Tag Archives: Blu-ray/DVD reissues

Conspiracy a-go-go, Corporate Intrigue, Journalism, Social Satire

Corporate cosmology: Criterion reissues “Network” (****)

April 27, 2026 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 25, 2026)

Right now, the Arabs have screwed us out of enough American dollars to come right back and with our own money buy General Moters, IBM, ITT, AT&T, DuPont, US Steel, and 20 other American companies. Hell, they already own half of England! So, listen to me. Listen to me, God damn it. The Arabs are simply buying us! There’s only one thing that can stop them. You! You!I want you to get up out of your chairs. I want you to get up right now and go to the phone. I want you to get up from your chairs, go to the phone and get in your cars, drive into the Western Union offices in town. I want you to send a telegram to the White House… By midnight tonight, I want a million telegrams at the White House. I want them wading, knee-deep in telegrams at the White House. I want you to get up right now and write a telegram to President Ford saying, “I’m as mad as Hell and I’m not gonna take this anymore! I don’t want the banks selling my country to the Arabs. I want the CCA deal stopped! Now! I want the CCA deal stopped! Now!”

– Howard Beale, from Sidney Lumet’s Network (1976); screenplay by Paddy Chayefsky

This just in:

Last night [President Trump] motorcaded over to a dinner hosted by Paramount, which is awaiting Trump administration approval for its bid to buy CNN’s parent Warner Bros. Discovery. The dinner invite said Paramount would be “honoring the Trump White House and CBS White House correspondents.” Anti-Trump and anti-Paramount protesters held signs and wore costumes outside, some ridiculing David Ellison by name.” “Block the Trump-Ellison merger,” one of the signs said.

For purposes of the president’s travel, the dinner was deemed “closed press,” which meant the TV press pool representative (who happened to be from CBS!) and other pool journalists were not allowed inside. Some of my CBS sources are still being tight-lipped this morning. But I’m told that editor in chief Bari Weiss and president Tom Cibrowski were both there, along with a handful of CBS correspondents from the DC bureau who were invited and attended in an off the record capacity.

Yesterday underscored how much Paramount-WBD has become a political football. The day began with an anti-merger protest outside WBD’s headquarters in NYC. The city’s mayor Zohran Mamdani also added his name to the list of opponents.

Then the virtual WBD shareholder vote took place and, as expected, the deal was “overwhelmingly” approved. Trump allies like Jason Miller, who reportedly advised an investor on Paramount’s side, celebrated on social media.

Democrats like Sen. Elizabeth Warren quickly came out and said “the Paramount-Warner Bros. merger isn’t a done deal. State attorneys general across the country are stepping up to stop this antitrust disaster. We need to keep up this fight.”

California AG Rob Bonta, appearing on MeidasTouch with Scott MacFarlane, strongly suggested that his office will sue to block the deal in the coming weeks. There are “red flags everywhere,” he said. But he also noted that “we haven’t decided yet our formal position.”

The day concluded with Trump and Ellison breaking bread together off-camera. Paramount execs continue to project confidence that they’ll receive all the necessary regulatory sign-offs between now and September…

Spooky, isn’t it? Right down to the Arab investors:

Other questions of political influence (regarding the pending Warner-Paramount merger) have piled up. The Justice Department and company leadership have maintained that politics will not play a role in the regulatory process. But Trump himself has publicly waded into Warner’s future at times, despite backpedalling on what he once suggested his personal role would be.

Trump also has a close relationship with the Ellison family, particularly billionaire Oracle founder Larry Ellison, who is putting billions of dollars on the table to back the bid for his son’s company.

Meanwhile, Paramount has secured money from several sovereign investment funds — including Saudi Arabia’s Public Investment Fund, as well as funds from the United Arab Emirates and Qatar, per regulatory filings. But such investors will not have voting rights in a future Paramount-Warner combo, the filings noted. Paramount has not publicly specified how much they’re contributing.

Other countries, including European regulators, are scrutinizing the deal.

Shares of Paramount fell nearly 6 per cent on after Thursday’s vote, and Warner Bros. slipped as well.

Writing, as I do, about the movies, I am prone to frequently quote from them. And if there is one film I am prone to quote from more often than most these days (well, Dr. Strangelove aside), it is Network.

