FILM FRENZY

Martin Lawrence and Will Smith in Bad Boys: Ride or Die (Photo: Columbia)

By Matt Brunson

(View From The Couch is a weekly column that reviews what’s new on Blu-ray, 4K and DVD. Ratings are on a four-star scale.)

BAD BOYS: RIDE OR DIE (2024). A step down from its immediate predecessor (Bad Boys for Life, reviewed here) but still a step up from the first two installments, Bad Boys: Ride or Die frequently relies on franchise fumes to keep it afloat. In this one, Miami detectives Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence) must clear the name of their late captain Conrad Howard (Joe Pantoliano, whose character is seen on tape and in visions), who in death has been chosen to be the patsy for a powerful drug cartel’s insidious activities. Their mission becomes even more difficult once they’re framed for murder and find themselves on the run alongside Mike’s son Armando Aretas (Jacob Scipio). Fan service is heightened in this chapter, with characters brought back from earlier films and Mike and Marcus leaning into the “Bad Boys” designation (including warbling the song), and nothing strays too far from formula. But the action scenes deliver, and Smith and especially Lawrence continue to command viewer attention with their sharp turns. Tiffany Haddish and DJ Kahled appear in small roles, but they add nothing to the party.

Blu-ray extras include a piece on the action sequences; deleted scenes; and outtakes and bloopers.

Movie: ★★½

BIG FAN (2009). Paul Aufiero (Patton Oswalt) considers himself the New York Giants’ most ardent supporter … ever. Now in his mid-30s and still living at home, his only pastimes are watching Giants games with his friend Sal (Kevin Corrigan) and religiously calling into a nightly sports-radio station to offer opinions which he scrupulously scripts ahead of time. All runs smoothly in Paul’s insulated bubble until the night he spots his favorite Giant, linebacker Quantrell Bishop (Jonathan Hamm), and gets up the nerve to talk to him. The encounter lands Paul in the hospital and Quantrell on the NFL’s suspension list, but Paul isn’t too worried about his own well-being; more importantly, he wonders how this distracting incident will affect the rest of the Giants’ season. The cult of organized sports often requires many sacrifices from diehard devotees — of time, money, even family. Big Fan takes it to the extreme, examining the outer reaches of this particular mode of hero worship and the psychological impact of sacrificing one’s entire life to something that yields few personal dividends. The film stretches credulity in spots, but for the most part, it manages to keep its eye on the ball.

There are no Blu-ray extras.

Movie: ★★★

DESPICABLE ME 4 (2024). The fourth film in the Despicable Me franchise — really the sixth, cuz ya gotta include Minions and Minions: The Rise of Gru — expands the saga in ways that ricochet between interesting and uninspired. In this one, Gru (voiced by Steve Carell), wife Lucy (Kristen Wiig), and daughters Margo, Edith, and Agnes have added a new member to the family: baby boy Gru Jr. But the reappearance of Gru’s longtime nemesis Maxime Le Mal (Will Ferrell), who has recently turned himself into a “cockroach man,” forces the family to enter the witness relocation program — they all prove to be pretty bad at functioning under new identities, and matters grow more complicated when Poppy (Joey King), the teenager next door, recognizes Gru and blackmails him into helping her become a villain. Gru Jr. and Poppy are great new characters, and both are employed in imaginative and amusing ways. The same cannot be said for the tiresome Maxime or the lazily conceived Mega Minions, five of the yellow fellows endowed with superpowers. There’s a lot to enjoy in the film, but there’s also material that could have been reworked or scrapped altogether.

Blu-ray extras include two Minions mini-movies, Game Over and Benny’s Birthday; deleted scenes; and a rogues gallery.

Movie: ★★½

LINK (1986). Link is the name of the orangutan who works as a valet for Dr. Steven Phillip (Terence Stamp), a nutty professor who hires American college student Jane Chase (Elisabeth Shue) to help him do experiments on the chimps living at his isolated English estate. The aging Link overhears the prof planning to do away with him and, faster than Clint Eastwood’s Philo Beddoe can mutter, “Right turn, Clyde,” the primate turns primeval and begins killing any creature (man, dog, chimp) that crosses him. Richard Franklin, director of the surprisingly competent Psycho II, can’t muster any suspense from Everett De Roche’s hokey script. Don’t miss the scene where Link apes (ouch; sorry) James Cagney in the fiery finale from White Heat.

Extras in the 4K + Blu-ray edition consist of film historian audio commentary; deleted workprint scenes; an audio interview with Franklin; a demo of the Link theme by composer Jerry Goldsmith; and the American theatrical trailer, the French theatrical trailer, and the British theatrical teaser.

