Variety calls Ma Seokdo, played by Don Lee, a bull in a tea shop whose brute force devastates a difficult situation.
Step into the world of The Roundup: No Way Out, the sequel to The Roundup. Seven years have passed since Seokdo’s team was sent to Vietnam on a mission to extradite a dangerous Korean fugitive. The twist in the story was the fugitive seemed oddly eager to return home, raising questions about the true nature of their mission.
In the sequel, we meet up with the likable hunk, who collaborates with a new squad to investigate a murder case at home. Seokdo learns the case involves busting dealers on a new synthetic drug, Hiper. He digs deeper.
All the while, a Japanese mafia boss orchestrating the new drug, Ichioz, played cleverly by Ju Kunimura, keeps looking for trouble, and the drug distributor named Ricky, played by Munetaka Aoki, and his gang arrive in Korea to add havoc to the mayhem. Here, the entertainment flourishes as things go out of control.
The film is excellent because, like the earlier films, it’s invariably entertaining and engaging. Watching Don Lee play Seokdo, who punches blockheads and more, is hilarious—he’s no Dirty Harry. Though a reviewer compared it to Beverly Hills Cop and Lethal Weapon, this spontaneous film stands on its own. It’s true to the South Korean culture: a vulnerable and assuming hero saves the day.
Lee Sang-Yong directed the third title skillfully and brilliantly, as he did The Roundup. The movie won the Blue Dragon Award as the top box office winner of the year in South Korea. The Roundup: No Way Out also nailed the Audience Award at the 2023 Sitges Film Festival in Spain. Another sequel is in the works and will arrive in 2024.
Kanpong Banjongpinit co-wrote and directed Night of the Killer Bears. The story follows five teenage friends who live in Bangkok—a long time has passed since they’d seen each other. They decide to vacation together at a quiet, low-end retreat isolated from the city.
Matters turn dark because each friend has a secret, which becomes revealed while someone outside the group watches them.
The brutal murder of one friend motivates the survivors to accuse each other of being the murderer. Yet they consider the possibility that the murderer is not one of them. Someone else in their midst, observing them. If that is the case, they all are in danger.
Killers in bear costumes swing sabers and bisect teenagers while slashing off heads with vicious slices. It’s a bloody mess.
Possibly Banjonginit movie is a play on the franchise horror slasher Scream.
It’s funny but too campy for my taste. With the English subtitles, you’ll get by with the simple and sparse dialogue.
The cast includes Sananthachat Thanapatpisal as Aim, Patchata Jan-Ngern as Win, Khemanit Jamikorn as Som, and Chanagun Apornsutinan as Tony.
Enjoy this action-packed South Korean film by Lee Sang-yong. The Roundup stars Don Lee and CHOI Guy-hwa as two South Korean cops. Geumcheon Police’s Major Crimes Unit takes on missing to repatriate a fugitive who fled to Vietnam.
Lee plays a beast cop — detective Ma, pounding and slugging his way to solving the crime and situation with the fugitive. GHOI Guy-hwa plays the partner. Together, they intuitively realize that something is wrong. The suspect’s willingness to turn himself in to help uncover a series of crimes.
A terrifying killer name Dang Hae-sang, played by SON Sukku, is behind the suspect’s wavering and evasion. Detective Ma and his force of cops investigate, going across two countries. Witness bloody harsh crimes left behind by Kang Hae.
This film is for fans of action, South Korean and comedy. The humor gives this movie levity to the dire situation. Action sequences are mesmerizing and unbelievable in the delivery. It’s worth watching with a large bowl of popcorn and friends.
“Ilya Muromets (The Sword & The Dragon)” (1956) on 4K restoration Blu-ray uncut for the first time in the United States.
Aleksandr Ptushko’s visually stunning FX-filled epic has hit the streets and is now available for your theater library.
Deaf Crocodile Films, in association with distribution partner Seagull Films, released the 4K restoration on Blu-ray of famed fantasy filmmaker Aleksandr Ptushko.
Produced in 1956, this Russian film with English subtitles is visually stunning. The medieval epic was initially released and heavily edited with the title The Sword & the Dragon.