Back in 1976, this satire made us chuckle with its outrageous conceit-the story of a “fictional” TV network who hits the ratings g-spot with a nightly newscast turned variety hour, anchored by a self-proclaimed “angry prophet denouncing the hypocrisy of our time”.

50 years later, the film plays like a documentary (denouncing the hypocrisy of our time). The prescience of the infinitely quotable Paddy Chayefsky screenplay goes deeper than prophesying the onslaught of news-as-entertainment (and “reality” television)-it’s a blueprint for our age. As I wrote in a 2015 piece:

I love it. Suicides, assassinations, mad bombers, Mafia hitmen, automobile smash-ups: “The Death Hour”. A great Sunday night show for the whole family.

-from Network, screenplay by Paddy Chayefsky

There is an oft-repeated lament that Hollywood and/or television has “run out of original ideas”. Which is (mostly) true, but not necessarily indicative of a dearth of talent or creativity in the business. The blame for this particular writer’s block, I believe, can be laid fairly and squarely at the feet of…Reality.

Short of plundering Middle Earth or the comic book universe for ideas, it’s getting harder to dream up a scenario as “outlandish” as, say, having to undergo a security check before taking your seat at a movie theater, or as “unthinkable” as switching on the local TV news and witnessing the horror of what happened to the 2 WDBJ reporters and the interviewee while live on air last Wednesday.

You’re television incarnate, Diana. Indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same to you as bottles of beer.

-from Network, screenplay by Paddy Chayefsky

While just as horrified and empathetic as anyone in their right mind should be when the WDBY story broke, I’m sad to report that I wasn’t necessarily surprised. It was only a matter of time. The on-camera assassination of two TV reporters filing an innocuous story about a mall seemed a relatively tiny jump from the random murders of two theater patrons in Lafayette earlier this month…who likely assumed they weren’t risking violent death by seeking out 2 hours of escapism at the matinee showing of a romantic comedy.

In the opening scene of Network, drunken buddies Peter Finch (as Howard Beale, respected news anchor about to suffer a mental breakdown on-air and morph into “the mad prophet of the airwaves”) and William Holden (as Max Shumacher, head of the news division for the “UBS” network) riff on an imaginary pitch for a news rating booster-“Real live suicides, murders, executions-we’ll call it The Death Hour.”

Soon afterwards, Beale shocks colleagues and viewers by going off-script during one of his nightly newscasts and soberly announcing:

“I would like at this moment to announce that I will be retiring from this program in two weeks’ time because of poor ratings. Since this show is the only thing I had going for me in my life, I’ve decided to kill myself. I’m going to blow my brains out right on this program a week from today. So tune in next Tuesday. That should give the public relations people a week to promote the show. You ought to get a hell of a rating out of that. 50 share, easy.”

The network’s initial impulse is, of course, to take Beale off the air for an indeterminate hiatus; but Howard begs Max to give him one more chance, if only to publicly apologize for what he essentially describes as a momentary lapse of reason. Reluctantly, Max acquiesces.

When the following evening’s newscast (during which Beale once again goes off the rails) attracts an unprecedented number of viewers, some of the more unscrupulous programmers and marketers at the network smell a potential cash cow, and decide to let Beale rant away in front of the cameras to his heart’s content, reinventing him as a “mad prophet of the airwaves” and giving him a nightly prime time slot. The “show” (as it can really no longer be described as a “newscast”) becomes a smashing success.

Eventually, some of the truthiness in his nightly “news sermons” hits too close to home with network brass when Beale outs a pending business deal the network has made with shadowy Arab investors, and it is decided that his show needs to be cancelled (with extreme prejudice). Besides, his ratings are slipping.

The most famous scene in the film is Beale’s “I’m mad as hell and I’m not going to take it anymore” tirade, a call to arms (borne from a “cleansing moment of clarity”) for viewers to turn off the tube, break the spell of their collective stupor, literally stick their heads out the window and make their voices heard. It’s a memorable and inspired set piece.

For me, the most defining scene is between Beale and Arthur Jensen (CEO of “CCA”-wonderfully played by Ned Beatty). Jensen is calling Beale on the carpet for publicly exposing a potential buyout of CCA by shadowy Arab investors. Cognizant that Beale is crazy as a loon, yet still a cash cow for the network, Jensen hands him a new set of stone tablets from which to preach-the “corporate cosmology of Arthur Jensen”. I think it is screenwriter Chayefsky’s finest monologue.

