Blu-ray Review: Walkabout (Second Sight)

Possibly the pinnacle of Nicolas Roeg's golden period of filmmaking, "Walkabout" is based on a novel by James Vance Marshall, and concerns a young brother and sister who find themselves stranded in the Australian outback. The female (played by Jenny Agutter) is a 16 year old schoolgirl whose younger brother ( played by the director's 7 year old son Luc) initially seems to take their new surroundings in his stride. Soon, the siblings encounter a young Aboriginal boy (David Gulpilil), sent out by his tribe on'walkabout'; a ritual that dictates an individual must leave his home and attempt to live off the land. The difference in cultures is somewhat offset by Luc Roeg's character who uses the international language of sings and gestures to communicate an urgent need for water, and a pattern emerges.

In essence, this is a coming-of-age tale, embroidered by themes of identity, dislocation of time and decay, mixed in with growing sexual tension between the two elders. Accompanied by a gorgeous John Barry score, Roeg's film is quite beautifully shot, taking in harsh terrain and beautiful scenery to stunning effect. There are so many iconic scenes and images here, and the script is equally as strong, leading us on an unforgettable journey that ends exquisitely. The 16 year old Agutter - chosen for the role 2 years earlier - is perfect as the youngster on the verge of adulthood, while Gulpilil cuts and imposing, haunting figure whoser mating ritual late in the film leads to tragedy. Of course, Roeg's son must also take credit as the young boy who must face a trial that many adults would find beyond them. Roeg's masterly use of editing, zooms, fades and painterly eye for capturing the great outdoors so beautifully make this a veritable feast for the eyes, and the themes employed here add a vast amount to the lasting appeal of this film.

Second Sight's Blu-ray presentation employs a brand new 4K scan and restoration that delivers sumptuous image quality, with glorious orange sunsets, verdant greens and vivid skintones. The supplemental features begin with a new audio commentary track with Luc Roeg and David Thomson. David takes the mic for the lion's share of the talk, recalling the film received a AA rating for its UK release; discusses the source novel (which may have been written by Donald Payne, rather than Marshall); compares "Walkabout" with Nicolas Roeg's "The Man Who Fell To Earth"; tlaks about the movie-going experience then and now and turns the spotlight on Nic's inspirations from various works of art. Overall, Luc has excellent recall of the shoot and talks about how his late father evolved with technology. I think Luc was enjoying watching this film again, admiring his father's craft while at the same time feeling emotional at seeing his younger self all those years ago

Producing Walkabout: an interview with Si Litvinoff (10m 7s) Si shares fond memories of what he terms Nic Roeg's "masterpiece", recalling how he met the director and became involved and talks about "A Clockwork Orange".

Luc's Walkabout: an interview with Luc Roeg (11m 9s) Luc discusses the shoot and talks about his admiration for David and Jenny.

Jenny And The Outback: an interview with Jenny Agutter (19m 20s) Jenny recalls her first meeting with Nicolas Roeg when she was 14, and how she joined the cast 2 years later, and goes into the ingredients that make Roeg's films so enduring.

Remembering Roeg: an interview with Danny Boyle (18m 31s) Danny explains why he has such a very high regard for the late director; how Roeg employed the unused potential of cinema and why "Walkabout" still comes across as a radical, modern film.

011 BFI Q&A with Nicolas Roeg, Jenny Agutter and Luc Roeg (16m 55s) Recorded at London's NFT on 5th March 2011, Nic talks about how he raised the finance for his film; Jenny recalls how she got the role and the trio remember the considerable contribution of David Gulpilil.

Archive Introdction By Nicolas Roeg (3m 54s) The director discusses the initial short script and how it evolved. Second Sight's Blu-ray package also includes the source novel, with cover art exclusive to this release. There's also a soft cover book featuring facsimilie copy of the original 65 page script with a preface by Daniel Bird, and a soft cover book with new essays by Sophie Monks Kaufman, Simon Abrahams and Daniel Bird, plus stills and lobby card images(none of which I've seen to date). Second Sight's disc is Region B, and will be released on 27th July. An essential purchase for Roeg buffs and indeed for newcomers to his work who like to be challenged by a director at the top of his game.

Blu-ray Review: World On A Wire (Second Sight)

Based on the novel "Similacrum-3" by Daniel F. Galouye, Rainer Werner Fassbinder's "World On A Wire" was broadcast in 1973 by German TV company WDR, in two episodes.
This groundbreaking production anticipated the likes of "Blade Runner", "The Matrix" and Cronenberg's "eXistenZ" to push the envelope in the Sci-Fi genre.

"World On A Wire" concerns a super computer that's being developed by the IKZ company. This computer is partly an electronic simulation machine that creates
an artificial miniature world, populated by over 9,000 units or 'people'. A giant steel corporation discovers this computer can also study and predict consumer
habits and demands for a 20 year period, and takes an active interest in development.
Fred Stiller (Klaus Lowitsch) is assigned to debug the software after Professor Henri Vollmer (Adrian Hoven) dies in mysterious circumstances.
When IKZA chief of security Gunther Lause (Ivan Desmy) literally vanishes into thin air, Stiller finds himself in a shadowy world where people are a bundle
of electrical circuits, and private interests dominate.
The introduction of Vollmer's daughter, Eva (Mascha Rabben); an Achilles and the Tortoise drawing; the name of Christopher Nobody and a parallel world
that may or may not be the 'real' one all add to a thoroughly absorbing 204 minutes.

