Selections from this week’s Blu-ray releases can be found below in this ongoing weekly summary of reviews. Click on any of the following titles to navigate directly to that review. This week’s releases include: the departed George A. Romero’s last good zombie film Land of the Dead; Zack Snyder’s hyper remake of the former’s seminal classic Dawn of the Dead; the most underrated spoof of all time, Young Doctors in Love; the next entry in The Conjuring universe, Annabelle: Creation; and Vestron’s newest vault release, Slaughter High. A list of other titles also available this week can be found at the end.
Distributor: Shout! Factory
Legendary filmmaker George A. Romero returns to unleash another chapter in his zombie series! In this new tale of terror, Romero creates a harrowing vision of a modern-day world where the walking dead roam a vast uninhabited wasteland and the living try to lead “normal” lives behind the high walls of a fortified city. A new society has been built by a hand of ruthless opportunists, who live in luxury in the towers of a skyscraper, high above the less fortunate citizens who must eke out a hard life on the streets below. With the survival of the city at stake, a group of mercenaries is called into action to protect the living from the evolving army of the dead waiting outside the city walls.
Exactly twenty years after 1985’s Day of the Dead, George A. Romero’s fourth zombie opus stormed its way into theaters in the wake of Resident Evil, Shaun of the Dead, and a remake of Romero’s own Dawn of the Dead, to reclaim its title as King of the Zombies. Romero had done his press, fine-tuned his script for a post-9/11 world, and sucked it up to work with a major studio. He even used Universal’s very first black and white, crackly, and silent opening logo as opposed to the current one, in a statement I like to think equated to: “Hold my purse. I’ve been making this shit since before your father was big.” He is the big cheese who created the modern zombie, after all.
Romero, working with a big studio again (a rarity) and a budget of $20 million, had all sorts of toys to utilize: better actors, better production design, and an abundance of CGI married into KNB’s normal wonderment of red stuff. This time, it wasn’t just the producer or the producer’s wife talking about cannibalism, but Dennis Hopper, lord of the acid era and all-around cinematic legend. The guy who made Easy Rider, people — he’s kind of a big deal.
The political subtext, without which Romero’s films would be admittedly less interesting, is ever present; though pretty relevant in 2005, economic disparity has never been more relevant than right now. The super rich live high and mighty and safe in their golden towers, shielded from the outside threat, while the poor live with barbed wire security from that same threat. Are the poor safe? Is anyone really safe? Perhaps. But there’s not much between them and total bloody chaos.
Strictly on a technical level, Land looks great. And Romero’s definitely not conservative with the gore gags, even within the stifling confines of a major studio’s restrictions. You’re not going to get anything Day of the Dead-caliber gory, but what’s on display should satisfy the gorehounds.
Though the scope of the film can sometimes feel stunted, as we never get a real feel for the scope of Fiddler’s Green, it looks gorgeous — even the night shoots, which are hard to pull off. And the scene where Big Daddy’s zombies slowly emerge from the foggy river waters is the stuff of goosebumps.
In the Romero zombie pantheon, he hit the ground running with Night, peaked with Dawn, continued with the less-impressive Day, and went out somewhat unceremoniously but still nicely with Land. (Diary of the Dead and Survival of the Dead don’t exist — sorry.) Even among those fans who consider Land to be quite strong, methinks they would still rank it last. But being the last in the race doesn’t necessarily mean you suck; it just means you’re the least good. And sometimes that’s okay.
Land of the Dead isn’t the 20-year return to zombies that fans may have wanted, but it’s still a worthy effort. It’s a shame the box office take wasn’t bigger for the king of the zombies himself, and with the big man gone, it’s a bittersweet affair to revisit his most underrated zombie entry and see him mugging on the older supplements included on this release. On one of the supplements included on this release, the interviewer asks Romero, “What would George Romero do in a world that was overtaken by zombies?” With a wide smile, Romero responded, “I would join them!”
R.I.P., sir. You’ll be sorely missed.
