New on Home Video: “Uncle Buck” on 4K Ultra HD + Blu-ray

February 14, 2025 by Keith Garlington

Kino Lorber Studio Classics is bringing “Uncle Buck” back to home video in a new combo-pack complete with new special features and sharp new 4K transfer. Directed by the late John Hughes, this 1980s comedy classic stars the wonderful John Candy who’s in vintage form playing a lovable but irresponsible Buck Russell. With his brother in need of an emergency babysitter, Buck agrees to help. But he’s ill-prepared for the challenges ahead of him. Comedy hijinks ensue in this timeless Hughes gem.

This terrific new 4K Ultra HD + Blu-ray combo edition of “Uncle Buck” will be available to purchase on February 18th. See below for a full synopsis of the film as well as release info including a list of special features.

About the Film:

Year: 1989

Runtime: 100 Minutes

Director: John Hughes

Screenwriters: John Hughes

Cast: John Candy, Amy Madigan, Macaulay Culkin, Jean Louisa Kelly, Laurie Metcalf, Gaby Hoffmann, Jay Underwood, Elaine Bromka, Garrett M. Brown, Mike Starr, Brian Tarantina, Suzanne Shepherd, William Windom, Anna Chlumsky, Dennis Cockrum

Rating: PG-13

The great John Candy (“Summer Rental”, “Spaceballs”) stars in this outrageous comedy as an idle, good-natured bachelor who’s left in charge of his nephew and nieces during a family crisis. Unaccustomed to suburban life, fun-loving Uncle Buck soon charms his younger relatives Miles (Macaulay Culkin, “Home Alone”) and Maizy (Gaby Hoffmann, “Now and Then”) with his hefty cooking and his new way of doing the laundry. His carefree style doesn’t impress everyone, though—especially Tia (Jean Louisa Kelly, “Mr. Holland’s Opus”), his rebellious teenage niece, and Chanice (Amy Madigan, “Field of Dreams”), his impatient girlfriend. Uncle Buck is the last person you’d think of to watch the kids. But with a little luck and a lot of love, he manages to surprise everyone in this heartwarming family classic from iconic filmmaker John Hughes, writer-director of “Sixteen Candles”, “The Breakfast Club”, “Weird Science”, “Ferris Bueller’s Day Off” and “Planes, Trains and Automobiles”.

Special Features:

Product Extras :

DISC 1 (4KUHD):

Brand New HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative
NEW Audio Commentary by Film Historians Alexandra Heller-Nicholas and Josh Nelson
NEW Audio Commentary by Film Historian Joe Ramoni
5.1 Surround and Lossless 2.0 Audio
Triple-Layered UHD100 Disc
Optional English Subtitles

DISC 2 (BLU-RAY):

Brand New HD Master – From a 4K Scan of the 35mm Original Camera Negative
NEW Audio Commentary by Film Historians Alexandra Heller-Nicholas and Josh Nelson
NEW Audio Commentary by Film Historian Joe Ramoni
Sixteen Going on Seventeen: NEW Interview with Actress Jean Louisa Kelly
Theatrical Trailer
5.1 Surround and Lossless 2.0 Audio
Dual-Layered BD50 Disc
Optional English Subtitles

REVIEW: “Captain America: Brave New World” (2025)

February 14, 2025 by Keith Garlington

Talk about conflicted! That’s how I found myself when forming expectations for “Captain America: Brave New World”. On one hand, Steve Rogers was my favorite Marvel superhero as a kid. And the three previous Captain America films have been among my very favorite movies in the Marvel Cinematic Universe. On the other hand, Steve Rogers is now gone from the MCU. And while I like the Falcon character, his messy streaming series “The Falcon and the Winter Soldier” didn’t start Sam’s journey as the new Cap on the right foot.

“Captain America: Brave New World” is the 35th movie in the MCU and follows on the heels of the Disney+ streaming series. It’s helmed by Julius Onah (“The Cloverfield Paradox”) who co-wrote the screenplay with the team of Rob Edwards, Malcolm Spellman, Dalan Musson, and Peter Glanz. While my hopes were it would fall somewhere closer to the three Cap films, in many ways “Brave New World” feels like an extension of the series which isn’t the biggest compliment.

But in fairness, “Brave New World” is considerably better than its streaming predecessor. It makes an effort to maintain the more grounded and realistic vibe of the other Cap films in both its storytelling and filmmaking. And it plays on a much bigger scope and scale than the series. Yet there’s something missing from the very start. And no matter how hard it tries, “Brave New World” can’t capture what made the earlier features special.

Anthony Mackie reprises his role as Sam Wilson, formerly known as Falcon and the best friend of the now retired Steve Rogers. After being passed the shield, he stands as the new Captain America. By his side is his pal Joaquin Torres (Danny Ramirez) who has essentially taken the mantle of Falcon for no bigger reason than to give Sam a sidekick similar to what he was to Steve in the previous MCU movies.

