'Deserted' VOD: Mischa Barton's 'Death Valley Days,' or 'Welcome to the DV, Bitch'

Invincible Picture pays great homage to the entertainingly melodramatic '90s-era films on Lifetime and other basic-cable channels with "Deserted," which is out on DVD.  This tale of millennial hipsters stranded in Death Valley hits the On Demand platform of a Seattle-based retailer that shall remain shameless and other VOD services on February 28, 2017.

The big draw for fans of teen-based Fox dramas everywhere is having Mischa Barton from "The O.C." star as recently released guest of the state of California Jae. She no sooner gets sprung and moves in with loving scruffy brother Robin then she learns of the desire of her sib to travel to the Burning Man style music festival Burn the Moon in Death Valley. The planned entourage includes Rosemary, who is the significant other of Robin but is on less friendly terms with Jae.

The following YouTube clip of the "Deserted" trailer combines a good synopsis of the story with an equally well-done sense of the atmospheric vibe of the film.

Writer/director Ashley Avis provides an initial "Deliverance"/"Nocturnal Animals" scare in the form of our group meeting a small-town local on their car breaking down in the desert. That first contact actually being friendly ends with said good Samaritan towing the car to his town and dropping Jae and her fellow travelers at a dive bar.

The story then progresses to our heroes meeting a trio of 20-something guys who are driving an RV to the festival. This development also has a strong vibe of "they drove off into the desert and were never heard from again," but Avis once again has a surprise in store.

A literal wrong turn results in the group getting stranded in the desert; this mobile home having a larger supply of elicit substances than the similar workspace of Walter White does not help matter.

The existing inter and intra tensions among the combined group of festival goers does not help matters when the combination of greatly impaired judgments and harsh desert conditions begins taking a toll.

The resulting fight for survival takes less than 72 hours but involves plenty of disorientation, extreme temperatures, hostile wildlife, and related madness. Meanwhile, we learn more about the crime that is the cause of both the unfortunate incarceration of Jae and the reason that even Robin does not welcome her back with fully open arms.

Avis does a nice job presenting all of this in a realistic (and largely dystopian) manner. Each actor portrays his or her character well, and the audience can understand how the events transpire.

Viewers further get spectacular desert views in the context of a fable that warns of the dangers of accepting rides from strangers and of wandering around the desert at night even in this age of smart phones and GPS satellites.

Anyone with questions or comments regarding "Deserted" is welcome to email me; you also can connect on Twitter via @tvvdguy.

'The Creature Below' DVD: Edgy Perverse Take on 'Sigmund and the Sea Monsters'

breaking glass pictures shows great love for mid-budget vintage USA network late-night horror movies regarding the February 28, 2017 DVD release of the 2016 film "The Creature Below." Writer/director Stewart Sparke basing the titular squidlike entity on the H.P. Lovecraft creation Kassogtha adds depth (no pun intended) to this ultimate guilty pleasure.

Folks who are unfamiliar with the legendary horror stories of Lovecraft likely will recognize elements of the classic big-budget scifi films the "Alien" series and "The Abyss" in "Creature." Folks with a taste for British television also will recognize elements of the fairly recent series "Primeval." (We do not speak of the horrible American version.) That Dinomite one centers around the prehistoric creature of the week wreaking havoc in 21st century England until the team charged with dealing with those threats neutralizes it.

A more retro vibe comes from the classic Sid and Marty Krofft '70s kids' show "Sigmund and the Sea Monsters." This one has child star Johnny Whitaker of "Family Affair" fame and his his reel-life little brother sheltering the titular kind and gentle seaweed-covered creature.

The YouTube clip below of the "Creature" trailer highlights the atmospheric creepiness of the movie while providing a good sense of the story.

The well-presented tale this time starts with acclaimed marine biologist Dr. Olive Crown successfully selling herself to suit up in experimental deep sea ware for the purpose of exploring an ocean ravine that is theorized to be the home of the first life on earth.

A mishap during this voyage to the bottom of the sea requires a dramatic rescue of our heroine. An element of this excitement that it unknown to the colleagues of this scientist is that she is not alone when she surfaces. The titular "monster" comes along for the ride.

Other than trafficking in the prehistoric squid trade, Olive is largely normal when she returns to her residential U.K. neighborhood. This routine includes a very welcome greeting from live-in boyfriend Matt. However, this highly significant other is unaware that the contraband ocean dweller now resides in his basement.

Of course, our not-so-friendly sea monster better run, better hide. Olive's gotta keep him outta sight.

The elements that combine for the perfect storm that lead to Olive going mad and creating mayhem begins with a defense mechanism by the ancient one, who could be called Audrey as aptly as Sigmund, increasing the symbiotic relationship between him and his caregiver. A further catalyst comes in the form of the arrival of Olive's free-spirited younger sister Elle for an extended visit. The large differences in the personalities of the siblings, Elle expressing increasing interest in Matt, and Olive developing a strong bond with her other houseguest are the things of which B-movie horror films are made.

Olive discovering that "Audrey" has a much stronger taste for human blood than the other offered sustenance prompts our mad scientist to go to extremes to obtain that substance. Of course, that makes it a particularly bad time for Elle to get on the bad side of her sister.

All of this leads to a climax that has the lunch meat of the day fending off an attack after Olive witnesses an event that drives her further into lunacy. This leads to an epilogue that in turn leads to a development that screams for a sequel.

breaking chooses wisely in selecting the wonderfully cheesy (no pun intended) 2013 Sparke-directed film "Rats" as the accompanying short for this one. IMDb states it all in describing this low-budget movie as "A young woman finds her home plagued with mutant Rats From Outer Space." One spoiler is that the creatures are not the sensei of pizza-loving crime-fighting turtles.

Anyone with questions or comments regarding "Creature" or "Rats" is welcome to email me; you also can connect on Twitter via @tvdvdguy.

Hayward & Hopper Amenity Bags Add Vintage Hollywood Touch to JetBlue LAX Service & TCM Film Festival

The stars (no pun intended) aligning for the April 6 - 9, 2017 TCM Classic Film Festival in Los Angeles reinforce the theme of a recent Unreal TV article that now is the time to attend that event and that the old Hollywood hotel The Hollywood Roosevelt is the place to do it. The WAY beyond domestic first-class JetBlue Mint service provides the third piece of the puzzle in that that is the way to get there.

The above-depicted and below-mentioned Hayward and Hooper amenities bags that enhance the Mint experience are a significant element of that service. The further below responses of Hayward designer (and Dennis Hooper offspring) Marin Hooper to emailed questions by Unreal TV tremendously enhance this discussion of her coveted creations.

JetBlue offers Mint service on several cross-country routes. Everything about this service, which costs no more than standard first-class service on competing airlines, clearly is designed to provide a high-tech enhanced version of the luxurious old Hollywood style version of first class.

Personal experience expressing "we're only over &$#@^@ Iowa?!" and "are we there yet?" after a few hours sitting in an extra-legroom seat on a flight to Phoenix makes this semi-frequent flyer want to nominate the Blue blood behind Mint for a Nobel Prize.

The plans for this article praising Mint coincidentally coinciding with watching a "Beverly Hillbillies" episode in which Jed and all his kin score the entire first-class section of a jet for their virgin (pun intended) flight further validates the thoughts of your not-so-humble reviewer. Like JetBlue Mint passengers, this family has large comfy seats and two attentive and courteous flight attendants dedicated to them. Further, Mint rookies likely will have the same sense of awe as the fictional hill folk experience on discovering air travel.

The tip of the modern luxury iceberg in Mint is finding a pillow and a duvet with a personalized note on your seat when you board, a pre-flight signature Vodka or virgin Refreshmint beverage, and said seat being a lay-flat massaging one. There also is free FlyFi service, a handful of no-cost in-flight movies, and a plethora of satellite television channels, more plugs than any reasonable person could ever need, etc.

The amenity that is prompting this praise-laden post is the super-special Hopper bag full of guy-oriented personal care products that male Mint passengers receive to help stay fresh on the plane and to provide a souvenir to treasure for years to come. The good folks at Hayward (and sibling company Hooper) who make the bag for JetBlue provide the comparable Hayward bag for the ladies.

Scoring coveted pre-flight bags shows that the goodies in both bags include a truly black-out sleep mask, ear plugs, lip balm, and actual mints that active members of the Mile High Club particularly will put to good use.

The following YouTube clip of a JetBlue promo. for the Hopper and Hayward bags further explains the intentional old Hollywood connection with this best-ever airline SWAG. Hayward designer Marin Hooper being the daughter of Hollywood royalty Dennis Hopper and Brooke Hayward, is only the tip of the iceberg.