PICTURE & SOUND:
Land of the Dead takes place mostly at night, which limits its high-def appeal, but while the initial release by Universal was no slouch, Shout’s new 2k presentation is pretty handsome. There’s a reasonable amount of captured clarity and detail, with colors hewing to the darker (even the CGI blood). The audio is equally excellent. Johnny Klimek and Reinhold Heil provide a very percussion-driven anthem for Romero’s tapestry of destruction. Gone are the days of Goblin, John Harrison, and library music; Land’s music is orchestral-big and pounding. The stand-out track (called “To Canada” on the official soundtrack release) is so good that it appears three times throughout.
THE SUPPLEMENTS:
The complete list of special features is as follows:
DISC ONE: Theatrical Cut
- NEW 2K Scan Of The Interpositive
- NEW Cholo’s Reckoning – An Interview With Actor John Leguizamo
- NEW Charlie’s Story – An Interview With Actor Robert Joy
- NEW The Pillsbury Factor – An Interview With Actor Pedro Miguel Arce
- NEW Four Of The Apocalypse – An Interview With Actors Eugene Clark, Jennifer Baxter, Boyd Banks, And Jasmin Geljo
- Dream Of The Dead: The Director’s Cut With Optional Commentary By Director Roy Frumkes
- Deleted Footage From Dream Of The Dead
- Deleted Scenes
- Theatrical Trailer
DISC TWO: Uncut Version
- NEW 2K Scan Of The Interpositive With HD Inserts
- NEW Audio Commentary With Zombie Performers Matt Blazi, Glena Chao, Michael Felsher, And Rob Mayr
- Audio Commentary With Writer/Director George A. Romero, Producer Peter Grunwald, And Editor Michael Doherty
- Undead Again: The Making Of Land Of The Dead
- Bringing The Dead To Life
- Scenes Of Carnage
- Zombie Effects: From Green Screen To Finished Scene
- Scream Test – CGI Test
- Bringing The Storyboards To Life
- A Day With The Living Dead Hosted By John Leguizamo
- When Shaun Met George
Distributor: Shout! Factory
Heart-pounding action and bone-chilling thrills power this edgy and frightening remake of George A. Romero’s apocalyptic horror classic, Dawn Of The Dead! From visionary filmmaker Zack Snyder (300, Watchmen), this pulse-pounding jolt-a-thon stars Ving Rhames (Guardians of the Galaxy Vol. 2), Sarah Polley (Splice), Jake Weber (Wendigo), Mekhi Phifer (Divergent) and Ty Burrell (Modern Family). The world is in danger when a mysterious virus turns people into mindless, flesh-eating zombies. In a mall in the heartland, a handful of survivors wage a desperate, last-stand battle to stay alive … and human!
The brand new remake train had barely been rolling for a year before one of the grandaddy of all zombie horror classics was announced: George A. Romero’s seminal semi-sequel Dawn of the Dead. The jaws of horror fans everywhere dropped like a ‘70s Tom Savini over a mall bannister.
“How dare they?”
By now, the remake of The Texas Chain Saw Massacre had come and gone, leaving behind a relatively positive reaction on audiences and a wildly successful profit. If that was to be the beginning of a remake craze that would last for over ten years, no one at that moment would know. But when Dawn was announced, Internet considered rioting in the streets before deciding to just stay home and bitch about it on Internet. And, if we’re being fair, the earliest snippets of preliminary information re: Dawn proceeded through the usual rank-and-file motions that most remakes would follow — an untested music video director would helm; there’d be no involvement from its original writer or director; the cast would be relatively unknown.
Oh, and the guy who wrote the Freddie Prinze Jr. Scooby Doo movies was handling the screenplay.
: O
But a funny thing happened: Dawn of the Dead proved not only to be the best 2000s era remake to come down the pike, but it transcended all the remake baggage to become an excellent, vicious, dark (and light) contribution to the horror genre.
