<![CDATA[Sound Fury Magazine - Movie Reviews]]>

<![CDATA[Sound Fury Magazine - Movie Reviews]]>Thu, 10 Sep 2026 00:25:43 -0700Weebly<![CDATA[‘Transformers’ Soundtrack Update Is An Enjoyable Re-Issue]]>Sat, 25 Jul 2026 07:00:00 GMThttps://www.soundfurymagazine.com/movie-reviews/transformers-soundtrack-update-is-an-enjoyable-re-issueThe Transformers: The Movie will return to theaters for a brief run this fall. The movie, which made its theatrical debut Aug. 8, 1986, will return to theaters for one week – Sept. 17-21 – to mark the 40th anniversary of its premiere. As an added celebration of the anniversary, Reigning Phoenix Music has partnered with Hasbro Music to also re-issue the movie’s soundtrack. The 10-song soundtrack is a full-on update from the original soundtrack, which was released by Scotti Bros. Records. The record’s body is a track-for track mirror of the original, save for the performers, with the latest lineup of the so-called Knights of Unicron tackling the songs with the help of some very famous figures, including Stan Bush, who contributed to the original soundtrack. Speaking of Bush, he returned to tackle ‘The Touch’ once again, breathing new life into this timeless classic. The updated take of the movie’s theme is also of note, as is the update of “Weird” Al Yanovic’s ‘Dare To Be Stupid.’ When it and the other songs noted here are considered alongside the rest of the album’s entries, the whole makes this soundtrack such a fun offering for every fan of The Transformers.
Reigning Phoenix Music and Hasbro Music’s brand-new re-issue of the soundtrack for The Transformers: The Movie is a presentation that longtime fans will agree is a blast from the past that breathes great new life into the compilation. This is proven right from its outset in the famous song, ‘The Touch.’ This is a song that even those who are not necessarily fans of The Transformers know. Stan Bush, who originally recorded the song for the movie, returned to resurrect the song this time out. And along with the current lineup of the so-called Knights of Unicron – Matt Harvey, Ross Sewage, and Gus Rios – the group delivers a performance that comes across like something pulled from a musical time capsule. The update is even richer in its production than the original, making it that much more engaging and entertaining for audiences. It is right there with the best works of Van Halen (from the Sammy Hagar years), Whitesnake and others of that ilk.
On another note, the updated take of the ‘Transformers Theme,’ is another notable addition to the collection here. Originally recorded by hair band Lion, the update here, featuring vocalist Brittney Slayes, enhances the original composition, giving it much more of a hard rock edge than Lion’s take. Slayes’ vocal performance is a powerhouse in its own right. Considering how many female hard rock vocalists try way too hard to do the whole operatic thing, Slayes’ delivery is a breath of fresh air. She is so confident and strong alongside her instrumental companions. Speaking of her companions’ work, Harvey shines on the guitar in his solos and as part of the whole while bassist Russ Sewage and drummer Gus Rios add their own depth to the whole, truly enhancing the song all the more. The whole makes this take of the classic theme a step up from Lion’s performance.
The updated take of ‘Dare To Be Stupid,’ which was made famous by none other than “Weird’ Al Yankovic, is another notable new take here. For those who might not know, the song had absolutely nothing to do with the movie. It is one of those early examples of movie soundtracks starting to include pop songs just for the sake of having them as part of the soundtrack. Yankovic’s original song was a full-on spoof of Devo’s music and the video just as much. The updated take featured here, with vocals replaced by vocalist “Torch” is a complete tribute to “Weird” Al’s original. It is a presentation that is sure to appeal easily to his fans and honestly to Yankovic himself. It would be interesting to get Yankovic’s thoughts on this take, being a cover of a spoof. As with the other songs noted here and the rest of the soundtrack’s entries, it improves on a work that was already entertaining and engaging in its own right. When it and the other songs are considered along with the rest of the updates featured herein, the whole makes this new take of the classic soundtrack worth hearing at least once.
Reigning Phoenix Music and Hasbro Music’s brand-new updated soundtrack to The Transformers: The Movie is an interesting presentation. Featuring updated takes in the same chronological order as the songs featured in the original soundtrack, it amps up those originals, and in turn improves on the original record from beginning to end. The covers examined make that clear. When they are examined in whole alongside the rest of the soundtrack’s entries, the whole becomes a presentation that audiences will find enjoyable enough to make the compilation worth hearing at least once.
