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Lesson, The (2016)

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The Lesson

the lessonStarring Robert Hands, Evan Bendall, Michaela Prchalová

Directed by Ruth Platt


For over 20 years, the Slamdance Film Festival has provided low-budget indies and up-and-coming filmmakers a means for notable exposure, running on a parallel schedule to the famed Sundance Film Festival each year in Park City, Utah. The appealing thing about Slamdance for a site like Dread Central is the breadth of film genres that tends to be featured over the course of its three-day run, which often includes a handful of films in horror and its related genres.

One of these entries that is sure to make a splash this year is Ruth Platt’s The Lesson, which saw its first Stateside screening on the second night of the fest (January 23rd). Coming off of a positive run at the 2015 FILM4 FrightFest in London, this psychological horror entry from English actress-turned-director Ruth Platt may wear torture porn trappings, but it has much more to say — and satirize — when all is said and done. A tale of a psychological break, the failings of the education system, and the detrimental indifference of youth culture, The Lesson is far more significant in its underlying purpose than its oft violent execution might suggest.

The Lesson follows Fin (Bendall), a 16-year-old who lives with his brother, Jake (Tom Cox), and Jake’s girlfriend, Mia (Prchalová), who often acts a surrogate mother figure. Along with his uncouth cohorts, Fin embodies the heart of “chav” culture, a pejorative term associated with a rebellious youth subculture in the UK marked by boorish behavior and violence. Fin and his crew spend their days wreaking havoc upon schoolmates and instructors, seemingly on no real path for life success and without any sense of accountability. Mr. Gale (Hands), an English teacher at the end of his rope, is about to change all of that, however. Tortured daily by his students and the futility of the daily grind, Mr. Gale finally snaps on one unsuspecting evening, encountering Fin and his most raucous companion Joel (Rory Coltart) on the way home from an outing. After knocking out and abducting the two teenagers, Mr. Gale takes them to a makeshift classroom of his own creation — a den of torture in which he vows to teach the boys a lesson they will never forget.

What works brilliantly in The Lesson is Platt’s ability to immediately establish a morally challenging environment in which it’s hard not to see both sides. Where Fin and Joel’s insufferable juvenility grows frustrating quite early in the film and Mr. Gale’s futile attempts to get his students to care are heartbreaking, you would expect the tables to turn completely once violence is ultimately inflicted upon the boys in the latter’s torture chamber. Curiously enough, this is not quite the case, as there remains a level of understandable reason — albeit very twisted reason — to Mr. Gale’s cause.

Robert Hands is fantastic as the beleaguered teacher, bringing the character to life with a nuanced performance that captures both a pitiable dejection and an impassioned, but maniacal kineticism; he makes it quite difficult for the audience to root against the bad guy. Bendall also brings a youthful complexity to Fin, whose intelligence is evident as Mr. Gale’s literature and philosophy lessons grow more treacherous. As truths about his tattered upbringing are revealed, you come to sympathize with Fin’s bleak mentality on life in his rural black hole of a town; ultimately you root for his latent intellectual faculties to kick in, not only to save his and Joel’s lives from Mr. Gale, but to also save him from such a dead-end societal cycle, too.

Platt’s direction is taut and claustrophobic, and she often puts the audience in Fin’s chair in the most suspenseful of moments. There are a number of scenes featuring Mr. Gale’s weapon of choice — a nail gun — that will raise blood pressures all around, toying with anticipation in the most effective ways in his grimy den. For being a film that is heavy on torture, however, gore lovers may be notably disappointed in the lack of on-screen violence that Platt elects to show. While there are certainly some unsettling and visceral moments, the horror here is more dependent upon tension and suggestion rather than outright blood and guts.

The Lesson progressively unfolds as a rather atypical horror story, and more often than not, Platt’s subversion tactics are quite effective. I was quite amused by the use of dark humor in her script, which sneakily serves to satirize much of the situation at hand, making subtle statements about the roles of both students and educators in modern society and the cyclical disappointments experienced on both ends when people fail the system. The Lesson occasionally dips into arthouse territory as well in favor of straightforward horror tropes, particularly in a couple of ways that serve to represent Mr. Gale’s mental instability and Fin’s own frenzied state. These moments may not work for some who tend to feel hoodwinked by such cinematic devices, but I rather enjoyed Platt’s decisions on both counts.