Beatty picked up a Best Actor in a Supporting Role Oscar (just for that one scene!). The entire cast is superb. Faye Dunaway, who won a Best Actress statue for her performance, steals all of her scenes as Diana Christenson, the soulless, ratings obsessed head of development who schemes to turn Beale’s mental illness into revenue (“You’re television incarnate, Diana,” Max tells her at one point.) William Holden was nominated for Best Actor, for scenes like this:

Holden lost to fellow cast member Peter Finch, who was awarded with a Best Actor Oscar posthumously (sadly, he passed away shortly after filming wrapped). I have to say, that particular monologue about “primal doubts” is much more resonant to me at age 70 than it was the first time I saw Network during its first theatrical run in 1976 at age 20.

Another well-deserved Oscar went to Beatrice Straight. She had a bit more screen time than Ned Beatty, but likewise earned her statue for one particular scene (and it’s a doozy).

Robert Duvall was curiously overlooked for his indelible performance as corporate “hatchet man” Frank Hackett; but the Academy did award a statue to Paddy Chayefsky for Best Writing, Screenplay Written Directly for the Screen. Sidney Lumet was nominated for Best Director, and the film nominated for Best Picture, but lost to Rocky in both categories.

Fans of the film will be happy to learn that it has (finally!) been given the Criterion treatment. The package features a new 4K digital restoration, which is a noticeable picture upgrade from all previous editions (I’ve owned them all), and a crisp uncompressed monaural soundtrack.

Extras include an archival audio commentary by the late director, Paddy Chayefsky: Collector of Words (2025), an excellent feature-length documentary about the screenwriter by Matthew Miele (it premiered last year on TCM), a six-part “making of” documentary from 2006, and an insightful written essay by writer and New York Times columnist Jamelle Bouie.

Previous posts with related themes:

One scene to the next: RIP Robert Duvall

10 Great American Satires

Cold War, Nuclear Paranoia, On Politics, Post-apocalypse

Starring red buttons: Criterion reissues Testament (****)

March 23, 2026 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 21, 2026)

“The atomic bomb made the prospect of future war unendurable. It has led us up those last few steps to the mountain pass; and beyond there is a different country.”

-J. Robert Oppenheimer

Well, this happened a few days ago:

Trump: "Some of this weaponry is unthinkable. You don't even want to know about it. Oh, you could end this thing in two seconds if you wanted to."

— Aaron Rupar (@atrupar.com) 2026-03-19T16:02:56.666Z

Oh…did I mention that the president made that bellicose reference to nuking Iran with the Prime Minister of Japan sitting right next to him?

This was not an anomaly. A pattern has emerged, as I noted last year:

Now, I don’t mean to be alarmist, but I recently posted this on Bluesky:

I know, I know…there is enough happening right now to keep you up nights without adding that old chestnut to the mix. That said…there must be something in the air:

As Netflix hit “Adolescence” continues to make waves and potentially inspire policy, the team behind it has turned its attention to a new impactful project – a “Threads” reboot.

Warp Films has confirmed it will be turning the BBC’s pivotal TV film into a series. For those unfamiliar, “Threads” aired on BBC Two in 1984 and depicted the devastating effects of a fictional nuclear apocalypse.

Mark Herbert, founder and chief exec of Warp, said: “Threads was, and remains, an unflinchingly honest drama that imagines the devastating effects of nuclear conflict on ordinary people. This story aligns perfectly with our ethos of telling powerful, grounded narratives that deeply connect with audiences.

“Re-imagining this classic film as a TV drama gives us a unique opportunity to explore its modern relevance.”

Emily Feller, chief creative officer and exec producer, added: “This adaptation will allow us to uncover fresh interpretations in light of today’s world. We imagine highlighting how resilience and connection can offer hope even in the most challenging of times. […]

Not much else is known about the reboot at this stage, or which, if any, original cast members might make a return.

Threads debuted on the BBC in 1984, later airing in the U.S. on TBS. Director Mick Jackson delivers an uncompromising realism that makes The Day After (the 1983 U.S. TV drama that depicted the aftermath of nuclear war on an American city) look like a Teletubbies episode. It’s a speculative narrative that takes a medium sized city (Sheffield) and depicts what would likely happen to its populace during and after a nuclear strike, in graphic detail. The message is simple and direct-nothing good comes out of a nuclear conflict. It’s a living, breathing Hell for all concerned-and anyone “lucky” enough to survive will soon wish they were dead.