The aforementioned traditional exceptional first-class service of airlines that have been around decades longer than JetBlue prompted asking Hooper why she partnered with JetBlue rather than a more "mature airline."

In the spirit of the American tradition of doing things in a half-assed manner, the awesomely articulate response of Hopper to this and the other questions is pasted below in bold.

We love Jet Blue! It's the only airline we use to fly from Coast to Coast, and to the Caribbean. The Mint experience is the premiere business/first class in America, very luxuriously appointed and with the best service and most delicious food. We thought that they could use a great amenities kit to match!

Hooper had the following to say regarding the fabulous amenities selection in the bags. In addition to those thoughtful remarks, Hayward shared that the amenities selection rotated seasonally. That alone provided an incentive to frequently fly Mint.

We selected items to be used in-flight that would add a touch of comfort and refreshment to the journey. All of the selections are products we personally use ourselves. The kits will soon include designs by artists we love, like Alia Penner, who just created the divine day and night constellation artwork for the next series of amenities kits and sleep masks.

Hooper offered valued praise and provided interesting insight in response to being asked if the flying public can look forward to a red-white-and-blue Hooper bag in 2019 to honor the 50th anniversary of the uber-classic Dennis Hooper film "Easy Rider."

Good idea! The designs of the kits evolve every six months. We're excited to launch the next generation of kits, which are illustrated by California pop artist Alia Penner, in May 2017. For holiday 2017, the designs will evolve again.

The email communication with Hooper ended on an aptly Hollywood note. Observing that designer Tom Ford has found great success in the film industry prompted asking Hooper if Hayward had any plans to follow suit.

That would be a dream come true! In fact, John Goldstone, the company CEO and my (Marin's) husband, is a movie and television producer. He is currently involved with an adaptation of Ernest Hemingway's A MOVEABLE FEAST, which he is producing with model, actress and author Mariel Hemingway. Interestingly enough, Marin's grandfather, Leland Hayward, was Ernest Hemingway's agent. They later went on to make THE OLD MAN AND THE SEA together for Warner Bros.--the same studio lot where John later met Mariel! Stay tuned for details about this, and the many unique collaborations we have in the works...

Hooper being an impossible act to follow requires wrapping things up by stating that folks who want to avoid the Hell of even extended legroom cross-country travel do have a choice of carriers but are complete morons if they pass on a chance to fly Mint. 

Anyone with questions regarding Mint or the Hayward and Hooper bags that are new residents of the gen pop section of the Unreal TV SWAG collection is strongly encouraged to email me. You alternatively can connect on Twitter via @tvdvdguy.

'The Great & the Small' DVD: Apt Tttle for Outstanding Indie Film

breaking glass pictures fully cements itself as the go-to source for all things indie film with the February 21, 2017 DVD release of the 2016 art-house drama "The Great & the Small." This, along with the recent (Unreal TV reviewed) breaking theatrical and DVD releases of "Sins of Our Youth," are great examples of the thoughtful and insightful character studies in the breaking library. They join the ranks of the plethora of sensitive thought-provoking indie gay-oriented dramas and edgy terrifically cheesy horror flicks that breaking makes available.

The festival love for this tale of hunky 26 year-old ex-con Nicholas Scott includes two Best American Independent Feature Awards at the 2016 Rainier Independent Film Festival. The online love includes a Seattle-based online retailer that shall remain shameless going through DVD copies like crazy.

The copious symbolism in this one begins with the title of the film being the same as the name of a children's book with a message that everyone is special. Deeper levels largely involve the manners in which the great and the small among us cope with various forms of difficult losses.

The audience meets Scott engaging in his daily routine at the home where he is squatting. We then learn that homeboy has no game when he experiences pre-coitus interruptus while visiting his baby momma.

The day of this great Scott continues with him getting a legitimate menial job with daddy figure/part-time burglar Richie, played with awesome British evil stoicisim by Ritchie Coster of "The Dark Knight."

The adventures of Scott next involve becoming a live-in manny for the baby from another daddy of the aforementioned ex, becoming involved in the post-trauma life of the woman who ends up with the baby of Scott, and returning to a life of petty crime at the urging of Richie.

The caretaker job puts Scott a the mercy of his ex-girlfriend and provides a good context for learning more about his early life. This scene-stealing actress gets the best moments in the film regarding giving Scott an awesome lesson on the importance of changing diapers and in another scene in which this woman on top takes on the role of the dude in a round of actual coitus interruptus.

A private investigator who takes on the case of one of the burgled homes adds a wonderful odd element that is reminiscent of the novels of off-kilter crime novelist Elmore Leonard.

These events prompt our hero to examine his life and that of those around him. His relationship with aforementioned adoptive mother Margaret is the most compelling/creepy aspect of the film. Their common bond creates a very its complicated situation.

Veteran indie film writer/director Dusty Bias puts his filmmaking skills to good use portraying all this. Just as this auteur skillfully uses symbols to add "Great" depth, he uses reveals to gradually show the full nature of Scott. A prime example of this is an early scene in which Richie is reviewing the job application of Scott. Richie calls this prospective hire on his nonsense regarding not putting his full name on the application. This leads to an amusing discussion regarding the response of Scott to being asked for his address.

More symbolism comes regarding this film coming out ahead of the Oscars. This film does not warrant giving either Bias or Scott potrayor Nick Fink the literal red-carpet treatment but does remind us of the good ole days of the '90s in which films such as "Great" were on cineplex marques right next to quality super hero blockbusters and comedies that actually had true humor.

The DVD extras consist of deleted scenes. One of the best of these true cutting-room floor wonders has Richie showing Scott tough love and other awesome support.

Anyone with questions or comments regarding "Great" is encouraged either to email me or to connect on Twitter via @tvdvdguy,

'Utopia' DVD: John Pilger Documentary Share High Inconvenient Truth Regarding Australian-Style Apartheid

The February 28, 2017 DVD release of the 2013 film "Utopia" by documentarian John Pilger is the latest example of documentary film company Bullfrog Films and documentary film distributor Icarus Films making a truly dynamic duo. This study of the horrendous manner in which the Australian government consistently treats the native Aborigines of that country hits home hard due to those practices closely mirroring the treatment of native Americans and black people in the United States.

The parallels are close right from the opening scenes that depict white Australian police officers viciously mistreating black people in their custody without those law-enforcement officials receiving any punishment. The similarities between that country and ours continue with Pilger shifting his focus to the gorgeous coast and reporting on the Grand Canyon size income gap between wealthy white Australians and the black Aborigines. This segment includes a report on a government plan to wipe out the population of the latter.

The title of "Utopia" is commentary on the British using that term for the region of Australia in which Aborigines live that only the most perverse of us would wish on even our worst enemies. The impact of this includes that region being the focus of a campaign that is directly comparable to the U.S. government wiping out a great deal of the native American population and confining the survivors and their descendants on poverty-stricken reservations.

Pilger vividly documents the theme that the "haves" in Australia enjoy one of the highest standards of life in the world while even the "have nots" with the highest living standard among that group endure conditions that are comparable to the slaves quarters of 19th century America. The copious vivid illustrations of this include a tour of a relatively pricey resort that is a renovated holding facility for Aboriginal people. This visit proves its point in segments that include the lack of acknowledgement of a burial ground through which the resort has a road.

The following YouTube clip from "Utopia" is a portion of the immediately aforementioned portion of the film.

Pilger seems reasonable in placing most of the blame on the national government of Australia. His interview with Minister of Indigenous Health Warren Snowdon has particular impact in that Snowdon is very defensive and unduly loses his cool with Pilger.

In the interest of fairness, Pilger seems unfairly hard on a top official of the prison system who remains the head of that system after an incident in which a black prisoner essentially cooks to death while confined in an a literally roasting hot van for several hours. The official, who obviously lacks direct involvement in the incident, is very regretful and seems sincere in asserting that an acted-on desire to implement reform is a factor in deciding to stay on the job.

Pilger continues to harangue the prison official after hearing her reasoning, and he disregards her equally apparently valid thinking regarding an incremental approach toward changing the thinking of prison guards who are the product of a society that actively supports brutally mistreating black people.

Additional impact comes ala Pilger documenting how things have not improved during the decades in which he has been addressing the plight of Aborigines.

Another sub-topic is a propaganda campaign that is bad enough because it centers around false claims of rampant organized pedophile activity and additional gross misconduct in Aboriginal communities. The equally reprehensible profit motive behind this effort makes the story even more sickening.

Pilger further shines a spotlight on the "stolen generation" of Aboriginal children snatched up and given to white families. The history repeating itself aspect of the story enhances the "ick" factor.