The general theme of alienation in what may be an artificial world is well conveyed by a marvellous cast who include Barbara Valentin, Margit Carstensen,
Gottfried John, Kurt Raab, Uli Lommel, Ingrid Caven and Eddie Constantine, while the set designs with banks of TV screens and mirrors, which acknowledge and reflect the two
worlds are major parts of a production that was indeed way ahead of its time.

Second Sight's 2 disc Blu-ray presentation sees "World On A Wire" make its UK Home Video debut. The main feature is split over the 2 discs, and image quality
is good with well managed grain and plenty of detail.
The supplementary features being with "Looking Ahead To Today" (48m 31s) by Juliane Lorenz.
This documentary takes a look at how Fassbinder and crew depicted the future; how the TV production deal was realised; Fassbinder's attitude towards
location shooting and how the cast reacted to his ideas.
With valuable contributions from cinematographer Michael Ballhaus, this is a stimulating work that adds further weight to its subject matter.

Observing Fassbinder (7m 44s)
This is a short tribute to photographer Peter Gauhe who was stills photographer on 15 of Fassbinder's projects.
Peter is sadly in the early stages of dementia, but recalls how he started in the industry and learned his craft, and also discusses his relationship with the director
and his own acting roles.

On-Set Featurette (4m 19s)
Fassbinder talks about his TV series and how he got to grips with translating the book.

No Strings Attached: Renate Leiffer On Fassbinder (29m 15s)
Here, Renate talks about her work as an on-set translator; her relationship with the director and exactly what working with WDR meant to them.

Original TV Recap (4m 32s)
A general recap of key events in this production.

The Simulation Argument by Nick Bostrom (22m 38s)
Nick Bostrom from the Future of Humanity Institute at the university of Oxford presents a fascinating talk about simulation civilisations, concerning the future and our place in the world, and how he became interested in the argument.

"World On A Wire" will be released by Second Sight on 18th February, in rigid slipcase packaging.
As an extra special bonus, there's a 50 page perfect-bound booklet (which I haven't seen) featuring new essays from Anton Bitel and Daniel Bird, archival writing
by Daniel Oberhaus and Christian Braad Thomsen and rare on-set photos by Peter Gauhe.
We are lucky enough to have some of the world's finest boutique labels here in the UK, and releases like this confirm we have never had it so good when it comes to the cream of World Cinema in our own homes.

Blu-ray Review: When A Stranger Calls/When A Stranger Calls Back (Second Sight)

For me, the 1970s was a magical period for the movies. There were so many films possessing a certain aura which has lingered down the years.
Made in 1979, Fred Walters' "When A Stranger Calls" is often compared to "Black Christmas" and John Carpenter's "Halloween", yet brings its own style and substance to the
table. Almost 40 years on, it's ripe for rediscovery.

Jill Johnson (Carol Kane) arrives for babysitting duties at the Mandrakis house, charged with looking after two young children while
their parents enjoy an evening out.
Following a series of anonymous phone calls - "Have you checked the children?" - Jill becomes convinced that someone is watching her every move.
When the phantom caller declares he wants her blood all over him, the stage is set for a grisly discovery.
Police involvement determined the calls were coming from inside the house, further upping the ante in this terrifying case.

We then move forward 7 years to a time when Jill herself is a parent and soon to become embroiled in a similar case, as a killer escapes from an asylum and
targets her own family.

With some fine supporting turns from Charles Durning, Tom Beckley, Colleen Dewhurst and Rachel Roberts, "When A Stranger Calls" boasts an overwhelming sense of
isloation and dread, driven by Dan Kaproff's ominous score.
The film was beautifully shot by DOP Don Peterman who captures that unerring sense of unease when darkness falls and tensions are amplified tenfold.
There are levles of suspense, too, that occur outside the Mandrakis abode: check out the pulse-pounding chase at a homeless shelter as the killer
strives to elude cop turned private investigator John Clifford (Durning) in a gripping game of cat and mouse.
It's testament to Fred Walton and his crew that their film still stands up today as a model of how to keep your audience on edge throughout.

When A Stranger Calls Back (1993)

Julia Jenz (Jill Scholen) is harassed during her babysitting stint by a stranger who claims his car has broken down.
Sensibly, she refuses to let him in to use the phone and tries to phone a repair firm herself.
With the phone line dead, Julia claims to have been in touch with the company, promising help will arrive within the hour.
As time ticks away, the man returns, demanding to call the repair firm himself and tensions rise leading to the abduction of two children.

5 years later, Charles Durning's John Clifford character resurfaces when Jill Johnson (Carol Kane) - now with a family of her own - is traumatised
by a phone call at a restaurant where she is enjoying a night out.
Clifford once again uses years of experience on the force to identify the shadowy predator who has a wholly unique way of delivering pure evil
inside the four walls of home. What should be the ultimate refuge.
I won't give the game away with regard to the reveal, but will guarantee your jaw will hit the floor!
With another wonderfully atmospheric score from Dana Kaproff, "When A Stranger Calls Back" is everything and more that a sequel could be, signing off
a double-bill that has real replay value.