Movie: ★★

THE MILLION EYES OF SUMURU (1967). While Sax Rohmer is best known for the 13 novels he wrote featuring his creation of criminal mastermind Fu Manchu, he also penned series around other fictional characters. One such example is Sumuru, who headlined five novels. The Million Eyes of Sumuru was the first of the big-screen adaptations — the sequel The Girl From Rio followed two years later and a futuristic take, Sumuru, appeared in 2003 — and it owes as much to James Bond as it does Rohmer. Shirley Eaton, the gold-plated victim in Goldfinger, plays Sumuru, who jockeys for world domination by plotting to have her all-female army kill every male leader on the planet. But she and her followers didn’t count on the interference of two perpetually horny Americans, CIA agent Nick West (George Nader) and boyish millionaire Tommy Carter (Frankie Avalon). On the plus side, you get some decent action sequences and the sight of Klaus Kinski (cast as an Asian president) doing weird Klaus Kinski things. On the other hand, the humor is of the curdled variety, triggering moans rather than giggles.

The 4K + Blu-ray edition adds back 10 minutes of footage not seen since, well, forever. Extras include a feature-length documentary on director Lindsay Shonteff and the RiffTrax edition of the film.

Movie: ★★

MY FAVORITE SPY (1951). There’s no connective tissue between Bob Hope’s “Favorite” films except that My Favorite Blonde was a hit and thus led to two in-name-only follow-ups, My Favorite Brunette and My Favorite Spy (Blonde and Brunette are reviewed in From Screen To Stream below). Spy is the weakest of the three, although Hope is in typically fine form and he again has a competent straight man — excuse me, straight woman — opposite him. Hedy Lamarr plays Lily Dolbray, the girlfriend of notorious spy Eric Augustine (Hope). Augustine is trying to get his hands on some valuable microfilm in Tangier, but after he’s captured, U.S. intelligence decides to enlist a lookalike burlesque comedian named Peanuts White (Hope again) to take his place. Immediately upon arrival, Peanuts finds himself surrounded by all manner of treacherous people — that includes Lily, who’s now working for a rival faction. The spy stuff is pretty standard and the more slapsticky elements run hot-and-cold, but Hope doesn’t miss a beat when slinging around zingers. “It’s nights like these that drive men like me to women like you for nights like this” is a particularly clever bit of patter, and, as usual, there’s one good-natured insult aimed at frequent “Road” co-star Bing Crosby.

Blu-ray extras include film historian audio commentary.

Movie: ★★½

POLTERGEIST II: THE OTHER SIDE (1986). Directed by Tobe Hooper and produced and co-written by Steven Spielberg, Poltergeist was a huge hit during the summer of ’82, making a sequel practically a fact of life. But with Hooper and Spielberg not involved in any capacity, Poltergeist II: The Other Side turns out to be pretty lousy. At least the Freeling family — mom Diane (JoBeth Williams), dad Steve (Craig T. Nelson), son Robbie (Oliver Robins), and daughter Carol Anne (Heather O’Rourke) — is back, although the film is so sloppily constructed that there’s never an explanation as to why older daughter Dana is MIA (in truth, it was because actress Dominique Dunne was tragically murdered by her boyfriend in late ’82, when she was only 22). As before, the Freelings are terrorized by malevolent spirits from the other side, these led by the cackling Minister Kane (Julian Beck). Rarely engaging but frequently unpleasant, the film offers little of note — the visual effects did earn an Oscar nomination, but they’re of wavering quality.

Extras in the 4K + Blu-ray edition include a making-of featurette and cast and crew interviews.

Movie: ★½

REPTILICUS (1961). Regularly billed as “Denmark’s first horror movie,” this finds the title behemoth destroying Copenhagen while scientists fretfully wring their hands and army officers bring out the big guns. The effects used to create Reptilicus (a puppet, basically) are no worse than those seen in many of the era’s creature features, but the effects employed when the creature does something like munch on humans or shoot acidic green slime from its mouth manage to travel beyond atrocious. Amusingly, a literary outfit of the period called Monarch Books would write novelizations of various monster movies and then add several softcore passages; among the chosen films were Konga, Gorgo, and … Reptilicus. So if you want to read how the humans got it on when they weren’t busy battling Reptilicus (sample passage, courtesy of Micro-Brewed Reviews: “Expertly she guided him, her body accommodating itself to the savage lance of his manhood”), you might be able to find an old paperback copy online.

The 4K + Blu-ray edition contains both the English-language and Danish-language versions. Extras include film historian audio commentary and a retrospective piece.