Now, Ilya Muromets (The Sword & The Dragon) through partner label OCN-Vinegar Syndrome. The Blu-ray edition of Ilya Muromets is fully restored to its original Russian release. The package also contains a new commentary track by comics artist (Swamp Thing), film historian and author Stephen R. Bissette and a reprint of film scholar Alan Upchurch’s pioneering essay on Aleksandr Ptushko from Video Watchdog magazine, plus Ptushko’s own essay on the making of Ilya Muromets.
Mosfilm studio recently restored Ilya Muromets in 4K using the original 35mm camera negative. Ptushko’s movie became available for digital streaming after its Blu-ray release through Deaf Crocodile’s partner label, Grasshopper Films.
Ilya Muromets runs 87 minutes, which keeps the drama moving without unnecessarily long pans and dramatic moments. The legendary fantasy filmmaker Aleksandr Ptushko’s sweeping, visual FX-filled epic is impressive as a 1956 production.
“On one level, Ilya Muromets is a pure fantasy, one of Ptushko’s greatest — but even a fantasy can have political implications,” says Dennis Bartok, Deaf Crocodile’s Co-Founder and Head of Distribution & Acquisitions. “Although Ilya Muromets was made in 1956 at the height of the Cold War and was set in a mythical landscape nearly a thousand years earlier, it has unmistakable parallels to today’s world and the war in Ukraine. Ilya was a legendary Kyivan Rus hero, encompassing modern Ukraine, Russia, and Belarus in the 9th to 13th centuries. That idea of somehow returning to a mythical “united Rus'” has been used as a tragic justification for the war today — and of course, when Ilya Muromets was made in 1956, it would have been seen as a call for a united Soviet Union at the time.”
“Imagine being given an unlimited budget and no time constraints to make the ultimate fantasy epic in 1956… that’s Ilya Muromets”, added Deaf Crocodile Co-Founder and Head of Post-Production & Restoration Craig Rogers. “With over 100,000 extras, over 10,000 horses, and a three-headed dragon that breathes real fire!”
Though I have seen none of Ptushko’s production before, some film fans believe this is one of his most enchanting achievements. The movie has stunning Cinemascope as a ballad of heroic medieval knights with ruthless Tugar invaders.
The special effects include wind demons and three-headed fire-breathing dragons, which are remarkable for 1956. The film stars Boris Andreyev as the bogatyr, Russian for a warrior, Ilya, a mythic figure in the Kyivan Rus’ culture that pre-dated modern Ukraine and Russia. Kyivan Rus’ was a shapeless federation in Eastern Europe and Northern Europe from 880 to the beginning of the 13th century. Much of the film’s action is set in Kyiv, and Ilya’s relics are held today in the Kyiv Pechersk Lavra monastery.
Based on a series of famous byliny, Russian for oral epics, the film follows Ilya as he wages a decades-long battle against the Tugars. The Tugars threaten his homeland, kidnap his wife and raise his son to fight against him. The movie is worth watching because of its dynamic acting, brilliant costumes, cinematography and vast panorama shots.
Ptushko began his career in the 1930s and became a combination of Walt Disney, Ray Harryhausen, who pioneered stop-motion animated effects, and Mario Bava, an Italian filmmaker known for his horror movies. Ptushko stands among the best for his dazzling, bejeweled fantasies, including The Stone Flower, Sadko, Sampo and Ruslan & Ludmila.
They released the first Cinemascope film produced in the Soviet Union, Ilya Muromets, in a truncated, dubbed version in the U.S. at the height of the Cold War as The Sword & The Dragon, downplaying the epic poetry and lyricism of the original.
Thanks to the progression of technology, Deaf Crocodile and Seagull Films, this epic movie arrives fully restored in 4K for its first-ever official U.S. release on Blu-ray in its original Russian with English subtitles.
Kim Chang-Ju co-wrote, directed and edited this South Korean action thriller, Hard Hit.
The film follows VIP Bank Manager Sung-Gyu, played by Jo Woo-jin. He tends to the demands of a bank’s essential customers. And somehow, it leads him to the worse day of his life.
The movie, directed by Dani de la Torre, provides a familiar suspenseful plot based on the Spanish-French action thriller Retribution (2015).
Sung-Gru drives his daughter and son to school one morning. Along the way, a phone rings from the glove box. An anonymous caller claims there’s a bomb under Sung-gyu’s seat, and if anyone exits the car, it will explode unless Sung-gyu can pay a hefty ransom.
