I get that this may be a bit premature, but could we be witnessing a revival of the Western genre? There have been several smaller independent Westerns that have popped up in recent years and Kevin Costner is set to release his massive two-part Western epic this summer. Now we have “The Dead Don’t Hurt” – a new film that’s directed, written, produced, and composed by Viggo Mortensen. If that wasn’t enough, Mortensen also stars in the film which just released its fantastic first trailer.

Set in the 1860s, Mortensen plays a Danish immigrant named Holger Olsen who falls in loved with a French Canadian woman named Vivienne Le Coudy (played by the always terrific Vicky Krieps). The two start a life together on Holger’s Nevada homestead. But when the headstrong Holger’s convictions drive him to enlist in the Union army, Vivienne is left alone on a frontier dominated by ruthless men. The film also stars Danny Huston, Solly McLeod, Garret Dillahunt, Ray McKinnon, Colin Morgan, W. Earl Brown, and Atlas Green. The trailer offers a tantalizing first look for what is a clear passion project for the 65-year-old Mortensen.

“The Dead Don’t Hurt” gallops into theaters on May 31st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

So I’ve found myself falling behind in my efforts to highlight some of the very best movie posters. I’m a sucker for these things and I had to take a moment to share the brand new poster for the upcoming film “Alien: Romulus”. This long awaited seventh installment in the beloved Alien franchise is directed by Fede Álvarez, known best for his 2013 “Evil Dead” remake and 2016’s “Don’t Breathe”. Ridley Scott produces the film which is said to take place between “Alien” (1979) and “Aliens” (1986). How connected “Romulus” is to either of those movie’s remains to be seen. Either way I’m excited.

“Alien: Romulus” was originally slated to release on Hulu but will now be getting the full theatrical treatment on August 16th. The film stars Cailee Spaeny (“Priscilla”), David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu. Check out the killer new poster and let me know what you think…

Zack Snyder’s two-part space epic “Rebel Moon” kicked off a few months ago with “A Child of Fire”. Well, it kicked off in part. What we actually got was a shortened and toned-down PG-13 version of the film (Snyder’s fully realized vision for Part One will be in his extended director’s cut due out soon). Most critics teed off on the film with many lighting their torches just from hearing Zack Snyder’s name. “A Child of Fire” wasn’t nearly as bad as it was received despite only being a taste of the finished product.

Now we’ve been given our first proper look at “Rebel Moon – Part Two: The Scargiver”, an equally epic-sized streaming blockbuster that picks up right where the first film left off. The first trailer is loaded with eye-popping action and striking imagery which are Snyder staples. It also reintroduces us to the terrific ensemble that includes Sofia Boutella, Djimon Hounsou, Ed Skrein, Anthony Hopkins, Michiel Huisman, and Doona Bae among others. It all culminates in a movie that should be catnip for Snyder fans and fuel for Snyder haters. I’m onboard.

“Rebel Moon – Part Two: The Scargiver” premieres April 19th on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

The dark and gritty 1994 film “The Crow” was equal part supernatural superhero movie and classic revenge thriller. Based on James O’Barr’s 1989 limited comic book series of the same name, the film gained a strong cult following in addition to being well reviewed by critics. But the movie was struck by tragedy following the on-set death of its star Brandon Lee, son of famed martial artist Bruce Lee, who was fatally wounded by a prop gun during filming.

After several not-so-great sequels, this year we’re getting a remake of “The Crow” from director Rupert Sanders. The film sees Bill Skarsgård playing murdered musician Eric Draven who is resurrected from the dead to avenge not only his death but also of his beloved fiancé (played by FKA twigs). The first trailer certainly embraces the violence of the 1994 film but lacks the dark stylish allure that was essential to the original movie’s success. I don’t know. I’m intrigued enough to give it a shot. Hopefully it delivers.

“The Crow” soars into theaters on June 7th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

In some exciting news, Kino Lorber Studio Classics has brought Stanley Kubrick’s 1952 debut film “Fear and Desire” to 4K Ultra HD and Blu-ray for very first time. This ambitious anti-war film was directed, produced, shot, and edited by the legendary filmmaker. This incredible new edition features a full 4K restoration of both the long-unavailable uncut premiere version and the 1953 theatrical version. And it’s jam-packed with special features including new audio commentaries and 4K restorations of three early Kubrick short films: “Flying Padre”, “Day of the Flight”, and “The Seafarers”.

From the Distributor:

Kino Lorber Studio Classics proudly releases the long-unseen Uncut Premiere Version of Stanley Kubrick’s “Fear and Desire”, the legendary filmmaker’s first feature-length film, making its debut on 4K UHD + Blu-ray. Both the Uncut Premiere Version and the 1953 Theatrical Version are presented in brand new HDR/Dolby Vision masters, from 4K Restorations of the 35mm Camera Negative and Fine Grain.

