The Phenix City Story (Phil Karlson, 1955)

The Criterion Collection, a continuing series of important classic and contemporary films presents The Phenix City Story.

Corruption, brutality, and vice plagued Phenix City, Alabama, for 100 years, so who would dare to change it? Based on real-life events and filmed on location in what was called Sin City USA, director Phil Karlson’s semi-documentary tears this jolting tale from its Pulitzer Prize-winning headlines and tells the story of those citizens who risked their lives to bring down the burg’s syndicate of thugs and murderers. Signalling the end of stylish film noir and pointing to the crime-busting exposés that followed, this classic B-noir remains indelible for its shockingly transgressive violence, its unsettling authenticity, and its subtextual awareness of the struggling civil rights movement.

Disc Features:

  • New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
  • Phil Karlson: The Core of Fact, a short appreciation featuring writer/film historian Alan K. Rode
  • New interview with critics and one-time Alabamans Jonathan Rosenbaum and Nathaniel Thompson
  • Historic photos of Sin City-era Phenix City
  • PLUS: An essay by critic R. Emmet Sweeney

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How to Lose Weight in 4 Easy Steps (Ben Berman, 2016)

Happy 2019, kids! It’s less than a week after New Year’s and that means it’s primetime at gyms everywhere, so it’s the perfect opportunity to spend time with Ben Berman’s hilarious, moving, and all too true short film, How To Lose Weight in 4 Easy Steps (2016). The film is based on Aaron Bleyaert’s essay of the same title, discovered by Berman when it was forwarded to him by a friend after joining a gym. The short was shot in two halves with SNL‘s Beck Bennett (in a wonderful starring performance as a heartbroken mattress salesman) losing 30 pounds in the three months in between. Funny and disarmingly inspirational, How to Lose Weight in 4 Easy Steps is actually perfect anytime of the year.

This post is naturally dedicated to work-out loving wife and her friend who love anything with “humping” in it.  LOL.

The In-House Carol (Brad Neely, 2009)

I feel like 2018 is the year that the internet had enough of people saying that Die Hard (John McTiernan, 1988) is a Christmas movie and I’m thankful. Don’t get me wrong; I love me some Die Hard but the self-congratulatory smugness of the Die Hard-as-Christmas classic declaration had its day long ago. To both celebrate and hopefully memorialize this effort in a once clever and now tired idea, MMC! wishes everyone a safe and happy holidays with Brad Neely’s 2009 Baby Cakes short, The In-House Carol, a crudely fashioned and hilariously daft portrayal of Die Hard love gone too far.

SEASON’S GREETINGS TO ALL!!!

SFFF Day 5 – The Good, the Bad and the Heavy

The Saskatoon Fantastic Film Festival’s final day kicked off by wrapping up its body horror retrospective with Philip Brophy’s Body Melt (1993). MMC! imagined an Arrow Video edition of the film earlier this summer, back when word of its restoration began circulating. The film now has a packed Blu-ray release compliments of Vinegar Syndrome, bringing this lesser known wonder to the world. The SFFF paired Body Melt with Chris McInroy’s practical effects-based We Summoned a Demon (2018), a fun and goofy short about a couple of guys who just want to be cool and end up summoning a demon. Overall, a fun way to start the Festival’s end.

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SFFF Day 4 – Fractured Minds and Fantastic Capitalism

Day 4 of the Saskatoon Fantastic Film Festival was loaded with screenings and bracketed by a pair of animated programs – the Saturday Morning All You Can Eat Cartoon Party and the web-series Crisis Jung (Baptiste Gaubert and Jérémie Hoarau, 2018). MMC! has already proclaimed the greatness of Crisis Jung and we’re loath to spoil Keir-La Janisse’s program of Saturday morning content given that it continues to tour festivals and cinematheques. Themes do tend to run through the Cartoon Party programs and “women’s lib” stood at the forefront with cartoon episodes on equal opportunity, commercials for the YWCA, and PSAs that addressed federal pay equity laws through iconic comic book figures. The Cartoon Party enjoyed a large audience that was quick to applaud for great content and progressive messages and to shout along with the enthusiastic narration of the cartoons. Expect to see another Cartoon and Cereal Party at SFFF 2019!

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Piercing (Nicolas Pesce, 2018) – Ithaca Fantastik 2018

A MODERN SCREWBALL GIALLO

Family man Reed (Christopher Abbott) is going on a business trip but in lieu of a suitcase filled with clothes, he’s packed a toothbrush, a murder kit, and a plan to kill a prostitute so can rid himself of his homicidal impulses and continue to be a good husband and father. That call girl, an alluring but unusual woman named Jackie (Mia Wasikowska), is more than he bargained for and the balance of control over their fraught meeting begins to sway back and forth between the two. Before the night is over, a feverish nightmare unfolds, and Reed and Jackie seal their strange bond in blood.

Based on the critically acclaimed cult novel by Ryu Murakami (Audition), director Nicolas Pesce (The Eyes of My Mother) blends psychological horror with screwball comedy and sets it against an iconic giallo score, resulting in a sly take on the fantasy of escape and the hazards of modern romance.

Special Edition Contents:

  • High Definition Blu-ray (1080p) presentation
  • 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
  • Optional English subtitles for the deaf and hard of hearing
  • Feature-length audio commentary with writer/director Nicolas Pesce
  • Making-of documentary
  • Piercing Murakami: Japanese film scholar Tom Mes on the source novel
  • Knowing the Score: Giallo music expert Jon Dobyns on the music of Piercing
  • According to Plan: New interviews with actors Christopher Abbott, Mia Wasikowska, and Laia Costa
  • Original theatrical trailer
  • Reversible sleeve featuring two artwork choices

FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by critic Wendy Ide Continue reading