What initially feels like a prank call quickly turns into an edge-of-your-seat thriller. The action-packed sequences hold the movie together. Sure, we feel for the family and their dangerous situation, but the car chases through a maze of alternate roles of attack and defense.
The original music composed by Kim Tae-Seong adds suspenseful undertones and overtones, perfect for developing a calm, typical weekday to a vibrant, hellbent high-speed chase at the mercy of a sinister bomber.
Sung-gyu must simultaneously ensure the safety of his children, find enough money to pay the ransom and evade the police, all while trying to figure out what he did in his past to deserve this.
Woo-jin does a dynamic job of acting primarily behind the wheel of a car. He holds his emotions by expressing tension and remorseful angst. Ji Chang-Wook also stars and is believable in this new gem of a role, another side we’ve yet to see.
The movie received three nominations in 2021 at the Buil Film Awards and the Blue Dragon Film Awards.
IMDB and Wikipedia helped with background information, reviews and character roles.
All you have to do is watch the four-and-a-half-minute trailer to know The Unknown Man of Shandigor (L’inconnu De Shandigor, 1967) is a spy-thriller. Any movie enthusiast wants to see the Blu-ray version of this classic.
Directed by Swiss filmmaker Jean-Louis Roy, this long-unseen 60s Cold War super-spy features legendary French singer and songwriter Serge Gainsbourg and famed Chilean cult actor Daniel Emilfork.
Marie-France Boyer as Sylvaine
Recently restored in 4K from the camera negative by the Cinémathèque Suisse, the visually stunningmovie screened initially at the Cannes Film Festival in 1967. The Blu-ray features new interviews with the director’s wife, Francoise Roy and first assistant director on the film Michel Schopfer, along with an ultra-rare 1967 Swiss TV “making of” documentary featuring the director with behind-the-scenes footage and new artwork by acclaimed illustrator Tony Stella.
I marveled at the surreal hall of mirrors, reminding me of Kubrick’s Dr. Strangelove and British TV shows like “The Avengers” and “Doctor Who.”
The fine cast includes most who’s who of great 60s European character actors starting with the unforgettable Daniel Emilfork as crazed scientist Herbert Von Krantz, who has invented a device to “sterilize” all nuclear weapons.
A mad herd of rival spies is desperate to get their hands on the device, including legendary French singer Serge Gainsbourg as the sect leader of bald, turtleneck-wearing assassins and Jess Franco veteran Howard Vernon.
Gainsbourg’s deranged jazz-lounge song, “Bye Bye Mr. Spy”— performed by him on a funeral parlor organ, no less — is arguably the film’s high point. “An accomplished spy is at the same time psychologist, artist, funambulist, conjurer,” to quote one of the film’s characters, and the same said of Roy’s exotic camera obscura of black and white Cold War paranoia. The movie is in Swiss French with English subtitles, like the trailer.
Blu-Ray Bonus Features
• New 4K Restoration from the original 35mm picture and sound elements by Cinémathèque Suisse with additional digital restoration by Craig Rogers of Deaf Crocodile
• New Commentary by film journalist Samm Deighan (Diabolique magazine, Daughters of Darkness podcast)
• New Booklet essay by filmmaker, punk musician and poet, and genre expert Chris D. (The Flesh Eaters; author of Outlaw Masters of Japanese Film)
• New interview with Francoise Roy, wife of director Jean-Louis Roy, and Michel Schopfer, first assistant director on The Unknown Man of Shandigor (17 min., in Swiss French with English subtitles)
• Ultra- rare 1967 “making of” documentary from Swiss TV’s “Cinema VIF” show, featuring interviews with director Jean-Louis Roy, cast members Daniel Emilfork, Jacques Dufilho, and Marie-France Boyer, and behind-the-scenes footage (28 min., in Swiss French with English subtitles)
• Restored original trailer (4 min., in French with English subtitles)
• Blu-ray encoding and authoring by David Mackenzie/Fidelity in Motion
Her husband, daughter, land and innocence ripped from her, she embarks on a brutal journey of retribution and revenge.