An included booklet in which Pilger expert Anthony Hayward provides a Cliff Notes-style summary of "Utopia" and of the extensive efforts of Pilger to alert the world to the dark side of the Outback is well-worth reading. This booklet further provides mini-biographies of the copious talking heads who participate in the extended interviews on the second disc in the release.

Ending this review with the observation that "Utopia" will make you look at Australia with a much more critical eye than you currently do shows that Pilger achieves his objective without resorting to sensationalism.

Anyone with questions or comments regarding "Utopia" is encouraged to email me. You also can connect on Twitter via @tvdvdguy.

Trinity Rep.Live-Stage Setting 'A Midsummer Night's Dream' at '80s Prom is Pucking Awesome

Trinity Rep., which is the official state theater of Rhode Island, literally and figuratively hits several high notes regarding the Project Discovery production of "A Midsummer Night's Dream." Rep. offering every 11th grader in Rhode Island free tickets for the play, which runs through March 24 2017, provides America's future a chance to experience tubular '80stastic Shakepeare. Although the dialogue largely is true to the original text, the very clear enunciation and subtly reduced pace makes it very comprehensible.

The following YouTube clip of a promo. for the production provides a look at the bright style of this period piece and shares the thoughts of reviewers who are more diligent than yours truly.

Rep. Associate Artistic Director Tyler Dobrowsky immediately sets an apt tone for this production set at a 1986 Spring Fling by having engaged couple Theseus, who is the Duke of Athens, and Hippolyta as faculty members discussing their upcoming wedding plans while chaperoning the aforementioned school event.

The "kids" around whom much of the action centers then figuratively and literally take center stage in this theater-in-the-round production. Preppy jock stud Lysander and perky suburban daddy's girl Hermia are totally in love (totally), but face the Shakesepearen obstacle of the paternal figure of Hermia promising her hand (and everything that goes along with it) to Urkel-like nerd Demetrius. The "The Love Boat" fun continues with "Heather" girl Helena pursuing Demetrius as assertively and as futilely as he chases Hermia.

Hermia facing the ultimate ultimatum (which makes the threat of Daddy taking her T-bird away seem inconsequential) leads to her and Lysander plotting to escape into the woods to the safety of Athens. This, in turn, leads to the first of several very apt live-action music videos in the production. Watching Lysander take the lead role in the duet "Nothing's Gonna Stop Us Now" by Jefferson Starship establishes actor Daniel Duque-Estrada as a master of '80s power ballads. It also prompts your not-so-humble reviewer to quietly comment that he did know that the 1987 OSCAR-NOMINATED Kim Cattrall/Andrew McCarthy teencom "Mannequin" was Shakespearean.

The final piece of the puzzle also soon comes in form of the group of actors that Shakespeare dubs the mechanicals having their time center stage. Dobrowsky transforms this troupe into an amusingly dorky drama club that gets set to go into the woods to rehearse a play to present at the Theseus/Hippolyta wedding.

On entering the woods, the audience meets a roller-skating Cyndi Lauperlike incarnation of the mischievous Puck and an '80s-style Elvis version of Fairy King Oberon. This sets the stage for Puck to mess with the foolish mortals who enter that realm.

Rep. wisely augments this pair with the alternating Ghostbusters and Goonies groups of elementary-school students in neon wigs and Punky Brewster attire playing the fairies who provide Puck with an entourage. A well-known principle of regional theater management is that casting kids fills seats with family and friends of these young thespians. Having two groups of kids fills twice as many seats.

Dombrowsky gives each kid a chance to shine; one bespectacled lad particularly give Duque-Estrada reason to look over this should regarding the younger lad having an awesome solo.

The mayhem involving our young lovers largely revolves around Puck causing Lysander to throw over a confused Hermia in favor of an equally perplexed Helena. Highlights of this include giving Duque-Estrada a chance to belt out "Hungry Eyes" by Eric Carmen and get some hot boy-on-boy action.

Meanwhile, the drama club gets down to business. Club member/class clown Bottom bears the brunt of the whimsy of Puck by acquiring a donkey head and becoming the object of affection of fairy nobility.

Oberon stepping it restores order in a manner that employs the most pamtastic plot device of Victorian style '80s television.

The action then returns to the school auditorium wedding of our duke. Among other things, this sets the stage for the drama geeks to first go all flashdance and then present their raucous version of the classic play that they rehearsed in the enchanted forest.

The fun of all this literally extends into the audience as characters chase each other throughout the seats, two sections of seats go mobile, and your not-so-humble reviewer once finds Demetrius in his lap.

The only apt way to wrap all this up is to share that that this is one time that all's well that ends well and to remind readers that the play's the thing.

Anyone with questions regarding "Midsummer" or Rep is strongly encouraged either to email me or to connect on Twitter via @tvdvdguy.

'The Last Best Year' DVD: Mary Tyler Moore/Bernadette Peters 'The C Word'

The Olive Films February 21, 2017 DVD release of the 1990 Mary Tyler Moore/ Bernadette Peters Made-for-TV Movie "The Last Best Year" further verifies that that company chooses wisely and diversely when selecting films and television series to add to the Olive library. Olive releasing "Year" on the same day as the (Unreal TV reviewed) Blu-ray of the 1950s kiddee matinee serial "Panther Girl of the Kongo" is a minor example of this range.

This few-laughs drama obviously is intended both to highlight the dramatic chops with which Moore amazes her still-adoring in 2017 public in the 1980 classic film "Ordinary People" and to provide viewers a darkly bizarro version of a Mary-Rhoda style friendship. Seeing Moore play opposite Peters is cool because the latter is the star of a little-known (but very good) '70s-era CBS Monday night sitcom titled "All's Fair."

The following YouTube clip of the "Year" trailer unfortunately misrepresents this interesting and well-acted film as an "SCTV" style parody of lesser examples of its genre. The lesson this time is to not believe everything that you see.

Peters plays single career-gal Chicago-based travel agency executive Jane Murray, who discovers early in "Year" that she has cancer. The lack of family and close friends to help Murray cope with this death sentence prompts her physician to refer her to psychologist Wendy Haller, whom Moore perfectly portrays, to help her cope. Additional drama comes in the form of trauma in the past of Haller making her resist accepting Murray as a patient.

Two introductory meetings cause Haller and Murray to bond in a manner that creates both a therapist-patient relationship and a friendship. The mutual benefits include Haller helping guide Murray to get her emotional affairs in order before she passes and Murray prompting Haller to deal with both her mommy and her daddy issues.

A very comforting thought in the hostile and divisive world in 2017 is that Murray finds that she is loved to the extent that people rally around her in completely unexpected ways. Though the man in the life of Murray ls a heel, her administrative assistant making an overture regarding an after-hours friendship leads to nice bonding. Further, the reaction of the owner of the agency far exceeds any that anyone in his position today would likely copy.

A sadder aspect of this is that "Year" accurately portrays the existence of Murray as one in which her friends and co-workers fill the void left by absent relatives. It is rare that those of us with living kin have familial relationships that are the things of which Norman Rockwell paintings are made.

Many of us can relate to the isolation that Murray feels and can only hope that the love that she discovers is more than the thing of which TV Movies of the Week are made. We further can relate to doing our jobs well but lacking confidence regarding that talent being acknowledged.

All of this culminates in strong final scenes. The group of supporters get a chance to provide Murray a special day, and a surprise visitor during the final scenes is the last piece in the puzzle that is the life of Murray.

Largely due to the talents of Moore and Peters, "Year" does not descend into melodrama territory. There are no buckets of tears, flung household objects, or "Damn it, James" moments. The characters merely express their emotions in a more restrained manner than many of us would under the same circumstances. Similarly, we relate to Haller and Murray but do not connect with either nearly to the extent to which they bond with each other.

Anyone with questions or comments regarding "Year" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.

'Panther Girl of the Kongo' BD: Jungle-based Feminist Western

Olive Films once again hails the Republic (Pictures) in releasing the 1955 12-part Saturday matinee serial "Panther Girl of the Kongo" on Blu-ray on February 21, 2017. This Blu-ray treatment follows Olive doing the same for the (Unreal TV reviewed) Republic serial "Commando Cody: Sky Marshal of the Universe." "Cody is notable as being feature on the late 80s - mid '90s classic film-riffing cable series "Mystery Science Theater 3000."

The Wikipedia entry for "Kongo" tells us that it is the 65th of the 66 Republic-produced serials and that it uses a great deal of the stock footage from the 1941 Republic serial "Jungle Girl." This entry does not explain the alternate spelling of the titular African nation.

The following YouTube clip of the spoiler-containing original trailer for "Kongo" provides a good sense of the retro fun in this one.