The supplementary features begin with "The Sitter" (21m 22s).
This is the original, rarely seen short film which provided the basis for Walton's feature.
While it didn't go down too well with certain movie execs, it's a fascinating watch, using ingenuity and imagination that would really blossom a little later.

Directing A Stranger. An interview with director Fred Walton (16m 35s)
Fred reveals the idea for his film came from a newspaper article; talks about Kane, Durning, Colleen Dewhurst mand other cast members, explaining he tends
to leave actors alone and allow them to find their own levels.
He admits he doesn't like to revisit his work, and also praises DOP Don Peterson.

Carol Kane on When A Stranger Calls (17m 25s)
Carol reveals how she got the part; explains why she chose not to view "The Sitter"; talks about the humanity of the characters

and how her character changes in the sequel. It's a real delight to see this beautiful lady holding forth on these things and a nice addition to the package.

Rutanya Alda On When A Stranger Calls (5m 18s)
Rutanya (Mrs Mandrakis in the first film) talks about her career - including "Greetings", "Hi Mom" and "Rocky II" - the learning curve in acting,
and how she got the part in Stranger.

Scoring A Stranger: an interview with composer Dana Kaproff (7m 47s)
Dan talks about his background; his famous mentor; composing the music for both films, and likens his scores to a character in the films.

Second Sight's Blu-ray presentation from a brand new scan looks fabulous, and the package is nice rounded off with a CD soundtrack and a 40 page booklet.
Please note: Second Sight really have listened to their customers, and have made this disc Region Free.

"When A Stranger Calls" is released 17th December and is highly recommended for fans of the cinema of unease.

Blu-ray Review: D.O.A. A Right of Passage (Second Sight)

"The world is yours for a season"
Oscar Wilde

I started going to music gigs in the Autumn of 1976, taking in the likes of Budgie, Man, Curved Air and Steve Hillage.
Truth is, I was bored and didn't know it. Then, the Punk Rock explosion took place, which saw one of the most exciting musical revolutions ever.

D.O.A. A Right of Passage offers fascinating insight on both sides of the channel, following the Sex Pistols' infamous tour of America, while also
keeping tabs on what was happening in the UK.
The end result is a must for those who were there at the time, and for anyone who wonders what all the fuss was about.
Both sides of the fence are well catered for here, with fan interviews before and after gigs - some positive, some negative - while the odious
chain-smoking Bernard Brooke Partridge and Mary Whitehouse do what they did best, attacking anything they didn't understand.

There is coverage given to other worthy bands - with footage of Generation X, Sham 69, X Ray Spex and The Rich Kids - but this is the Pistols' show,
and their glorious wall of sound hits home with live footage of the likes of "Anarchy In The UK", "EMI" and "Holidays In The Sun".
The band played seven dates in the USA, culminating in that final gig at Winterland, San Francisco when the band trudged off, leaving us with one of the finest debut albums ever recorded.

Lech Kowalski's documentary really does get under the skin of Punk, with this movement's DIY attitude of making something out of nothing, uncovering
the state of things for an army of participants who felt let down by a system designed to bring them down. Witness Terry Sylvester - a working class lad
who tells it like it was before taking the microphone to front his own band, Terry and The Idiots.

There are some wonderful stories and anecdotes from the contributors here, who provides articulate insight into what went down and why, within a true example of guerrilla film-making.
Of course, the concert hall footage is alone worth the price of the disc, with Lydon showing he's one of the very best live performers, being utterly mesmeric.
I'd seen Joe Strummer, Iggy, Lux Interior, Patti Smith, Ari from The Slits, Siouxsie and Ian Curtis and Lydon can be added to anyone's list of fromtmen.

Another 30 years from now and the number of people who were present and incorrect during Punk's Golden Years will be vastly diminished. That's one of the reasons
documentaries such as this are so terribly important, turning the spotlight onto an age When We Were Kings.

The special features on this Blu-ray disc (which also includes a DVD) being with "Dead On Arrival: The Punk Documentary That Almost Never Was" (1 hr 55 mins 20s)
Here, we are privy to the recollections and opinions of key players in this story.
John Holmstrom (founder of Punk magazine); photographer Roberta Bayley; co-director and journalist Chris Salewicz; Pistols historian Mick O'shea; Midge Ure and many others, including Malcolm Maclaren. We hear about the origins of Punk with New York Dolls and Iggy namechecked (Roberta talks about being on the door at CBGB's); how the film ran into financial difficulties; why the crew were banned from filming at gigs, and there's valuable input from photographer Rufus Standefer. The Sid and Nancy infamous bed interview
is also included.
Nice to see Lamar St. John pop up, too, being the girl on the ground in the main feature, and still vital after all these years.
This generous making-off doc with a wealth of nostalgic footage gives considerable added value to an already worthy disc.