There was a proliferation of Cold War nuclear paranoia films in the 80s. In addition to the aforementioned made-for-TV movies Threads and The Day After, other notable releases included the funny-scary doc Atomic Cafe (1982), the riveting made-for-TV thriller Special Bulletin (1983), and the feature films War Games (1983), One Night Stand (Australia, 1984), The Manhattan Project (1986), the animated drama When the Wind Blows (UK, 1986) and Miracle Mile (1988).

There was definitely “something in the air” in the early 80s, vis-à-vis the looming specter of global thermonuclear annihilation. The 1980 Soviet invasion of Afghanistan led to America’s withdrawal from the SALT II arms treaty (signed by President Carter and Soviet leader Leonid Brezhnev in 1979, the treaty had limited the total of both nations’ nuclear forces to 2,250 delivery vehicles). When President Reagan took office in 1981, he wasted no time ratcheting up anti-Red rhetoric and aggressive posturing toward the USSR (UK PM Margaret Thatcher added her twopence to the chiding, further fueling the unease).

1983 was a particularly dicey year on the nuclear front, beginning with Reagan’s infamous “evil empire” speech in March (he was addressing the National Association of Evangelicals). That was also the year that Reagan proposed his so-called “Star Wars” defense strategy (aka the Strategic Defense Initiative) which he envisioned as a space-based shield. Critics (and the Soviets, unsurprisingly) took the view that this would increase the threat of a nuclear war by giving the U.S. a more assured first-strike capability.

1983 also saw mobile, intermediate-range Pershing II ballistic missiles deployed by the U.S. Army at American bases in West Germany and aimed at targets in the western Soviet Union. And then there were two unnervingly close calls in the Fall of that year:

At the height of the Cold War, the Soviets designed an early-warning radar system meant to track fast-moving threats to increase the chance of reprisal. On September 26, 1983, however, the system, code-named Oko, malfunctioned. At around midnight, Oko’s alarms rang out, alerting the base of one incoming nuclear missile. The screen read, “LAUNCH,” which was not a warning, but an automatic order to prepare for retaliation.

Believing that a U.S. intercontinental ballistic missile (ICBM) was incoming, the base went into a panic. However, some officers on duty were skeptical that the United States would choose to send only one ICBM, knowing that it could not affect the Soviets’ counter-strike capability. Stanislov Petrov, an officer that helped create the code for the early-warning software, also knew that Oko was prone to error. He reset the system, but the alarms persisted.

Rather than following protocol, which entailed alerting superiors up the chain of command, Petrov awaited corroborating evidence. No evidence came, and the alarms soon stopped. Petrov’s actions, or inaction, almost certainly averted a nuclear disaster.

Just 11 days later, NATO forces in Brussels took part in a joint military exercise that simulated a response to a hypothetical Soviet nuclear attack. The exercise was code-named Able Archer 83.

The primary purpose of the exercise was to test the command-and-control procedures for NATO’s nuclear forces in the event of a global crisis. Unlike previous wargames, however, Able Archer 83 featured new elements specifically meant to confuse and disorient the Soviets.

KGB observers alerted Moscow of the unusual activity, and paranoia set in. Working off dubious intelligence that a NATO offensive against the U.S.S.R. could be cloaked under the guise of a military exercise, the Soviets began preparations for a large-scale retaliation. Then Soviet leader Yuri Andropov mobilized entire military divisions, transported nuclear weapons to their launch sites, and scrambled a fleet of bombers carrying nuclear warheads. Military command handed Andropov the nuclear briefcase, known in Russia as the “cheget.”

Lenoard Perroots, a high-ranking intelligence officer for the U.S. Air Force stationed in Europe, observed that the Soviets were responding as though the exercise was real. In what the Foreign Intelligence Advisory Board has called a “fortuitous, if ill informed” decision, Perroots did not reciprocate by raising western asset alert levels. Instead, he waited. The Soviets eventually realized that the exercise was not a surprise attack and aborted their planned response.

This was the shaky and unsettling political climate in November of 1983, which is when Testament, a modestly budgeted PBS Playhouse production, opened in theaters. The official PBS premiere wasn’t until a year later in November of 1984; the film had been so well-received in previews that Paramount Pictures gave it a theatrical release (while this has become standard practice for production/streaming studios like Amazon, Apple TV+ and Netflix, it was unusual for the time).