The Transformers: The Movie: The Soundtrack – Reformatted Edition (heck of a title, huh?) is available now. More information on this and other titles from Reigning Phoenix Music is available at:
Website: https://reigningphoenixmusic.com
Facebook: https://facebook.com/ReigningPhoenixMusicOfficial
X: Reigning Phoenix Music (@r_p_m) on X

]]><![CDATA[Details Announced For ‘Guyver 2’ Re-Issue]]>Sat, 27 Jun 2026 07:00:00 GMThttps://www.soundfurymagazine.com/movie-reviews/details-announced-for-guyver-2-re-issueBy: Philip Sayblack

The sequel to New Line Cinema’s 1991 movie, Guyver is getting new life.
Guyver 2: Dark Hero is scheduled for re-issue Sept. 8 through Toy Robot Video. The company is a new subsidiary of Arrow Video. According to information in a news release distributed by the company, the movie’s new presentation will be on a 2-disc Blu-ray set.
The forthcoming re-issue will come more than two years after Unearthed Classics, another independent distributor, re-issued Guyver on a new 3-disc 4K/BD/CD set that came complete with the soundtrack to that movie. In this 1994 movie, Sean Barker (played this time out by David Hayter in place of Jack Armstrong) continues his battle against the evil Kronos Corporation in defense of the planet. In the process, Sean wants only to be separated from the Guyver unit, leading him to an archaeological dig site in Utah, where things really pick up. Eventually everything leads up to a shocking finale that will be left for audiences to discover for themselves.
According to the distributed press release, the movie’s forthcoming re-issue will feature on one disc, the original theatrical cut of Guyver 2 while the other disc will feature and “enhanced version with added special effects.”
More information on this and other titles from Toy Robot, including a forthcoming re-issue of the original Masters of the Universe, is available at Toy Robot Video.

]]><![CDATA[‘Avatar’ Comparisons Aside, Pixar’s ‘Hoppers’ Proves It Is Still Worth Watching]]>Tue, 23 Jun 2026 20:10:19 GMThttps://www.soundfurymagazine.com/movie-reviews/avatar-comparisons-aside-pixars-hoppers-proves-it-is-still-worth-watchingBy: Philip Sayblack

Urban sprawl is a very real and serious issue around the world. As much as the news media and others would have us believe that animals are the invaders as more and more of their land is stolen by humans, it is we humans who are the thieves and invaders. Sadly, it seems increasingly, that humans do not want to take accountability for their actions. The fact of the matter is that we as a species needs to take accountability and start doing something about it. THAT is the premise behind Pixar Animation and Walt Disney Studios’ latest CG offering, Hoppers. Having made its theatrical premiere just this past March, it made its way to home physical release June 2 on 4K UHD, Blu-ray and DVD. That central discussion is at the heart of the movie and will be addressed shortly. The manner in which the message is delivered through the story is of just as much importance to the presentation and will be examined a little later. The bonus content that accompanies the movie rounds out its most important elements, making for its own interest, too. Each item noted is important in its own way to the whole of the movie. All things considered they make Hoppers a movie that while not necessarily memorable, is still worth watching at least once.
Hoppers, the latest cinematic offering from Pixar Animation and its parent company, Walt Disney Studios, is a surprisingly interesting offering from the two entities. Its interest comes in large part through the central message presented within its story, which will be discussed a little later. The central message is a familiar ecologically minded statement that reminds audiences about caring more for the environment. More specifically, it serves as a starting point for the very real and very important discussion on urban sprawl. At the same time, it is delivered in a fashion that makes it easily accessible for the movie’s targeted younger audiences. Urban sprawl is destroying earth. As much as humans want to try to deny accountability, the reality is that we as a species are destroying this planet’s various ecosystems through constant growth and expansion. Even the mainstream media wants us to believe that when we have increased interactions with wildlife, that the animals are the invaders, not us. The truth is the exact opposite. If urban sprawl continues at its current rate it will not be long before not only will the animals completely lose their homes but there will be no more land for humans to develop. In other words, maybe, just maybe, urban sprawl (and population itself) needs to be reined in. Keeping this hot button issue at the center of Hoppers in mind, it will hopefully get grown-up audiences motivated to get involved (or at least talking) while also serving as a starting point to get younger audiences on board with taking more care of the planet and all of its inhabitants (thus the line from the movie, “We’re in this together.”) To that end, it serves as a solid starting point for this movie.
