As we await the December 25 bow of “Django Unchained,” next week brings the release of “Tarantino XX,” an 8-disc collection packaging eight Quentin Tarantino films on Blu-ray. Included in the group are “Reservoir Dogs,” “True Romance,” “Pulp Fiction,” “Jackie Brown, “Kill Bill Vol. 1 and 2,” “Death Proof” and “Inglourious Basterds.”
Along with the groundbreaking films, more than five hours of brand-new bonus material was created for the collection. One of these, a remembrance of longtime Tarantino friend and editor Sally Menke, we have for your exclusive viewing pleasure. In the video, Eli Roth and Rosanna Arquette remember Menke, who tragically perished during a hike in the L.A. mountains in 2010. The 56-year-old Hollywood vet was extremely close with Tarantino, having edited all of his films and often acting as a sounding board during the filmmaker’s many productions.
Check it out below. “Tarantino XX” hits Blu-ray on November 20.
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Eli Roth & Rosanna Arquette remember Tarantino collaborator Sally Menke in this exclusive Blu-ray featurette
15 That ’70s Show Quotes to Help You Unleash Your Inner Jackie
Catch That '70s Show Mondays and Tuesdays from 6-10P on IFC.
Posted by Brian Steele on Photo Credit: Carsey-Werner Company
When life gets you down, just ask yourself, what would Jackie do? (But don’t ask her, because she doesn’t care about your stupid problems.) Before you catch That ’70s Showon IFC, take a look at some quotes that will help you be the best Jackie you can be.
15. She knows her strengths.
14. She doesn’t let a little thing like emotions get in the way.
13. She’s her own best friend.
12. She has big plans for her future.
11. She keeps her ego in check.
10. She can really put things in perspective.
9. She’s a lover…
8. But she knows not to just throw her love around.
The “reboot” has become the new go-to term for Hollywood to use when they decide to remake a film that’s either not really that old or they want audiences to believe they’re taking a fresh take on the material. Sometimes it’s true. Sometimes it’s spin. Either way, movie fans have seen a whole slew of reboots in recent years as the number of wholly original films coming out of the dream factory gets smaller every year.
Perhaps this year’s most high-profile reboot is Marc Webb’s The Amazing Spider-Man, a “fresh take” on the character and the films Sam Raimi established as canon only a few years back. While it’s certainly debatable that The Amazing Spider-Man actually “worked” as a reboot, it’s undeniable that the film includes some stunning visuals, a fantastic bit of chemistry between leads Andrew Garfield and Emma Stone, and a bend on Spidey’s origin that audiences hadn’t seen before. It also boasts a pretty astonishing Blu-ray (in stores now) with an exhaustive documentary crafted by Charles de Lauzirika. It’s a must-buy for any fan of the webslinger.
Feel free to argue yourself into oblivion about how well Webb’s film actually holds up but, if anything, it gives us the chance to delve into five reboots that did work. It’s like déjà vu all over again.
“Dawn of the Dead” (2004)
George A. Romero fans (myself included) are rabidly protective of the man’s work, and for good reason: he’s the Godfather of the modern zombie film. If it weren’t for Romero’s 1968 classic “Night of the Living Dead” you probably wouldn’t be seeing the type of popularity that zombies are enjoying now. Things like “The Walking Dead” probably wouldn’t even exist if it weren’t for Romero’s work.
So fans were skeptical at best when they heard that Zack Snyder was planning to remake one of the master’s most loved films: “Dawn of the Dead.” Not only that, but he planned to employ fast-moving zombies. What? Yes, that’s right. Snyder’s zombies are quick little buggers hell-bent on eating brains and tearing flesh. It was a major change that hardcore zombie fans had a very hard time coming to grips with. Yet, despite all the misgivings and nervous Romero ‘shippers out there, Snyder’s 2004 “Dawn of the Dead” actually works. It’s certainly not the original, and it’s a wholly new take on the film’s zombies-in-a-mall concept where the social satire doesn’t quite hit as strongly as Romero’s take, but it’s a hell of an entertaining film and still stands up as one of the best zombie flicks of the last decade. Packed with a quality cast, tightly directed, and jammed with plenty of winks to Romero’s original, “Dawn of the Dead” is one reboot for which I’m happy to be a fan.