The aforementioned screenplay by that Scooby Doo guy (James Gunn, who would go on to write and direct the beloved Guardians of the Galaxy flicks for Marvel) was undeniably clever and whip-smart, and which included cameos from a large portion of the original’s cast. (Ken Foree even gets to recite his infamous line of dialogue — “When there’s no more room in Hell, the dead will walk the earth.” — now with a much more bleak approach.) Even the character of Andy, the gun store owner who has been living on the roof of his store, and who communicates back and forth with our cast via dry erase boards and binoculars, was extremely well utilized, offering an atypical but effective relationship that you’d hope to see in these kinds of films where characterization sometimes falls by the wayside. (And the conclusion of his character is eerie as hell.) The screenplay lacks the commercialism subtext from the original, but as confirmed by participants in this new release’s supplements, this wasn’t by accident. Gunn, especially, felt Romero had already done it, and didn’t feel the need to do it again.
Signs of the Zack Snyder to come are present, but still dialed back, offering a sense of a filmmaker establishing a style and oeuvre that would be on more prominent display in 300 and The Watchmen. Though Dawn is incredibly gory in spots, the action elements are rousing and intense; Dawn’s entire first and third acts are nothing but mounting tension and propulsive fight-or-flight scenes, filled with an incredible array of gore gags.
The cast work well as an ensemble, with the only minor weak spot being Sarah Polley, who doesn’t seem entirely comfortable working in such a specific genre. She’s just fine in the smaller moments, especially when we see the adrenaline melt off her following the harrowing opening escape scene and letting the reality sink in, leaving her a sobbing mess. But in the bigger, more genre-appropriate moments, she’s not nearly as convincing. Ving Rhames enjoys a more prominent role here than he was getting during this era of his career, playing the prototypical Snake Plissken-ish bad-ass who abides by his rules exclusively, but he’s good at this type of role and easily embodies the kind of part essayed by Ken Foree in the original. (With a clear intent on being deceiving, director Steve Miner cast Rhames as a similarly bad-ass military man in his woeful remake of Day of the Dead in an effort to suggest the two films were related. They aren’t.) A pre-House of Cards Michael Kelly plays C.J., the asshole security guard with a heart of gold who ultimately ends up playing the film’s most interesting character, and the actor subsequently offers the absolute best performance in the entire cast.
Dawn of the Dead shouldn’t be as good as it is, and even if Zack Snyder had gone on to do nothing else notable for the remainder of his career (you’d probably have people out there who would confirm this), he at least proved there is such a thing as doing a good remake, and laying out how to do it: respect the original and its fans, take the concept and do something familiar but new, and leave it all out on the field. (Plus a Tom Savini cameo never hurts.)
PICTURE & SOUND:
One of the most surprising aspects of Dawn of the Dead, which is highlighted on both new transfers of the different cuts, is how bright it is.This is in stark contrast to how the original film opened – night-set on Pittsburgh rooftops of scummy apartment buildings. This Dawn opens in a bright hospital, followed by a warm and inviting bright suburbia. Even the scene where Ana’s neighborhood turns into bloody chaos looks bright and warm, as a new-born sun rises over the land. The new HD masters look excellent, standing tall above its previous Universal release. The stability of this picture is rock solid, and clarity is very easily captured. Dawn also features a really clever soundtrack mostly filled with offbeat songs rather than something designed to move units. Johnny Cash’s “The Man Comes Around” (about the apocalypse) plays over the film’s opening assemblage of (real) stock footage which presents how awful humanity is while slyly making it seem like it’s zombie related. The audio presentation overall is tremendous.
THE SUPPLEMENTS:
The new interviews gathered for this release are all pretty excellent, with Ty Burrell, who has achieved perhaps the best fame following his days of obscurity during the Dawn era thanks to his successful and award-winning run on Modern Family, is especially a joy to watch. His gratitude for the project is still prevalent all these years later and it’s always nice when an A-list star looks back on his horror past with pride instead of embarrassment.