“They” say that history is, if anything, cyclical. As Fate would have it, not two days before the current occupant of the White House whimsically mused “Oh, you could end this thing in two seconds if you wanted to” within earshot of the prime minister of the only nation on earth to date that has experienced the horrific effects of nuclear war firsthand, Criterion has reissued Testament on Blu-ray.

Beautifully directed by Lynne Littman, Testament (with a screenplay adapted by John Sacred Young from a story by Carol Amen) takes a low key approach, but pulls no punches; I think this is what gives her film’s anti-nuke message more teeth and makes its scenario more relatable than Stanley Kramer’s similarly-framed but more sanitized and preachy 1959 drama On the Beach (or more contemporaneously, the relatively histrionic and sensationalistic 1983 TV movieThe Day After).

Jane Alexander (who received a well-deserved Best Actress nomination for her work here), her husband (William DeVane) and three kids (Roxana Zal, Ross Harris, Lukas Haas) live in sleepy Hamlin, California, where afternoon cartoons are interrupted by a news flash that nuclear explosions have occurred in New York. Then there is a flash of a different kind when nearby San Francisco (where DeVane has gone on a business trip) receives a direct strike.

There is no exposition on the political climate that precipitates the attacks; this is a wise decision, as it puts the focus on the humanistic message of the film. All of the post-nuke horrors ensue, but they are presented sans the melodrama that informs many entries in the genre. The fact that the nightmarish scenario unfolds so deliberately, and amidst such everyday suburban banality, is what makes it very difficult to shake off.

As the children (and adults) of Hamlin succumb to the inevitable scourge of radiation sickness and steadily “disappear”, like the children of the ‘fairy tale’ Hamlin, you are left haunted by the final line of the school production of “The Pied Piper” glimpsed earlier in the film… “Your children are not dead. They will return when the world deserves them.”

Criterion’s Blu-ray features a new, director-approved 4K digital restoration. The new print is gorgeous; a night and day upgrade from the 2004 Paramount DVD (which I will now happily retire). Criterion has ported over two of the extra features from the Paramount release, Testament at 20 (featuring a moving 2004 reunion of the director and principal cast) and Nuclear Thoughts (featuring nuclear science experts)

Other extras include an engaging new conversation between Sam Wasson and director Littman (she has had a fascinating career), two restored short documentaries by Littman (from 1976 and 1985), and an audio recording of Jane Alexander reading the short story “The Last Testament” (on which the film was based).

Highly recommended…watch it while you can. And don’t forget to say your prayers.

One more thing…

More 80s Cold War nostalgia- Siskel & Ebert’s Testament review:

Previous posts with related themes:

Yes, We Will All Go Together When We Go

“85 Seconds!” Said the Ticktock Man

All This and World War III: A mixtape

Five

Until the End of the World

The Road

Godzilla: The Showa Era Films

The Day the Earth Caught Fire

Pandora’s Promise

The Atomic States of America

Top 10 End of the World Movies

Drama, On Music, Rock 'n' Roll

Blu-ray reissue: Slade in Flame (***)

September 29, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

Slade in Flame (BFI; Region ‘B’ only)

Akin to Mott the Hoople, it may be arguable among music geeks as to whether Slade was truly “glam” (they were a bit on the “blokey” side- as the Brits would say), but they are nonetheless considered so in some circles, and this 1974 film was released during the heyday of space boots and glitter, so there you go.

The directorial debut for Richard Loncraine (Brimstone and Treacle, The Missionary, Richard III) the film is a gritty, semi-biographical “behind the music” drama (don’t expect A Hard Day’s Night) about a working-class band called Flame (suspiciously resembling the four members of Slade, wink-wink) who get chewed up and spit out of the star-making machine (this just in: managers and A & R people are back-stabbing weasels).

It’s admittedly not a genre masterpiece, but the film is bolstered by a great soundtrack (all Slade originals, naturally) and the casting of Tom Conti (playing a soulless record exec with great aplomb). An amusing scene where lead singer Noddy Holder’s character gets locked into a stage coffin presages a similar hardware malfunction depicted in This Is Spinal Tap. Another memorable scene has the band risking life and limb to access the broadcast booth for an on-air interview at an offshore pirate radio station (the story is set in the late 60s).

