVID-19 pandemic, the Kino Marquee initiative was launched pioneering "virtual cinema" releases of art house films with revenue shares that allow audiences to support almost 500 local independent theaters. Kino Lorber was honored with a Special Award from the New York Film Critics Circle for this effort. In 2021, the company launched Kino Cult, an AVOD channel specializing in new and rare, acclaimed genre films.

Think what you may, but I do try very hard to steer clear of some of fandom's more controversial subjects.

Like any adult -- or person with a brain -- I do have opinions on issues; and when the spirit moves me in such a way that I believe I can articule them for an audience I will write about them.  For example, I fairly recently sounded off about how I believe Stanley Kubrick's 2001: A Space Odyssey (1968) has a reputation I don't quite support; others find the flick akin to the word of God whereas I think it all boils down to a visual-fueled drug trip delivering audiences nowhere of interest ... or, at least, nowhere that we can agree on the value of the destination.  For clarity's sake: no, I have no problem with the film having that reputation.  My point is that I think it's just an intellectual exercise -- not a film -- and I leave it at that.

​But I will say that -- in the history of the entire Star Trek franchise -- I do believe Paramount Pictures made one of its biggest mistakes ever by allowing actress Kirstie Alley to slip away from the film series.

Yes, I'm very much aware that -- depending upon which version of "truth" you accept -- this may very well have been owed to her own decision at the time ... but I still see it as a mistake.

Star Trek II: The Wrath Of Khan (1982) truly reinvigorated the property on the silver screen.  Its popularity with critics, fans, and regular folks -- those who never considered themselves ardent fans of the Gene Roddenberry original -- swung open the doors and brought bigger and bigger audiences the summer of its release.  The Nicholas Meyer-directed feature had what studio chiefs call 'legs,' meaning that it played to solid business for an extended period of time; and -- even today -- the motion picture is revered as not only one of Trek's best entries but arguably even all of Science Fiction and Fantasy.  That's a helluva endorsement.

I've often argued that one of the flick's best additions was expanding the core cast with a new face, and Kirstie Alley's 'Saavik' was perfectly cast and perfectly performed.  As the newest officer in the ongoing Starfleet saga, newcomers had someone up there in the shadows and lights that -- like them -- were seeing things from their perspective.  Alley was the perfect hook -- a beautiful face that, like Helen of Troy, could've launched a thousand ships -- and she could very well have helped in Trek's transition from the small screen to the big one had the actress been kept aboard.

Alas, it wasn't meant to be.

In any event, word reached the Information Superhighway that Ms. Alley only very recently learned of a cancer diagnosis and succumbed to her illness.  No matter the woman's politics -- and no matter what idiots online would have you believe -- we've lost a truly gifted performer.  Our world is a better place for her having been in it.  Certainly, the entertainment industry owes her a nod for her incredible work, and she leaves behind a legacy that deserves perhaps even more acclaim that it's ever received.

Thoughts and prayers are extended to the family, friends, and fans of Kirstie Alley ... a true original.

May she rest in peace.

​-- EZ