Movie: ★½

RICK AND MORTY: THE COMPLETE SEASONS 1-7 (2013-2023). As I wrote when covering the Blu-ray set for Seasons 1-6, it’s easy to see why this show is a favorite of dude-bros, fanboys, and mall-dwelling mouth breathers, given its fixation on the sort of scatological humor best enjoyed by guys who think that making armpit noises is an art form. Yet it’s also easy to see why this is a critical darling, an adult favorite, and an Emmy Award winner (two victories for Outstanding Animated Program), given its ofttimes brilliant scripting. Season seven offers more of the same, the primary difference being that Rick and Morty are no longer voiced by Justin Roiland (series co-creator with Dan Harmon) following a domestic battery charge (later dismissed), with Ian Cardoni now voicing Rick and Harry Belden taking over Morty. The show’s multiverse continues to expand, occasionally to diminishing returns (the series feels more cluttered than ever), but the laughs are still there, as are the wonderful character delineations among the principals. This season’s guests include Hugh Jackman, playing himself as quite the macho jerk.

DVD extras include audio commentaries by the show’s creators; making-of featurettes; and deleted scenes.

Series: ★★★½

VILLAGE OF THE DAMNED (1995). This dud was the second screen adaptation of John Wyndham’s novel The Midwich Cuckoos, but whereas the 1960 version (with peerless George Sanders) was eerie and intriguing, this take is awkward and ugly. As before, the story centers on a sleepy town enveloped by a mysterious, unseen force. Soon after, many of the local women become pregnant, eventually giving birth to malevolent children with the power to read people’s minds and manipulate them into causing harm (to themselves and others). Director John Carpenter, who long ago admitted that this was a for-hire project, is unable to generate anything resembling suspense or even basic narrative fluidity — a far cry from the heady days of Assault on Precinct 13 and The Thing. As a sympathetic widow, Linda Kozlowski (primarily known for the Crocodile Dundee flicks) fares best; at the other end of the spectrum, Kirstie Alley is unbearably stiff as a scientist while Luke Skywalker himself, Mark Hamill, appears ill-at-ease as the local minister. As for top-billed Christopher Reeve (playing the town physician), it was one month after this film’s release that he suffered the tragic equestrian accident that left him paralyzed.

Blu-ray extras include a making-of piece and vintage interviews.

Movie: ★½

WOLF CREEK (2005). This Australian import opened theatrically in the U.S. on Christmas Day — maybe it’s just me, but isn’t there something distasteful about releasing a movie this sadistic and nihilistic on a day that’s supposed to be all about spirituality and generosity? Not that Wolf Creek would look good any time of year, mind you. Writer-director Greg McLean’s film strands three college-age kids (Cassandra McGrath, Kestie Morassi, and Nathan Phillips) in the Australian Outback, whereupon they meet a hulking roughneck (John Jarratt) who proceeds to slice ‘em and dice ‘em as he sees fit. Wolf Creek bills itself as “Based On Real Events,” a dubious claim since 1) the film is rife with the sort of boneheaded plotting that can only be found in sub-par thrillers of this nature and 2) there were no witnesses to some of the grisly deaths on view. As if releasing this on December 25 wasn’t disturbing enough, there’s also a scene in which one of the young protagonists finds himself attached to a wall crucifix-style, with his arms outstretched and nails hammered through the palms of his hands. Father, forgive them, for they clearly know not what they do.

Blu-ray extras include a making-of featurette and a deleted scene.

Movie: ★

FROM SCREEN TO STREAM

BATMAN (1989) / BATMAN RETURNS (1992) / BATMAN FOREVER (1995) / BATMAN & ROBIN (1997). With the recent release of the 1989 Batman in a 4K Steelbook edition (as well as Batman Day earlier this month), here’s a helpful look at all four pictures in that particular filmic run, with the quartet available in pretty much every format (4K, Blu-ray, DVD, streaming, perhaps even shadowgraphy).

Even though its standing has diminished in the wake of the countless superhero flicks that emerged in the new millennium, the pros still outweigh the cons in Batman. Director Tim Burton’s quirky sensibilities prove to be a perfect match for this eye-popping yarn in which the Caped Crusader (Michael Keaton) squares off against the Joker (Jack Nicholson). Nicholson’s manic performance received all the ink, but Keaton’s somber turn is no less noteworthy — he was easily the screen’s best Batman/Bruce Wayne until Christian Bale came along. Danny Elfman’s terrific score charges the proceedings, while Anton Furst’s sets combine the worlds of comic books, film noir, and German Expressionism. Furst would go on to win an Academy Award for this movie’s spectacular art direction before committing suicide in 1991.

Batman and Burton returned for Batman Returns, a sequel that retains the original’s dark currents while adding some colorful new characters. Danny DeVito is all sputtering malevolence as The Penguin, yet top acting honors go to Michelle Pfeiffer for her sexy and spirited rendition of Catwoman. Pfeiffer’s interpretation was so potent, in fact, that there was not only talk of an Oscar nomination (the Academy took the easy route and instead nominated her that year for her dramatic turn in the barely seen Love Field ) but also of putting her in her own movie. Sadly, that project never materialized; instead, we were belatedly treated to 2004’s Turkey Hall of Fame contender Catwoman, with Halle Berry.