DOA A Punk Post Mortem (27m 8s) .
Chris Salewicz talks about the documentary and certain individuals, recalling the Sid and Nancy interview; the part played by Tom Forcade of High Times magazine and
looks at what Punk meant and continues to mean.
I struggle to think of anyone better than Chris to tell this story, which continues to resonate over 40 years on.
D.O.A. A Right of Passage will be released on the Second Sight label on 10th September. Image quality on this high definition presentation is strong,
and there's also a limited edition booklet in the package, written by Punk aficianado Tim Murray with additional article by Phelim O'Neill. The booklet is limited to the first 2000 copies, so hurry!

Blu-ray Review: The Changeling (Second Sight)

Compile a list of big and small-screen superior spookers, and the usual suspects inevitably come out to play: the BBC's Christmas ghost stories, The Haunting,
The Innocents, The Legend of Hell House, The Stone Tape, Bava's Kill, Baby...Kill!.....another solid addition would be Peter Medak's The Changeling.
My own association with this film dates back to the opening weekend of its theatrical release when I was lucky enough to attend a screening at a cinema
in London's Tottenham Court Road.

"The Changeling" begins with a truly tragic scene. Composer John Russell (George C. Scott) is on vacation with his wife and young daughter when a roadside
accident leaves him well and truly alone in this world.
The grief-stricken Russell moves to Seattle in an attempt to rebuild his life, subsequently moving into the Chessman house, which has spent the last 12 years uninhabited... by the living, at least.

Russell soon finds out why, as strange manifestations suggest the house - or something in the house - is reaching out to him.
A piano that plays untouched by human hands; the ubiquitous child's ball that bounces down the stairs; a music box which plays the same tune
as Russell's latest composition and - most chilling of all - a wheelchair with a mind of its own.
Add to this the thoroughly unnerving banging sounds that always take place at 6.00am, and icy terrors that lie behind closed or half open doors
and you have a haunted house tale par excellence.
There are so many scenes that make the spine tingle and the blood run cold, including a seance that ultimately delivered far more than was
initially suggested, leading Russell to investigate sinister Senator Joseph Carmichael, played by Melvyn Douglas.

Ken Wannberg's wonderfully evocative score builds the tension nicely, while also being sensitive to the twin tragic aspects of this story. Of course,
George C. Scott is also finely tuned into proceedings, delivering a pitch perfect performance as a man who has lost his family and must start again.
Russell's burning desire to positively react to voices from beyond the grave and his reactions to haunted memories are beautifully conveyed by Scott
in one of his most heartfelt performances.
In these times of overkill and excess, the resurrection of this superbly directed film will gladden the hearts of all those who hold it in high regard,
and also bring new admirers to the fold.

Second Sight's Blu-ray presentation unveils a 4K scan from the IP that boasts rich colours and a healthy amount of grain.
The extras begin with an informative commentary track featuring Peter Medak and producer Joel B. Michaels.
We hear why the film almost didn't get made; how Medak started out in the business; his stories about being on the sets of "The Haunting" and "Marnie";
why the film didn't take off in America, and there are discussions about the music and sound design and warm words for Scott and Douglas.

The House on Cheesman Park (17m 31s)
A featurette based on the Cheesman house which was built on a giant graveyard, with between 2,000 - 5,000 bodies still buried there when production began.
The Cheesman property had all the trappings: secret compartments and doorways; a bouncing ball and the diary of a young boy, making this a fascinating story.

The Music of The Changeling (8m 59s)
Here, composer Ken Wannberg talks about the great John Williams; the process of scoring a film and the pressures involved.

Building The House of Horror (10m 56s)
Art director Reuben Freed talks about building and lighting the sets; logistical problems; the budget and the passion of the crew.

The Psychotronic Tourist (16m 2s)
The wonderful Kier La- Janisse - author of "House of Psychotic Women" - plays host to 12 locations used in the film.
We get to see how the places look today, including the scene of the roadside accident, and visit a graveyard that contains two absolute legends.

Master of Horror Mick Garris on The Changeling (5m 31s)
Mick explains that he loves this film for its emotion, and talks about "The Haunting" and "Don't Look Now". He also explains why "The Changeling"
remains a very personal film for those of us who saw it theatrically.

The package is rounded off by the original theatrical trailer (2m 18s) and a TV spot running 29s.
Second Sight have also included the original soundtrack on CD and a 40 page perfect-bound booklet (which I haven't seen) containing a new essay
by Kevin Lyons, original production notes and an archive on-set interview.
Hugely recommended for those cold Winter evenings when shadows cast long and the imagination takes over.

Space Truckers. Blu-ray. Second Sight

Stuart Gordon's 1996 Science Fiction comedy comes armed with a strong cast and a rollicking story, set in a galaxy far, far away.
Dennis Hopper takes the role of John Canyon; an independent trucker who moves freight beyond the stars, in order to make a living.
It's a world of synth burgers and sham fries, where a canteen deal is struck for the eventual marriage of John and Cindy (Debi Mazar)
providing he can get her back to Earth for her mother's operation.
Enter Nabel the creator (Charles Dance) who is responsible for the design of an army of state-of-the-art disintigrators: biochemical super warriors
who will soon be bound for planet Earth in a cargo that's officially claimed to be sex dolls.
John and Cindy join forces with Mike (Stephen Dorff) in an effort to thwart this murderous mission, with Nabel just as intent in carrying it through.