The complete list of special features is as follows:
DISC ONE: Theatrical Version
- NEW HD Master Derived From The Digital Intermediate Archival Negative
- NEW Take A Chance On Me – An Interview With Actor Ty Burrell
- NEW Gunn For Hire – An Interview With Writer James Gunn
- NEW Punk, Rock, & Zombie – An Interview With Actor Jake Weber
- NEW Killing Time At The Mall: The Special Effects Of Dawn Of The Dead – An Interview With Special Makeup Effects Artists David Anderson And Heather Langenkamp Anderson
- Deleted Scenes With Optional Commentary By Director Zack Snyder And Producer Eric Newman
- Theatrical Trailer
- Still Gallery
DISC TWO: Unrated Version
- NEW HD Master Derived From The Digital Intermediate Archival Negative With HD Inserts
- Audio Commentary With Director Zack Snyder And Producer Eric Newman
- Splitting Headaches: Anatomy Of Exploding Heads
- Attack Of The Living Dead
- Raising The Dead
- Andy’s Lost Tape
- Special Report: Zombie Invasion
- Undead And Loving It: A Mockumentary
- Drawing The Dead Featurette
- Storyboard Comparisons
- Hidden Easter Egg
Distributor: Kino Lorber
There’s almost always something funny at City Hospital, where the amorous young interns think that love – or at least lust – is the cure for everything! Michael McKean (This is Spinal Tap), Sean Young (Ace Ventura: Pet Detective), Hector Elizondo (The Flamingo Kid), Harry Dean Stanton (Paris, Texas), Dabney Coleman (9 to 5), Patrick Macnee (TV’s The Avengers), Ted McGinley (TV’s Married with Children), Crystal Bernard (TV’s Wings) and Michael Richards (TV’s Seinfeld) star in this refreshingly wacky hospital parody from the director of Overboard, Pretty Woman and Runaway Bride! The new interns at City Hospital are desperately hoping to survive their first year of residency, which could prove difficult, since their minds are on the wrong body parts! Garry Marshall made his feature film directorial debut with this hilarious comedy in a similar vein to Airplane!, Stripes and The Naked Gun.
Spoof movies are tough to get a handle on, which is why there hasn’t been a good one in a very long time (we can blame the never-ending Scary Movie and ____ Movie franchises for that). Polaroids of penises and throwing together the previous year’s five most popular movies and blending their plots apparently passes for “good” these days, which is dismal and sad – especially when knowing they wouldn’t even exist were it not for bonafide classics like Airplane! and The Naked Gun.
Of these rare few spoof movies worth a damn, Young Doctors in Love is probably the most obscure, but is absolutely one of my favorite all-time comedies, and for a variety of reasons: a roster of who’s whos before they were famous, an actual plot to cement the otherwise ridiculous ongoing gags, a reasonable touch of drama, impeccable casting (Hector Elizondo as a cursing, cross-dressing thug hiding from the mafia is simply the best thing you’ll ever see), and so much more. Every bit as good as Airplane! but not nearly as heralded, Young Doctors in Love absolutely deserves its due. (Avoid, at all costs, the similarly named Young Nurses in Love, a direct-to-VHS sex comedy that has nothing to do with anything.)
Young Doctors in Love, like all good spoofs, constantly has something going on, either in the foreground or the background — its mission for laughter is unrelenting. The jokes are rapid fire from beginning to end, so if you’re not amused by the little person behind the main action spending far too long trying to hang up a phone he’ll never reach, look to an early effort from Michael Richards as a hitman clumsily bumbling his way through the hospital and playing almost an early prototype for what would eventually become Kramer. There’s broad humor, and then there’s humor so weird it’s amazing that anyone ever came up with it, let alone put it in a film for mainstream audiences. There is honestly something for everyone; for fans of the Airplane!, Naked Gun, and even Hot Shots series, you have no idea what you’ve been missing.