BFI’s 2025 remastered Blu-ray edition is a vast improvement over Shout! Factory’s 2004 DVD, in both image and sound quality. Extras include a newly recorded audio commentary with the director and film critic Mark Kermode, a new 9-minute interview with Tom Conti, a 54-minute 2002 interview with Noddy Holder, and more. Note: Requires an all-region player.

Drama, On Music, Rock 'n' Roll

Blu-ray reissue: Breaking Glass (***1/2)

September 29, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

Breaking Glass (Fun City Editions)

Released on the cusp of the Thatcher era, writer-director Brian Gibson’s 1980 film is a No Wave take on A Star is Born, with a nod to the classic UK kitchen sink dramas of the 1960s. 26 year-old singer-songwriter Hazel O’Connor delivers a naturalistic performance as a disenfranchised young gas station attendant who aspires to be a rock star…but strictly on her own terms. To wit, the lyrics she furiously scribbles into her notebook are not exactly “moon-June” love sonnets; take “Big Brother”, for instance:

They’ll tear out your heart, throw it knee-deep in a cart
Cause that’s what they do with the scum like me and you
And you feel as if you died, whilst you’re standing on the line
And you wonder all the time why can’t you cry?
But the people in control don’t care for you
They are just a robot with a job to do
And when your used, exhausted, they’ll be rid of you
As soon as look at you, go to the back of the queue!

Not destined to be a chart-climber, that one. Despite the ridicule and sexism she constantly weathers, she eventually gets the attention of a street-hustling manager (Phil Daniels) who sees her potential and helps her put a decent band together (including a young Jonathan Pryce on sax). However, when she lands a recording contract, the inevitable compromises begin once a more seasoned, smooth-talking (and weaselly) industry exec (Jon Finch) begins to wrest control of her career (let the eternal battle between Art and Commerce commence).

O’Connor does her own singing (she also co-wrote the songs with soundtrack producer Tony Visconti). I see the film as a companion piece to Lou Adler’s 1981 Ladies and Gentlemen, the Fabulous Stains and Gillian Armstrong’s 1982 rock musical Starstruck (I wrote about both films here).

Fun City’s 2025 edition is a bit light on extras, but boasts a long-overdue restoration, improved audio, and (most notably) reinstates the original UK cut (the previous Olive Films reissue was not restored, and featured the U.S. cut, which is 10 minutes shorter).

Cult Movie, Mockumentary, On Music, Rock 'n' Roll

Blu-ray reissue: This is Spinal Tap (****)

September 29, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

This is Spinal Tap (The Criterion Collection)

“May I start by saying how thrilled we are to have you here. We are such fans of your music and all of your records. I’m not speaking of yours personally, but the whole genre of the rock and roll.”

– Lt. Hooksratten (played by Fred Williard), from This is Spinal Tap

Has it really been 41 years since one of the loudest English bands that never lived set off to “tap into America” on their imaginary comeback tour? (Checks calendar) Yes, that tracks. Director Rob Reiner co-wrote this 1984 mockumentary with Christopher Guest, Harry Shearer and Michael McKean, who play Spinal Tap founders Nigel Tufnel (lead guitar), Derek Smalls (bass) and David St. Hubbins (lead vocals and guitar), respectively (several actors portray the band’s revolving door of drummers, who tend to meet untimely ends such as spontaneous combustion, “a bizarre gardening accident”, and perhaps most famously, choking on “somebody else’s vomit”).

Reiner casts himself as “rockumentary” filmmaker Marty DiBergi (a goof on Martin Scorsese, who similarly interjected himself into The Last Waltz) who accompanies the hard rocking outfit on a tour of the states (“their first in six years”) to support the release of their new LP “Smell the Glove” (DiBergi has been a fan since first catching them at the “Electric Banana” in Greenwich Village in 1966).

By the time the film’s 84 minutes have expired, no one (and I mean, no one) involved in the business of rock ’n’ roll has been spared the knife-musicians, roadies, girlfriends, groupies, fans, band managers, rock journalists, concert promoters, record company execs, A & R reps, record store clerks…all are bagged and tagged.

Nearly every scene has become iconic in muso circles; ditto the plethora of quotable lines: “These go to eleven.” “I mean, it’s not your job to be as confused as Nigel.” “You can’t really dust for vomit.” “It’s such a fine line between stupid and clever.” “No…we’re NOT gonna fucking do ‘Stonehenge’!” “We’ve got armadillos in our trousers-it’s really quite frightening.”