Building on the importance of the message delivered through this movie is the manner in how the message was delivered (IE the story). The story delivers its message by centering on its young, idealistic lead, Mabel (Piper Curda – Rule The Mix, Save The Date, I Didn’t Do It). Having been raised largely by her grandmother (Karen Huie – Solo: A Star Wars Story, Hawaii Five O, Nancy Drew), Mabel takes her inspiration from her grandmother’s love for nature as the source for her desire to stop the evil Mayor Jerry (Jon Hamm – Mad Men, Million Dollar Arm, The Town) in every one of his plans, including his latest, a plan to put a bypass right through the glen where she spent so much of her childhood. When Mabel accidentally discovers an effort by her college professors to put the human brain into a robot animal primarily for the purpose of watching animals, she ends up getting her brain put into a robot beaver and discovering along the way that Jerry’s bypass plan was advanced by using noise to push the animals that once called the glen home away from the land solely to complete the road project.
When Mabel discovers her professors’ project, she makes the statement that “This is just like Avatar!” Prof. Sam (Kathy Najimy – King of the Hill, Hocus Pocus 1-2, Sister Act 1-2), who is one of Mabel’s professors, tries to deny the claim, stating “This is nothing like Avatar!” This is the studio poking fun at the fact that it obviously is very much a ripoff of said franchise. On another level, it also feels like maybe someone is actually trying to say to audiences seriously that it is not like that franchise. Mabel is the one who is right. In the bigger scheme of things, this story very liberally takes from Avatar, which itself is a blatant ripoff of another, greater movie, Dances With Wolves, the 1990 western that stars Kevin Costner.
Now, that item addressed and out of the way, that the story takes the angle of questioning, “what if the animals actually rose up against us humans for what we are doing?” makes for more interest. Considering, again, that even the news media would have us believe that the animals are the invaders, not humans, how would the animals react? What would they say and do? Really? It really does hold humans accountable but does so in a not overly preachy fashion. Would the animals try to actually squish us? Would the birds attack us, pecking us to death? By the way, the reference to director Alfred Hitchcock’s timeless 1963 movie, The Birds in this rumination is a great touch. All things considered there, the story featured herein pairs with the movie’s central message to make for all the more reason to give the movie a chance.
Rounding out the most important of the presentation’s items is its bonus content. The only bonus that honestly proves fully worthwhile herein is the collection of deleted scenes. In listening to the introductions to the scenes in question and actually watching said scenes, it becomes clear just how different this movie would have been had those scenes been included. The scenes in question simply do not fit as part of the final cut.
The examined central message within this movie’s script is barely touched by the rest of the bonus content. Yes, it is mentioned in one of the extras, but only in passing. That is sad. It makes it seem even more like no one wants to actually delve into this matter of curbing urban sprawl and taking accountability. What’s more that actor Bobby Moynihan, who is the voice of Hal on PBS Kids’ beloved eco-minded series, Nature Cat, is also part of this movie, it would have been interesting to hear from him and whether the messages in that series played into his interesting in this movie. That insight actually could have potentially made for even more appreciation not only for the movie but also for his performance as King George, the beaver.
There is one more very brief item in the bonus content that actually is of some interest. As it turns out, the so-called super lodge in the movie is not so unrealistic in its depiction. As is revealed at one point in the extra content, the trip to Yellowstone national park that the movie’s crew took for inspiration actually led to them discovering a beaver lodge that was in the range of 10-15-feet high. So, to that end, as fantastic as the super lodge in the movie may seem, it in fact is not so fictional after all. That believability makes for some more appreciation for the movie. When these extras are considered alongside the movie’s story and its key central message, the whole makes Hoppers a movie that while maybe not necessarily memorable still worth watching at least once. With any luck, it will move at least some viewers to become more active in addressing urban sprawl and its impact if nothing else.
