Upon its release in 1980, Brian De Palma's Dressed to Kill was as acclaimed for its stylish set-pieces and lush Pino Donaggio score as it was condemned for its sexual explicitness but the glee with which the writer/director turns this material inside out is completely infectious, as he delves deep inside the troubled psyches of his characters to undermine expectations at every turn. After sexually frustrated housewife Kate Miller (Angie Dickinson) has a session with her psychiatrist, Dr Elliott (Michael Caine), she silently seduces a man in an art gallery an assignation that ends in murder and the only witness, high-class prostitute Liz Blake (Nancy Allen), being stalked by the killer in turn. One of De Palma's darkest and most controversial suspense thrillers, Arrow Video is proud to present this iconic neo-Hitchcockian masterwork in stunning 4K alongside a raft of archival and newly commissioned bonus features. 4K ULTRA HD LIMITED EDITION CONTENTS ¢ 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible) ¢ Original lossless 1.0 mono soundtrack ¢ Optional lossless 5.1 soundtrack ¢ Optional English subtitles for the deaf and hard of hearing ¢ Brand new audio commentary by critics Drusilla Adeline and Joshua Conkel ¢ Audio commentary by critic Maitland McDonagh ¢ Beyond Good and Evil, a brand new visual essay by critics BJ and Harmony Colangelo ¢ The Empathy of Dressed to Kill, a brand new visual essay by critic Jessica Crets ¢ Strictly Business, a 2022 interview with actress Nancy Allen ¢ Killer Frames, a 2022 interview with associate producer/production manager Fred C. Caruso ¢ An Imitation of Life, a 2022 interview with actor Keith Gordon ¢ Archival interviews with actors Angie Dickinson, Nancy Allen and Keith Gordon, and producer George Litto ¢ The Making of a Thriller, an archival documentary on the making of the film ¢ Unrated, R-rated and TV-rated comparison featurette ¢ Slashing Dressed to Kill, an archival featurette examining the changes made to avoid an X rating ¢ Photo gallery ¢ Theatrical trailer ¢ Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx ¢ Collector's booklet featuring new writing on the film by Sara Michelle Fetters, Alexandra Heller-Nicholas, Matthew Sorrento and Heather Wixson
Arthur Penn's chronicle of hippie life during the late 1960s garnered the acclaimed director his second Oscar nomination. Based on the song by folk music troubadour Arlo Guthrie son of legendary ""Dust Bowl"" balladeer Woody Guthrie this tribute film to ""the last generation"" features memorable scenes with other folk artists like Pete Seeger who join Arlo in song to make a profound statement about war protest and change. In the late '60s a changing social and political climate inspi
This release contains two suspenseful horror films from the 1960s: VILLAGE OF THE DAMNED and CHILDREN OF THE DAMNED.
After sexually frustrated housewife Kate Miller (Angie Dickinson) has a session with her psychiatrist Dr Elliott (Michael Caine) she silently seduces a man in an art gallery an assignation that ends in murder and the only witness high-class prostitute Liz Blake (Nancy Allen) being stalked by the killer in turn. One of Brian De Palma's darkest and most controversial suspense thrillers Dressed to Kill was as acclaimed for its stylish set-pieces and lush Pino Donaggio score as it was condemned for its sexual explicitness and blatant borrowings from Alfred Hitchcock in general and Psycho in particular. But the glee with which De Palma turns this material inside out is completely infectious as he delves deep inside the troubled psyches of his characters (critic Pauline Kael said that the film was permeated with the distilled essence of impure thoughts) in order to undermine expectations at every turn. Special Features: High Definition Blu-ray (1080p) presentation of the feature Optional original uncompressed Mono 2.0 Audio and DTS-HD Master Audio 5.1 Surround Sound Optional English SDH subtitles for the deaf and hard of hearing Symphony of Fear: Producer George Litto discusses his working relationship with Brian De Palma Dressed in White: Star Angie Dickinson on her role in the film Dressed in Purple: Star Nancy Allen discusses her role in the film Lessons in Filmmaking: Actor Keith Gordon discusses Dressed to Kill The Making of a Thriller – A documentary on the making of Dressed to Kill featuring writer-director Brian De Palma George Litto stars Angie Dickinson Nancy Allen Dennis Franz and more! Unrated R-Rated and TV-Rated Comparison Featurette Slashing Dressed to Kill – Brian De Palma and stars Nancy Allen and Keith Gordon discuss the changes that had to be made to avoid an X-rating Original Theatrical Gallery Reversible sleeve with original and newly commissioned artwork by Nathanel Marsh Collector’s booklet featuring new writing on the film by critic and author Maitland McDonagh illustrated with original archive stills and promotional material “Filled to the brim with DePalma's characteristic visual flair Dressed to Kill is an amazing film just to look at” - Reel Film