The story opens in Mexico where Sam and Joaquin stops an illegal black market sell of Adamantium (yep, the metal alloy that makeup Wolverine’s skeleton and claws). As a reward for his good work, Sam takes Joaquin to Baltimore to meet and train with the legendary Isaiah Bradley (Carl Lumbly), a former super soldier and mentor to Sam.

Meanwhile President-elect Thaddeus “Thunderbolt” Ross (Harrison Ford taking over for the late William Hurt) is working hard to convince the American people that he is a changed man following the events of 2008’s “The Incredible Hulk”. Clearly enough people believed he had changed to vote for him. But some remain unconvinced, including his estranged daughter Betty (previously played by Liv Tyler) who hasn’t spoken to him in years.

Ross believes his success hinges on a proposed treaty between the United States and other countries over control of the recently discovered Adamantium. He invites Sam, Joaquin, and Isaiah to the White House as envoys while he addresses the leaders of the other nations about the importance of the treaty. But suddenly Isaiah and four other men pull weapons and attempt to kill President Ross. The assassination attempt is thwarted and a disoriented and confused Isaiah is arrested.

From there things escalate at a near comical rate. A determined Sam sets out to get to the bottom of what happened starting with exonerating Isaiah. His investigation immediately puts him at odds with Ross. But we quickly learn that someone else is pulling the strings. And both Sam and Ross are important parts of this secret puppet master’s grand plan. As it plays out, politics, espionage, grand conspiracies, and geopolitical tensions all play into the story but not always in a coherent or logical way.

As for the characters, Sam and Ross are the only ones who leave an impression. Joaquin is fine but is mostly a tag-along. Isaiah is easily the most emotionally involving but only has a small part. The always great Giancarlo Esposito is wasted as the villainous yet poorly developed Sidewinder who’s basically just a cog that the story needs on occasions. Shira Haas is unable to make the President’s Chief of Security Ruth Bat-Seraph anything more than a one-note Black Widow knock-off. And Tim Blake Nelson appears in one of the more compelling roles yet one restricted by some shaky material.

“Brave New World” has plenty of serviceable action though nothing that will get your blood pumping. And its set pieces are decent but hardly what you would call inspired. As far as Mackie, he certainly gives it his all. But despite having the physicality and commitment, he can’t quite carry the movie in the way it needs him to. It all leads to a glaringly average MCU installment that does nothing to bring back the big event feel that every MCU movie once had. “Captain America: “Brave New World” opens in theaters February 14th.

VERDICT – 2.5 STARS

REVIEW: “The Gorge” (2025)

February 13, 2025 by Keith Garlington

Miles Teller and Anya Taylor-Joy play elite snipers assigned to a mysterious mission by their respective countries in the upcoming film “The Gorge”. Director Scott Derrickson (“Doctor Strange”, “The Black Phone”) teams with screenwriter Zach Dean in an Apple TV+ exclusive that melds together science-fiction, action, and horror to deliver a film with no shortage of surprises.

One of the biggest strengths of “The Gorge” lies in the fact that we never know where it’s going. There are several instances where we may think we do, but Derrickson and Dean routinely switch gears and take the story in new directions. And while they borrow from an assortment of genres, they mix it all up in ways that help “The Gorge” feel fresh and exciting.

Teller plays Levi, a former Marine sniper who four years earlier was diagnosed with PTSD and deemed unfit for service. Rather than fight it, a frustrated Levi retired and went to work as a military contractor. One evening Levi receives a message summoning him to Camp Pendleton where he meets with the high-ranking Bartholomew (Sigourney Weaver). She needs someone skilled, dependable, with no family attachments for a top-secret solo mission. Seeing it as a way of proving himself, Levi agrees.

The military flies Levi to an undisclosed location in an undisclosed part of the world. His job is nearly as cryptic. He is to spend the next year manning a self-sufficient observation tower perched cliffside next to a giant gorge. He is to be a high-tech maintenance man – keeping the sensors, minigun emplacements, and “cloakers” up and running. He will have radio checks every 30 days, but otherwise there is to be no communication with the outside world. And just as important, contact with a similar tower sitting far away on the other side of the gorge is prohibited. After one year, his replacement will come and Levi can go home.

Upon arriving, Levi is greeted by J.D. (Sope Dirisu), the soldier he’s replacing, who gives him a tour of the tower. It stands high in the air, overlooking the massive gorge which is covered with a dense layer of fog that keeps anyone from seeing what lies below. J.D. then briefs Levi on details left out by the military. Namely that the allied governments have been secretly manning the tower since World War II. And that Levi’s job isn’t to keep people from entering the gorge. It’s to stop what’s in the gorge from coming out.