PICTURE & SOUND:
Young Doctors in Love isn’t going to knock your socks off in high-def, because it’s just not that kind of film. For a film of this age, however, it does look pretty good, with good stability and only a few signs of print damage. Colors are kind of bland, but again, this is the kind of film (and era) you’re dealing with. Audio is strictly utilitarian, as obviously much of the film is dialogue and based on sight gags. No one should be unhappy with its Blu-ray presentation, however.
THE SUPPLEMENTS:
The complete list of special features is as follows:
- Audio Commentary by Actor/Filmmaker Pat Healy and Film Curator Jim Healy
- Reversible Blu-ray Art
- Trailer Gallery
Distributor: Warner Bros.
In Annabelle: Creation, several years after the tragic death of their young daughter, a doll maker and his wife welcome a nun and several girls from a shut-down orphanage into their home. They soon become the target of the doll maker’s possessed creation, Annabelle.
The haunting and deeply questioned career of demonologists/paranormal investigators Ed and Lorraine Warren seemed like the very last thing that would lend to a cinematic shared universe. But after every entry in the main Conjuring series, a spinoff was announced to further explore what was otherwise a fairly insignificant detail from that film. After The Conjuring, Warner Bros. moved forward with Annabelle, directed by The Conjuring’s director of photography John R. Leonetti. It made for only a satisfactory experience due to its weak script, weaker ending, and uninspired casting, although it managed a handful of creepy scenes. Following The Conjuring 2, Warner then announced two spinoffs: The Nun, based on the creepy visage of demon nun Valak (which, as far as I can tell, was only ever a machination of in-film Lorraine Warren’s imagination, so…that’ll be interesting) and The Crooked Man, which…right. While we wait for these two spinoffs to release, with the first being in post-production and the second not yet filming, the brand refuses to stagnate, which brings us to Annabelle: Creation, the prequel to the prequel to The Conjuring, directed by Lights Out director David F. Sandberg.
To say that it’s better than Annabelle would be an understatement. It just might be the most frightening film of the year.
The Annabelle series (and I guess it is one now) rides kind of a stupid concept: a creepy looking doll that demons like to hang out with. That’s…primarily it. Though the first Annabelle wasn’t by any stretch a “good” film, it at least didn’t turn the doll into some kind of living Chucky doll murderer that sprang to life at night and set up booby-traps around the house. If it were to respect the maturity and classiness of the Conjuring series, then the idea of the doll being used as a conduit was the best choice to have made and it didn’t take any ridiculous liberties.
Annabelle: Creation follows that same mold, with much more effective results. Sandberg plays around with your perception in the beginning, showing a blurry, doll-sized figure in the background, leaving you to question if Annabelle is just flat-out running around in her little wooden shoes, or if something else is occurring. Our two young leads (including Lulu Wilson, who excelled in another superior horror sequel, Ouija: Origin of Evil), one of whom whose character is struck with polio and relegated to a cane or wheelchair, instantly make for a likable and sympathetic duo. Once the doll demon (haha) ramps up its attacks, you really do feel genuinely bad for them and you’ll marvel at their bravery. (Had it been me, and upon the first sighting of the demon in the dark, I’d’ve thrown myself out the nearest window. Fuck that.) The kids consistently outshine their adult counterparts (including a very bored looking Anthony LaPaglia), but Miranda Otto and Stephanie Sigman definitely hold their own.
The usual Conjuring-type imagery you’ve come to expect is on display and almost always works as intended, although there’s also been an added dosage of graphic violence that doesn’t feel necessary. (One scene in particular actually looks pretty hokey.) Otherwise, Annabelle: Creation is as classy as James Wan originally intended with the first Conjuring and it joins the pantheon of well-made supernatural films hitting the multiplex and video-on-demand platforms these past few years.
Annabelle: Creation only really falters at the end – not with the conclusion to the main conflict, but with how rapidly it wants to lead into predecessor Annabelle and then peace out. The transition is clumsy and seems almost like an afterthought, but thankfully it doesn’t sully what was otherwise an eerie and at times disturbing ride.