To condemn Dressed to Kill as a Hitchcock rip-off is to miss the sheer enjoyment of Brian De Palma's delirious thriller. Homages to Hitchcock run rampant through most of De Palma's earlier films, and this one's chock-full of visual quotes, mostly cribbed from Vertigo and Psycho. But De Palma's indulgent depravity transcends simple mimicry to assume a vitality all its own. It's smothered in thickly atmospheric obsessions with sex, dread, paranoia, and voyeurism, not to mention a heavy dose of Psycho-like psychobabble about a wannabe transsexual who is compelled to slash up any attractive female who reminds him--the horror--that he's still very much a man. Angie Dickinson plays the sexually unsatisfied, forty-something wife who's the killer's first target, relaying her sexual fantasies to her psychiatrist (Michael Caine) before actually living one of them out after the film's celebrated cat-and-mouse sequence in a Manhattan art museum. The focus then switches to a murder witness (De Palma's then-girlfriend Nancy Allen) and Dickinson's grieving whiz-kid son (Keith Gordon), who attempt to solve the murder while staying one step ahead (or so they think) of the crude detective (Dennis Franz) assigned to the case. Propelled by Pino Donaggio's lush and stimulating score, De Palma's visuals provide seductive counterpoint to his brashly candid dialogue, and the plot conceals its own implausibility with morbid thrills and intoxicating suspense. If you're not laughing at De Palma's shameless audacity, you're sure to be on the edge of your seat. --Jeff Shannon, Amazon.com
Hard-bitten air force major Frank Cross (Dolph Lundgren) has become the people's hero and his superior's villain by defying orders in order to fly a mercy mission to help starving Kurds. Unable to punish him the Pentagon assigns him to the President (Roy Scheider) as the guardian of his 'black bag' - a high-tech briefcase containing the 'go-codes' for launching America's nuclear arsenal. In a violent ambush terrorist grab the briefcase and hurl Cross off a 10th floor balcony but you can't kill Cross that easily! Following an explosive chase across land sea and air the heavily armed terrorists stage a vicious takeover of a Baltic missile factory. Unleashing a catastrophic warning shot they launch a Peacekeeper nuclear missile that destroys Mount Rushmore. Then their chilling demands are made - unless the President kills himself on live TV more nuclear strikes will be targeted on Washington DC! The Peacekeeper is about to go to war.
One of Woody Allen's best-loved films, this won three richly deserved Oscars* (for Michael Caine, Dianne West and the screenplay) and is a joy from start to perfectly-judged finish. Hannah (Mia Farrow) is a devoted wife, loving mother and successful actress. She's also the emotional backbone of the family, and her sisters Lee (Barbara Hershey) and Holly (Dianne West) depend on this stability while also resenting it because they can't help but compare Hannah's seemingly perfect life with theirs. But with her husband Elliott (Michael Caine) becoming increasingly interested in Lee, it's clear that Hannah might have problems of her own. An unusually strong supporting cast includes Allen himself as Hannah's existentially-conflicted ex-husband and Max von Sydow as a perfectionist artist, but it's Caine who practically steals the film as a middle-aged man behaving like a lovesick teenager. It also has some of Allen's greatest one- liners, with a philosophical discussion about the nature of good and evil getting shot down with How should I know why there were Nazi's, I don't even know how the can opener works *Best Actor in a Supporting Role (Caine) *Best Actress in a Supporting Role (Wiest) *Best Writing, Screenplay, Written Directly for the Screen Product Features Theatrical Trailer
Captain Collier (Patrick Allen) and his band of sailors show up to an English coastal town to investigate reports of Marsh Phantoms who ride by night spreading terror to the town. The Captain suspects that the local reverend (Peter Cushing) might be hiding something. Are the phantoms genuine or a cover for illegal smuggling activities?