Hoppers, the latest cg cinematic offering from Pixar Animation and its parent company, Walt Disney Studios, is an interesting presentation that is surprisingly not as bad as it seems, even with the obvious and inescapable comparisons to Avatar, which is itself from another of Disney’s subsidiaries, 20th Century Studios. That is due in large part to the discussion that it raises on the matter of urban sprawl. The topic is broached in such fashion that it is made accessible for younger audiences and adults alike. It is hardly the first movie to ever address this hot button issue but that is okay because it is such an important issue that seriously does need to be addressed and tackled sooner rather than later. The story through which the message is delivered, again, cannot avoid comparisons to Avatar but at least the story attempts in the process to not be an entirely blatant ripoff of said movie even as idealistic as it is in the end. The bonus content featured with the movie rounds out its most important elements, adding at least a little more to the viewing experience. There certainly could have been more content but what is there adds at least a little bit to appreciate. Each item examined is important in its own way to the whole of Hoppers. All things considered they make Hoppers worth watching at least once.
Hoppers is available now. More information on this and other titles from Pixar Animation is available at:
Website: https://www.pixar.com
Facebook: https://www.facebook.com/Pixar
Twitter: https://twitter .com/pixar

]]><![CDATA[‘Mortal Kombat: Annihilation’ Re-Issue Leaves Much To Be Desired]]>Thu, 04 Jun 2026 18:14:31 GMThttps://www.soundfurymagazine.com/movie-reviews/mortal-kombat-annihilation-re-issue-leaves-much-to-be-desiredBy: Philip Sayblack

Just because you can does not mean that you should. This is one of the most important life lessons that anyone can learn in life. Sadly, it is obviously a lesson that few have learned, including studio executives at Hollywood’s major studios. Just look at all of the awful prequels, sequels, reboots, and movies based on books and actual characters that are out there today. Sadly, New Line Cinema’s 1997 movie, Mortal Kombat: Annihilation is among those movies that did not need to be made. It is a movie that further supports another adage, that being that the sequel is never as good as the original. Of course, Mortal Kombat (1995) was already itself a movie that would find the majority of its appeal among a very targeted audience. This sequel to that movie is exactly the same in its reach. That is due in large part to its story. While the story and its equally high energy soundtrack do plenty to appeal to the movie’s key audience, the presentation is far from perfect even for those audiences. The bonus content featured and not, detracts somewhat from the presentation. This will be discussed a little later. The story’s pacing rounds out its most important elements. This will be addressed later, too. Each item noted is important in its own way to the whole of Mortal Kombat: Annihilation. All things considered they make this movie another presentation that the most devoted Mortal Kombat fans will appreciate.
Arrow Video’s forthcoming 4K UHD re-issue of Mortal Kombat: Annihilation, which will come June 40 alongside the company’s 4K UHD re-issue of Mortal Kombat, is another work that will appeal to a very specific audience base. This is proven in very large part through its featured story. Crafted by the trio of Ed Boon, Lawrence Kasanoff, and Joshua Wexler (Boon also was one of the writers for the first movie while Kasanoff served as that movie’s producer), the story picks up right where Mortal Kombat left off. Shao Kahn has threatened Liu Kang and his friends after they won the previous Mortal Kombat tournament. As it turns out, he is able to come into the Earth realm as a result of his father, Shinnok, breaking the rules so that Shao Kahn could try to take over Earth. So, as a result, it is up to Kang, Sonya Blaze, Princess Kitana, and Sonya’s partner, Jax, to save Earth. Not to give away too much, but Johnny Cage is offed early on by Kahn. He is just one of the characters who is killed off pretty quickly, too.
Along the way, the group encounters both Scorpion and Sun Zero again, even though they were killed off in the first movie. This is where the problems start to mount. Audiences who might be less familiar with the story behind the Mortal Kombat games will likely automatically question the pair’s return. Boon and company explain it away by having this Sub Zero explain that the figure who died in the first movie was in fact his brother. That actually lines up with the story connected with Sub Zero in the video game franchise. And Scorpion essentially being an evil spirit, it makes sense that he would be able to come back. Again though, the only people who would appreciate this are those who know all of this back story. Otherwise, Sub Zero’s story comes across as being right from some horrible soap opera plot: “Oh, it’s my twin brother!” Sub Zero and Scorpion are quickly written out after their initial appearance and really never heard from again. So, therein is something of another issue. They essentially become secondary characters herein.