Though mostly consistent in its script, tone, and performances, The Lesson does feature a few tiresome, drawn out moments in Mr. Gale’s torture den and some visual perspective shots here and there that come across as more amateur than auteur. The final scene also feels slightly unnecessary and may confound some in the audience as well; I personally think the film could have ended about five minutes sooner on a particularly striking shot featuring two of the lead characters (you will definitely see what I mean if you catch the film). Ultimately, though, these minor gripes do not take away from the fact that The Lesson is a wonderful exercise in tension that is rich with substance and is sure to stir up conversations. Platt comes out swinging as an intelligent directorial force with this debut, and I look forward to seeing more of what she has to offer the genre in the future.

Did you have a chance to catch The Lesson at Slamdance or Film4 FrightFest? Sound off in the comments below or tweet me (@TheAriDrew) and share your thoughts!

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Sinfonia Erotica Blu-ray Review – Jess Franco Meets The Marquis De Sade In This Romanticized Roughie

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Starring Lina Romay, Armando Borges, Aida Gouveia, Mel Rodrigo

Directed by Jesus Franco

Distributed by Severin Films


After going my whole life without ever seeing a Jess Franco film, Severin Films is slowly forcing me to appreciate the man’s work. Previously, I had only ever seen Franco’s gargantuan output as an exercise in quantity over quality, which it arguably still is, but viewing the two recent “lost” pictures Severin just released has brought about a new appraisal. Franco’s films may have been done on the cheap, but the man clearly had vision, ambition, and brought as much production value to his films as budgetarily possible. He also brought controversy and damnation, since many of his works seem heavily focused on nudity and all manner of depravity. Even by today’s standard, when you can see virtually anything sexual on the internet, Franco’s level of lasciviousness is mildly shocking, if only because certain acts are typically verboten on the silver screen.

Sinfonia Erotica (1980) plays like it was trying to keep up with Tinto Brass’ Caligula (1979), only swap out Roman decadence for the posh trappings of a chateau in the French countryside. Franco remakes his own 1973 film Pleasure for Three here, though without having seen that picture I can’t say what he’s done differently. The storyline comes from the writings of the Marquis de Sade, whose writings were infamously erotic and dripping with all manner of sin. Franco brings as much of the page to screen as possible, leaving little to suggestion. Homosexuality, a “Devil’s threeway”, oral sex between all parties, rape, manual stimulation… all graphically presented in a way that is between Skinemax and actual pornography. But is there anything more to this threadbare feature than a storyline skeleton on which everyone can hang their clothes before getting down?

Kinda. The general plot here is the return of Miss Martine (Lina Romay) to the palatial estate she shared with her husband, Marques Armando de Bressac (Armando Borges), a notorious hedonist. Upon arrival, Martine is not greeted by her husband because he’s off gallivanting with Flor (Mel Rodrigo), his younger male lover. During one of their trysts in the fields they come across Wanda (Aida Gouveia), an unconscious nun who is about to be rudely introduced to some bad habits. After Marques and Flor molest the barely coherent woman, she develops a craving for their brand of unorthodox lust. Martine, meanwhile, is struggling not only with the fact her husband is essentially ignoring her after returning from a lengthy absence but that he now plans to enlist Flor and Wanda to help kill her. Of course, none of these machinations or revelations will stop any of these pleasure seekers from continuing to drown in the Devil’s work and writhe in passion.

While I can’t say this is a good movie, I do give Franco credit in a few areas. For one, I find it commendable that he’s chosen to redo an earlier film of his in the hope of making something grander. It shows maturity as an artist as well as a refusal to allow a perceived past failure to remain stagnant. Secondly, his location scouting ability is really something because one constant I have noticed across the three Franco films I’ve seen thus far is the man loves to shoot at places that seem like they’d be out of his budget range. The mansion and its impressive grounds are the ideal setting for this posh perversion picture, allowing Sinfonia Erotica to feel less like the Eurosleaze it is. Likewise, costuming and production design are a notch above what viewers might expect from such a ribald title.