Asian American director Ang Lee sums up America in the early 1970s by focusing on the arrival of the sexual revolution in the 'burbs. Isolationism within a family, consumerism, and selfishness are personified by a cast that captures the self-obsession within two New England families. As the children struggle awkwardly with adolescence, their parents stumble through sexual experimentation. In the days of Watergate and Vietnam, society is breaking boundaries and ignoring convention. Following suit, these families are eschewing polite barriers and social taboos, with disastrous results. The Ice Storm of the title refers not only to a natural phenomenon but is a (rather heavy-handed) metaphor for a pervasive emotional temperament. The entire cast delivers textured, finely nuanced performances. This movie lingers in the psyche not only for the scope of the tragedy at its conclusion, but for Lee's often humorous and stingingly accurate assessment of pop culture. Based on Rick Moody's novel, this won the best-screenplay award at Cannes in 1997. --Rochelle O'Gorman
Amid the gush of early '80s low-budget backwoods horror, only one lost classic brought together softcore sex, hardcore violence, Satanic sex cults and a limb-tearing, gut-slinging, dick-ripping beast for the best and bloodiest Bigfoot movie ever made. (Buried.com): When a group of Anthropology students heads deep into the forest to investigate a series of Sasquatch attacks, they'll discover an immortal brain-blast of crazy hermits, mutilated Girl Scouts, interspecies copulation and one of the goriest final scenes in the whole history of splatter flicks (A Slash Above). Producer/co-writer Jim L. Ball and director James C. Wasson deliver an anti-masterpiece that moves like a bullet, unlike anything you've ever seen (Mondo Digital) now scanned in 4K from the recently discovered 35mm answer print with over 5½ hours of Special Features on two discs. Extras: DISC 1 Exclusive Slip Case Just A Little Green Kid Outta Waco, Texas - Interview With Producer Jim L. Ball The Demon Made Me Do It - Interview With Director James C. Wasson Eye Of The Demon - Interview With Cinematographer John Quick FRATERNITY OF HORROR - Previously Unreleased 1964 Feature Produced By Jim L. Ball And hot By John Quick Trailer DISC 2 Cryptid Currency: Transgression Aggression In Bigfoot Cinema - Video Essay By David Coleman, Author Of The Bigfoot Filmography Tales From The Cryptid - Interview With Stephen R. Bissette, Co-Author Of Cryptid Cinema Deconstructing Patty - Interview With William Munns, Author Of When Roger Met Patty Mondo Bigfoot - Interview With Lyle Blackburn, Author Of Boggy Creek Casebook BAN THE SADIST VIDEOS! BAN THE SADIST VIDEOS! PART 2 My Nasty Memories - Interview With BAN THE SADIST VIDEOS! Director David Gregory
Captain Collier (Patrick Allen) and his band of sailors show up to an English coastal town to investigate reports of Marsh Phantoms who ride by night spreading terror to the town. The Captain suspects that the local reverend (Peter Cushing) might be hiding something. Are the phantoms genuine or a cover for illegal smuggling activities?
Scott Calvin (Tim Allen) has been Santa Claus for the past eight years, and his loyal elves consider him the best Santa ever. But Santa's got problems and things quickly go south when he finds out that his son has landed on this year's "naughty" list!