The result is a pacey, often hilarious romp that makes the minutes fly if you don't think too hard about what you're viewing. Certainly, there's enough
explosions, excitement and general mayhem to satisfy all but the most demanding viewers.

Hopper is great value for money as the last of the breed trucker, while Dance also excels: watch out for a particularly strange case of erectile disfunction!
Even those raised on a steady diet of Stuart Gordon's OTT Horror fare will find much to enjoy here, as trademark humour rubs shoulders with some nifty fx,
and there's a nice surprise at the end for fans of a certain leading lady who certainly left her mark in the director's filmography.
There's no doubt "Space Truckers" has a healthy cult following, and members of that club will be delighted by the image quality on Second Sight's
Blu-ray presentation.

The special features begin with "Space Trucking with Stuart Gordon" (22m 53s)
Here, the director talks about his early ambition to be an astronaut (shared with script writer Ted Mann), which eventually led to the creation
of this film. Stuart talks about the $27 million budget, and the quest to source additional funding, and of working with Dennis Hopper who unleashed
a stinging rebuke for his director, during filming.

"The Art of Space Truckers" (8m 7s)
Art director Simon Lamont breaks down his role in this production, and gives his thoughts on how the film stands up today.

"Scoring Space Truckers" (12m 31s)
Composer Colin Townes - the original score composer - gives a brief resume of his early career, and explains his approach to scoring the film,
which benefited from his versatility.

"Space Truckers" is available to buy now on the Second Sight label.

Blu-ray Review: The Amityville Horror (Second Sight)

The events that allegedly took place at 112 Ocean Avenue have inspired several films, documentaries, books and many thousands of column inches.
What is beyond dispute is the house played host to bloody murder when Ronald Defeo Jr armed himself with a shotgun and killed five members of his family. Defeo was subsequently incarcerated and the house lay empty for a short while. Or did it?
The house was put on the market for the knockdown price of $80,000, prompting George and Katy Lutz to take the plunge.
Their stay lasted just 28 days, with the family fleeing on 14th January 1976, never to return.

James Brolin and Margot Kidder play George and Katy, recently wed with a trio of kids in tow from Kathy's previous marriage.
Before long, unexplained events occur, involving the family and a local priest who becomes convinced that dark forces are present in the house.
Director Stuart Rosenberg chose to ground some of his film on the Lutz's claims, and used poetic license to fuel the rest. The result was an enormous commercial success, giving audiences a scary ride through all manner of tried and trusted shenanigans.
The fun begins early on, when Father Delaney (Rod Steiger) arrives to bless the house and is plagued by an unseasonal swarm of flies and told top leave the house by a demonic voice.
The Lutz family soon experience terrifying manifestations, with George - apparently a 'dead ringer' for Defeo - undergoing frightening shifts in his personality, with several episodes suggesting possession by an unclean spirit.
Kathy and her children also encounter strange phenomena, including glowing eyes looking into an upstairs window and a most upsetting episode regarding a window sill that slams shut on tiny fingers all by itself.

While there are times when proceedings enter the realms of the absurd, Rosenberg mostly manages to keep things sensibly scary, aided by a deliciously eerie score from Lalo Schifrin and a cast that certainly entered into the spirit of things.
Did the Amityville house really play host to a demon, or was the whole thing a giant hoax?
112 Ocean Avenue was actually built on an old indian burial ground and if you believe in the dead returning to life, that fact may well convince you that the Lutz's stories were true.
Whatever, you'll surely wish to check out the supplementary material on Second Sight's Blu-ray.

The Blu-ray presentation here is crisp and detailed, leaving viewers with an impressive home viewing experience.
First off on the extras front is a commentary track from professor Hans Holzer; a parapsychologist who was one of the first people called to the house when the Lutz's left.
Hans talks about exorcisms, hypnosis, religion, draws on the history of the house which dates back to 1928, and the grounds it was built on.
He points out no-one in the house heard the shots as Lutz went about his rampage (nor did the neighbours) and discusses the case.
He also has some interesting theories on ghosts and demons. It's a thought-provoking track, though many will disagree with some of his ideas.

"Brolin Thunder" (16m 1s)
A new interview with James Brolin who recalls "Mutiny On The Bounty"; his 7 years with Fox and "Marcus Welby MD". Stuart Rosenberg, Margot Kidder and Lalo Schifrin also
crop up in the conversation.

"Child's Play" (16m 39s)
Meeno Peluce chats about his fellow child actors in the film, and remembers he'd just finished filming on "Don't Go Near The Park" when Amityville came up.
He displays mostly excellent recall about the shoot and do listen out for his Margot Kidder story!

"Amityville Scribe" 16m 27s)
This is an interview with screenwriter Sandor Stern, who recalls how and why he was hired to do a script re-write.
Sandor shares his thoughts on the film, and relates his own experiences with the supernatural.

"The Devil In The Music" (14m 5s)
Here, Lalo Schifrin goes through his early musical influences; recalls his work on such films as "Dirty Harry" and "Enter The Dragon" and chats about Amityville,
explaining he understood perfectly what the director wanted.