As the heroes make their way through Outworld in search of Shao Kahn, they meet plenty of other baddies while having lots more fight sequences with lots of other characters, some of whom had actually been known since the first Mortal Kombat game and others who actually had made their debuts in Mortal Kombat II and Mortal Kombat III ahead of this movie’s release. They include the likes of Jade, Rain, Ermac, Cyrex, Smoke, Mileena, Baraka, Nightwolf, Sheeva, and Sindel, who herself becomes key in this story. Boon and company very quickly dispatch Cyrex and Smoke early on along with Rain, while Mileena (who happens to be Princess Kitana’s twin) plays little more than a bit part here in what really can only be seen as a very sexist sequence and an excuse to excite the movie’s then young male audiences. Mileena and Sonya engage in a fight that results in both of them getting covered in mud. See where this is going? Even Jax makes the statement afterward that Sonya “looks good in mud.” The innuendo is obvious. Sonya’s comment that she needed a river furthers that issue. This is a very clearly testosterone-fueled scene that in hindsight, Boon and company should be sorry for having included in the movie. What’s more, that Mileena was Kitana’s twin sister and that much of the story revolved around Kitana and her mother, Sindel, one would have thought maybe Mileena would have played more of a role but that obviously that did not happen.
Later in the movie, even Baraka is dispatched quickly, go figure by Liu Kang, who also ends up being the Earth’s savior in the end yet again (not to spoil the movie’s finale). He ends up becoming the big hero interestingly thanks to earlier guidance from Nightwolf, who like Mileena and so many other characters, plays little more than a bit part in this script. Simply put, the inclusion of so many characters throughout the movie, the constant barrage of fight scenes, and the familiar revisiting of the first movie’s finale really makes Mortal Kombat: Annihilation’s script little more than one big piece of fan service that honestly should never have been made even though it was.
While Mortal Kombat: Annihilation’s script clearly will appeal primarily to the most devoted Mortal Kombat fans, even those fans will find some problem with the story. Additionally, they will find just as much trouble in regard to the bonus content featured with the movie’s forthcoming 4K UHD re-issue. That is because of how little it adds to the viewing experience. The feature-length audio commentaries, for instance feel like they are just there to be there. Podcaster Dave Baxter’s commentary, one of two new commentaries featured with the movie, is just him prattling off the back story for the characters through so much of the movie. This after he openly admitted early on that he was not even a fan of the Mortal Kombat games when he was younger. There is no discussion on one of the key topics: the recasting for the major roles. Raiden, Johnny Cage, and Sonya Blaze were all recast from the first movie. Even in the first commentary, which featured director John Leonetti and (let’s be honest, his interviewer) Gillian Wallace Horvat, that item is barely touched. It would have been interesting to find out why those major roles were recast.
The secondary interviews add little if anything, too. Musetta Vander, who plays Sindel, only talks about her experience on set and how she got the role in her interview while stunt performer J.J. Perry talks about his own experiences in his interview. Composer George S. Clinton talks about working on the movie’s soundtrack, combining the familiar EDM sounds of the first movie’s soundtrack with the traditional Japanese drums and the orchestral elements for the soundtrack. The trio’s interviews are just their own self-contained presentations. At no point is there any retrospective discussion by anyone on the advancement of CG in movies, comparing today’s CG effects to those used in this movie and in Mortal Kombat. This is important because, let’s be honest, the special effects here are in hindsight, just as cheesy as those used in the first Mortal Kombat movie. At the same time, that was what was available to use at the time. It just would have made for at least some depth had such discussion been there along with discussion on the casting.
There is no doubt that the bonus content featured in this movie’s 4K UHD re-issue detracts greatly from its presentation. Thankfully what is and is not there is not enough to completely doom the presentation. To that end there is at least one more positive to note, and that is the movie’s pacing. Mortal Kombat: Annihilation clocks in at just 82 minutes, which is actually shorter than Mortal Kombat, which ran roughly 90 minutes. Both times are removing the time for post credits, as a heads up, counting only the story. In that 82-minute run time, the writing team can be at least credited with having crafted a story that moves along at a relatively brisk pace. That is largely because there is no need for any exposition or other extraneous items. The plot is set up quickly right from the story’s outset. From there it is just a bunch of fight scenes (as with the first movie) as the good guys make their way to their final showdown with Shao Kahn in order to stop him from merging Outworld with the Earth realm. To that end, anyone who can overlook all of the fan service and shorting of characters’ roles throughout the story will find themselves able to easily remain engaged and entertained by the high energy story and its soundtrack. Keeping all of this in mind, the pacing of this movie’s story and the story itself work together to make Mortal Kombat: Annihilation a presentation that the most devoted Mortal Kombat fans will find worth watching at least once.