The Last Detail nearly didn't get a release. Columbia, for whom it was made, was alarmed by the movie's barrage of profanity and resented the unorthodox working style of its director, Hal Ashby, who loathed producers and made no secret of it. Only when the film picked up a Best Actor Award for Jack Nicholson at Cannes did the studio reluctantly grant it a release--with minimal promotion--to widespread critical acclaim. Nicholson, in one of his best roles, plays "Bad-ass" Buddusky, a naval petty officer detailed, along with his black colleague "Mule" Mulhall (Otis Young), to escort an offender from Virginia to the harsh naval prison at Portsmouth, NH. The miscreant is a naïve youngster, Meadows (Randy Quaid), who's been given eight years for stealing $40 from his CO's wife's favourite charity. The escorts, at first cynically detached, soon start feeling sorry for Meadows and decide to show him a good time in his last few days of freedom. Ashby, a true son of 60s counterculture, avidly abets the anti-authoritarian tone of Robert Towne's script. Meadows is a sad victim of the system--but so too are Buddusky and Mulhall, as they gradually come to realise. A lot of the film is very funny. Nicholson gets to do one of his classic psychotic outbursts--"I am the fucking shore patrol!"--and there are some pungent scenes of male bonding pushed to the verge of desperation. But the overall tone is melancholy, pointed up by the jaunty military marches on the soundtrack. Shot amid bleak, wintry landscapes, in buses and trains and grey urban streets, The Last Detail is a film of constant, compulsive movement going nowhere--a powerful, finely acted study of institutional claustrophobia. On the DVD: The Last Detail disc doesn't have much in the way of extras. There are abbreviated filmographies for Ashby, Nicholson and Quaid (though not for Young) and a trailer for A Few Good Men (1992). The mono sound comes up well in Dolby Digital, and the transfer preserves DoP Michael Chapman's subtle, subfusc palette and the 1.85:1 ratio of the original. --Philip Kemp
Those nasty little puppets are back to wreack more havoc and take care of some unfinished business. Joined by 'Torch' the newest member of the sinister troop the puppets exhume their beloved creator 'Toulon' and gather the brain matter that keeps them alive. Yet the puppetmaster has a deadly plan of his own.
After the drudgery of Sudden Impact, the third and worst sequel to Dirty Harry, no one could have expected the fourth to have any signs of life. But The Dead Pool is fairly inspired, even playful--check out a "chase" scene between Clint Eastwood's Harry Callahan character and a remote-controlled toy car wielding a bomb--and it ended the long-running series on an unexpectedly positive note. This time, Callahan investigates a series of murders that appears to be on a "death list," while becoming romantically involved with a television reporter (Patricia Clarkson). Jim Carrey has a small but memorable part as a doped-up rock star, and Liam Neeson is on board, too. IT is directed by Eastwood-surrogate Buddy Van Horn (Any Which Way You Can). --Tom Keogh
The second series of Star Trek: Deep Space Nine must have caused mixed feelings for those involved. There was a sense of optimism behind the scenes that stemmed from having gained a loyal following--made up of plenty of new fans--in its relatively short first year. The show had genuinely succeeded in being different from its predecessors. Better still, The Next Generation would be bowing out gracefully halfway through this year. So it was that, with several more series guaranteed, the writers changed tack from standalone tales and into long-running story arcs. This was immediately evident in the format-testing three-part opening. Through the actions of Kira and her old pals, we saw that the Bajorans would only ever work toward their own agenda, whereas the Cardassians easily switched sides to suit their various agendas. The Federation was hardly innocent of political machinations either, especially with the discovery of the Maquis terrorists a few episodes later. This three-way dynamic would underpin the entire run of the show. Expanding upon it was the handover of the Klingon saga from The Original Series and TNG, in which old warhorses Kor, Kang and Koloth first appeared. That left the Ferengi to maintain an element of fun with their Rules of Acquisition (Number 112: "Never have sex with the boss's sister"), exploration of their sexist culture and, naturally, through everything touched by the scene-stealing Quark (who was rewarded with a cameo for his real life wife). What seemed like standalone stories--Odo meeting his mentor, a trip into The Original Series' parallel universe and the culminating encounter with some super-soldiers (the Jem'Hadar)--later turned out to be more optimistic seed-sowing. Unfortunately, this second series also began with some concern about a competitor franchise, which started at exactly the same time as TNG ended. The impact of Babylon 5 on DS9 and TV SF in general by the end of the year could never have been envisioned at the start. --Paul Tonks