In terms of horror, aside from watching two men rape an incoherent nun the only murder comes during the climax. The deaths are quick and simple, with no lingering shots or impressive effects work. Violence is wholly secondary to sex here.

The real coup here is that Severin Films is able to present this film in HD at all, sourcing their release from a newly unearthed 35mm exhibition print found in a crawlspace in Spain. Although scanned in a 4K the disc opens with a disclaimer discussing the provenance of available materials and suggesting viewers cut a little slack when watching something that might not have otherwise seen the light of day. That said the 1.66:1 1080p image isn’t awful by any means. Soft shots are frequent, film grain is often heavy and sometimes clumpy, and colors are lacking punch. Still, given what Severin was working with the picture does look reasonably cleaned up, though white flecks and damage are still visible, and the overall image is acceptably presented. Plus, like I’ve said many times before some films just look better when they stay rough around the edges and this is definitely one such example.

No dub is available, leaving the only audio option as a Spanish DTS-HD MA 2.0 mono track. This is a simple track with minimal sound design. Dialogue is understandable enough, though for most viewers this won’t matter since the subs are doing all the work. There is some hissing but it remains a minor issue. The score, composed by Franco, has a classical romantic feel, heavy on the piano and adding an air of regality to the proceedings. Subtitles are available in English.

“Jess Franco on First Wife Nicole Guettard” is an interview with the director in his later years (the year isn’t stated) discussing his working and personal relationship with the woman he divorced in the late ‘70s.

“Stephen Thrower on Sinfonia Erotica” is a typically informative featurette wherein Thrower discusses the period in Franco’s career during which he made this film, as well as covering various edits and title changes.

Special Features:

  • Jess Franco On First Wife Nicole Guettard – Interview With Director Jess Franco
  • Stephen Thrower On Sinfonia Erotica – Interview With The Author Of ‘Murderous Passions – The Delirious Cinema Of Jesus Franco’
  • Sinfonia Erotica
  • Special Features
1.8

Summary

This is probably the sort of film that appeals to only the most fervent of Francophiles out there but the work Severin Films has done to bring it home is commendable and the results, while far from earthshaking, are impressive given the difficulty level. As for the film, it’s an interesting exercise in debauchery and not much more.

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Warhammer: Vermintide 2 Review – Rat Exterminator Simulator 2018

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Vermintide 2Developed and Published by Fatshark

Available on PC through Steam (Coming to Xbox One and PS4)

Rated M for Mature


On the scale of cathartic guilt-free wanton slaughter, rat-men belong up there with zombies, Nazis, and cops in a Rockstar game. No matter how many limbs fly off, skulls get crushed in, and whispered wishes to see their families one last time before the cold embrace of death whisks them away, you’re pretty much free to do whatever without any of the self-conscious pangs that usually come along with murder. If Warhammer: End Times – Vermintide taught us anything, it’s that this unrestrained dealing of death is made all the more enjoyable when the victims are slightly adorable, in a gross ratty way. Now Warhammer: Vermintide 2 is here to deliver on more of the same, but with Chaos. Nurgle Chaos in fact, who are kind of like zombies and Nazis. So now that the gang’s all here, time to feel good about some ultraviolence.

For those of you unfamiliar with the series, Vermintide tells the story of the heroic Ubersreik Five (…or Four, whatever). An ensemble of fantasy tropes, you’ve got the racist snarky elf, the cheerful and outgoing dwarf, the shrill and sneering Witch Hunter, the maniacal and bloodthirsty Bright Wizard, and Markus Kruber. The team is brought together by plot for the purpose of rat slaying, and together with three of your friends you’ll murder your way to saving the world (but not really, because canonically speaking the whole world is fucked anyways). The series is an FPS in the vein of Left 4 Dead, but with a much heavier focus on melee combat. You’ll also have to unlock new gear like in Call of Duty, but unlike Call of Duty the class you play and loadout you pick actually matters.

Vermintide 2

Mama shoulda taught you not to bring a bow to a Rat Ogre fight.