Annabelle: Creation made huge bank at the box office, and that usually means sequel, but here’s hoping the exploits of the demon doll have been satisfied and we can move onto the other Warren files.
PICTURE & SOUND:
Warner Bros. continues their strong releases as far as the techy stuff go. The video presentation is stellar, getting a lot of mileage out of the film’s excellent production design and attention to gothic detail. Audio, in the form of a Dolby Atmos track, is incredible and absolutely aids in the creation of Annabelle: Creation’s many scares. Rushing footsteps have never sounded creepier. Composer Benjamin Wallfisch does a commendable job of taking the series themes established by Joseph Bishara and weaving them into a more traditional musical score.
THE SUPPLEMENTS:
The most valuable feature on this release is “Directing Annabelle,” which sounds like a lame throwaway feature where the director might joke about working with a real diva of a plastic puppet (cut to shot of her sitting in a chair being hilariously pampered by the production crew), but it’s actually more of an instructional/tutorial hosted by Sandberg that delves into the directing side of things and goes into detail as to how certain sequences were executed. This feature, running over 45 minutes, will very much appeal to the burgeoning filmmaker.
The complete list of special features is as follows:
- The Horror Continues
- Horror Shorts: Attic Panic and Coffer
- Director’s Commentary
- Directing Annabelle
- Deleted Scenes Featurette
Distributor: Lionsgate
There’s horror in the halls . . . lynching in the lunchroom . . . murder in the metal shop. Welcome to Slaughter High — where the students are dying to get out! In high school, Marty was the kid all the students teased, taunted, and tortured mercilessly. One day, things went too far — one of their jokes backfired, disfiguring Marty for life. Now, five years later, Marty has arranged a special reunion for all his high school “friends.” The prom queen, the jock, the class clown, the rebel, and a few select others have been invited . . . and it’s going to be a gala of gore!
God bless you, the ‘80s slasher. You were very rarely “good,” but man oh man, do you get points for not giving up without a fight. I feel like I say his name an awful lot around these parts, but John Carpenter and his low-budget Halloween paved the way for a long line of slashing imitators that would last for ten plus years (and crop up again in the ‘90s following the Halloween-inspired Scream). But whereas Halloween was good enough to transcend that “slasher” title and be a great film in general, alllllll the imitators that would follow in its wake wouldn’t ever achieve the same bragging rights and would have to be judged entirely within the confines of its own sub-genre, i.e., “______ was good…for a slasher flick.”
And Slaughter High is pretty great for a slasher flick.
Starring Caroline Munro along with a lot of other people you’ve never heard of, Slaughter High is the culmination of some pretty solid horror films to have been unleashed up to that point. Obviously the idea of killing teenagers was popularized by Halloween (even if The Texas Chain Saw Massacre had beat it to the punch by four years), but with an opening sequence ripped straight out of Carrie, during which the outcast of a high school is pranked in a sexual manner, leaving the coach to discipline the offenders with grueling exercises, Slaughter High takes these and other inspirations, melds them together, and unleashes them in one formulaic but satisfying bloodbath.
Slaughter High bills itself as a horror/comedy, but minus the opening and closing scenes, there’s nothing particularly comedic about it; it’s actually pretty horrifying. Any sequences having to do with Marty Rantzen, the school’s beleaguered nerd and the target of all the cool kids’ torments, comes off dangerously Troma-esque, but minus those, Slaughter High is fairly straightforward.
As for the quality, well, we can skip saying the acting is bad (it is), that the concept isn’t original (it’s not), and the actors don’t look like teenagers at all during the opening high school prologue (Caroline Munro was 37 at the time and it shows) and get right to what matters: the death scenes. They are wonderful, and with one of Slaughter High’s three(!) directors being a special effects maestro and overseeing only the death scenes, of course they are. Slaughter High boasts some of the best, inventive, and icky death sequences ever seen in the sub-genre. Lawnmowered groins, electric bed sex – forget that a consumer-grade bathtub would never be found in a high school: so long as you fill it with acid and a naked chick, I’m down with it, baby.