Although they made their name in the medium of radio, the legendary Goons also made brief forays into the world of television and, with Down Among the Z Men, film. It captures the team at a very early stage in their career, with Michael Bentine still in the fold, and with their unique, anarchic brand of humour still in its infancy. Sadly, the style and feel of the film does little to suit their comedy style. While radio offered an opportunity for their imaginations to run riot, here the four find themselves tied to a few stock characters, most of whom would make a more animated appearances later in their career. The plot--with its tale of eccentric professors and evil spies--sees a series of musical numbers and a variety performance crow barred into the proceedings. Those who wish to add to an already existing Goons collection may want to consider this, but anyone wondering what all the fuss is about should head straight for the many radio collections available and hear the sound of true genius at work. On The DVD: Down Among the Z Men offers little to recommend, with the DVD lacking in any extras whatsoever. Being taken from an original fifties print, the black and white picture is of reasonable quality yet cannot help but look extremely dated. At best it is the sort of curio that would pass time on a Sunday afternoon but it is hard to consider this a particularly essential DVD release. -Phil Udell
'Mommie Dearest' is the outrageous and controversial story of legendary movie star Joan Crawford (Faye Dunaway) and her struggle with the dual roles of fading actress and tormented mother. The public Crawford was strong-willed glamorous and admirable but Mommie Dearest reveals the private Crawford the woman desperate to be a mother adopting her children when she was single and trying to survive in the movie industry. The rage the debilitating strain and the terrifying descent in
In the wake of the Columbine high school massacre acclaimed documentary filmmaker Michael Moore's latest film takes a critical look at America's obsessive gun culture.
The fourth series of Deep Space Nine can be summed up in one word: Klingons! The show's producers apparently felt beset from all sides. Babylon 5 was a huge hit, as was Star Trek: Voyager, the flagship of new channel UPN. Stepping up DS9's action quotient seemed to be the answer. Time would tell, however, whether doing so via Trek's tried-and-tested former bad guys was the best solution. Opening with a special two-hour extravaganza, the new year was immediately unfamiliar. Dennis McCarthy's original theme--despite winning an Emmy--was deemed too subdued. As its upbeat new rendition kicked off, the station was seen in battle and swarming with activity. Moments later, we met old/new crewmember Worf, whose sudden appearance was the result of a brewing invasive strategy by the Klingons. This initiated the first of many loyalty shifts, as the Cardassians became the victims. With plenty of re-appearances by Gowron, Kor and Kurn, it was clear that an ongoing space opera was being crafted. Dukat revealed a tragedy-ridden daughter; Odo's relationship with his people (and Kira) became increasingly melancholy; and even the Jem'Hadar foot soldiers were given a sympathetic angle by their drug addiction. Adding to the layers of ambiguity about Earth's (read: the Producers') position over being at war, was the "outing" of Eddington and Sisko's girlfriend as rebel activists. Lest we forget the homely/spiritual side of the Captain, time was spent with a future version of Jake, with his father (Brock Peters), and on the nature of his role as "The Emissary". Avery Brooks worked behind the camera a couple of times, but this year the surprise was LeVar Burton directing five shows. There was still time for comedy: the Ferengi warped back to Roswell in 1947 and Bashir played at James Bond. But the year will be recalled predominately for its violence. One of the episodes Burton directed had its fight scenes drastically cut, while the series as a whole won an Emmy for its space battle effects. On the DVD: Deep Space Nine, Series 4 contains more than two hours of extra features. Although they might all have been better compiled into one long documentary, the sections devoted to Aliens, Production Design and Artwork are, nevertheless, nicely contained. "Charting New Territory" is a 20-minute featurette on all the big changes attempted this year: Worf's introduction, arming the station and being daring with stand-alone episodes. There's also a terrific and candid dossier on Michael Dorn (Worf), ten mini-cameo cast tales, four seasons' worth of episode introductions, and a well-stocked Photo Gallery. All this can be found on the set's seventh disc; there's also the fourth CD-ROM disc, which allows you to build your own station at home. --Paul Tonks END
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