Batman: Bad Blood (2016) [Blu-Ray/DVD/Digital]

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Bat people! Bat people! So many Bat people! Back when I was a young lad, there were only two or three Batman oriented characters. Now there is practically a whole legion of masked vigilantes by the time “Bad Blood” comes to a close. Who even needs the Gotham Police Force, anymore? It’s admittedly kind of ridiculous, but also kind of fun to see how many people have been influenced by The Dark Knight to keep going forward and fighting crime. Gotham needs as much as help as it can get, obviously, so why not have a Batgirl, a Batwoman, a Nightwing, and a Batwing, amiright?

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Mischief Night (2014)

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I really enjoy one aspect of “Mischief Night,” and it’s the two scene walk on role by Malcolm McDowell. I mean seriously, who walks around various neighborhoods to quiz people about Halloween and warn them about not opening their doors? Who in the world has that much time? For all intents and purposes, director Travis Baker makes damn good use of the extra money he spent on McDowell’s appearance. Sure the man has nothing to do in the movie, but he’s in there, come hell or high water.

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Batman vs. Robin (2015) (Blu-Ray/DVD/Digital]

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I, for one, really hated “Son of Batman,” not only for its ridiculously convoluted take on giving Batman a son, but for Damian Wayne. Wayne is the son of Batman, born from Batman’s worst enemy’s lineage, and he’s still a petulant little shit. Although, to its credit, Wayne isn’t as bad here as he was in “Son of Batman.” That’s mainly because rather than an egomaniacal petulant little brat, he’s now a confused little brat with an ego that’s used to cover up his identity crises. He is after all confused about who he is and is now taking up a new identity he has to adhere to. I didn’t want or care to see a sequel to “Son of Batman,” but thankfully, “Batman vs. Robin” was a convincing argument to give it a chance.

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Gone Girl (2014)

gone-girlIt’s great that such a polished film like “Gone Girl” doesn’t opt for a more safe and Hollywood bound climax where we’ve seen a labyrinth of lies unfold in to a new bow. By the time “Gone Girl” has ended, director David Fincher has written his characters in to a corner, and they’re not at any point going to squirm out of it. I loved “Gone Girl” mainly because it’s a murder mystery without the kind of surprises you’d expect. Our characters are amoral and unlikable, and director Fincher has a keen sense of cynicism toward marriage and how it can be a fiasco that devolves in to a play.

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Abbott and Costello Meet the Killer, Boris Karloff (1949)

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In this follow up to “Meet Frankenstein,” Abbott and Costello don’t so much meet Boris Karloff, as they do a character Karloff plays named Swami Talpur. I still think the potential for Abbott and Costello meeting Karloff is potential never realized, and that’s pretty sad. Karloff only plays a side character, and appears for a few scenes, including an extended bit with character Freddie Phillips (Lou Costello) that’s still hilarious, at least. You don’t often see someone’s sheer idiocy save their lives, but you have to love how Freddie avoids all forms of vicious death by his slow wittedness.

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The Texas Chain Saw Massacre (1974): 40th Anniversary Edition [Blu-ray]

TCM40Forty years later and there’s still nothing like “The Texas Chainsaw Massacre.” Not a single film no matter how brutal has managed to be as unsettling and nerve rattling as Tobe Hooper’s masterpiece. It’s astonishing how Hooper’s master work hasn’t aged a day and still retains much of its raw guerilla filmmaking aura. The man and the cast suffered to make his horror thriller about maniacs in the South, and it shows through every single film cell.

“The Texas Chain Saw Massacre” is a horror film I not only respect, but revere, if only because it bears such a realism to it that feels as if Tobe Hooper let loose a bunch of lunatics on an unwitting cast of actors. Much in the realm of Ruggero Deodato’s “Cannibal Holocaust,” there’s the sense that Hooper clings very closely to reality, and covers every single aspect of this vicious environment. You can sense the thick stifling heat, the horrific confusion and chaos, and Leatherface. Leatherface is still the wild insane rabid dog let off of his collar, free to roam as he pleases. Gunnar Hansen as Leatherface is still a terrible force of nature who spares no one, and inflicts immense punishment on the flower children.

It’s interesting to see how Tobe Hooper doesn’t just provide a flawless masterwork of horror, but also manages to depict a very rotten and disgusting environment by sight alone. Every aspect of “The Texas Chain Saw Massacre” feels very aged and filled with years of decay, and Hooper is a master at creating so much out of very little. Hooper’s horror film is still an iconic artifact in grade A horror filmmaking, as well as building an entire narrative around chaos and pure anxiety. From Sally’s forced attendance at the family dinner, to her insane cackling in the final scene of the film as she bathes in blood, director Tobe Hooper’s film takes on a pulse all its own that’s yet to be duplicated or rivaled to this day.

The 40th Anniversary Edition comes with four audio commentaries. There are about six hours worth of commentaries, with director Hooper sitting down with the surviving cast and crew of the film. There’s an audio commentary with Director/Writer/Producer Tobe Hooper, Actor Gunnar Hansen, and Cinematrographer Daniel Pearl, there’s a second commentary with Production Designer Robert Burns and cast members Marilyn Burns, Allen Danziger, and Paul A. Partain. There’s an audio commentary with Tobe Hooper, and finally a commentary with Cinematographer Daniel Pearl, Editor J. Larry Carroll, and Sound Recordist Ted Nicolaou.

Transcendence (2014) [Blu-ray/DVD/Ultraviolet)

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It’s interesting to see that Johnny Depp is at a point in his career where he can just film himself with the cast for twenty minutes worth of a two hour movie, and then just rely on special effects for the rest of the film. I imagine Depp was in a bungalow vacationing, and would interrupt his getaway to film his footage for a few days with green screen. For a film that revolves around demonizing technology to emphasize how it destroys humanity and human contact, it’s inadvertently comical to see most of Depp’s performance rely solely on him having zero contact with anyone in the cast. And even when Depp is on screen, you’d swear he was being played by a robotic double still figuring out that tricky concept called emotions.

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