When film buffs talk about early sound horror films, they tend to associate the period with Universal and its justly famous monster movies. Yet at around the same time, Michael Curtiz directed three important horror pictures at Warner Brothers, the first two of which are far more transgressive, disturbing, and graphic than anything to come out of Universal City. Doctor X (1932), Mystery of the Wax Museum (1933), and The Walking Dead (1936) aren’t as iconic as later Curtiz classics like The Adventures of Robin Hood (1938), Casablanca (1942), and White Christmas (1954), but they’re every bit as atmospheric and […]
by Jim Hemphill on Apr 16, 2021I’m a big fan of anything and everything written and directed by Allison Anders, but I’ve always been particularly fond of her 1996 musical Grace of My Heart. A magical blend of the kind of intimate behavior-driven filmmaking Anders is known for with the scale and resources of a big studio movie, it’s one of the most generous films I’ve ever seen in terms of how much it gives its characters (all of whom are presented with deep empathy and respect) and the audience. The heart of the picture is the richly detailed story of a singer-songwriter (a fantastic Illeana […]
by Jim Hemphill on Nov 6, 2020Shock value in cinema is a tricky thing, especially when it comes to posterity; what scandalizes one generation often seems mild to the next, while images and dialogue that might have seemed innocuous in another era – particularly when it comes to attitudes about race, gender, and sex – can come across as abhorrent to audiences discovering them in a different cultural context. Two genuinely transgressive films, movies that were shocking when they came out and are shocking now, are newly available in generously appointed Blu-ray editions: John Waters’ Multiple Maniacs (1970) and Takashi Miike’s Dead or Alive (1999). Waters […]
by Jim Hemphill on Apr 14, 2017Just in time for St. Patrick’s Day, Warner Archive has released a gorgeous Blu-ray of Francis Coppola’s Finian’s Rainbow, a flawed but fascinating musical that marked a key moment in the director’s development. At the time, Coppola was a young filmmaker of promise who had worked in erotica (Tonight For Sure) and for Roger Corman (Dementia 13) before scoring a theatrical release for his UCLA thesis film You’re a Big Boy Now (1966). Coppola’s goal was to use that movie as a launching pad for a career writing and directing small personal films, but Jack Warner made him, to reference […]
by Jim Hemphill on Mar 17, 2017