Once you pick your favorite fantasy trope and prefered loadout, Vermintide 2 drops you into your selected level to complete a series of challenges and hopefully score some fat loot. In terms of simple playability, the maps are all as diverse as they are entertaining. The objectives are varied (sometimes you’ll be hunting for keys, sometimes surviving waves of foes, etc.), but always the same in that particular level. The level design is certainly geared more towards being a “game” than a living breathing world, and that’s fine. Games should be games, and if putting a random fence or broken bridge here or there to direct me towards my objective helps me slaughter rats I’m all for it. The overall effect is that the more you learn the level, the easier time you’ll have overcoming the endless hordes.

Now if this all sounds a lot like Left 4 Dead… well it is very similar. The major difference is the aforementioned focus on melee combat. While Left 4 Dead 2 used melee as an optional replacement for your sidearm, melee is the bread and butter for most characters in Vermintide 2. In service of that, the melee combat system is far more robust. You’ll have to learn to alternate between heavy and light attacks, block, dodge, and even what body parts to hit. On top of that, weapons have certain properties like armor piercing and high stagger. Even more on top of that, certain attacks have different applications of those properties. If you have a halberd, you’ll have to learn the difference between your sweeping attacks and your piercing jab attacks. The elf and Bright Wizard are more ranged focused, but the basic principles of knowing what your attacks do and which moves pierce armor still apply.

Vermintide 2

Oh shiiiiiii-

This is all just the basic overview of what Vermintide 2 is, but that’s basically all you need to know to have a good time. The game gets far more complex, but there’s a very primal satisfaction to be had in chopping your way through hordes of rats. In terms of just jumping in and having fun, the game is incredibly accessible. Anyone can understand the concept of pushing the attack button to remove heads from shoulders. Delving into the game’s complexity beyond that is really up to you.

Vermintide 2

I have come to grasp the fundamentals of the flail/rat face relationship

If you do delve into it, you’ll find a hidden layer of challenge and reward that sets Vermintide 2 far above the competition. First off are the hidden tomes and grimoires. In every level there are three tomes and two grimoires hidden somewhere. These spots can be incredibly difficult to suss out, requiring excessive collectible hunting motivation to find them on your own. This can be a bit of a challenge when there’s an endless horde of rats nipping at your heels. In reality, you’ll probably just Google the locations and memorize them before the start of each map. Just knowing where they are isn’t all there is to it. Some are quite difficult to reach even if you know where they are, hidden behind jumping puzzles that are a bitch and a half. If you do pick them up, they will make your journey even harder. Tomes replace your potion slot—meaning that you cannot take a potion with you, not that you cannot ever heal again—and grimoires reduce your entire team’s max HP by 33% each. Collecting these prizes means more loot, but make sure your team knows their shit before you try one of these difficult challenge runs.

Now this is all stuff that was also in Vermintide. More of the same can be good when it’s well done, and Vermintide 2 is certainly well done. What makes Vermintide 2 a cut above the original is the new leveling system. Each character now levels individually, unlocking new traits and classes. There are 30 levels of traits to unlock, and two extra “careers” for each of the five characters. Each character levels individually, but loot boxes can be carried over between characters to make the grind a little easier. Still, it’s a hell of a lot of grind.

As a veteran of vanilla WoW, grind isn’t a dirty word to me. What matters is that the grind is leading towards something worth the time and effort. For Vermintide 2, that largely comes in the form of the different careers. More than just a visual change, careers can radically alter how your character plays. I’ve put the most time into Markus “Vanilla Ice Cream on a Waffle Cone” Kruber, as I like melee bruisers and I’ll be damned if I play a dwarf. Upon reaching level 7, I unlocked the Huntsman class and the character switched into a ranged damage role with strong melee backup. Reach level 14, and you’ll become a Man at Arms, an even tankier melee dude with a dash attack. Each career has its own skill tree, and certain weapons that only it can use.

Vermintide 2

So while I won’t see many people grinding all five of the crew to level 30, there is a lot of value to your repeated runs. The permanent progression that the leveling offers is a great way to add reward on top of the gear drops. The downside to this is that it’s far more difficult to hop between classes. While gear was certainly a factor in your success in Vermintide, you could still pretty easily jump into a character you only had a few pieces of gear for and do reasonably well. As your strength is now determined by your level, it’s not so simple in Vermintide 2.

