Vinegar Syndrome distributes a number of smaller labels which offer a wide range of genre releases, from the ultra-low-budget Wakaliwood productions of Nabawana I.G.G. in Uganda to the impressively polished small-budget sci-fi of Chris Caldwell and Zeek Earl’s Prospect (2018), from the gritty ’80s exploitation of Norbert Meisel’s Walking the Edge (1983) to the mythic spaghetti western-noir of Roland Klick’s Deadlock (1970).
Three recent box sets from Arrow will satisfy a wide range of genre appetites with five thrillers from Italy in the ’70s, four spaghetti westerns from the ’60s, and Daiei’s 1966 trilogy of period fantasies featuring a statue which comes to life to punish various cruel warlords who oppress local peasants.
Another eclectic selection of recently watched Blu-rays, from two atmospheric French mysteries starring Jean Gabin as Maigret (1958-59) to the nightmarish horrors of war in Eastern Europe in an adaptation of Jerzy Kosinski’s controversial novel The Painted Bird (2019), from violence tourism in near-future Brazil in Kleber Mendonça Filho and Juliano Dornelles’s Bacurau (2019) to tenderness and violence on the American frontier in Kelly Reichardt’s First Cow (2020) and children faced with the threat of nuclear annihilation during the Cold War in Frank Perry’s Ladybug Ladybug (1965).
We love stories about bad people; even better, we love stories about bad people who begin to have doubts about themselves and the lives they’ve lived. Two new releases from Criterion explore that self doubt in genres tailor-made for such characters – the western (Henry King’s The Gunfighter, 1950) and the gangster film (Stephen Frears’ The Hit, 1984).
In the past few years Kino Lorber has become one of the most prolific disk producers with a remarkably varied catalogue representing every imaginable genre. Here, I look at a half dozen KL releases by a range of interesting directors – Robert Fuest, Ken Russell, Alain Robak, Harold Becker, Don Siegel and Sam Peckinpah.