The lore of the terrifically restored classic cliffhanger is that the titular cougar is Jean Evans, who is staying with an African tribe in the titular country for the purpose of using a movie camera to photograph the local wildlife. The first chapter, which is titled "The Claw Monster," explains how Evans comes to get her titular identification.

The first chapter also introduces the titular beast, which is a giant crawdad. First contact with this enormous crustacean sends the natives fleeing in terror and Jean literally calling in the big guns by asking her big-game hunter friend Larry Sanders to come help.

A strong Scooby-Doo element comes in early in this roughly 2.5 hour epic saga. The audience learns that mad scientist Dr. Morgan is using a growth formula to create the beasts to scare away the members of the tribe who have adopted Jean. The motivation for this is to allow Morgan to resume operating an abandoned diamond mine.

A strong western serial element exists courtesy of Morgan henchmen Cass and Rand. This nefarious duo keep their association with Morgan secret and are posing as big-game hunters who are seeking permission to expand the area in which they are allowed to engage in that activity.

Each roughly 15-minute adventure centers around a scheme of Team Morgan either to kill Evan and Sanders or to thwart their efforts to disclose the existence of the claw monster. This often leads to an attempted ambush or a more subtle trap, which leads to a cliffhanger in which Evans and/or Sanders face imminent doom. Examples of this include an actual saloon fight ending with Sanders falling off a second-story balcony toward sharp spikes and another chapter that leaves him sinking into quick sand. For her part, the perils of Jean include the claw monster grabbing her and a gorilla about to maul her. The joint dangers of out heroes include getting trapped in the aforementioned mine.

The feminist aspects come in to play via Evans being easy on the eyes but tough in a fight. She does not hesitate to rush in where others fear to tread and is as likely to rescue Larry as he is to be her knight in a shining safari ware.

"Kongo"easily passes the "one more" test to the extent that all 12 chapters go by quickly and leave you wanting more. The aforementioned stock footage, the clear recycling of scenes made for "Kongo," and the general 50s-style kiddee adventure vibe of the production provide the wholesome cheesy fun that make it easily good fodder for "MST3K and a Saturday matinee in your living room.

Anyone with questions or comments regarding "Kongo" is encouraged to email me. You also can connect on Twitter via @tvdvdguy.

'The Forest for the Trees' DVD: Rookie Teacher Goes Way Out on Limb

Fantabulous New York-based foriegn-film distributor Film Movement provides an aptly awesome second bite at the apple regarding a February 21, 2017 Film of the Month Club DVD rerelease of the 2003 German drama "The Forest for the Trees."

The reasons that this tale of pathetic rookie teacher Melanie Proeschle deserves that love is that it is the first movie of writer/director Maren Ade, who subsequently makes the wonderfully quirky 2017 Oscar-nominated dramedy "Toni Erdman" about a father gong to great lengths to reconnect with his career-driven daughter.

The festival love for Melanie portrayor Eva Lobau and for Ade includes a Best Actress win for Lobau at the 2005 Buenos Aires International Festival of Independent Cinema and the 2005 Newport (Rhode Island) International Film Festival and a 2005 Sundance award for Ade. Further, "Forest" is a best picture winner at the 2005 Newport festival.

The artistic quality of "Forest" is notable from the opening scene. It is shot with a handlheld camera and has a very strong videotaped documentary style. This leads to speculation regarding the film being a mockumentary about small-town 27 year-old girl Melanie moving to the big city to teach the youth of today.

"Forest" further serves as an effective personality test. Highly sympathetic viewers will intensely feel the pain of this earnest loser; sadists will revel in her seemingly endless humiliations, and folks with a sick sense of humor will laugh at her misfortune. The most common reactions likely will be a combination of all the above.

Further. many of the voyeurs among us will see ourselves at low points in our lives and/or people who cross our paths in Melanie. One lesson regarding the latter is that giving a stray kitten a saucer of milk can make getting that needy kitty to later leave you alone a tough challenge.

A memorable scene from the classic 1999 Haley Joel Osment/Bruce Willis thriller offers a strong parallel regarding the aforementioned themes of "Forest." The young outcast whom Osment plays and his mother play a game in which they offer highly idealized versions of their day. If memory serves correctly, the Osment character falsely tells his mother that he hits the game-winning home run at school and she tells him the lies that she has a terrific day at work and receives praise for doing it well.

We meet Melanie as she embarks on her new adventure and get a strong sense of her being the new kid in school as this mid-year arrival stands up in front of her new colleague and immediately alienates them by stating that her being fresh out of school allows her to bring a "breath of fresh air" to her new institution for learning. On a larger level, this reflects the rookie mistake of the new guy in the office not shutting up and observing how the seasoned pros do it.

Things do not go any better for our country mouse heroine regarding her separate fifth and ninth grade classes. Like all students for at least the past 60 years, these kids immediately sense the weakness of this educator who effectively is a sub and pounce on her. They are unruly and browbeat her into transforming a planned field trip to a moor into one to a local amusement park. These are the first of many indications of the absence of Melanie on the days that her class on teaching covered maintaining discipline in the classroom.

Things do not go much better for Melanie on the literal homefront. Her neighbors coolly respond to her awkward attempts at friendliness, and her pushing too hard regarding boutique-owning neighbor Tina (who is glad to figuratively give Melanie an occasional saucer of milk) ultimately creates strong trauma and drama regarding that relationship.

One school-based incident especially illustrates the trials and tribulations of this new educator. A student stepping well over the line, being defiant regarding it, and his mother defending him and verbally attacking Melanie on being called in is universally relatable both to teachers and to individuals who are familiar with the predominant modern manner of raising children.

The desperate borderline stalking of Tina includes regularly spying on her at their mutual apartment complex, using transparent excuses for "bumping into her" in public, and otherwise unduly pushing herself into the life of this woman who is merely open to an acquaintanceship and understandably has equal and opposite reactions to the assertiveness of Melanie regarding their interaction.

As the aforementioned festival awards indicate, Lobau does a great job portraying Melanie as an ineffective teacher and emotionally needy individual who is her own worst enemy. A sad part about this accurate performance is that she is unlikely to ever learn.

Movement chooses as wisely regarding selecting the bonus short film that accompanies every Club selection. The British film "Estes Avenue," which is filmed on the titular street, is a great variation of the aptly titled British television drama "The Street." Both the series and the film tell the tales of neighbors. The characters in the latter include a woman whose son is stationed in Iraq and a single man who has the type of love-hate relationship with his cat that many of us who chose to have a feline as a pet experience.

The clever aspect of "Estes" is that it shows the various emotions that the neighbors express via the same expression.

Anyone with questions or comments regarding either "Forest" or "Estes" is encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.

'Nocturnal Animals' DVD/BD: Director/Designer Tom Ford Haute Couture Noir

The numerous notable aspects of the 2016 psychological thriller "Nocturnal Animals," which Universal Pictures Home Entertainment is releasing on Blu-ray/DVD/VOD on February 28 2017, create a challenge regarding where to begin discussing this film. This sense relates to "Nocturnal" being the follow-up film by acclaimed fashion designer Tom Ford, whose first effort behind a movie camera is the 2009 drama "A Single Man." The glamorous clothes and highly stylized cinematography, which looks spectacular in Blu-ray, make good use of the design skills of Ford.

On a larger level, "Nocturnal" is another great reminder that Universal outshines Warner in offering fare that extends beyond catering to teen boys and/or the lowest common denominator. This film evokes good thoughts of the Universal (Unreal TV reviewed) 2015 Jason Bateman psychological thriller "The Gift," which finds the corporate-ladder climbing character that Bateman plays terrorized by a former high school classmate to whom Bateman was not so nice back in the day. These films are great homages to the '80s-style thrillers that obviously influence them.

The by-the-numbers analysis of "Nocturnal" is that is has an astounding 109 nominations (including a 2017 Oscar nomination for Best Supporting Actor) and 12 wins. The wins include a Best Supporting Actor Golden Globe for Aaron Taylor-Johnson, who plays a menacing big bad.

The tangled web that Ford weaves without practicing to deceive centers around art world luminary Susan Morrow, whom all-grown-up Amy Adams portrays well. She is the ex-wife of novelist Edward Sheffield, who is a great role for good guy with a dark side portrayor Jake Gyllenhaal, and current unhappy trophy wife of a Master of the Universe corporate type.

The following YouTube clip of the "Nocturnal" trailer is light on spoilers and heavy on atmosphere.

The highly stylized opening scenes of Susan at an art exhibit that features grotesque images of an obese woman are the first indications that a modern artist is at the helm of the project. Susan soon getting an advance copy of the titular novel by Edward is the first sense that we are in for an homage to the noir of the '80s.