This is a good segway into my biggest overall criticism with the game: playing with random scrubs is unbearable. If I had the choice between sleeping in an Arizona bar dumpster during the summer and trudging through all of the levels with random people, then I’d be using garbage bags as a pillow. Between having to know the locations of the tomes/grimoires and knowing how to actually be good at the game, finding a proficient four man team comprised of random people is like watching the last white rhino get hit by a shooting star. Even in my three man team, we’d quickly write off the fourth random player as more of a liability. The AI is decent enough at shooting stuff, but won’t pick up any of the collectible goodies without some inconsistent trickery. So you can either waste your time in subpar games, or get a solid group without other life commitments. And given the amount of grind that’s in this game, finding that consistently is the four-leaf clover wreath left on the rhino’s grave.

Vermintide 2

Pictured: Most of my teammates, before asking why I didn’t back them up.

It’s a pretty major gripe in terms of my own personal enjoyment, but even in my most frothing moments of scrub-induced rage I couldn’t exactly fault the game for just being what it is. And what it is is excellent. A huge cut above other cooperate shooters, the edition of new chaos units and the leveling system makes Vermintide 2 replace Left 4 Dead as the industry standard. Cleaving hordes of skittering rats has never been so fun, and definitely shouldn’t be missed.

Here is where the review should end, but wait, there’s more! You can’t talk about Vermintide without mentioning the exceptional developer support. The original game was still cranking out patches, updates, and DLC years after its release. With Vermintide 2, Fatshark has already been on top of releasing a slew of balance changes, updates, fixes, and more. It’s only been a month since release (yes I know, this review is late), and they are on their third major quality of life improvement patch. As a game it was already excellent, but that kind of community interaction and developer support truly makes the game exceptional. It’s a game you should definitely buy, and a company you should be happy to support.

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4.5

Summary

Ridiculously fun combat and near infinite replayability combine to form the perfect rat-smashing package. The best co-op shooter on the market. The only downside is that there isn’t a really good way to play without a solid team. Get your friends together and waste away the weeks.

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Basket Case Blu-ray Review – Find Out What’s In Arrow’s Basket On This Definitive Release

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Starring Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, Lloyd Pace

Directed by Frank Henenlotter

Distributed by Arrow Video


Director Frank Henenlotter doesn’t boast a lengthy filmography but he is the rare director whose work is instantly recognizable and nearly every one of his pictures is a veritable cult classic. His decision to reject the studio system in favor of remaining in the dingy alleyways of independent cinema may have something to do with that limited output, but the films he has delivered are wildly original and patently weird – and it all began with a freak in a basket. Even Henenlotter must be astounded that he went from maximizing a $35,000 budget to film his debut, Basket Case (1982), to thirty-something years later seeing it lovingly restored in 4K by the Museum of Modern Art (and, boy, what a job they have done). Henenlotter’s films are pitch black comedic Cronenberg, taking body horror into the gutter and always ensuring his audience festers down there with it.

Duane Bradley (Kevin VanHentenryck) is an affable guy with boyish charm who has just arrived on the seedy streets of New York City with a wad of cash and a large wicker basket. His friendly nature and apparent naiveté belie the fact he has come to the city with a singular purpose – one with deadly intentions. Duane checks into a shitty room at Hotel Broslin and gets to work on his first task: tracking down a Dr. Needleman (Lloyd Pace). He succeeds and quickly heads downtown to meet the doctor, at first offering up his real name before deciding to use a pseudonym (Duane isn’t terribly bright). After blowing the doc’s mind with his body-length scar, Duane returns later that night, basket in tow, to pay the old “family friend” a visit and to answer the question on everyone’s lips: “What’s in the basket?”