“21 Jump Street” (2012)
Nobody, and I mean nobody, except for the folks making 2012’s “21 Jump Street” thought this reboot was going to work. And I don’t blame them. The odds were certainly stacked against the film. The original TV series that it’s based on really wasn’t very good (aside from giving the world a glimpse into the mind of a very young Johnny Depp), the casting seemed off (who knew Channing Tatum could pull off comedy, right?), and concept itself seemed to be reaching. The final product, however, is completely badass and hilarious. Fans began to have hope when that first poster came out with the hilarious tagline (which I won’t repeat here) and early trailers backed up their suspicions that “21 Jump Street” just might have a chance at working. And work it does. The team of Jonah Hill and Channing Tatum is way funnier than anyone expected, the fresh take on the concept is surprisingly adept, and the clever cameos and inside jokes turn “21 Jump Street” into one of the year’s best comedies and one that I’ll watch again on Blu-ray plenty of times. Who knew?
“The Fly” (1986)
When the master of flesh-based horror, David Cronenberg, decided to remake the 1958 Vincent Price-starring film of the same name he not only made the decision to reboot the original concept, but he actually took the film’s basic premise of a scientist merging with a housefly and blew it up in only the way Cronenberg knows how. The results are not only better than the original film, but they’re also astonishingly original, completely horrific, and totally Cronenberg. “The Fly” is often regarded as the director’s best film, but even that might be selling it short. Jeff Goldblum and Geena Davis both deliver career-best performances, the effects are just as effective two decades after the film’s release, and the subtext of “The Fly” holds up extremely well. If you’re looking for the definition of a true “reboot” look no further than Cronenberg’s film. Not only is it absolutely creeptastic, but it’s also smart, well made, and wholly original. Oh, and it’s also often pretty damn gross.
Now’s the time when all the Shia LaBeouf haters will take out their pitchforks and come running after me. Go ahead, folks. Bring it because I still watch “Disturbia” to this day and I still get a hell of a kick out of it every time. Based on Alfred Hitchcock’s classic film “Rear Window,” D.J. Caruso’s 2007 film might not be a true, full-on “reboot,” but it definitely has enough elements of the original film to call it one. There’s a guy (in this case LaBeouf) holed up inside his house and he can’t stop staring out the window watching life happen outside. Then he sees what he believes to be a murder occurring. From there, “Disturbia” strays quite a bit from Hitchcock’s film, but it’s the same basic premise with similar results. The film is clearly no “Rear Window” but it is a damn fine film with some truly suspenseful moments and excellent performances from Shia LaBeouf and Sarah Roemer. “Disturbia” is one of those films that, if it pops up on TV, it’s nearly impossible to turn it off. That alone, in my opinion, is enough to call it a reboot that works.
“The Thing” (1982)
John Carpenter’s 1982 classic “The Thing” just might be the greatest reboot of all time. Based on the 1951 Howard Hawks-Christian Nyby film “The Thing from Another World” (and possibly more so John W. Campbell Jr.’s novella “Who Goes There?”), Carpenter’s film is an ice-cold slice of paranoid perfection. Similar to what Cronenberg does with “The Fly,” Carpenter takes the original premise and blows it up to create a wholly new film in the director’s signature style. Starring Kurt Russell, Wilford Brimley, Keith David, Donald Moffat, and Charles Hallahan, “The Thing” is exactly what you’d expect it to be… until it isn’t. It’s a film that will have you questioning who you trust and why, who your friends and enemies really are, and just what might lurk under the surface of every conversation, action, and moment of solidarity. It’s also, arguably, Carpenter’s greatest film and that’s saying a whole lot. If you’ve only seen the 2011 prequel version of “The Thing” get your butt over to Amazon now and pick up the excellent Blu-ray version of Carpenter’s film. You won’t regret it. Trust me.
They really just don’t make them like Mary Lambert’s 1989 Stephen King adaptation “Pet Sematary” anymore. From the extended use of flashbacks, the dreamy (sometimes bordering on soft-focus) look of the film, to the overwrought dialogue and scenarios, the film is a product of its time. It’s also really quite awesome – sometimes in a that’s-so-silly-I-love-it way, but more often in a holy-hell-that-still-scares-the-pants-off-me way. This Tuesday marked long-awaited Blu-ray release of “Pet Sematary” and the results are great. It’s easily the best the film has ever looked and a nice little assortment of bonus material makes the disc a must-buy for any horror fan.