The other wonderful aspect to Slaughter High is the score by Harry Manfredini, most famously known for scoring another slasher flick – Friday the 13th and its many, many sequels. Though his music seems more suited for a somewhat darker slasher experience (as the first five Friday flicks were), fans will find it immensely satisfying and even comforting as you see hapless teens barrel down hallways set to his familiar low-string notes.
The very ending of Slaughter High is confusing as fuck and doesn’t make a whole lot of sense, but it seriously doesn’t matter because during Slaughter High someone shotguns a beer can filled with acid and his intestines melt out of his stomach and it’s just the tops.
PICTURE & SOUND:
::record scratch on the praise:: Boy, Slaughter High looks rough, but if you’ve been following along with Vestron’s catalog releases so far, this won’t surprise you. The film looks very soft, very fuzzy, and at times, even a little blown out with light (which may have been purposeful, as this is most prominent in the opening prologue/dream). Very little detail can be seen, even if the abandoned high school where most of the film was shot makes for an interesting environment. As for audio, Manfredini’s score sounds great and dialogue is prominent and coherent. There are minor issues with sibilant dialog but nothing too worrisome.
THE SUPPLEMENTS:
The complete list of special features is as follows:
- Audio Commentary with Co-Writers/Directors George Dugdale and Peter Litten
- Audio Interview with Composer Harry Manfredini featuring Isolated Music and SFX Selections
- “Going to Pieces” Featurette with Co-Writer/Director Mark Ezra
- “My Days at Doddsville” Featurette with Actress Caroline Munro
- Alternate Title Sequence
Also Available This Week:
Distributor: Umbrella Entertainment
Welcome to Not Quite Hollywood, the fast and furious story of OZploitation – an eye-popping celebration of Australian cult films of the ’70s and early ’80s (including STONE, MAD MAX and TURKEY SHOOT). Exploding with adrenaline-pumping clips and outrageous anecdotes from a smorgasbord of local and international names (including Quentin Tarantino, Dennis Hopper, Jamie Lee Curtis and Barry Humphries) this is the wild, untold story of an era when Aussie cinema showed the world a full-frontal explosion of boobs, pubes, tubes… and even a little kung-fu!
Special Features:
- Audio Commentary from Ozploitation Auteurs
- Deleted and Extended scenes
- The Lost Interview: Chris Lofven
- A Word with Bob Ellis
- Quentin Tarantino and Brian Trenchard-Smith Interview
- MIFF Ozploitation Panel
- MIFF red Carpet Footage
- Behind the Scenes Footage from the Crew
- UK Interview with Director Mark Hartley
- THE BAZURA PROJECT Segment
- THE MONTHLY Conversation
- THE BUSINESS Interview
- Extended Ozploitation Trailer Reel
- John D. Lamond: CONFESSIONS OF AN R-RATED FILMMAKER
- Richard Franklin On-set Interview
- Terry Bourke’s NOON SUNDAY Reel
- BARRY McKENZIE: OGRE OR OCKER Documentary
- INSIDE ALVIN PURPLE Documentary
- TO SHOOT A MAD DOG Documentary
- Ozploitation Stills And Poster Gallery
- Nqh Production Gallery
- Nqh Pitch Promos
- Original Theatrical Trailer
(Buy it directly from the distributor, Umbrella Entertainment.)
Distributor: Broad Green Pictures
Daniel (Zachary Spicer) is a young, idealistic priest who loves his work. While he struggles to find balance between the dueling philosophies of his mentors, no nonsense Father Victor (Danny Glover), and a chain-smoking Franciscan Father Ollie (John C. McGinley), his passion for his calling never waivers. And then he meets Jane. After a chance encounter during a late-night confession, the mysterious Jane (Wrenn Schmidt), opens up Daniel’s world to an entirely different set of possibilities. And problems. As new bonds form and old ones are tested, Daniel must decide what his true calling really is — and whether or not he has the courage to answer it.
Special Features:
- None
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