"My Amityville Horror" (85m 11s)
Directed by Eric Walter, this is an extraordinary view of the world inhabited by Daniel Lutz, whose siblings refused to take part in this documentary
Daniel stands by his account of what took place at the house as a psychologist, demonologist's Ed and Lorraine Warren and trusted reporter Laura Didio file in to contribute.
After watching this, I was no nearer arriving at a conclusion regarding the truth surrounding the Lutz's tenancy, but it is completely engrossing.
One of the stories that often crops up is that George Lutz collaborated with William Webber (Defeo's lawyer) to dream up a convincing hoax: an insanity plea for his client, and a cash-in for Lutz could have been their targets? While it's an undisputed fact that none of the subsequent tenants of 112 reported any manifestations, it seems likely to me that Lutz really does believe his own version of events. If he is lying, why did he wait decades to give his own version of events? Perhaps George and Kathy took the real truth to their graves?

"For God's Sake Get Out" (20m 41s)
This comprises of separate interviews with James Brolin and Margot Kidder who talk about how they first got into acting; about the publicity behind the film, and reveal their was some tension between the pair.

The extras are rounded off with a trailer (2m 30s); a TV spot (1m2s) and two radio spots (3m40s).
There's also a 1m 18s introduction to the film by Hans Holzer.
"The Amityville Horror" will be available to buy on 26th June. The legend surrounding this film shows no signs of going away, and this Blu-ray disc will delight those who have followed this story.

Blu-ray Review: Assault On Precinct 13 (Second Sight)

My first encounter with John Carpenter's "Assault On Precinct 13" occurred during a golden age of cinema double bills in the 1970s.
In those days, film buffs had the opportunity to catch the likes of Lucio Fulci's "The Beyond" / "House By The Cemetery", "The Exorcist" / "Exorcist II" and "Jason And The Argonauts" / "Chariots Of The Gods". Assault turned up on a double header with "Halloween" and quickly convinced me that Carpenter was a director who merited special attention from that point on.
Certainly, Assault still comes over today as a job well done, being an intoxicating old school mix of "Rio Bravo" and "Night Of The Living Dead" as heroes and heroines emerge from a retired police station under siege from a LA gang.

After a bloody shootout between police and gang members, we join Lieutenant Bishop (Austin Stoker) who is on the way to oversee the closure of the Anderson precinct police station. Here, the cells are empty and the electricity supply is due to be bumped before the 4.00am shutdown as Leigh (Laurie Zimmer) and Julie (Nancy Loomis) carry on winding down their duties. On the other side of town, shackled prisoner 'Napoleon' Wilson (Darwin Joston) is heading for Death Row under armed supervision while members of the LA Thunder - still smarting from the deaths of 6 members - commit an unbelievable atrocity which culminates in a shell-shocked man stumbling into Anderson station having killed the gang's leader.

Wilson also ends up at the station , but it's really the grieving stranger who is the subject of the gang's attention, prompting the delivery of a chilling blood oath declaring they are willing to lose more gang members until revenge is taken.
So begins a long, dark night of the soul with the hoodlums silencers greatly adding to the eerie atmosphere and ensuring no-one can hear their shots.

Carpenter's taut direction and entirely memorable score - one of his very best - creates a nightmarish scenario which the cast respond to admirably. We have Julie, desperate to turn over a man whose world (unknown to them) has already ended, while Bishop and Wilson gradually build mutual respect in the fight to stay alive. Best of all may be the gorgeous Laurie Zimmer, who comes over as an enormously resourceful woman in the face of true adversity.

2016 marks the 40th anniversary of this film, which remains the crowd-pleasing gem it was all those years ago. The infamous scene that drew gasps of disbelief at the screening I attended has retained its power to shock to the core, and there are many other scenes that stay with you long after the credits have rolled: witness the scene where stray bullets disturb a wall clock from its previously serene resting place, demonstrating time no longer has any meaning in this night without end.

Second Sight's Blu-ray presentation adds fine detail, solid colours and even a greater sense of purpose to this classic, and goes on to deliver some meaty extras for those of us who love to really step inside a film.
First up is a John Carpenter commentary track where the director talks about the challenges he faced with a $100,000 budget. John discusses the critical reception; admits there are a few scenes he wouldn't have got away with today; chats about cast and crew and pronounces that Assault was unique for its time.

Art director and sound effects designer Tommy Lee Wallace is joined by Michael Felsher for a second commentary track which takes in Tommy's high school days with JC; the panavision filmmaking process; that shocking murder scene and his own work as a director.

Return To Precinct 13: An Interview With Austin Stoker (9m 20s)

Austin recalls his early movie-going experiences; how he first met JC, and the big responsibility of being the main character.

Filmmaking With John: An Interview With Tommy Lee Wallace (21m 41s)
Tommy recalls his high school band days with JC; talks about the magic of 35mm film and of his relationship with John, calling him extremely well prepared and motivated.

Producing Precinct 13: Interview With Executive Producer Joseph Kaufman (15m 39s)
Here, Joseph brushes aside the $100,000 budget claims; chats about John's time at USC and digs into Assault's production history.

Captain Voyeur (8m 27s)
Made in 1969 at Southern California's School of Cinematic Arts, "Captain Voyeur" is a John Carpenter student film, recently re-discovered by school archivist Dino Everett in 2011. This creepy little number could be loosely referenced to Carpenter's "Halloween", employing a masked figure on the loose in back gardens and alleyways where a light in a window is the signal for our peeping tom to strike.