Meanwhile Drasa (Taylor-Joy), a Lithuanian sniper working for the Russian government, is the new replacement in the East Tower on the other side of the gorge. Levi takes notice but sticks by his ‘no contact’ order… at least for while. After a month of being alone with their thoughts, the two begin communicating with signs and high-powered binoculars. Suddenly an unexpected relationship takes form.

But then there’s the gorge and the secrets it holds. It’s crucial that you go into the film knowing as little as possible. So I’ll just say that the movie’s second half takes several unexpected turns – some are action-packed while others veer ever so slightly into horror. The world-building also shifts with Derrickson, Dean, DP Dan Laustsen, and the talented visual effects team building something strikingly original, wildly creative, and utterly harrowing. Again, I know that’s vague, but it should be.

As for Teller and Taylor-Joy, they know their assignments and have a lot of fun fulfilling them. Admittedly their dialogue can be a little hokey in spots. And their budding relationship is a bit rushed, leading to an abrupt character transformation in Levi that could have used more time. Still they’re both nice fits for their characters which shows most once the action ramps up and Derrickson lets his creative vision run wild. “The Gorge” premieres February 14th on Apple TV+.

VERDICT – 4 STARS

RETRO REVIEW: “Rolling Thunder” (1977)

February 12, 2025 by Keith Garlington

A young Paul Schrader burst onto the Hollywood scene with his critically acclaimed screenplay for 1976’s “Taxi Driver”. Only one year later, “Rolling Thunder” was released, a gritty yet surprisingly thoughtful revenge thriller that Schrader originally penned in 1973. Schrader’s script was said to be a companion piece to “Taxi Driver” and even included a cameo by Robert De Niro’s Travis Bickle.

Interestingly George Romero was first in line to direct and later Schrader himself was attached. It eventually fell to John Flynn whose previous film was 1973’s “The Outfit”. Heywood Gould was hired for rewrites and a well-rounded cast was put in place. The final product wasn’t as dark and ruthless as Schrader envisioned, yet violence is in the very fabric of the story. But it’s the unexpected focus on the characters that makes “Rolling Thunder” stand out.

The movie opens in 1973 with Major Charles Rane (William Devane) and Sergeant Johnny Vohden (Tommy Lee Jones) returning home to Texas after spending seven tortuous years in a Hanoi POW camp. As the Vietnam vets arrive at the San Antonio airport, they’re greeted by an excited crowd from their hometowns who welcome them with a red carpet, a high school band, some local politicians, and a briefcase full of silver coins. Charlie and Johnny put on their best face before finally going their separate ways with their families.

**Image Courtesy of American International Pictures**

Despite his best efforts to readapt to normal life, Charlie’s reunion with his family doesn’t go as he had hoped. His son Mark (Jordan Gerler) was only eighteen months old when his father deployed making Charlie feel like a stranger. But even worse, his wife Janet (Lisa Blake Richards) tells him that she’s been seeing another man – a local sheriff’s deputy named Cliff (Lawrason Driscoll) – and the two are engaged to be married.

And then the movie takes its first violent turn. One afternoon Charlie comes home to find a group of armed thugs led by actor James Best waiting for him. They’re after the silver coins, and when Charlie refuses to give them up, they beat and torture him, going as far as grinding up his hand in a garbage disposal. Janet and Mark unexpectedly arrive and are taken by gunpoint. The thugs eventually get the coins and then violently gun down Charlie and his family.

Most of the story takes place after a wounded Charlie wakes up in the hospital where he spends months in rehab. Not only does he learn that Janet and Mark are dead, but he has also lost his hand which forces him to wear a prosthetic arm. In what feels like an oversight, the movie never gives Charlie that one needed moment to mourn. It’s true that a big point of the story is how Charlie (and by extension combat veterans) keeps many of his emotions pent-up. But we never see the devastation that should come from such loss.

But we do see Charlie’s hunger for revenge which intensifies with the realization that his family’s murderers were never caught. So he decides to take matters into his own hands, and with the help of Vohden and a flirty local barmaid named Linda (Linda Haynes), he sets out to Mexico to pay back the thugs who took everything from him. From there the movie’s revenge-a-matic roots kick into gear and the curbed drama turns towards a violent conclusion.

The performances are mostly strong starting with Devane. David Carradine was among the original choices to play Charlie, but Devane brings everything the role needs. On the outside he’s very cordial and almost business-like with his emotions. But the repression of his character’s scarred psychology is what makes the performance special. Jones is also good, speaking volumes through his pained expressions. And the underrated Haynes adds a jolt of fresh energy and sexual tension. Dabney Coleman even pops up briefly as Charlie’s military psychiatrist.

