Disc Reviews

So, I’m usually a huge fan of dialog. That's normally my jam. I love some good wordplay. However, in the case of Exit 8, the minimalism of the dialog worked in my favor given my inability to understand Japanese. And when there are subtitles, I find my focus split between paying attention and reading. However, fortunately, Exit 8 Director Genki Kawamura intentionally constructed the film with a sparse script to replicate the isolation and quiet focus of the original video game. That’s right, it is based on a video game, and based on my research it is a pretty good likeness of the game in terms of story mechanics, visual and environmental continuity, as well as overlapping anomalies and non-playable characters (a.k.a NPCs). Inspired by the concept of liminal spaces such as the fictional Backrooms 4chain imageboard thread, the game, as well as the movie, is set in a passageway of the Japanese metro. Within this setting, the main character, an unnamed man (dubbed “The Lost Man”) is caught in a looping subway corridor and must spot possible anomalies in each loop to escape.

"I'd like to talk to you a little bit, ladies and gentlemen, about how I got in this business. There's been a lot written and a lot said, but never from my side of the story.. " 

The above quote shows up at the very beginning and very end of Baz Luhrmann's EPiC, so you pretty much know what he considered his mission to be on this film. EPiC cleverly spells out to Elvis Presley in Concert, but this is so much more than a concert film. So much so that I suspect anyone expecting this to be a concert film is likely to be disappointed. I think it was a mistake for so much of the film's marketing to leave that impression. What you get is actually so much deeper and better than a concert film. It doesn't really stand up to any traditional label. It's a documentary, but it's not. It's a concert film, but it's not. So what exactly is EPiC, and should you care that NEON and Alliance Entertainment have tag-teamed to bring it to you in UHD Blu-ray in wonderful 4K? Let me try to answer that for you.

Back in the 80s and 90s, when the mom and pop video stores were thriving and the internet was basically science-fiction, the Faces of Death films were these taboo films that teenagers and gore-hounds would seek out as a way to gross out and shock friends. These films were in a category on their own, and not for the faint of heart. It was considered a part of “Mondo Cinema”, a style of film that came out of Italy in the 60s that were pseudo-documentaries or “shockumentaries” that were a collection of bizarre and often violent acts pieced together to look like an educational video. The 1978 film and the films that followed had everything from animal cruelty to executions, and for the longest time there was a debate about whether the films were real or fake or somewhere in between. When I first saw these films, I viewed them as a bit of a challenge. I loved horror and gore, and thought I could handle it at the ripe old age of fifteen. Let’s just say I’ve seen the films and the knock-offs, and my pupils have been scarred ever since. There are images from those films that still haunt me.

"You can't have your cake and eat it too."

Blake Edwards has had a long career of quirky comedies. A lot like Mel Brooks, Edwards had a style that would be character-centered, and he made a lot of money off of the human condition. He was most famous for the series of Pink Panther films that starred Peter Sellers as an awkward French detective who mostly bumbled himself to the correct solution to the murders. He focused on the performance, and it was box office gold. One of the more "charming" actors during the 1980's was Dudley Moore. He had smash hits with 10 and Arthur. He was one of the most bankable stars of the time. Blake Edwards was also the director of 10. So we have an unbeatable collaboration here that put together another quirky comedy about a "charming" bigamist, and how could it miss? Micki & Maude turned out to be one of the lesser-known films for both Edwards and Moore. But it's a part of that 80's scene, so Mill Creek has decided to give everyone another look at the film with their Retro-VHS series on Blu-ray in high definition.

"Dear Sir, we regret to inform you that following a complete review of your testing and background history, your application to Academy Training is denied. It is also my professional opinion and recommendation that you seek psychological counseling through a private psychologist or organization as soon as possible."

In the movies there are a lot of triggers that drive serial killers into their chosen field. Relentless wasn't the first or last film to use being rejected to a police academy as such a trigger. In fact, Relentless was director Willaim Lustig's second film to use the plot. Just a year earlier he directed Maniac Cop, and a year later he would direct Maniac Cop 2 as well as sign on as producer for the 2012 remake, Maniac. So it's a well he's been to a few times. Relentless was less a blood-and-gore show than the others, and it was actually thanks to Sam Raimi that he was able to use the name. Rami had directed a comedy a couple of years earlier with the name. Now titles can't be protected by a copyright. I'm sure you've noticed many songs and books with the same name.

“Careful with vengeance. You never know where the blood will land.”

Well, this was a revenge story if I’ve ever seen one, and a top-tier cast to sell it. Based on an award-winning play from playwright Aleshea Harris, who also penned and directed this adaptation. Apparently, Harris only initially intended to write the script, but through the encouragement of the film’s producers she decided to direct it as well. I like that. After all, who would be better equipped to direct the silver-screen adaptation than the playwright responsible for the play that received three Obie awards (Off-Broadway Theater Awards)? I’ve long been a proponent of the idea that the creator should be involved in any adaptation of their work when possible. And while I can’t speak to any deviation between the film and the play (because I’ve never seen the play), I’m confident that those changes were minimal. Additionally, just as it is important to have the right storyteller, it is equally important to have the right people to bring that story to life.