Arrow Video’s forthcoming 4K UHD re-issue of Mortal Kombat: Annihilation is a presentation that will find the majority of its appeal among the most diehard fans of the video game franchise on which it is based. That is proven in large part through its story, which is largely just a bunch of fan service coupled with essentially what is a rehashing of the story at the heart of Mortal Kombat. The bonus content included in the movie’s presentation adds little if anything memorable or even important to this movie. It leaves much to be desired in its own right. The story’s pacing is about the one strongest element. That is because it keeps the 82-minute movie running at a solid click from beginning to end. Each item examined is important in its own way to the whole of this movie. All things considered they make Mortal Kombat: Annihilation a presentation that proves just because something can be done does not necessarily mean that it should be made.
Mortal Kombat and Mortal Kombat: Annihilation are scheduled for release June 30 in a two-movie 4K UHD box set through Arrow Video. More information on these and other titles from Arrow Video is available at:
Website: http://www.arrowfilms.com
Facebook: http://www.facebook.com/ArrowVideo
Twitter: http://twitter.com/ArrowFilmsVideo

]]><![CDATA[VCI’s New ‘Creepy Creatures Double Feature’ Set Will Appeal To Any Classic Film Fan]]>Thu, 23 Apr 2026 16:59:44 GMThttps://www.soundfurymagazine.com/movie-reviews/vcis-new-creepy-creatures-double-feature-set-will-appeal-to-any-classic-film-fanBy: Philip Sayblack

“Classic movies never go out of style.” That is the slogan displayed on screen by VCI Entertainment in its brand-new b-movie double feature release, The Crawling Hand and The Slime People, which was released Tuesday. The movies featured in this fresh new release truly are classic in their own right even being among some of the great cheesy movies of their time. Now thanks to VCI Entertainment, they have received new life and hopefully new respect in their new Blu-ray presentation. Both released in 1963 by Joseph F. Robertson Productions, these vintage b-sci-fi/horror flicks are great turn-off-your-brain flicks but are also actually a little bit more than that. They actually have some depth, albeit minimal and that is perfectly fine. Now officially re-issued on a new single-disc Blu-ray set, a whole new generation of movie lovers will get to see how that balance of silliness and substance makes these movies classics. In understanding how that balance makes the movies so engaging and entertaining, it is just one part of what audiences will appreciate about the movies. Their production values add to their appeal here. The bonus content featured with the movies’ brand-new re-issue rounds out their most important elements. Each item noted is important in its own way to the whole of the movies. All things considered they make VCI Entertainment’s Creepy Creatures Double Feature: The Crawling Hand/The Slime People one of this year’s top new movie re-issue releases.
VCI Entertainment’s brand-new Blu-ray re-issue of Joseph F. Robertson’s The Crawling Hand and The Slime People is a presentation that fans of classic cheesy b-horror and science-fiction movies will find fully enjoyable. That is due in no small part to the movies themselves. For those who may be less familiar with the movies, both of which were released only months apart in 1963, The Crawling Hand is a sci-fi flick that is a reflection of the so-called Space Race that was taking place at the time between the United States and Russia. It centers on the dismembered arm of an American astronaut named Mel Lockhart (Les Hoyle – The Animals, Mann of Action). When Lockhart’s ship is destroyed upon re-entry to Earth (at Lockhart’s own desperate request), the arm is apparently the only part of Lockhart that “survived.” The thing is that it survived because of an unseen parasitic entity/energy in the arm/hand. It is never fully explained if the arm is inhabited by an actual being or energy, but that is beside the point. It goes around killing people and somehow manages to hypnotize teenager Paul Lawrence (Rod Lauren – Alfred Hitchcock Presents, Gomer Pyle, U.S.M.C., Combat!) to become a killer, too. Therein is the cheese factor. It is so silly but can be forgiven. The majority of the nearly 90-minute movie’s story is spent with Paul battling the influence of the extraterrestrial “thing” so that it cannot completely turn him evil. Paul eventually comes out on top, “killing” the hand with a glass bottle in a junkyard at the story’s end. To add insult to injury, the hand/arm gets an even more gruesome fate as a pair of cats eat (yes, eat) the hand/arm right there. They even fight over their find. It’s gruesome but also somewhat silly in the process.