What’s even better is the fact that the Blu-ray release gives us a chance to run down some of the creepiest scenes in the entire film. Sure, there are plenty of dated elements and silly, over-the-top moments in the film (we’re looking at you, Ellie Creed), but “Pet Sematary” actually holds up quite well, especially in its ability to frighten.
The Day Timmy Baterman Came Back
The first time that Louis Creed (Dale Midkiff) asked Jud Crandall (Fred Gwynne) if anyone had ever buried a person in the Micmac Indian burial ground above the Pet Sematary, Jud scoffed and looked at him as if he were crazy. Well, turns out he was lying a little bit. Many years prior Bill Baterman had buried someone up there (his own son Timmy who had died in service during WWII). The results were, well, horrifying. Timmy came back from the grave like a zombie out of one of Romero’s classic films. Next thing you know he’s walking around digging up bones to chew on, tearing his own face off, and scaring the neighbors. Timmy wasn’t quite himself, so they had to burn him alive, but not before learning their lesson that “Sometimes dead is better.” The scenes with Timmy Baterman are some of the coolest (and creepiest) in all of “Pet Sematary.”
The Achilles Cut / Jud Crandall’s Death
The death of Jud Crandall at the hands of little zombie Gage Creed is enough to turn your stomach, but it’s the manner in which old Jud bites the bullet that really makes this one of (if not the most) memorable scenes in the entire film. While searching through his house for the recently undead Gage, Jud kneels down next to his bed to look under it. The next thing he knows, Church the cat is in the room staring at him with his big green eyes and hissing just long enough to distract the old man while little Gage slips a hand out from under the bed and slices Jud’s Achilles tendon! If you’ve ever seen the film and you try to tell me that this moment didn’t make you physically gasp the first time you saw it, you’re probably lying. It’s an act that you can literally feel as a viewer and one that has kept me checking under just about every bed I stand next to for the past two decades.
Sleepwalking with Pascow
The first truly creepy moment of “Pet Sematary” comes courtesy of the runner with the massive brain injury, Victor Pascow. Treated for his injuries by Louis (and ultimately dying on the table under his care), Pascow grabs the doc and promises to come to him with a message of warning. Little did we know the grotesque ghost meant that very night. In a very unnerving scene, we see what appears to be a dream sequence where Louis follows Pascow into the woods and through the gates of the Pet Sematary. It’s not just a leisurely walk though. No, no. Pascow is there to warn Louis to never go beyond the place. “The ground is sour!” he warns Creed. And sour it sure is. The creepiest part of this scene, however, comes when we get back to the Creed house and Louis wakes up to find his feet covered in dirt and mud. Woah! So it wasn’t a dream all along. Creeptastic!
If you’re not completely grossed out by the film’s final moments, then you’re a better man than I. It’s not so much the kiss shared by Louis and Rachel that gets me. No, it’s the disgusting ooze of puss that falls out of Rachel’s eye socket seconds before Louis starts swapping spit with her. And he doesn’t just go in for a quick peck; he dives into that kiss tongue a-blazin’. Sure, I get it. Louis is completely off his rocker by this point in the film so a little shared bloody ooze is nothing after knocking off his own son and burying his dead wife in an Indian burial ground. And, yes, I know a little zombie lovin’ never hurt anybody, but there has to be a line, right? Well, Louis Creed not only crossed it in this uber-creepy scene but he also paid the ultimate price for it. Oh, Louis… you should have learned the first time!
I don’t know about you, but I can honestly say that I don’t think there’s anything creepier in the history of cinema than Rachel’s sister Zelda in “Pet Sematary.” More than anything else in the film, Zelda scared me senseless as a kid. It wasn’t so much her illness, her deformity, or the fact that Mary Lambert hired a male actor (Andrew Hubatsek) to play the part. It’s just the general creepy-crawly-ness of Zelda that sticks in your brain. That first flashback scene where Rachel is feeding Zelda and then she spins her entire head around, choking herself to death is really frightening, but it’s the later dream sequence that really empties my bladder. Zelda standing hunched over in a corner suddenly springs to life and runs toward the camera (and us) with the creepiest smile on her face that you’ve ever seen. I’ve got the chills just writing about it. You can have your Dracula, Wolfman, and Frankenstein; Zelda is, in my mind, the scariest monster in horror history. “Even now, I wake up and I think, is Zelda dead yet?” says Rachel at one point in the film. You and me both, sister. You and me both.