The answer is Belial, Duane’s detached and deformed Siamese twin. Belial may be no larger than a basketball with T-Rex arms but what he lacks in stature he makes up for with brute physical strength and a savage bloodlust. Dr. Needleman is quickly torn to pieces and the duo begins to hunt down their next target. You see, Duane and Belial had a strong connection when they were younger and attached, one that included a psychic link that only Belial is now able to control, but after their father demanded an ad hoc team of doctors forcibly separate the two they’ve made it their mission to kill everyone involved in the surgery. Duane is committed to helping his brother complete their task, but he’s also trying to live a normal life – something Belial doesn’t understand. When Duane meets Sharon (Terri Susan Smith), suddenly his dynamic with Belial begins to shift, and when Belial gets angry it usually means one thing: someone is going to die.

Rex Reed famously called Basket Case “the sickest movie ever made!” and although sicker pictures had been produced before this (clearly Rex never ventured into Italian cannibal territory) he isn’t too far off the mark. It isn’t just about the buckets of blood Henenlotter spills here but the locations, too. Viewers will feel like a freshly steamed street vendor hot dog that’s been dropped into the gutter and kicked around for 90 minutes by the time the credits begin rolling. The squalor of early ‘80s NYC permeates the screen and forces audiences into a sticky, unsavory world. Henenlotter brings viewers to the underside of his “backyard” in a cinéma vérité style reminiscent of Abel Ferrara.

But also, there is a lot of gore. And grue. The bloodletting seen here reminded me of low-budget schlock like Blood Feast, where the filmmakers try to cover up cheaply done effects using lots of little bits – intended to be flesh, bone, skin, etc. – and the result is like chunky blood red mashed potatoes. It just looks sick. Belial kills with impunity and a complete disregard for suffering, often leaving his victims mutilated beyond recognition.

Henenlotter brings Belial to life via a handful of mediums. There is a puppet, a head appliance that is able to have a physical person bring facial life to Belial, and then there is the stop-motion animation, which is always a joy to see on screen no matter how crudely it may be rendered. The craftsmanship just oozes off the screen; you can’t not love it. Nearly every scene with Belial in attack mode strains belief that this thing could do much more than gnaw at some ankles but, hey, that’s the magic of movies.

One thing that is surprising: pathos. Duane and Belial have the closest bond siblings ever could, literally attached at the hip, and the flashback sequence treats their relationship and eventual removal with a degree of respect and heartbreak that, frankly, made the film feel much more tragic. I’m not saying viewers will be moved to tears but it’s a testament to Henenlotter that in the middle of all this death and dismemberment is a touching reminder of how these two came to be killers. Basket Case doesn’t hit the insane heights of my favorite Henenlotter picture, Brain Damage, but it does offer up a bit more heart alongside so much head-ripping.

Although Basket Case has been issued on Blu-ray a couple of times, this is the debut of MoMA’s 4K restoration and, just as you might suspect, it smokes every previous release. It would be easy to forget this no-budget feature was shot on 16mm because the clean-up of dirt and debris, as well as the finessing of film grain, has left the 1.33:1 1080p picture looking immaculate. Colors appear lifelike and rich, striking new life into the glitz of Times Square and the ever-present flow of blood. Black levels are excellent; deeply dark and never hazy. Soft shots abound, inherent to the source, but many close-ups and the handful of 35mm blow-up shows included in this transfer offer up strong definition and minute details. I can’t imagine the film could or will look any better, ever – and really, it shouldn’t. Clean as this picture is, it still retains enough grit and roughness to maintain its grindhouse aesthetic.

An English LPCM 1.0 mono track delivers the audio, which is free from hissing and other deficiencies, offering a finessed and simple delivery of the lo-fi soundfield. Gus Russo’s score bounces between moody keyboard synth cues and upbeat jazzy tunes that come into play when Duane has his big date. Scoring is minimal but effective when present. Also, expect to hear lots and lots and lots of screaming. Subtitles are available in English SDH.

Two audio commentary tracks have been included; the first, an all-new track featuring Fran Henenlotter and Kevin Van Hentenryck; the second, a legacy track with Henenlotter, producer Edgar Ievins, actress Beverly Bonner, and filmmaker Scooter McRae.

“Basket Case 3 ½: An Interview with Duane Bradley” is a fun short by Henenlotter in which he and a film crew head out to meet Bradley (Van Hentenryck) and interview him about life with Belial in present day, with an appearance by his diminutive double (naturally).

