Nine Must-Own DVD Stocking Stuffers Not on Store Shelves This Black Friday

Nine Must-Own DVD Stocking Stuffers Not on Store Shelves This Black Friday  (photo)

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With Black Friday nearly upon us, the urge for many a movie buff’s friend or significant other will be to grab that $5 Blu-ray of “Angels and Demons” off the shelf and call it a day. (Oh, we’re only kidding with “Angels and Demons.” Titles like “Kick-Ass” and “The Wrestler” will be nearly as cheap.) But for those who are willing to be a little more adventurous or just looking to impress, many of the major studios have started to open up their archives to make DVDs to order for films that may not be popular enough to have warranted a major pressing in the past, but certainly have their fans and have long been unavailable on any format.

Warner Brothers, in particular, has pioneered this type of mail order program with Warner Archives, which has made available over 700 films since originating last year while similar services from MGM (Limited Edition Collection), Universal (Vault Series) and Sony (Columbia Classics) have trickled onto the market, all of it to the great benefit of the cinephile, who can pick up everything from long-neglected silent films, foreign offerings (Andre Techine’s “Thieves” is on Columbia Classics), and recent bursts of nostalgia (the Richard Grieco’s “If Looks Could Kill” is on Warner Archive). Although there’s something for everyone, it can also be overwhelming to comb through everything that’s become available, so here are some personal favorites that are ripe for rediscovery this holiday season.

“Gambit” (Universal Vault Series) – By the time I saw “Gambit” at the original Alamo Drafthouse in downtown Austin as part of Quentin Tarantino’s curated QT Fest in 2000, Ronald Neame’s 1966 comic caper had already come and gone from video stores on VHS and was only available via the rare 2:40 a.m. airing on TCM, a particularly strange fate given that stars Shirley MacLaine and Michael Caine have remained popular and it played like gangbusters for anyone lucky enough to be in attendance at the Drafthouse that night. Naturally, Tarantino recounted a history of the film that was probably more detailed than those who were actually involved in its production, telling the crowd to pay special attention to the film’s tagline, “Go ahead tell the end…but please don’t tell the beginning.”

Perhaps since Universal could no longer rely on the film’s central gimmick involving the heist of a priceless artifact in Hong Kong as a selling point, they let the dust collect on a potential DVD version until this past March when it was released as part of the initial offering in their Vault Series, exclusive to Amazon. However, anyone willing to order “Gambit” will realize shortly the film is far more than a gimmick, luxuriating in the witty rapport between the know-it-all Caine and the streetwise MacLaine long after the surprise of the film’s unconventional structure pays off. This is no doubt what attracted the Coen brothers to write a remake a few years back that they intended to direct until they went on their post-“No Country for Old Men” tear, resulting in “The Last Station” director Michael Hoffman recently stepping in to revive the project.

11242010_TheLandlord.jpg“The Landlord” (MGM Limited Edition Collection) – To hear Nick Dawson explain it in his first-rate biography “Being Hal Ashby,” the “Harold and Maude” director’s first feature was done in by boobs – on the poster and in United Artists’ marketing department. In adapting Kristin Hunter’s novel, Ashby had directed a thoughtful, sharp-elbowed culture clash comedy about an apathetic upper cruster (Beau Bridges) whose plans to turn a brownstone in a lower-class neighborhood into his personal pad are thwarted when the building’s tenants begin to pierce his chilly exterior.

Of course, Ashby’s delicate seriocomic tone is difficult to replicate in advertising, so United Artists decided on a campaign that would target an audience the same age as the then-28-year-old Bridges with a cheeky poster of a finger approaching two doorbells with the not-so-subtle implication they were breasts. Facing a lower threshold of scrutiny in the pre-Internet era, “The Landlord” still was able to score Lee Grant an Oscar nomination for best supporting actress as Bridges’ mother in the film, but most blamed the ads for derailing the film’s chances at the box office and likewise, probably resulted in the film sitting on the shelf in MGM archives during the DVD boom in spite of Ashby’s renewed popularity. As Alexander Payne told GOOD Magazine in his 2008 tribute to the film that he cited as a major influence on “Sideways,” “Discover it the way I did: Just see it.”

“The Outfit” (Warner Archive) – Somewhere between the exploitation flicks and the meticulous crime dramas being pumped out by studios during 1970s existed the films of John Flynn, whose later career would resemble the former but always maintained the determination and polish of the latter. His best film, 1977’s revenge thriller “Rolling Thunder,” the one that Quentin Tarantino named his production company after which stars William Devane as a G.I. who struggles to reintegrate into civilian life until he’s forced to revisit his Vietnam self when the moment calls, will soon be available through MGM’s manufacturing on demand (and if you can’t wait, it’s available through Hulu).

However, equally coveted, if not quite as well-known by the public at large, is Flynn’s 1973 policier “The Outfit,” an adaptation of Donald Westlake alias Richard Stark’s third novel about Parker, the unstoppable thief who had previously been featured in John Boorman’s “Point Blank.” While that 1967 film is generally accepted as the finest incarnation of the brute (and its 1999 Mel Gibson remake “Payback” is the most popular), “The Outfit” is the least stylish of the Parker films, but also possibly the truest to Stark’s hard-boiled intentions and his seedy settings. It was actually one of just two films Flynn is credited with writing himself and served up one of the films that gave Robert Duvall his tough-as-nails reputation as Parker surrogate Macklin, who takes on the mob (and takes away their money) after they kill his brother. As Roger Ebert wrote in the introduction to his review in 1973, “An outline of the plot would make it sound pretty routine, but what makes the picture superior is its richness of detail,” a nuance that may have led to a lack of appreciation for the film at the time and led to a substantial wait on DVD. Needless to say, fans of gritty ’70s cinema and film noir (who will appreciate Robert Ryan’s presence) should be overjoyed to have it available now.

11242010_ColdTurkey.jpg“Cold Turkey” (MGM Limited Edition Collection) – Though he produced many films and even was nominated for an Oscar for writing “Divorce American Style,” up until last year, I was completely unaware that Norman Lear, the legendary creator of such television shows such as “All in the Family” and “The Jeffersons,” had ever directed a movie. But not Joe Dante, who programmed a double bill of Lear’s only feature film with the equally overlooked 1967 James Coburn comedy “The President’s Analyst” at the New Beverly Cinema in Los Angeles and put up the film’s trailer (with commentary from screenwriter Larry Karaszewski) on his Trailers From Hell! site to burnish the reputation of “Cold Turkey.”

Today, it’s nearly unthinkable that a film starring such household names as Dick Van Dyke and Bob Newhart could go under the radar when both were near the height of their powers, but that’s what happened with “Cold Turkey,” a biting satire about a small town that finds salvation for their financial woes by entering a contest sponsored by the tobacco industry where they will win $25 million if everyone in the community gives up smoking for a month. After seeing no such dollar signs in “Cold Turkey”‘s future, United Artists gave up on the film, assuming that Van Dyke as the opportunistic minister who turns the town’s abstinence from smoking into a national cause célèbre and Newhart as the maniacal cigarette exec whose publicity stunt backfires weren’t the roles the public would want to see them in, especially given the film’s downbeat ending. Two years after the film was finished in 1969, UA decided to release “Cold Turkey” after Lear had made his name in television and it was even a minor box office success. Ironically, the edge that kept it from being released, even on DVD, is what makes it still relevant today and more importantly, funny.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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