The great supporting cast includes Tony Hendra (who steals all his scenes as the band’s prickly manager, clearly modeled after Led Zeppelin’s infamously fearsome handler Peter Grant), Bruno Kirby, Ed Begley, Jr., Fran Drescher, Parick Macnee, June Chadwick, Billy Crystal (“C’mon…mime is money!”), Howard Hesseman, Paul Shaffer, and Fred Williard.

Third time’s a charm for Criterion, who released previous editions on LaserDisc and DVD. The label does their usual voodoo with a sparkling new 4K transfer (supervised and approved by director Reiner) and 5.1 Surround DTS MasterAudio (“Big Bottom”, “Hell Hole”, and “Sex Farm” have never sounded so…robust).

Extras include an engaging conversation between Rob Reiner and Spinal Tap superfan Patton Oswalt, three audio commentaries, media appearances, trailers, and music videos. The 90 minutes of outtakes is a real treat for fans of the film; when you see the quality of what ended up on the cutting room floor, you marvel even more at the cast’s improvisational skills (Reiner had 100 hours of footage to pare down).

Comedy, Drug Culture, Male Bonding, Road Movie

Blu-ray reissue: Withnail & I (****)

July 28, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

Withnail & I (Criterion Collection)

Writer-director Bruce Robinson’s 1987 study of two impoverished actors slogging through 1969 London with high hopes and low squalor has earned a devoted cult following (guilty as charged). Richard E. Grant excels as the decadently wasted Withnail, ably supported by Paul McGann (he would be the “I”).

The two flat mates, desperate for a break from their cramped, freezing apartment and mutual descent into creeping fear and paranoia, take a trip to the country, where Withnail’s rich eccentric uncle (Richard Griffiths) keeps a cottage. There are so many quotable lines (“We want the finest wines available to humanity. And we want them here, and we want them now!” or “We’ve gone on holiday by mistake.”). Ralph Brown nearly steals the film as Danny the drug dealer.

Previous DVD and Blu-ray editions have been frustratingly problematic in terms of image and/or sound quality (I think I’ve owned them all), but the 2025 Criterion edition finally puts those issues to rest with a proper 4K restoration (granted, the film was purposely shot in low light and muted brown and grey tones to match the characters’ melancholic mood; still, this is the best print I’ve seen to date). Extras include two audio commentaries, a new short with Robinson and Grant, and Withnail and Us (1999), a documentary on the making of the film.

Action, Adventure, Royal Intrigue

Blu-ray reissue: The Three Musketeers / The Four Musketeers (***1/2)

July 28, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

The Three Musketeers/The Four Musketeers (Criterion Collection)

I try to avoid utilizing trite descriptive phrases like “rollicking adventure” – but prithee forgive me, good sir or madam if I doth declare Richard Lester’s diptych to be a right rollicking adventure, indeed (bet you’re glad I didn’t say “bawdy romp”). This umpteenth adaptation of Alexandre Dumas’s classic swashbuckler (screenplay by George MacDonald Fraser) was filmed in one shoot but released in 1973 and 1974.

Aside from some light court intrigue, both films tend to forgo any deep narrative exposition in favor of acrobatic swordplay and door-slamming slapstick…but are you not entertained? How could you not be with such a fabulous cast: Musketeers Michael York, Oliver Reed, Frank Finlay, and Richard Chamberlain are ably supported by the likes of Raquel Welch, Faye Dunaway, Geraldine Chaplin, Charlton Heston, and Roy Kinnear. Colorful, exciting, frequently hilarious and rich in period detail, it’s perfect escapism.

Criterion’s 2025 double disc set features gorgeous new 4K restorations of both films. Extras include a new documentary by critic David Cairns, a 1973 featurette with behind-the-scenes footage of director Richard Lester, and a written essay by film critic Stephanie Zacharek.

Action, Adventure, Corporate Intrigue, Neo-Noir

Blu-ray reissue: Sorcerer (****)

July 28, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

Sorcerer (Criterion Collection)

The time is ripe for a re-appraisal of William Friedkin’s expertly directed, terrifically acted update of Henri-Georges Clouzot’s classic 1953 noir, The Wages of Fear. This existential action adventure (which I think is closer in spirit to Herzog’s Aguirre, the Wrath of God than Clouzot’s original film) was greeted with indifference by audiences and critics when it was released in 1977. Maybe it was the incongruous title, which likely led many to assume it would be in the vein of his previous film (and box-office hit), The Exorcist. Then again, it was tough for any other film to garner attention in the immediate wake of Star Wars.