Written and directed by Victoria Wharfe McIntyre, The Flood is her debut feature film. The movie takes place during WWII. McIntyre brings a flavor of the Wild West throughout the movie. “The Flood is an action-packed, dramatic western-styled adventure that uses our nation’s history as a framework to support an uncompromising, exacting and romantic and delicate female-driven story that acts as a parable for race relations in our country.”
“It is a world of juxtapositions and grave injustice as we move through the lives of black, white and women of color, young and old, rich and poor, contrasting their grief, love, loss and rage against a ruthless rural patriarchy in WWII Australia.”
The story starts when Jarah’s Irish drover father and South Sea Islander mother die during a flood. She’s sent to live on Pastor Gerald Mackay’s mission, played by Peter McAllum.
Here, she meets Waru, an Aboriginal boy who becomes the love of her life and future husband. Jarah, played by Alexis Lane, and Waru, played by Shaka Cook, grow up together and have a daughter Binda, played by Simone Landers.
When WWII is in full swing, Waru and the mission men receive citizenship for military service. Waru goes to war against Jarah’s wishes.
While he was gone, the Aboriginal Welfare Board removed the children from the mission and subsumed their land. Jarah finds herself an enslaved person on a wealthy landholder’s estate and loses contact with Binda, who is working on the now-retired Gerald Mackay’s cattle farm.
Waru returns from the war with his mate Minto, played by Aaron Jeffery, a white soldier who owes his life to Waru on the battlefield. When Waru discovers what has happened to Binda and Jarah, he sets out to recover his family. Waru unwittingly kills Gerald’s son Kelly and flees with Binda to find Jarah.
Gerald sends for Kelly’s brother Shamus, played by Dean Kyrwood, and his brutal black tracking gang. Shamus arrives in town to find the local men incarcerated. Jarah is determined to use her to lure Waru back from the bush. Shamus and his gang violate Jarah, igniting a rage in her that stokes the fires of brutal and bloody revenge. Jarah forms an unlikely alliance with Pam, a mature white woman, played by Karen Garnsey, who has experienced her torment and is ready to act against the men and their atrocities.
Jarah plans, and with Pam’s help, she escapes her cell and travels with Minto to find Waru and Binda, who Shamus has captured.
Shamus kills Binda and drags Waru and Jarah back to town. Binda’s death transforms Jarah into something altogether new, something even she does not understand. She plunges into the unchartered territory of her darkness.
Jarah escapes once more and demands Waru’s help to destroy the town.
Through his own profound wartime experience, Waru understands that revenge will not ease Jarah’s pain, but he supports her.
With Waru’s help, Jarah wipes out the town and discovers Waru is correct. Her agony has not eased, but she is not ready to give up this approach. Jarah, Waru and Waru’s sister Maggie, played by Dalara Williams, flee, taking Shamus.
Jarah tortures Shamus, and eventually, he breaks. To Jarah’s consternation, Maggie determines to help Shamus connect once more to the goodness deep within. Through Maggie’s kindness, Shamus embarks on his inner journey of memory and feeling and can see he is a product of generations and generations of unending brutality. A seed of healing and hope births within him.
Jarah and Waru confront their rage and sorrow at the loss of Binda and the schism within their relationship.
Eventually, their love carries them through the darkness. Maggie is a pillar of compassion, understanding and spirit and is a catalyst for healing between them all.
Minto finds the near-dead Binda and brings her to Pam, a nurse in WWI. Together, they save her life. Gerald finds and takes them, with the police, to find Waru and Jarah and bring them to justice.
In a classic western show-down and shoot-out, Shamus willingly sacrifices himself for Maggie. Binda returns from the dead to her parents. Gerald goes the way of the dinosaurs, and Jarah touches on the prospect of forgiveness.
They find a fresh path of reconciliation and redemption between those who remain.
I am so glad that not everyone died. Justice is not as it appears, workable based on the circumstances of trying to survive.
The Flood garnered some awards at the Sydney Women’s International Film Festival: Best Director, Best Australian Film, and Best Actress for Alexis Lane.
Brand-new 4K restoration, written and directed by Ivan Zulueta, 1979 feature Arrebato’s is a popular Spanish cult horror movie. Some consider the film a dimension-shattering blend of heroin, sex, and Super-8 as a final word on Cinemania.