The whole thing is silly, but noting that it is, in fact, inspired by the fears regarding man’s new ventures into space at the time is actually of some interest. To this day, humans as a race have no idea who or what is out there and what it could be capable of doing to us as a race. There are so many conspiracy theories about what may be out there. So many that there are whole TV series and other movies out there centered on this very matter. To that end, it actually makes The Crawling Hand that much more believable and worth watching. What if some unseen parasite or energy out there could in fact do the same to one of our astronauts that it did to Lockhart? That fear, that wonderment is still there. Again, it makes for at least some validity to this story.
Moving on to The Slime People, this movie is, like many science-fiction and horror movies of the 1950s and 60s, more than just a silly creepy creature feature. Rather, it is also a commentary of sorts regarding Americans’ nuclear testing. The statement is made as Professor Galbraith (Robert Burton – Dr. Goldfoot and the Bikini Machine, City in the Sea, Ride the Wild Surf) tells the few remaining humans living under the dome formed by the Slime People over Los Angeles, what the Slime People are doing is in response to the underground testing that humans had been doing. To that end, can the Slime People really be blamed for being angry and wanting to go after humans? Keeping that in mind, they really are not the villains here if one really stops and thinks about it. This is all more important than people realize.
Considering that so many creature features of the age centered on giant mutant insects and other beings wiping out humanity as a result of nuclear radiation mutating them (Them!, It Came From Beneath The Sea, Godzilla, etc.) the Slime People takes things in a different direction. Herein is a story about an ancient civilization of subterranean creatures that came to the surface because of what humans were causing. They were already how they were. It’s kind of that “hey you kids, get off my lawn” mentality. Having the movie go in that alternate direction actually makes the movie more worth watching considering that even to this day, humans do not want to take accountability for what we have caused. Interestingly enough, the military, whose testing caused all the problems in the first place, come in to “save the day” in the end after Galbraith and company already saved the day by destroying the dome and killing the Slime People. This is something more familiar to sci-fi and horror movies of the age. The military always comes in and takes care of the big bad, but in this case, there was nothing for them to take care of, interestingly enough. It makes for some real laughs in hindsight.
In understanding the depth that The Crawling Hand and The Slime People actually offer, even with the movies both being so wonderfully cheesy, that duality in the movies makes for plenty of reason for audiences to give this set a chance. It is just one part of what makes these movies worth watching. The movies’ production values are of just as much note. Speaking more specifically, the 4K restoration used for the movie’s presentation makes each relatively clear in their picture and sound. Audiences can still see the film grain from the original negatives. There is even a line that goes down the screen in The Slime People at one point, just as it would have in the original reel presentation. The sense of nostalgia that this transfer/restoration generates makes for even more appreciation for the presentation. It shows a real concerted effort was made to offer audiences the best possible video presentation. The sound is just as clear in each movie’s presentation from the subtle soundtracks to the general audio levels. The overall impact of the work put into restoring both aspects makes the viewing experience all the more enjoyable for audiences.
Putting the final touch to this double feature from VCI Entertainment is the bonus content that accompanies the movies. Four extras are included with the movies: A nearly hour-long discussion from author and film historian Tom Weaver on the history of The Slime People titled “Unearthing the Slime People”; a feature-length audio commentary included in The Crawling Hand by podcaster Rob Kelly; a brief three-minute featurette titled “Rubber Monsters, Real Fears: Mid-Century Sci-Fi and a gallery of classic sci-fi/horror movie posters. The poster gallery adds nothing to the viewing experience, but the commentary in “Rubber Monsters, Real Fears: Mid-Century Sci-Fi” makes for a good starting point. The featurette’s narrator (who is uncredited anywhere on the box and in the featurette) points out how much movies have changed over the decades since these movies’ release in regard to special effects. He points out how making those rubber costumes and the sets was an art that has basically been long since lost. Additionally, he points out here, the most important piece of information bout The Crawling Hand, that while it is a silly movie, it is more than that. It is the noted commentary about humans’ fears of the unknown in regard to what could be out there in space. The revelation is a great starting point in regard to motivation to watch the movie.