“Me & the Bradley Boys” is a new interview with Kevin Van Hentenryck, reflecting back on working with Henenlotter and making a cult classic.

“A Brief Interview with director Frank Henenlotter” is a weird, goofy thing that captures the director’s sense of humor, whether he’s in it or not.

“Seeing Double: The Basket Case Twins” is a sit-down with twin actresses Florence and Maryellen Shultz, who play the nurses in the film.

“Blood, Basket and Beyond” is a new interview with co-star Beverly Bonner, who has apparently taken her character outside the film world and into theater.

“The Latvian Connection” features interviews with a few of the film’s key personnel who share a heritage.

“Belial Goes to the Drive-In” is a great new interview with legendary film critic Joe Bob Briggs, who was a key figure in helping the film gain traction upon release.

“Basket Case at MoMA” is a lengthy Q&A from the film’s 2017 premiere.

“What’s in the Basket?” is a feature-length documentary that covers all three films in the series. This was previously seen on the Second Sight U.K. trilogy set, which is still available.

“In Search of the Hotel Broslin” has Henenlotter and his guest, R.A. “The Rugged Man”, searching out the remaining locations from the film, occasionally getting shut down along the way.

“Basket Case Outtakes” is a reel of quick, cut clips along with brief text descriptions.

“The Frission of Fission” is a video essay by Travis Crawford on freaks and twins in cinema, with emphasis placed on Basket Case.

Image galleries are included for Promotional Stills, Behind the Scenes, Ephemera, Advertisements, and Home Video Releases.

A promo gallery contains trailers, a TV spot, and radio spots.

The Slash of the Knife (1972) is a mock PSA short film made by Henenlotter and starring many familiar faces from Basket Case, about the dangers of the uncircumcised in America. It is available with optional commentary by Henenlotter and Mike Bencivenga. Outtakes and an image gallery for the short are also included.

Belial’s Dream is an animated short inspired by Basket Case. A featurette, “Making Belial’s Dream” is also included.

The package also includes a booklet with writings on the film, as well as reversible cover art and a basket-themed slipcover. All in all, a stellar release from Arrow Video.

Special Features:

  • Brand new 4K restoration from the original 16mm negative by MoMA
  • High Definition Blu-ray (1080p) presentation
  • Original Uncompressed Mono Audio
  • Optional English subtitles for the deaf and hard of hearing
  • Brand new audio commentary with writer/director Frank Henenlotter and star Kevin Van Hentenryck
  • Basket Case 3-1/2: An Interview with Duane Bradley – Frank Henenlotter revisits Duane Bradley decades after the events of the original Basket Case
  • Seeing Double: The Basket Case Twins – a brand new interview with Florence and Maryellen Schultz, the twin nurses from Basket Case
  • Brand new making-of featurette containing new interviews with producer Edgar Ievins, casting person/actress Ilze Balodis, associate producer/effects artist Ugis Nigals and Belial performer Kika Nigals
  • Blood, BASKET and Beyond – a brand new interview with actress Beverly Bonner
  • Belial Goes to the Drive-In – a brand new interview with film critic Joe Bob Briggs
  • Outtakes Featurette
  • In Search of the Hotel Broslin – archive location featurette
  • Slash of the Knife (1972) – short film by Frank Henenlotter
  • Belial’s Dream (2017, 5 mins) – brand new Basket Case-inspired animated short by filmmaker Robert Morgan
  • Behind-the-scenes of Belial’s Dream
  • Trailers, TV Spots and Radio Spots
  • Extensive Still Galleries
  • Reversible sleeve featuring original and newly commissioned artwork by Sara Deck
  • FIRST PRESSING ONLY: Collector’s booklet with new writing on the film by Michael Gingold
  • Basket Case
  • Special Features
4.3

Summary

Basket Case might be a dingy and gruesome slice of subterranean cinema but this excellent release from Arrow, touting the stunning 4K restoration by MoMA and packed with hours of awesome bonus features, is the kind of treatment Criterion usually provides. Highly recommended.

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