Do You Remember Laurie Zimmer? (53m 41s

In 1977, Charlotte Szlovak wanted to make a film that would really translate the city of LA, with a woman at the centre of the story.
Charlotte chose Laurie Zimmer who played an actress driving round the city in search of a indefinable something to spark her life.
After filming was completed, Charlotte lost touch with her newfound friend, and this compelling short tells the story of her journey to find Laurie. It's a haunting tale for sure, as Charlotte delivers poetic narration while negotiating blond alleys and dead ends during her search for the actress. It's an uplifting story, demosntarting that a strong bond can never truly be broken.

Interview With John Carpenter and Austin Stoker (23m 8s)
This was filmed before an appreciative audience at the Egyptian Theatre in 2002, where JC and Austin discuss how Austin got the role of Bishop and other cast choices. "They Live" and "Dark Star" are just two of the films that come up during a lively Q&A with the audience.

The Sassy One With Actor Nancy Loomis (12m 44s)
Nancy recalls her formative years at high school and USC; tells how she handled nerves during her first couple of features; talks about "Halloween" and "The Fog" and touches on her opinion of fan conventions.
The extras conclude with a 2m 3s theatrical trailer and 1m 4s worth of radio spots. Fans will also be delighted by the inclusion of a bonus CD soundtrack disc exclusive to the box set and 5 exclusive art cards.
"Assault On Precinct 13" will be released on 28th November in the UK, and is an essential purchase for all fans of John Carpenter.

DVD Review: The House On Pine Street

Partly funded by a Kickstarter campaign, "The House On Pine Street" is a joint directorial effort from Aaron and Austin Keeling, concerning a most undesirable residence in Kansas.
Luke and Jennifer (Taylor Bottles, Emily Goss) have moved from Chicago to prepare for a life-changing experience.
Jennifer is seven months pregnant, and her partner sees their new home as a perfect environment to begin to raise a child.
Jennifer, however, feels ill at ease there, right from the word go.

A house-warming party - organised by her overbearing mother Meredith (Cathy Barnett) - has much the same effect on psychic chiropractor Walter (Jim Korinke) who notes the house has "an unusual energy".
Knocks on the door with no-one in evidence; the lid of a cooker moving unattended and sundry unexplained occurrences heighten Jennifer's nervous state, though it's the presence of someone/something behind her in the shower that really ups the ante: especially when her husband walks in a moment later.

Convinced the house is haunted, Jennifer asks for Walter's help, only to be told he's never had any success in his quest for evidence of the 'other side', and wants nothing more to do with the supernatural.
Is this the truth, or has he sensed something too powerful, too malevolent, to deal with?

As the disturbing events escalate, Jennifer's fragile mental state deteriorates further, causing Luke to question her sanity. Are the fears of impending motherhood edging her towards a breakdown?
Is Luke having an affair with Meredith, with the scheming pair feeding her hallucinatory drugs in an effort to push her over the edge? Or, is the house really haunted?

Perhaps this seemingly unquiet residence has its own energy which is colliding with Jennifer's to produce projected sights and sounds, by triggering a replay of a time gone by?

The Keelings have certainly used their funds so very well here, creating a most unsettling atmosphere, with shadowy figures, disconcerting sounds and a genuine sense of dread that hangs heavy in the air.
While the film does sometimes wear its influences on its sleeve - "The Haunting", "Rosemary's Baby" and "Amityville" spring to mind - a strong identity of its own and subtle use of scare tactics should see its already solid reputation grow.
A fine central performance by Emily Goss; fluid cinematography from Juan Sebastian Baron and a suitably eerie score from Nathan Matthew David and Jeremy Lamb add much to a film that offers replay value on DVD.
"There's always an explanation" declares our luckless paranormal investigator. You'll have to wait until the bitter end to see if the Keelings offer one and it's an entertaining, gripping ride for sure.

"The House On Pine Street" will be released in the UK by Second Sight on 1st February 2016.

Blu-ray Review: Ghost Story (Second Sight)

Peter Straub's "Ghost Story" novel came out in 1979 and, for me, remains one of the finest tales of the supernatural ever written. Straub's book, rich in characterisation and unearthly chills, centres on a group, of old men who meet up under the banner of 'The Chowder Society' and take it in turns to tell ghost stories.

It's an enthralling read, and presented a considerable challenge with regard to making a successful translation to a feature film.
Director John Irvin took on that challenge, employing a wholly distinguished cast; a legendary director of photography; top-notch makeup and fx men and Lawrence D. Cohen whose script was a significant task in itself.

In the film, Fred Astaire takes the role of lawyer Ricky Hawthorne; Melvyn Douglas plays Dr. John Jaffrey, and Dogulas Fairbanks jr and John Houseman were cast as Edward Wanderley and Sears James; the latter being Ricky's business partner.
This quartet of old men gather at Sears' house and, armed with brandy and cigars, talk of things that no mortal man should hear, let alone experience.
It's a perfect setting for the cold winter that the town of Milburn is experiencing, with tales delivered by solemn voices for an ever fearful audience.
The men have all been suffering from nightmares, which link to a fateful event some 50 years earlier concerning a woman whose influence has grown stronger down the years. Alma Mobley/Eva Galli - brilliantly portrayed by Alice Krige -
was a shape-shifter in Straub's novel. Here, she's still the ultimate femme fatale, returning to exact the ultimate revenge for meeting a watery grave and serves as a major part of the film's theme of men's fear of women.