The bulk of the film then depicts the novel, which centers around barely fictionalized versions of Susan and her current family having a "Deliverance" style encounter with a trio of rednecks on a dark and deserted Texas road. This story heats up as hubby #2 first faces scrutiny and scorn regarding the event and then considers his options when it seems that the justice system is not going to be effective. All of this occurs in interaction with old-style justice Texas lawman Bobby Andes, the portrayal of whom earns Michael Shannon  the aforementioned Best Supporting Actor Oscar nomination.

The mixed emotions regarding receiving written proof of the warped mind of her ex-husband at a time that the honeymoon is long over regarding her current marriage predictably stirs up complex emotions in Susan. These, in turn, prompt flashbacks regarding her courtship with (and marriage to) Edward. A reveal regarding a traumatic event near the end of that relationship puts much of the film in perspective. This is not to mention the full significance regarding the title that Edward chooses for his outwardly revenge-fantasy (redemption?) tome.

The manner in which Ford presents the oft-told tale of city folks paying the price for being in the wrong rural place at the wrong time adds the depth that contributes to the more-than-100 nominations for "Nocturnal." He gives us a glimpse at the folks who create those violence and class-oriented images. Edward has good reason to resent the family of Susan specifically and the "haves" generally. Further, his status as a previously published author provides him an outlet for those feelings that does not involve actual mayhem.

For her part, Susan receives a good chance to curl up with a good book and think about what she has done, The rest of us merely are secondary or even more minor characters in her world,

The bonus features in the DVD/Blu-ray release includes shorts on Ford himself and the aforementioned style of "Nocturnal."

Anyone with questions or comments regarding "Nocturnal" is encouraged either to email me or to connect on Twitter via @tvdvdguy.

'Miles to Go' DVD: Hollywood Boulevard Quincy Rose

An introduction to the wit and wisdom of producer/writer/director Quincy Rose regarding his hilarious and insightful (reviewed) indie flick "Friends Effing Friends Effing Friends" led to nice online communication with him. This led to a recent chance to watch the DVD release of his 2012 romantic drama "Miles to Go," which Indiewire states is "one of the 12 indie films to watch."

The following YouTube clip of the "Miles" trailer nicely informs without hyping. The wry low-key style of this promo. provides an excellent sense of the film with minimal spoilers.

Rose, who is producer/director/writer, shines as the titular nerdish 30-something Los Angeles writer. His black plastic rimmed glasses and poster for the vintage Woody Allen film "Take the Money and Run" in his reel-life living room reinforce the strong vibe from "Miles" and "Friends" that Rose is the rightful heir to the kingdom of Woody Allen. Much of this relates to Rose wisely emulating (but not parodying) Allen. This homage includes opening and closing credits that are simple white letters against a black background.

The oozing symbolism in "Miles" extends well beyond the title referring to our hero being neurotically pessimistic regarding any relationship passing the test of time. This is in the context of Miles frequently frequenting massage parlors and engaging in other unhealthy pursuits of a happy ending in the five months since a break-up with long-time repeatedly on-again off-again girlfriend Julia.

Other symbolism relates to this relationship-impaired man creating permanency in the form of several tattoos. The ink that he receives during the film is the most meaningful one of all.

The current state of Milia is that a combination of loneliness, horniness, and attraction has them alternatively reaching out to the other in ways that more often then not lead to sex. The only thing keeping those crazy kids apart is both of them wanting a commitment to a long-term relationship but Miles being unsure of his ability to provide that stability.

The aforementioned wit and wisdom includes the inner high-school boy comments regarding which Rose is a master. A hilarious bit in "Friends" relates to a character sharing that the nature of his penis warrants giving that love muscle the name of a well-known supermodel. "Miles" has similar commentary regarding the (briefly glimpsed) love organ of our hero.

Rose additionally adds a teen-boy twist to the standard Allen scene of childless yuppie friends conversing during dinner. A discussion of sexual accommodations leads to the topic of women agreeing to engage in anal sex if doing so is adequately important to their man. The spirit of Allen is most present regarding an observation that even highly straight men have a strong enough homosexual urge to want to penetrate someone anally. The Rose side comes through regarding Miles making amusing tasteless jokes on the subject.

Another scene has Miles playing his regular role of providing the male perspective to a woman to with a relationship history that rivals his own. He explains that a man who engages in pre-coitus interruptus in the form of just wanting to snuggle does so only due to embarrassment regarding covertly crossing the finish line during foreplay.

On a more respectable level, Rose further shares his thoughts regarding pretension related to keeping books that you have read on the shelf. This is in line with a real-life independent bookseller observing that Millennials buy hardcover books because that is their only affordable means of expressing their personalities.

In other words, "Miles" works because it is true. Gen Xers and Millennials are from generations in which most relationships do not endure. They further have the blessing and the curse related to casual hookups often being lauded and no dishonor being associated with not marrying until late in life if at all. This simply makes it tough for those of us who want forever after and fear the heartache associated with that not happening.

A personal note regarding the Rose take on relationships is that recently losing a greatly loved (and exceptionally loving) dog renewed always present feelings that we animal lovers fully give our hearts to canines and felines (and get just as much love back) despite knowing that we will lose them within 15 years. At the same time, we are back at the shelter looking for a new "child" no longer than a year later.

Anyone with questions or comments regarding "Miles or "Rose" is encouraged to email me; you also can connect on Twitter via @tvdvdguy.

'Tharlo' DVD: Tibetan Shepherd Finds Truish Love in Big City

Icarus Films takes a Valentine's Day break from its continuing mission to distribute "innovative and provocative documentary films" on DVD to release the subtitled 2015 Tibetan drama "Tharlo." The artistic Criterion-style packaging and inclusion of the novella on which the film is based is very apt for the highly artistic nature of this black-and-white film that Icarus shares consists of "84 meticulously composed shots."

Icarus further states that Chinese novella author/filmmaker Pema Tseden of Tibetan ethnicity casts Shide Nyima in the role of the titular shepherd because that actor inspires bringing that character to the big screen. The numerous accolades for that portrayal include Nyima winning the Best New Actor award at the 2016 Shanghai Film Critics Awards.

The following YouTube clip of the theatrical trailer for "Tharlo" highlights the museum-quality of the cinematography and the strong performance of Nyima.

The film opens with Tharlo (a.k.a. Ponytail) showing off his incredible memory while at a police station to obtain a required identification card. The police chief telling this hermit who spends most of his time in the mountains with his large sheep herd that he must get a picture taken for the ID prompts Tharlo to visit a big city photography studio.

On arriving at the studio with filthy matted hair and the adornment that provides the nickname for which Tharlo is much better known than his given name, our hero goes to a nearby hair salon. This leads to 40-something Tharlo becoming enchanted with younger short-haired modern hairdresser Yangtso, For her part, Yangsto is fascinated by Tharlo.

Tharlo and Yangsto reconnecting later that day leads to his learning about Karaoke and going to a bar that centers around that activity. Their discussion during that activity includes comparing their smoking habits.

The role reversal theme that pervades the film continues with Yangsto carrying a drunk Tharlo back to her place. The morning after conversation includes mutual fantasizing about a better life.

Tseden then shifts the action back to the isolated/primitive daily existence of Tharlo; the contrast between this and his big-city existence (as well as the overall documentary feel of the film) almost certainly are behind Icarus venturing beyond non-fiction films to bring us this one.

The climax of "Tharlo" relates to our hero making a huge sacrifice for Yangsto only to find on returning to her that there are reasons that most relationships that last one night do so for a reason.

Tseden being so far from Los Angeles excuses him from any expectation that "Tharlo" has a Hollywood ending. The symbolism from the opening shot to the rolling of the closing credits more than makes up for any absences of being happier at the end of the film than you are at the beginning.

Anyone with questions or comments regarding "Tharlo" is strongly encouraged to email me; you also can connect on Twitter via @tvdvdguy.

'Somewhere in the Middle' DVD: Manhattan Marriage Melodrama

New York-based foreign film distributor Film Movement brings it home to celebrate Valentine's Day regarding the February 14, 2017 DVD release of the 2015 romdram "Somewhere in the Middle." This film centers around the inter-related romantic drama and trauma of four 30-something Gotham yuppies.

Movement awesomely does the homework for slacker reviewers everywhere by providing comprehensive information regarding "Middle" on the DVD back cover. This includes scratching the surface of the extraordinary festival love, which include the Best Actor award at the Boston International Film Festival and the Grand Prize at the San Antonio International Film Festival, for "Middle."