The extremely rare Premiere Version of “Fear and Desire” remained unseen for over 70 years, until the Library of Congress came into possession of a 35mm film element. Now, for the first time since its interrupted theatrical run, audiences can now see Kubrick’s first feature film as it was first released.

This 4K UHD + Blu-ray set also includes the 1953 Theatrical Version, with new audio commentaries by film historians Eddy Von Mueller (on the 70-minute Premiere Version) and Gary Gerani (on the 62-minute Theatrical Version). This set will also provide Kubrick completists with the director’s three short films that offer an early glimpse of his brilliant photographic eye and distinctive style: Flying Padre (1951, 4K restoration from original 35mm print), Day of the Fight (1951, 4K restoration from original 35mm print), and The Seafarers (1953, 4K Restoration from the 16mm A/B Camera Negatives and a 16mm Print). The release is also available in a Blu-ray edition.

The Uncut Premiere Version of “Fear and Desire” will also be available digitally in 4K on iTunes, Vudu, and Google Play beginning March 26.

In this existential drama—which has the feeling of a waking dream rather than a conventional war film—four soldiers return to their senses after crash-landing in a forest behind enemy lines. Blindly navigating their way back to their unit, they attack an isolated cabin occupied by enemy soldiers, then apprehend a peasant woman who is tormented by the deranged young soldier assigned to guard her. On the verge of freedom, they discover an outpost of enemy officers, and must decide whether to slip silently past or stage a violent confrontation with their doppelgängers.

Upon its initial release, Kubrick was stung by negative audience reactions and immediately decided to tone down the philosophical aspects of the film. These edits made the film less of a metaphysical experience and more of a conventional war film. For decades, this 62-minute version was all that existed of “Fear and Desire”, until the Library of Congress came into possession of a 35mm element of the original 70-minute premiere cut, which has not been seen since its interrupted theatrical run in 1953. Now, we can finally see “Fear and Desire” as it was first released, and witness the blossoming of a 23-year-old cinematic genius.

Special Features:

4K UHD Bonus Features:

DISC 1 (4KUHD):

• Brand New HDR/Dolby Vision Masters for Both Cuts of Fear and Desire – 4K Restorations from the 35mm Camera Negative and Fine Grain
• NEW Audio Commentary by Film Historian Eddy Von Mueller (70-Minute Premiere Cut)
• NEW Audio Commentary by Film Historian/Screenwriter Gary Gerani (62-Minute Theatrical Cut)
• Flying Padre (1951, Short Film by Stanley Kubrick) – 4K Restoration from the Original 35mm Print
• Day of the Fight (1951, Short Film by Stanley Kubrick) – 4K Restoration from the Original 35mm Print
• The Seafarers (1953, Short Film by Stanley Kubrick) – 4K Restoration from the 16mm A/B Camera Negatives and a 16mm Print
• Triple-Layered UHD100 Disc
• Optional English Subtitles (Features and Shorts)

DISC 2 (BLU-RAY):

• Brand New HD Masters – 4K Restorations from the 35mm Camera Negative and Fine Grain
• NEW Audio Commentary by Film Historian Eddy Von Mueller (70-Minute Premiere Cut)
• NEW Audio Commentary by Film Historian/Screenwriter Gary Gerani (62-Minute Theatrical Cut)
• Flying Padre (1951, Short Film by Stanley Kubrick) – 4K Restoration from the Original 35mm Print
• Day of the Fight (1951, Short Film by Stanley Kubrick) – 4K Restoration from the Original 35mm Print
• The Seafarers (1953, Short Film by Stanley Kubrick) – 4K Restoration from the 16mm A/B Camera Negatives and a 16mm Print
• Trailers for Fear and Desire, Killer’s Kiss, The Killing and Paths of Glory
• Dual-Layered BD50 Disc
• Optional English Subtitles (Features and Shorts)

The 2024 awards season finally wraps up with the 96th Academy Awards. This year offered up an interesting collection of nominees on what was a long road to Oscar night. As is often the case, there was very little drama in some of the big categories as a lot followed the awards season trends. But there were a few surprises. And unlike last year, there were more winners that genuinely felt deserving. Anyway, enough chatter. Here are a few Random Thoughts on this year’s Oscars.