Arrebato follows horror movie director José Sirgado, played by Eusebio Poncela, adrift in a sea of doubt and drugs. As his belated second feature nears completion, two situations pop his reclusive bubble.
First, there is a sudden reappearance from an ex-girlfriend, played by Cecilia Roth. Second, a package arrives from past acquaintance Pedro, played by Will More. It contains a reel of Super-8 film, an audiotape and a door key.
From there, the boundaries of time, space and sexuality disappear as José is once more absorbed into Pedro’s vampiric orbit — a vampire camera that sucks up people, and they disappear.
Together, they attempt the ultimate hallucinogenic catharsis through a twisted strip of filming and being filmed.
The horror movie offers beauty, clearly describing a dark state of living — angst and joy of living with dangerous drugs, alcohol and sex and the love of making movies.
Special Features:
• Region Free Blu-ray
• Commentary Track with Mike White of The Projection Booth
The movie follows a fifteen-year-old French girl, played by Jane March. She returns to Saigon in 1930, where she attends an all-girls boarding school. On her way, a handsome and wealthy Chinese man, played by Tony Leung Ka Kai, of a respectable family, offers her a lift in his shiny black limo.
A passionate affair begins against her family’s disgust. The man becomes alienated from his family because they have selected his bride already. Against the conventions of society, the lustful pair continue their passionate affair, intensifying the attraction with the illicit nature of their rendezvous.
It starts with groping in the limo’s backseat and grows to nightly undertakings at his bachelor pad. Interestingly, the names of the young girl and wealthy man are never said. Slowly and eventually, their relationship disintegrates, and the man slides down into an opium-induced haze and unreturned love.
Many tastefully lit sex scenes allow little room for imagination, including Annaud’s skilled camera work, lingering delicately on the flesh. The paedophiliac situation sidesteps the moral nuances while using sensitivity. Today, the industry may frown even more profound on the issue.
March, a newcomer at the filming, comes across as photogenic and sultry. The character seems detached but amused.
Annaud’s brilliant direction takes in the vibrant scenery to divert from the senseless and gratuitous romantic scenes.
The release includes special features: Special collector’s media book packaging, Two-disc set, Original trailer.
Thank you, Empire, for more information about the production.
Directed by Kim Dae-Seung, The Concubine takes place in Korea during the early Joseon Dynasty. Like most movies about the lineage of royalty, machinations control the outcome. We meet Hwa-Yeon, played beautifully by Yeo-jeon Cho, a minister’s daughter and Kwon-Yoo, played brilliantly by Min-Joon Kim, a commoner. Both are deeply in love with each other. It’s a forbidden attraction because of the caste system.
For this reason, Hwa-Yeon is ordered to the royal palace to become the royal concubine. She and Kwon-Yoo attempt to flee and spend the night together. Hwa-Yeon’s father and men, who threaten to kill Kwon-yoo, intercepted them.
To save her one true love, Hwa-Yeon agrees to go to the palace as King’s concubine as instructed. Unbeknownst, her father castrates Kwon-yoo as a punishment, which sets up some compelling drama later in the movie.
Five years later, Hwa-Yeon is the mother of the heir to the throne, but the King slowly dies. After his death, the King’s stepmother, played by Ji-Young Park, uses her power to appoint her biological son Sung-won, played emotionally charged by Dong-Wook Kim, as the successor.
Sung-won has been madly in love with the unobtainable Hwa-Yeon for years. Now that he must procreate to produce an heir to the throne, he can have any woman he wants except Hwa-Yeon based on his mother’s manipulation. She has vengeance on Hwa-Yeon, whose life is in danger.
Kwon-Yoo reemerges into the story, pushing them into a dangerous chess game of lust, sex and power. When Hwa-Yeon discovers what her father has done to her true love, she’s devastated but regains strength.
The Concubine theatrical release in 2012 received accolades and was the 11th most-watched Korean movie. Some reviews at the time focused on the erotic aspect of some scenes, which caused audiences to misunderstand the director’s intent. Mainly, the film shows two powerful women fighting for power. However, the ending is tragic. The director gets us there with beautiful imagery thanks to Ki S. Hwang’s cinematography and Geun-Hyun Cho’s production design.
English subtitles suffice, but I prefer to watch the movie, but the storyline gets lost. The running time is 102 minutes.
