HE’LL TEAR APART A CITY TO SAVE HIS DAUGHTER
When a vicious psychopath mistakes the daughter of tough ex-cop Sean Boyd (James Brolin) for the daughter of a wealthy developer and kidnaps her for ransom, Boyd goes on a city-wide rampage to get her back. Fighting his way through 42nd Street porn palaces and Bronx gang territories, facing street thugs and crooked cops, Boyd’s unrelenting search through the urban decay of New York City is a pulse-pounding, action-thriller in the gritty spirit of Dog Day Afternoon and Taxi Driver.
Based on the novel by William P. McGivern (who wrote the original serial for The Big Heat) and featuring wild performances by Cliff Gorman, Dan Hedaya, Sharon Mitchell, and Mandy Patinkin, Night of the Juggler is a stunningly grimy portrait of the Big Apple at its most fetid and a relentless thrill-ride of brawls, car crashes, dog attacks, and knife-fights!
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- Original mono audio (uncompressed LPCM)
- Optional English subtitles for the deaf and hard of hearing
- Held Hostage, new interview with actress Abby Bluestone
- Along for the Ride, new interview with actress Julie Carmen
- At the Peep Show, new interview with actress Sharon Mitchell
- Theatrical trailer
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by cult cinema critic Steven Puchalski
For every MMC! proposal that turns into an actual spine numbered release, there are numerous other films that get swanky editions before this blog ever gets to imagine one. These films are unfortunately struck from MMC!‘s list of potential titles with no fanfare, never achieving the glory of stepping into our fantasized spotlight. Today’s “Trailer Tuesday” post celebrates a few of these films recently denied the chance to shine MMC!, but first we’ll celebrate an overdue title proposed for a spine number 6½ years ago!
As a longstanding favourite of MMC!, we’re naturally overjoyed with news that Severin Films is debuting a new 4K restoration of Álex de la Iglesia’s Perdita Durango (1997) at the 2019 Fantasia Film Festival and that a Blu-ray release is expected to be announced later this year! Personally, I can’t wait to decommission my two bootleg copies of the film and finally get to discuss with others the genius that is Rosie Pérez and the further proof that the quality of a film is directly proportional to the craziness of Javier Bardem’s hair. Thank you Severin! Better late than never!
Eclipse is a selection of lost, forgotten, or overshadowed classics in simple affordable editions. Each series is a brief cinematheque retrospective for the adventurous home viewer.
The award-winning team of David Gill and Kenneth Brownlow present a definitive and unparalleled look at the history of silent film in America with Hollywood: A Celebration of American Silent Film. Narrated by actor and silent film enthusiast James Mason, this 13-part series celebrates the birth of an industry and the town and people who made it happen. From the arrival of the filmmaking pioneers early at the dawn of a new century, through the outbreak of the First World War; from the rise of romance to the demise of the Old West; from when comedy was king until the advent of sound, this stunning television program surveys the enormous range of spectacular, innovative, and exciting films created by a business still inventing itself. Brilliantly edited and featuring a multitude of invaluable interviews by stars, directors, and below-line personnel, Hollywood is an irreplaceable document on cinema history and a loving tribute to those that made a legend out of a modest California town.
With notes by Kevin Brownlow.
The 2019 Chattanooga Film Festival is now done and dusted and its winners have been announced. Giovana Olmos won the Student Filmmaker Award for Sweet Tooth, Dylan Meyer took the prize for Best Short with Rock Bottom, Andi Morrow’s Pusher the Movie won for Tennessee Filmmaker, Bethany Brooke Anderson won Best Feature for Burning Kentucky, and the Audience Prize went to Billy Senese’s The Dead Center. Senese’s film, shot in Nashville, was the only award-winner that I saw and it was an enjoyable horror experience, featuring an ancient evil unexpectedly held in a hospital’s psychiatric ward and a frustrated doctor forced to face this unexpected threat. The filmmaker’s own experiences with mental illness obviously inform The Dead Center and the film finds legitimate scares in the friction between its institutional setting and its supernatural menace. Still, the movie fails to make the most of its concept by remaining too vague in its characters and its monster, missing opportunities to ratchet up its stakes and bring its audience even closer to The Dead Center‘s dark core. I would encourage horror fans to check out The Dead Center but MMC! had favourites of its own and the best of the best were found in the “CFFeatures” section.
The Criterion Collection, a continuing series of important classic and contemporary films presents Airplane!
In this zany masterpiece written and directed by the trio of David Zucker, Jim Abrahams, and Jerry Zucker of The Kentucky Fried Theater, a traumatized fighter pilot (Robert Hays) boards an airliner to win back his flight attendant girlfriend (Julie Hagerty) and becomes the plane’s last hope when the crew and half of the plane succumb to food poisoning. Loaded with surreal humor and rapid-fire gags, Airplane! parodied the popular disaster films of the 1970s and took audiences by storm in the process, a breath of fresh air that turned into a massive box office hit. With an iconic cast that includes Leslie Nielsen, Lloyd Bridges, Robert Stack, and Kareem Abdul-Jabbar, Airplane! is one of cinema’s most quotable films and an all-time, off-the-wall, comedy classic.
- New 2K digital restoration, supervised by writers-directors Jim Abrahams, Jerry Zucker and David Zucker, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Audio Commentary with producer Jon Davison and Abrahams, Zucker, and Zucker
- Long Haul Version, the film including deleted scenes, interviews, and more!
- “I Am Serious!”, an introduction by comedian Patton Oswalt
- Late Night with David Letterman excerpt featuring the filmmakers and a screen test by Letterman for the role of Ted Striker
- The Flatulent Mr. Nielsen, archival footage and new interviews on Leslie Nielsen and his ever-ready fart machine
- Interview with Barbara Billingsley on speaking “jive”
- Interview with Peter Graves
- Trivia track
- Deleted, extended and alternate scenes
- Side-by-side comparison between Airplane! and Zero Hour! (1957)
- Travel Wisconsin commercials
- Theatrical trailer
- PLUS: An essay by filmmaker Peter Farrelly
Alan Clarke’s Elephant (1989) is a short film made for television and produced by Danny Boyle and BBC Northern Ireland. Set amid the Troubles in Northern Ireland, the short presents 18 matter-of-fact murders with a coldly observational approach, providing limited dialogue and utilizing the predatory look of steadicam follow shots. The film takes its title from Irish writer Bernard MacLaverty’s description of the Troubles as “the elephant in our living room,” and it served as an inspiration to Gus Van Sant’s Elephant (2003), a film that likewise attended to the broader social problems that underlie American school-shootings and gun violence.
Clarke’s short is overdetermined in its intentions, being full of intense men and purposeful walks, yet it is also disturbing empty. Despite its apparent single-mindedness, there are no explanations of the hows and whys of its killings and there are nearly no sounds of surprise or panic, yet there is always the banality of violence and death, a lifeless body in a drab room and a getaway that rarely strays from the same purposeful walk. For more on Elephant and the psychology it embodies (or withholds) in its particular cinematography, MMC! offers Jordan Schonig’s impressive and insightful video essay, The Follow Shot: A Tale of Two Elephants (2018). Schonig’s essay provides a concise exploration of what may be contemporary cinema’s most ubiquitous and conspicuous shot and perfectly unpacks the themes and tensions at work in Clarke and Van Sant’s respective films.