The DVD back cover also provides a great "25-words-or-less" description of "Middle." This synopsis that "developed through a year-long improvisational process and alternating between three different perspectives, Somewhere in the Middle centers on a once-happy married couple whose marriage spirals into a series of emotionally messy affairs."

The one thing that Movement does not address is that writer/director Lanre Olabsi channels Woody Allen regarding depicting personal relationships in modern-day Manhattan. This especially comes through regarding a board game obsessed loser who others speculate is a chronic masturbator.

The following YouTube clip of the "Middle" trailer provides a good visual representation of that of which Movement speaks. It further shows how "Middle" warrants inclusion in the spectacular Movement catalog.

The action commences with new patient/graphic designer Sofia with serious relationship issues meeting textbook manchild Kofi in the reception area/living room of psychiatrist Nelson Spencer. This boy meets girl encounter leads to Sofia giving Kofi her digits.

Meanwhile, Kofi spouse/business owner Billie, who regularly hires Sofia, increasingly friendly with freelance graphic designer/Sofia lookalike Alex. The "its complicated" aspects of all this include that Sofia does not even know that Kofi is married, and Kofi does not know that Billie gives Sofia work.

The current turbulent state of the central marriage provides the backdrop for all this. Billie is losing her patience with Kofi. His bursting in and tremendously embarrassing her while she is entertaining employees at their home is the straw that pushes her into the home (and bed?) of Alex. Meanwhile, Sofia continues her largely one-sided pursuit of Kofi. One universal truth regarding all this is that one of the largest obstacles to true love is having the object of your affection share the same feelings as you at the same time that you experience them.

The clumsy attempts by Billie at seducing seemingly straight Alex are the best moments in "Middle." These start with a near kiss, move on to a scene in which it seems certain that Billie will casually observe that she and her hostess Alex can share the one bed in the home of the latter, and culminates in an encounter that makes the audience wonder if gainful employment is motivating Alex more than romantic feelings toward Billie.

Subsequent events put Sofia somewhere in the middle regarding all this. The behavior pattern that has her seeking therapy leads to becoming involved with Kofi; the relationship between Dr. Spencer and Kofi leads to the former dropping Sofia as a patient on learning of her dating the latter, and trouble in "paradise" regarding the Billie/Alex relationship prompts an oblivious Billie to direct her pathetically poor lesbian seduction skills toward Sofia. Confused? You won't be after watching "Middle."

Olabsi adds a nice artistic touch by putting many of the above encounters (and others) in perspective by showing them from the viewpoints of different characters. The most prominent example of this is a scene well into the film that depicts the dynamic between Kofi and Spencer in the period immediately before Sofia arrives at the office of Spencer in the opening moments of "Middle."

Further, each cast member plays his or her part well. Billie portrayor Cassandra Freeman deserves special notice for awesomely showing Billie as someone with multiple issues and disregard for proper business practices when doing so furthers her objective.

Anyone with questions or comments regarding "Middle" is encouraged to email me; you also can connect on Twitter via @tvddguy.

'Short Skin' DVD: Uncut Teen Experiences Unbearable Growing Pains

The 2014 subtitled Italian film "Short Skin," which indie film god breaking glass pictures makes available on DVD, is a terrific throwback to the off-beat art-house foreign films of the '70s and the early '80s. The title refers to the humiliating condition whereby the restrictive foreskin of late-teens Edoardo makes achieving an erection excruciating. Like the aforementioned vintage films, this medical issue is a metaphor for the constraining life that Edoardo leads in Pisa. (Insert your own leaning tower joke here.)

The following YouTube clip of the theatrical trailer for "Short Skin" offers a nice sense of the updated aforementioned vibe of the film. It further spoils some of the best scenes.

Star Matteo Creatini delivers an award-worthy performance as our everyteen, whose frustration extends well beyond the incredible challenge related to the pleasure that every boy experiences beginning in his early teens. He has a barely concealed crush on the almost literally girl next door, has a rambunctious unfiltered horndog as a best friend, is the big brother to a tween who crudely expresses her desire to have the family dog sire puppies, and his parents still love each other but are dealing with a crisis in that relationship. On top of all that, a girl with a "reputation" comes on the scene just as Edoardo is eager to deal with both his medical condition and his related virginity.

Director/writer Duccio Chiarini immediately communicates the humor and the heart regarding these characters through an opening rear shot (no pun intended) of a younger Edoardo naked from the waist down as his parents clinically examine his penis because of the aforementioned medical condition.

Another source of drama is plans of Bianca to move away imposing a deadline on Edoardo to express his feelings for her; this development further providing our boy motivation to secretly consult a doctor regarding options for his titular medical condition.

Chiarini presents all of this well in a manner that makes "Short" a film that can be made word-for-word and shot-for-shot in the United States without losing any of its message. The teen angst, jealous, and mortification regarding family antics are universal. One scene in particular shows how the comparison to the "American Pie" film series extends beyond the efforts of Edoardo and his best friend to lose their virginity before the summer ends.

The good folks at breaking nicely enhance the value of the "Skin" via their standard practice of including one or two shorts by the director of the feature film.

The first of two in this case is the 2005 Chiarini written and directed "Alone Together." This one has an Italian man temporarily living in London acting on long-standing flirtation with a diner waitress on the cusp of our (anti?) hero returning to his native land. The roughly 15-minutes in this one provides a feature film worth of character study and related trauma and drama.

"Alone" star Corso Codecasa shows that he is even better skilled at comedy than drama in the 2005 Chiarini film "Troppo caledo per Birillo." This time our hero is Vieri, who is a wonderful mix of strong emotion and contentment. This day-in-the-life tale of this man starts with Vieri and his girlfriend Marta having one in a seemingly long series of fights regarding their conflicting lifestyles.

Vieri opting to not join Marta for a day trip leaves him at odds and ends that his frustration regarding the argument exasperates. This initially leads to our manchild venting his frustration at the dog of the neighbor and these enemies ultimately having a hilariously grand adventure. The closing credits keep the fun coming,

Anyone with questions or comments regarding any of the discussed films is strongly encouraged either to email me or to connect on Twitter via @tvdvdguy.

'1 Night' Theatrical/VOD: Timey Wimey Romdram on Trying to Put Right What Once Went Wrong

Level 33 Entertainment does husbands and boyfriends a solid regarding the February 10. 2017 theatrical and VOD releases of the romdram "1 Night." This chick flick has enough wry humor and scifi elements to also appeal to macho men. This tale in which both boy and girl meet world on prom night has older incarnations of this couple valiantly try to get the kids to put right what once went wrong.

Pre-release accolades for this date night/girls' night out movie include an astonishing 9.2 rating on IMDb and a 91-percent want to see result on Rotten Tomatoes.

The following YouTube clip of the "Night" trailer emphasis the rom over the dram while providing a good sense of the dash of scifi that runs throughout the movie.

The overall theme of "Night" of trying to recapture the magic of young (or youngish) love is a common one in 2016 and 2017 films as the plethora of (mostly gay-themed) Unreal TV reviewed films over the past several months attests. In this case, the voice-over narration at the beginning discusses whether the extent to which knowing then what you know now would influence decisions and actions during your teen years. One spoiler is that an observation that the kids "are idiots" is valid.

The action then shifts to the hotel where most of the "Night" action occurs. Gruff 34 year-old Drew (played by character actor Justin Chatwin) approaches awkward high-school yearbook photographer Andy as the latter valiantly tries to get his prom-going classmates to pose for pictures. The advice that Andy gives the lad is the first hint of the guardian angel aspect of the film.

We then see jaded 34 year-old Elizabeth (played by character actor Anna Camp) giving 18 year-old prom-goer Bea cynical advice in the hotel ladies room. This leads to the youngsters and their sidekicks joining forces and Elizabeth and Drew meeting in the hotel bar.

The tales as old as time backstories that soon emerge are that Bea and Andy are close childhood friends whose relationship falls victim to the high school caste system and our 30-somethings have a rocky romantic past. We further learn that Andy has a semi-secret crush on Bea and that Drew wants to rekindle his flame with Elizabeth.

The John Hughes vibe increases regarding the Bea/Andy storyline as our young not-yet lovers flee a post-prom party after brilliant outcast Andy confronts the jock/asshole ex-boyfriend of the object of his affection. Meanwhile Drew and Bea rehashing their past makes it clearly that that couple minimally relates to the experiences of the other couple.

A series of events that make it clear that they are more than coincidences provide strong evidence that our young professionals are more than mere mentors for their younger counterparts. The mystery relates to the exact nature (and means) of the connection and how the millennials end up in the place where the audience knows that they will find themselves in several senses of that term. Additional suspense stems from the possibility that the universe will implode during one of the frequent encounters between the two couples.