With Batman Forever, Joel Schumacher takes over the series from Burton, and the slide begins. Val Kilmer is fairly effective as the new Batman, and the normally bland Chris O’Donnell is better than expected as Robin. But their nemeses are another matter altogether: As The Riddler, Jim Carrey is so buffoonish and over-the-top — and without any of the stabilizing menace Jack Nicholson brought to the Joker — it’s impossible to take him seriously as a villain. As for Two-Face, my favorite Batman baddie on the printed page, Tommy Lee Jones makes a complete mockery of the character with a broad performance that’s difficult to stomach. Nicole Kidman’s on hand, too, but she’s wasted as Bruce Wayne’s new lady friend.

The final nail in the coffin is the complete grotesquerie known as Batman & Robin, a movie that’s about as much fun as a 20-year stint in a Turkish prison. Arnold Schwarzenegger (Mr. Freeze) and Uma Thurman (Poison Ivy) are the forgettable villains, George Clooney is deadly dull as Batman/Bruce Wayne, and Alicia Silverstone is an annoying presence as Batgirl. The script is incoherent and inconsequential, and I’ve seen colonic X-rays more visually appealing than what Schumacher throws up on the screen.

Batman: ★★★

Batman Returns: ★★★

Batman Forever: ★★

Batman & Robin: ★

GINGER SNAPS (2000). This Canadian effort barely received theatrical distribution stateside, although the passage of time has allowed it to find a devoted fan base on home video. Director John Fawcett and writer Karen Walton have deftly combined a werewolf flick with a coming-of-age tale, with the focus on morbid Goth sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle). Despite being high school students, both girls have yet to have their periods, although that changes for Ginger on the same day that she’s attacked by what turns out to be a lycanthrope. Ginger’s changes (body pains, hair in unwanted places, increased sexual appetite) are assumed by their mom (Mimi Rogers) to be par for the course for a young woman coming into her own; Brigitte, however, knows that something’s not right, so she joins forces with the local drug dealer (Kris Lemche) to help cure Ginger of her other curse. The film’s ambition sometimes exceeds its execution, but Perkins and Isabelle are excellent in their well-written roles. Both actresses returned for a pair of 2004 sequels made by other filmmakers, Ginger Snaps 2: Unleashed and Ginger Snaps Back: The Beginning.

Movie: ★★★

MY FAVORITE BLONDE (1942) / MY FAVORITE BRUNETTE (1947). My Favorite Blonde finds Bob Hope cast as Larry Haines, a stage comedian whose partner is a penguin named Percy. His life changes drastically once Karen Bentley (Madeleine Carroll) bursts into his dressing room — she requests his assistance but can’t let him know that she’s a British secret agent on the run from Nazi spies. This one’s more plotty than most Hope vehicles, but it’s still filled with amusing scenarios, .

My Favorite Brunette finds the comedian cast as a baby photographer who’s mistaken for a private eye by a mysterious beauty (Dorothy Lamour) as well as by the various crooks trying to keep her from blowing the lid off their nefarious scheme. Before long, the bumbling would-be snoop finds himself mixing it up with a menacing henchman (a wonderful Peter Lorre), trying to outsmart a dim-witted orderly (Lon Chaney Jr.), and facing execution after a wrongful murder charge. One of Bob’s best, My Favorite Brunette never slows down, offering plenty of choice one-liners, inspired set pieces, and a pair of ace cameo appearances.

My Favorite Blonde: ★★★

My Favorite Brunette: ★★★½

THE PRIME OF MISS JEAN BRODIE (1969). An often extraordinary movie centered on an extraordinarily complex character, this adaptation of both Muriel Spark’s novel and Jay Presson Allen’s play casts Maggie Smith (who passed away today at the age of 89) as the title character, a headstrong teacher at the Marcia Blaine School for Girls in 1930s Edinburgh. Frequently declaring herself to be “in my prime,” she’s the only progressive instructor at the conservative school, preferring to teach her young charges about beauty, art, and life rather than what’s listed in the curriculum. At the same time, she’s a huge fan of murderous dictators Benito Mussolini and Francisco Franco (a hero of JD Vance, BTW), and it’s her fascistic convictions — to say nothing of her tight hold on her students — that threaten to become her undoing. A film of ideas and attitudes, this features indelible turns from the entire supporting cast, particularly Celia Johnson as the rigid headmistress and Pamela Franklin as the cleverest pupil from the so-called “Brodie set.” As for Smith, she earned a richly deserved Best Actress Academy Award for her superb performance, while Rod McKuen scored a Best Original Song nomination for his hit single “Jean.”

Movie: ★★★½