Milly (Jacqueline Brookes), Jaffrey's housekeeper, and Stella (Patricia Neal), Ricky's wife, are strong characters here, and Craig Wasson takes the roles of the Wanderley twins who fell under Mobley's spell. Amongst the absentees from the film version are the characters of Lewis Benedict and Peter Barnes, while Fenny and Gregory Bate are thrown into the mix in such a fashion that one may be forced to conclude they should have stayed on the printed page.

To get the most from this film, one must attempt to separate it from the book: not an easy job but one that pays dividends. Hardened Straub supporters will inevitably point to aspects of the production that aren't to their liking, but there's also much to enthuse over.
The town of Milburn is a winning celluloid creation, switching between postcard-like snow-scapes - you'll actually feel the biting cold - and driving rain with the wintry elements a part of the 'fine weather' we demand for such fare.
Jack Cardiff's magisterial photography beautifully reproduces the books' essence, while Dick Smith's makeup and Albert Whitlock's matte magic are indeed the stuff of nightmares and great beauty.
The performances are mostly excellent, too, with the four-man Chowder Society sensitively portrayed by a quartet of actors who would all be making their final film here. Patricia Neal - who would go on to make one more film after this- joins this treasure trove of ability and experience to emerge as a character who deserved more screen time but who made the best of what she was given.The real revelation here has to be Alice Krige, who is positively chilling to watch. Dick Smith certainly created some grisly makeup to transform her visage into pure evil, but she's at her most unnerving in her natural state, with looks, expressions and gestures that make it all too easy to believe she's not of this world.

Until Second Sight's Blu-ray came along, it had been many years since I'd viewed Irvin's film. At the time, I'd just re-read the novel and didn't much care for the filmed version. Now, with age, I still regret some of its shortcomings, but better appreciate its accomplishments. The things it does so very well. The time has come to tell the tale to a new generation, and perhaps to enhance its reputation amongst older viewers.

Second Sight's Blu-ray presentation is satisfying on practically all levels. An excellent encode, vivid detail, strong flesh tones and a fine showcase for Jack Cardiff's talents: his lighting of Alice Krige added so much to proceedings.
The supplementary material begins with a John Irvin commentary track.
John talks about his debut feature "Dogs Of War" and goes on to explain that "Ghost Story" was his second feature and one where he aimed for a European feel. He talks about the challenges of working with ageing cast members: Douglas, wo died four months after filming, worked in extreme pain, while Pat Neal was recovering from a stroke.
He also holds forth on Alice Krige, who impressed him with her "spiritual qualities"; reveals why Phillippe Sarde was an unpopular choice as composer with studio execs; is honest enough to admit that some scenes in the film could have been done better and recalls how Craig Wasson lost his character in a particular scene. This was John's first viewing of his film in almost three decades, and he clearly enjoys recalling a happy experience, even finding time to recall his own brush with the supernatural.

Ghost Story Genesis With Peter Straub (39m 42s)
An absorbing interview with the author who talks about the creative process and how he gains inspiration for his work.
He remembers how "Ghost Story" changed his life, in between reading extracts from his book.
"Koko", "Shadowlands" and "Floating Dragon" are also discussed, along with the music of Dave Brubeck, and Jack Cardiff also receives praise.

Alice Krige: Being Alma Mobley and Eva Galli (28m 52s)

An absolute delight as Alice explains why she decided to go into acting; her take on the Mobley/Galli character; the joy of working with such a generous cast and her thoughts on her nude scenes. She also records her pleasure concerning the re-issue of this film, remarking that it's "wonderful a film with merit is not lost."

Screenwriter Lawrence D. Cohen and Producer Burt Weissbourd (29m 29s)
Burt explains how he got into working with writers and why he elected to turn his back on producing.
Lawrence talks about his "Carrie" screenplay; discusses the tough decisions that had to be made with regard to revising his screenplay (the film was edging towards a 3 or 4 hour number)and recalls his relationships with directors.

The Visual Effects Of Albert Whitlock: a Discussion With Matte Photographer Bill Taylor (28m 51s)
Bill relates how he and Albert first met; talks about the matte printing process and refers to Albert as a "fountain of ingenuity."
He also touches on that wonderful shot of Alice Krige in front of a speeding car and explains how it was engineered.
A 31s TV spot and a 1m radio spot are followed by a moving photo gallery running for 8m 43s, which includes theatrical posters and colour and monochrome stills.
The package is rounded off by a 2m 6s trailer which does a fine job of selling the film.

Second Sight's Blu-ray and DVD are released in the UK on 7th December. The Blu is already one of my favourite releases of 2015. If you've seen this film before, this is an excellent vehicle to increase appreciation. If you haven't, I'd say you're in for quite a ride!

I have a copy of the Blu-ray up for grabs. Still a few more days to run so check out this competition to be found elsewhere on this blog. Terms and conditions state UK entrants only.