• What a huge and well deserved night for “Oppenheimer”. While it hasn’t been the case in recent years, the Academy got it right by give Best Picture to this Christopher Nolan masterpiece. It was great seeing the best movie of the year recognized as it should have been.
• FINALLY! It took forever but Christopher Nolan has finally won an Academy Award for Best Director. He has deserved it several times in the past and he certainly deserved it this time as well. Bravo!
• This year saw Jimmy Kimmel return as the host and it again showed that we could easily have an Oscar ceremony without a host. Kimmel wasn’t glaringly bad. But he also wasn’t particularly funny. Some of his jokes were ill-advised and others downright bad.
• Back to “Oppenheimer”, I was thrilled to see Cillian Murphy win Best Actor. He gave the performance of his career and that’s saying something considering he’s always great. I was so hoping he would win and felt confident. But you just never know. He was extraordinary and the anchor of that incredible movie.

• But that’s not to say the Academy got it all right. In what was easily the most frustrating category of the night, Emma Stone wins Best Actress for the bafflingly acclaimed “Poor Things. It’s such a travesty that Lily Gladstone was snubbed by BAFTA and left to settle for a nomination from the Academy.
• And speaking of Lily Gladstone, her getting hosed by the Academy means the exceptional “Killers of the Flower Moon”, which received ten nominations, went home with NO wins. It’s hard to image a world where that is a reality. Yet it has become a trend with the Academy and Martin Scorsese movies. Ridiculous.
• One of the most sure-things of the night was Da’Vine Joy Randolph winning for Best Supporting Actress. But that didn’t make it any less exciting. She was absolutely tremendous in “The Holdovers” and delivered such a heartfelt speech.
• While we’re talking incredible wins, how about Robert Downey Jr. He takes home the Best Supporting Actor Oscar for “Oppenheimer” and it was such a delight. And he didn’t disappoint, giving a great speech after a great win for a great performance.

• This was an interesting category. The award for Best Original Screenplay went to “Anatomy of a Fall”. Things were looking up for it but there was a chance for “The Holdovers”. Both would have been worthwhile winners.
• Best Adapted Screenplay was predictable but still disappointing. Christopher Nolan’s script for “Oppenheimer” was sublime. Yet the award went to “American Fiction”, a good movie but one where the screenplay was its weakest part. Oh well.
• Best Hairstyle and Makeup went to “Poor Things”. But that’s the one Oscar I would have given to “Maestro”. It also won for Best Production Design, the one Oscar I would have given to “Barbie”. And it won for Costume Design. Sure….okay I guess.
• How about that terrific “Beetlejuice” reunion? Wasn’t it awesome seeing Michael Keaton and Catherine O’Hara presenting together? Of course it’s always awesome seeing Michael Keaton.
• Who didn’t cheer when hearing “Godzilla: Minus One” announced as the Oscar winner for Best Special Effects? It’s such a brilliant film even beyond its visuals. But there’s no denying it deserved this one.

• One of my favorite wins of the night was “The Zone of Interest” taking home the statue for Beat International Feature. It would have been an absolute travesty if it had went home empty-handed. What an incredible film and a worthy win.
• But then it won again! The Academy rightly awarded “The Zone of Interest” for Best Sound. It’s such a great thing to see considering sound plays such a crucial role in the film. Love it!
• “Oppenheimer” wins for Best Editing as it should have. Again, things were trending in its direction. But it’s great to see the Academy get it right.
• Also, “Oppenheimer” wins for Best Cinematography. Hoyte van Hoytema is a brilliant cinematographer and it has really shown in his collaborations with Christopher Nolan. “Oppenheimer” ranks among his very best work.
• And staying with “Oppenheimer”, it also won Best Original Score. It’s the second Oscar for the infinitely talented 39-year-old Ludwig Göransson. This was such an aching, powerful, and driving work.
• Speaking of reunions, I got a kick out of seeing Arnold Schwarzenegger and Danny DeVito back together. The “Twins” stars are a blast even at this stage of their career. And when Michael Keaton gave them the evil eye from the crowd, the “Batman” vibes were off the charts.

• Okay, so I’m not a fan of “Barbie”. But I have no problem admitting that Gosling’s performance of “I’m Just Ken” was pretty great. I mean he even got Slash to show up and jam!
• I’m really not a fan of the far-away camera shots for the IN MEMORIAM segment. I get there are singers and dancers on stage. But maybe do something simpler so we can actually put the focus on where it belongs – on those lost over the last year.
• It was great to see the Academy take time to acknowledge the stunt workers who have been such a pivotal part of movie-making since the very beginning. While the segment was nice, perhaps it’s finally time to create a category to properly award them.

And that wraps up another loooong awards season. This year was a significant improvement over last – just as predictable in many ways but at least the Academy got most of it right. Now we can fully focus on the movies of 2024. See you next year.