On a larger level, "Night" provides good commentary on the nature of youth regarding heeding the advice of folks who have been there and done that. It further reminds all of us of the importance of not being our own worst enemy.

First-time feature film writer/director Minhal Baig artfully tells this tale via well-presented reveals and creates a climax that makes sense from a scifi perspective that is very personal to both couples. An awesome aspect of this is that it has a strong element of a high school reunion that spares our hero the obnoxiously exuberant ex-classmate and peaked at 18 former jock.

Baig getting this right strongly suggests that his high-school years include an unrequited or ended-badly love that haunts him in the present. As the apt initial response to his film shows, all of us feel your pain.

Anyone with questions or comments regarding "Night" is encouraged to email me or to connect on Twitter via @tvdvguy.

'Havenhurst' Theatrical/VOD: Rent-Controlled New York Apartment House of Horrors

Brainstorm Media and Twisted Pictures artfully blend suspense, grindhouse, and historical drama in the new film "Havenhurst." This flick with something for everyone opens at the Laemmie Music Hall in Los Angeles and theaters in a handful of other cities on February 10, 2017. Folks who cannot see it on the big screen can check it out on a VOD platform from the comfort of their own home. Folks who want a copy of their very own can buy "Havenhurst" on DVD beginning March 7, 2017.

The following YouTube clip of the highly atmospheric trailer for "Havenhurst" achieves its purpose of previewing the themes and the style of the film. It also makes a good case for seeing the film in a theater.

Penthouse-dwelling landlady Eleanor Mudget makes apartments in the titular well-maintained titular pre-war New York building available to recovering alcoholics and drug addicts for affordable rents. The catch is that the slightest infraction of the rules results in an extremely harsh form of eviction. Fionnula Flanagan, who is best known as Eloise Widmore on the ABC drama "Lost," does a great job playing Mudget.

The opening scene has tenant Danielle witness horrific carnage in her abode only to soon be violently dragged off kicking and screaming. The drama and the action fully kick in on Danielle's rehab buddy Jackie moving into that recently (and abruptly) vacated apartment. Darla of "Buffy" and "Angel" and Rita of "Dexter" actress Julie Benz puts her quirky drama skills to good use in this role.

Jackie already is suspicious regarding Danielle disappearing without a trace. Finding mounting evidence of foul play on moving in puts this girl detective into full Nancy Drew mode.

Jackie suspecting the why and discovering the how only takes her so far. Learning that the house is connected to a moderately well-known actual serial killer (who is the subject of an awesome historical novel) is awesome enough. The manner in which this occurs fits well into the real-life lore of this big bad.

Writer/director/producer Andrew C. Erin does a good job keeping the suspense and the scarescoming. There also are enough bloody attacks, dismembered bodies, and captives to satisfy fans of gore.

The final scenes provide good payback in the form of Danielle fully being a damsel in distress, the law starting to (not necessarily successfully) close in, and Eleanor having a special family moment. They also scream (no pun intended) for a sequel.

All of this works because even non-New Yorkers know of the lengths to which people will go to obtain desirable affordable housing in that city, and horror directors realize the effectiveness of the Hitchcock method of moving the horror from the haunted house on the hill to the everyday existence of the terrorized.

Anyone with questions or comments regarding "Havenhurst" is encouraged either to email me or to connect on Twitter via @tvdvdguy.

'Blush' DVD Israeli Teen Coming of Age Kisses a Girl and Likes It

Uber-fantabulous New-York based foreign film distributor Film Movement fully gets with the times regarding the February 2017 selection (which hits real and virtual shelves on February 7, 2017) of the Movement Film of the Month Club. The 2015 Israeli film "Blush" (nee "Barash") tells the tale of 17-year old suburban Jewish girl Naama Barash having worldly bad girl Dana arouse lesbian desires.

The awesomeness of this film relates to the plethora of Unreal TV reviewed sensitively presented gay-themed films with universal themes. The primary observation regarding this is that these films are easily translatable to movies centering around heterosexual couples.

The international accolades for "Blush" include the Best Actress and Best Screenplay awards at the 2015 Haifa International Film Festival and the Grand Jury Best Film Award at the 2016 Milan International Gay and Lesbian Film Festival. It is worth noting as well as "Blush" is an extension of two earlier short films by writer/director Michal Vinik.

The following YouTube clip of the "Blush" trailer chooses wisely in highlighting a scene that perfectly conveys the charm and humor of the film.

Naama is an All-American girl in that she hangs with her two best friends, restricts her drug use to limited marijuana smoking, and seems to get decent grades. This begins to change on aptly meeting aggressive new girl Dana in the school bathroom. Dana being everything that Naama wishes she could be is the primary basis for that attraction.

This bad-egg soon has our girl skipping school to do hard drugs, partying at a lesbian night club in nearby Tel Aviv, and learning that girls can provide as much (if not more) sexual pleasure as boys. One predictable source of drama is that all this means more to newbie Naama than to "experienced" gal Dana.

This tale of seduction is a well-established one and often played out in the context of a doe-eyed freshly scrubbed high-school boy falling in love with a bad boy only to have his heart (at least temporarily) broken. Further, the vast majority of teens from a large portion of the world can relate to making strong efforts to conceal being in an altered state of reality from their parents. A helpful hint regarding this is that yelling up the stairs and finding excuses to stay downstairs after coming home with a distinct odor ain't fooling anyone.

First-time feature-film writer/director Vinik adds good additional substance to this story via Liora Brash, who is the older sister of Naama. Liora is a secretary in the Israeli army at a base near the family home.The family not hearing from her for a few days escalates to discovering that Liora is missing and that this does not distress army officials.

The Barashes soon learn that Liora has an Arab boyfriend and may have gone to his village with him. Naama and her father then travelling to that village really puts the Israeli conflict in perspective in ways that range from the patriarch quietly removing a Star of David hanging from the rear-view mirror of his car to his abusive treatment of an Arab police official.

The strong racial tension in the United States and other countries show that national politics aspect of "Blush is as universally relevant as the central story.

As always regarding Club selections, Movement awesomely augments "Blush" with an aptly chosen short film. The choice this time is "This Is You and Me," which tells the tale of an unhappy 20-something woman bringing home a female bar hookup only to have everything go terribly wrong. This incident and the afterrmath seem as universal as the "Blush" themes.

Anyone with questions or comments regarding "Blush" or "You" is encouraged either to email me or to connect on Twitter via@tvdvdguy.

'The Head Thieves' Theatrical Homage to 'My Name is Earl'

1. 

[EDITOR'S NOTE: This film had a theatrical run in late 2016 and is available on some VOD platforms. The world is awaiting word of a DVD release.]

SkitBags Entertainment provides the dual treats of a return to the '80s and an homage to the 2000s Greg Garcia redneck NBC sitcom "My Name is Earl" regarding the film "The Head Thieves." SkitBags principal Mickey Gooch, Jr. shines as very recently released ex-con/stoner/dimwit Graham Castillo, who rapidly recruits his adopted Filipino brothers Frankie and Duncan to assist with a caper. Presumably real-life siblings Dante and Dion Basco respectively play Frankie and Duncan.

The festival love for this textbook indie flick includes the Best Feature Award at the 2016 Atlanta Underground Film Festival and the same honor at the 2016 Other Venice Film Festival. The opening scene of "Thieves" replacing the standard disclaimer regarding no animals being harmed in filming the movie with a statement regarding the killing of three cows reflect the offbbeat humor behind the wins.

Graham overhearing the guys who occupy the cell next to him during his unfortunate incarceration discuss the hiding place of the loot from their last job inspires our hero to enlist the aid of his brothers for the can't fail mission to recover the money. 

Before commencing the execution of this sure thing, Graham moves into the home of his hostile and abusive mother; mush of the humor regarding this relates to Mom blatantly favoring the adopted boys, who have never left home.

The typical (but still amusing) ensuing hi-jinks include an extended search for the loot, a well-executed (pun intended) accidental killing, the repeated disappearance of their not-so-sweet ride, and encounters with assorted freaks/losers. These include a hotel clerk who makes Norman Bates look like Conrad Hilton.

A strong contender for best scene is one in which a clueless Graham brings a hooker back to his hotel room. His surprise on finding out that she is not there because of his charms and then discovering that they have a very excited audience is hilarious. Another strong contender for most memorable moment has an effeminate inmate screaming and running from burlier prisoners.

Other nicely played lowest common denominator humor relates to repeated references to losing a menial job leading to confronting a C-List celebrity and an unrelated romance stemming from an online meeting, 

All of this amounts to an amusing (and occasionally hilarious) 90 minutes of redneck humor. It will not make you think, and you will not learn anything. Not that there is anything wrong with that.