It’s unfortunate to see “Rolling Thunder” lumped in among the many “Death Wish” clones. There are undeniable similarities, but it’s hardly a fair assessment. The movie is just as much a character study as it is a revenge thriller. Its themes are straightforward but insightful, plowing deep into the post-Vietnam alienation felt by many veterans. At the same time, there’s no denying its exploitation inspiration which pours out in the ultra-violent final 15 minutes. It doesn’t gel seamlessly with everything that came before it, but it does offer the audience a satisfying payoff.

VERDICT – 3.5 STARS

Ten Character Posters for “Paddington in Peru” – In Theaters This Weekend

February 11, 2025 by Keith Garlington

“Paddington in Peru” is set to hit theaters this weekend and I couldn’t be more excited. This is the third installment in what has been a delightful film series that follows the adventures of Paddington, a lovable Peruvian bear who finds a home in London with the equally lovable Brown family. Dougal Wilson takes the directing reins from Paul King to tell a story of Paddington (voiced by a returning Ben Whishaw) visiting his beloved Aunt Lucy in Peru. But upon arriving he learns that Aunt Lucy has gone missing. Good times most definitely ensues.

“Paddington in Peru” opens exclusively in theaters this weekend courtesy of Sony Pictures Releasing. To celebrate here are TEN vibrant and colorful character posters to help warm your heart and get you read for another Paddington adventure.

REVIEW: “One Night in Tokyo” (2025)

February 11, 2025 by Keith Garlington

Channeling the hypnotic vibes of such gems as Wong Kar-wai’s “In the Mood for Love” and Richard Linklater’s “Before” trilogy, writer-director Joshua Woodcock’s “One Night in Tokyo” is an aching drama full of humanity and heart. And despite its modest budget, the film exquisitely captures the pulse of the culturally rich and vibrant city from its title.

“One Night in Tokyo” marks Woodcock’s feature film debut and from its opening few sequences you see the kind of assured hand and keen instincts usually found in the most seasoned filmmakers. What makes it even more impressive, Woodcock serves as his own cinematographer and editor, both of which prove to be among the movies many strengths.

The story starts by introducing us to a New Yorker named Sam (Reza Emamiyeh) shortly after he arrives at the Tokyo airport. He’s there for a week to spend time with his girlfriend Becca (Cailee Oliver) who has been away in Japan for six months. But he’s surprised to find that she’s not there to meet him and she’s not answering her phone, leaving Sam to feel his way around a foreign country on his own.

With the help of his phone’s GPS and the kindness of a few strangers, Sam finally makes his way to Becca’s apartment where he immediately notices something is off. Becca comes across as chilly and detached before finally telling Sam she wants to take some time apart. Perplexed and downcast, Sam leaves and wastes no time booking a next-day flight back to New York.

Sam gets a call from his local buddy Jun (Shinichiro Watanabe) who he was set to meet up with for some drinks. But Jun has to cancel after getting tied up at work. So he makes arrangements for Sam to join his girlfriend Ayaka (Tokiko Kitagawa) and her friends for some drinks. Sam doesn’t know Ayaka or her friends and doesn’t feel like socializing. And after meeting Ayaka it’s clear she isn’t happy with the arrangement either.

But Sam and Ayaka’s night together takes a number of unexpected turns starting with a shocking betrayal that leaves them both heartbroken. The two hurt and angry souls go to a bar together to drown their sorrows despite Sam not speaking Japanese and Ayaka not speaking English. But with the help of Google translator, they begin communicating. It’s the first step in what becomes a life-altering night together across Tokyo.

I don’t want to spoil where things go, but Woodcock takes his characters on an intoxicating journey full of bittersweet emotion and unvarnished humanity. Soon the two are walking the late-night streets like Linklater’s Jesse and Celine, opening themselves up through extended conversations while Tokyo provides a sparkling backdrop. Woodcock’s camera discreetly follows along in observation mode, elegantly relaying the range of feelings his characters express.

Equally important are the lead performances from the soulful Emamiyeh and the spirited Kitagawa. Individually they penetrate to the heart of their characters, patiently peeling back layers to show us who they really are. Together they share an organic chemistry, especially once the Google translator suddenly vanishes and the two begin communicating effortlessly. It’s a magical touch that allows the movie to evolve into something unexpected.

“One Night in Tokyo” is yet another example of how a filmmaker can overcome nearly any hurdle if he or she has a good story to tell and the cinematic knowhow to tell it. A healthy budget and studio support certainly helps. But nothing can top vision and talent. Woodcock possesses both as evident by this well-made and moving first feature. It’s a movie full of longing and desire yet with an impressively grounded approach to romance. It had its hooks in me from the very start. “One Night in Tokyo” releases in theaters and on VOD February 14th.