Roy Scheider heads a superb international cast as a desperate American on the lam in South America, who signs up for a job transporting a truckload of nitroglycerin through rough terrain. Excellent screenplay by Walon Green. Tangerine Dream provides a memorable soundtrack. They don’t make ‘em like this anymore-a genuinely pulse-pounding adventure that slips in a fair amount of subversive political commentary.

Criterion’s 4K restoration displays a marked improvement in image quality over the relatively bare bones 2016 Warner Blu-ray edition. Extras include the excellent full-length 2018 documentary Friedkin Uncut, a new conversation between filmmaker James Gray and film critic Sean Fennessey, a written essay by film critic Justin Chang, and more.

Conspiracy a-go-go, Family Issues, Mystery, Neo-Noir

Blu-ray reissue: Night Moves (****)

July 28, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 26, 2025)

Night Moves (Criterion Collection)

Set in Los Angeles and the sultry Florida Keys, Arthur Penn’s 1975 sleeper stars the late Gene Hackman as a world-weary private investigator with a failing marriage, who becomes enmeshed in a case involving battling ex-spouses, which soon slides into incest, smuggling and murder.

As always, Hackman’s character work is top-notch. Also with Jennifer Warren (in a knockout, Oscar-worthy performance), Susan Clark, Edward Binns, Harris Yulin, James Woods and Melanie Griffith (her first credited role). Alan Sharp’s intelligent, multi-layered screenplay parallels the complexity of the P.I.’s case with ruminations on the equally byzantine mystery as to why human relationships almost seem engineered to fail. One of the best neo-noirs of the 1970s.

Criterion’s 2025 reissue marks the third edition of this film I’ve owned; the image quality of the new 4K digital restoration handily tops all previous home video versions. Extras include a new audio commentary by Matthew Asprey Gear, author of Moseby Confidential (a terrific read for fans of the film), a new audio interview with actor Jennifer Warren, a written essay by critic Mark Harris, and more.

Con Game, Cult Movie, Dramedy, Heist Caper

Blu-ray reissue: The Linguini Incident (***)

January 27, 2025 Dennis Hartley

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25, 2025)

The Linguini Incident (MVD Marquee Collection)

While this film was originally released to theaters in 1992, it may be a misnomer to label the 2024 Blu-ray as a “reissue”, due to the project’s strange and byzantine history. As director/co-writer Richard Shepard explains:

The movie was taken away from me, re-cut, barely released, and opened on the weekend of the 1992 L.A. riots. Even though it garnered some nice reviews, many missed the point (I believe the San Francisco Chronicle complained about the number of trees that were destroyed printing the script), and the film soon disappeared onto dusty video store racks of unloved VHS, and inglorious midnight cable runs. Still, the film had its ardent fans, but the fact was — I wasn’t one of them. […] The film was released at various times [in different cuts and lengths] not only as The Linguini Incident but also as Houdini & Co., The Robbery, The Restaurant, The Incident, and yes, Shag-a-Rama.

The director expounds further in that essay, which is included in the accompanying booklet-it’s quite a saga. So what version is on the 2024 Blu-ray? Well, it’s what one assumes to be the ultimate (and belated) director’s cut (which according to Shepherd is essentially a new film).

Having never seen any of the previous (and next to impossible to find) versions, I can’t compare the newly minted cut to anything but itself-which I found to be a quirky, uneven but ultimately fun and undemanding 90-minute caper dramedy.

I’ll admit to never having even heard of the film until this release; what intrigued me to check it out was a.) David Bowie’s involvement and b.) Shepherd at the helm (huge fan of his hit man dramedy The Matador). The main attractions here are the two leads (Bowie and Rosanna Arquette) and the New York City setting. While it was shot in 1990, the film shares an identifiable vibe with 1980s “downtown scene” time capsules like Desperately Seeking Susan, Liquid Sky, After Hours, Smithereens, and Downtown 81.

MVD’s package includes a sparkling 4K transfer of the new cut; the original theatrical cut (not restored), a full-length documentary about the making of the film, and a commentary track with the director and members of the cast and crew. Perhaps not essential viewing for all tastes, but a definite must-have for Bowie completists (guilty!).