'Loving' DVD/BD: Yes, Virginia; There Is An Inherent Right to Marriage

The Universal Pictures Home Entertainment February 7, 2017 Blu-ray/DVD release of the 2016 drama "Loving" clearly and aptly coincides with Black History Month. This biopic about the law-sanctioned prejudice that aptly monikered inter-racial married couple Richard and Mildred Loving experience in 1950s and '60s Virginia is an important grim reminder of the history of the law sticking its nose in bedrooms and other inapt locations.

The following YouTube clip of the "Loving" theatrical trailer is an artistic Cliff Notes of the progression of the story that stays true to the spirit of the film.

Joel Edgerton, who is best known to Unreal TV readers as the writer/director/star of the reviewed Universal BD/DVD release of the Jason Bateman thriller "The Gift," plays blonde-haired blue-eyed Richard. Oscar-nominee Ruth Negga plays Mildred. These crazy kids meet and fall in love in a largely color-blind rural farming community in Virginia.

We first meet the loving couple soon after Richard inserts a bun in the oven of girlfriend Mildred. Loving her and wanting to do right the right thing prompts Richard to take Mildred (and her father Theoliver played by soon-to-be interviewed Christopher Mann) across state lines to get hitched. The reason for this road trip is that Washington DC, but not Virginia, allows inter-racial marriages.

On getting hitched, the Lovings return to Virginia for their honeymoon period. A night-time raid by local law-enforcement abruptly terminates that wedded bliss. Soon after their arrests, our couple receives the choice of leaving Virginia and not returning for at least 25 years or becoming guests of the state.

The Lovings opt to flee back to our nation's capital, where they enjoy an inner-city lifestyle that is far less pleasant then their previous life in their native state. That general discontent and an traumatic incident prompt the Lovings to return to Virginia despite knowing that doing so creates a significant risk of incarceration.

The return to Virginia also amps up the activity regarding an ACLU-assisted lawsuit that challenge the constitutionality of the Virginia law. This, in turn, places a national spotlight on the Lovings. That attention includes a story in Life magazine. The segment in which the Life photographer visits the Loving home is a highly entertaining portion of the film.

The film ends in the period surrounding the U.S. Supreme Court considering the merits of the arguments of the Lovings. This review is omitting this outcome for the benefit of readers who are not familiar with the story. You folks who know that inter-racial marriage is legal in 2017 and who believe that every film has a Hollywood ending must remember that even the mid-60s is not an especially liberal era in the United States and that the good guy does not always win in modern films.

On a larger level, writer/director Jeff Nichols nicely portrays the Lovings as the ordinary working-class folks that the real-life couple seem to be. Just like Rosa Parks merely being a tired woman wanting to sit down, the real-life Lovings are a couple who want to be married for reasons that are the same as couples in which both people are the same race. Parks and the Lovings simply find themselves the symbols of two injustices of their day.

The copious bonus features include a "making-of" documentary and a study of the real-life lawsuit.

Anyone with questions regarding the reel or the real Lovings is encouraged to email me. You also can connect on Twitter via @tvdvdguy.

Awesome Chat W Richard Ross Makes One Love Sound of Breaking Glass 'Cause There's Something New

The awesome gay-themed theatrical and DVD releases that Philadelphia-based breaking glass pictures (and breaking subsidiary QC Cinema) make available at least once a month reflects the hard work and commitment to quality of breaking co-presidents Richard Wolff and Richard Ross. Their pre-breaking history dates back to corner offices at the Philadelphia-based gay-themed film company tla video.

Although Wolff was on a business trip, a chance for a telephone chat with Ross exceeded expectations regarding insight into breaking and the film industry. Introductory pleasantries including discussing the term "filthy whore" in conjunction with a breaking tweet referring to the Chris Elliott comedy "Cabin Boy" got things off to a great start. The entire session seemed as if it were a casual lunch with a fellow cinephile at a Philadelphia cheese steak restaurant.

Thin White Duke

Knowing that the company name is a direct homage to a David Bowie song with the same title and that the lyrics of the latter include "you got problems oh-oh-oh-oh; I'll never touch you" screamed for asking Ross if identifying his company in that manner reflected a less-than-stellar experience at tla.

The unequivocal response was "Absolutely not; we (Wolff and Ross) were huge David Bowie fans before we met." Ross added that he and his new partner in crime films wanted to honor Bowie in 2009 by using the title of this obscure song as the name of their new company.

Ross then stated that he understood my speculation and explained that the song represented a course of action, rather than a rebellious act.

This topic led to Ross volunteering that he and Wolff  "have always been on the lookout for anything related to him (Bowie.)" Ross added that breaking pursued acquiring the rights to a documentary about Bowie soon after the 2016 death of that singer/actor but that that deal fell through for those young Americans.

Insider the Distributor's Studio

The aforementioned love of breaking titles made the chance to ask Ross about the criteria for adding a film to the catalog of the company a special treat. The thoughtful answer noted the difficulty regarding such decisions and acknowledged that such choices had to reflect that he and Wolff were running a business.

Ross stated as well that "we certainly welcome anything queer-related" and that a theatrical run ahead of a DVD release was a large plus. He added that a festival run provided films a large boost, sharing that a film that sold out at a festival could put very few butts in seats in a general showing in the same city the following week.

This film veteran attributed the contrast regarding box office totals to festival excitement. The better news was that exuberant festival goers boosted DVD sales by sharing their enthusiasm for the one-time showing of the film with friends, family, and social-media followers.

Ross explained that breaking did not consider running its own festival because a friend of both breaking and its principals (as well as its principles) already organized Qfest in Philadelphia. This support included the (Unreal TV reviewed) breaking movie "People You May Know" being a Qfest opening night film.

Praise for fellow festival (and also Unreal TV reviewed) film "Lazy Eye" included the observation that that one had an incredible festival run that may have been the best one that Ross has experienced in his career.

An aside related to this was that your not-so-humble reviewer shared that Nick Corporon, who was the writer/director of the recent breaking film "Retake," stated in an interview that it seemed that festivals paired "Eye" and "Retake." Corporon joked regarding that that the films belonged to a subgenre of gay men in the desert.

Considerations related to the art v. commerce debate that pervades the film industry in this Snyder-dominated era prompted Ross to share that "we must look at the necessary requirements or the expenses of the film." These factors included contractual obligations regarding the aforementioned theatrical runs.

Surprising candor related to this came in the form of Ross stating that "you start the life of a film after a (money-losing) theatrical run in a hole; the question is how deep is the hole?"

Relatability of Modern Gay-Themed Films

"Eye" and "Retake" coming up in the chat opened the door to discussing whether many gay-oriented breaking and QC films revolving around universal themes was intentional. Ross began this dialogue with observing that "we are at the point in this country that we have to ask 'what is gay?'" He raised the related speculation that having Trump in the Oval Office may require once again asking if a movie is a gay one.

Ross further said that "Lazy Eye" could have been made with a heterosexual couple as the main focus in this film that examined whether a spark really existed at the beginning of a romance with a traumatic end for two men who reunited 15 years later. He added the breaking "always looks for edgy content."

DVD v. Streaming

Both strongly preferring DVD over streaming and being amazed that the former has not moved beyond being an endangered species required asking Ross for his thoughts regarding those formats. His encouraging news was that an annual evaluation showed that "2016 was a fantastic year for DVDs" at breaking. He noted that the company released more than 90-percent of its titles in that format.

The even better news was that Ross described DVD sales of all LGBT-related releases as "brisk."

This led to Ross discussing the strong breaking commitment to including bonus material in DVD releases. He noted that these often were Q&A sessions at film festivals and/or short films by the maker (or makers) of the main feature. He properly took additional pride regarding those special features adding up to 60 -minutes of content to a DVD release.

Que Sera Sera 

The conversation with Ross beginning with a discussion of the music of David Bowie makes ending it on a musical note apt. In this case, the Doris Day song from the '50s. In this case, "what will be will be" means that Ross and Wolff will continue seeking out films, such as the (Unreal TV reviewed) "Godless" that sensitively tackles the delicate issue of brother-brother incest, that go where larger studios fear to tread.

These true gentlemen and scholars also will continue bringing films that show that the gay experience is not so different than the straight one to light.

Folks whose tastes run to less cerebral subjects can look forward to breaking releases such as the scifi film "Robot Wars."

Anyone with questions or comments regarding Ross, breaking, or genuine Philadelphia cheesesteaks is strongly encouraged to email me. You also can connect on Twitter via @tvdvdguy.