Weaver’s expansive discussion with The Slime People star Susan Hart, who played one of Prof. Galbraith’s daughters, is enlightening in its own right. Hart reveals, for instance, that working with co-star William Boyce (The Nation’s Health, Café Purgatory, Bill Boyce: Money Actor) was anything but enjoyable. According to Hart, Boyce was known to make lots of exaggerations about himself and his life. She did not appreciate his ways, either. She also talks about the film’s very low budget and how it played into her equally low clothes budget for the movie. She also shares anecdotes about her own career among many other topics. The whole of Weaver’s discussion makes for plenty of engagement and entertainment in its own right.
Staying on the matter of the movies’ discussions, the feature-length commentary from Rob Kelly included with The Crawling Hand offers its own insight, too. One of the most notable items that Kelly points out in the course of the movie comes in the beach scene in which Marta and Paul were changing into their swimsuits. Marta (Sirry Steffen – Bedtime Story, Hitler, The Beverly Hillbillies) actually strips down in the scene but in the American version there is obviously no nudity. However, overseas, this moment was a full nude shot according to Kelly. Even without the nudity, Kelly points out that there was some outrage from certain groups here stateside. Considering how tame that moment was in comparison to the explicit content out there today in movies and on television, it makes that revelation interesting in its own right.
Kelly also spends plenty of time highlighting the negative reviews that movie received in its initial premiere in 1963. One critic’s review, he states, read that said critic actually laughed more than screamed. It is a telling statement about this movie and somewhat justified, too. It really is that silly even with its serious nature.
Information related to the movie itself is not all that Kelly shares throughout the movie’s run. He also shares little tidbits about other famous Hollywood names and places. For instance, the mortuary featured in the movie is real, as it turns out. Kelly points out that the mortuary in question was in fact the same one where Hollywood legend Bela Legosi’s funeral was held. On a related note, the funeral director, played by G. Stanley Jones, was quite the accomplished voice actor. He was the voice of Lex Luthor in the Superfriends cartoon series, as well as the voice of Professor Xavier in Spiderman and his Amazing Friends. Allegedly he also did quite a bit of voice work in the original Transformers animated series.
All of this is interesting considering that his role here in this movie was so small. It is right along the lines of the revelation Olan Soule, who played choir director John Masters in The Andy Griffith Show, was also the voice of Batman in a number of Filmation’s DC superhero series. Additionally, he played a newscaster in the live action Batman television series. For those who may not know, Soule’s character in The Andy Griffith Show only appeared in a very small handful of episodes early in the series’ run but then never again. So, to that end, his role there was essentially a bit part yet by contrast his voiceover work was far more expansive. It just makes for an interesting juxtaposition. Bringing things full circle in this discussion, it makes the revelation about Jones’ part in this movie all the more interesting. He was essentially a successful actor, just more so in regard to voiceover work than on camera. That in itself is sure to make for plenty of discussion.
Moving on from there, the information that Kelly provides throughout his commentary offers plenty of information and in turn, appreciation for this movie and its cast. When his commentary is considered alongside Weaver’s own discussion, the whole therein makes for so much for audiences to appreciate. If there is any one negative that can be said about the bonus content, it is that the double feature does not present the Mystery Science Theater 3000 episodes that feature these two movies. VCI Entertainment cannot be blamed here, either. Shout! Factory owns the rights to the series, so negotiating even those two episodes is likely very difficult. It just would have really put the accent on the bonus content and the presentation in whole. Even without those episodes, the bonus content still offers lots of appreciation. To that end, the whole of VCI Entertainment’s Creepy Creatures Double Feature: The Crawling Hand/The Slime People proves a great piece for any vintage film buffs and one of this year’s top new movie re-issues.
Creepy Creatures Double Feature: The Crawling Hand/The Slime People is a surprisingly enjoyable offering from VCI Entertainment that is sure to appeal to so many audiences. That is due in part to its general presentation. Both movies are presented in whole on a single Blu-ray disc and in quite positive condition in regard to their production values. The bonus content that accompanies the movies in their home release is expansive in its own right, adding another layer of appreciation to the whole. Each item examined is important in its own way to the whole of the collection. All things considered they make Creepy Creatures Double Feature: The Crawling Hand/The Slime People a must have for any classic movie fan.
Creepy Creatures Double Feature: The Crawling Hand/The Slime People is available now. More information on this and other titles from VCI Entertainment is available at:
Website: https://vcientertainment.com

]]><![CDATA[‘The Super Mario Brothers Galaxy Movie’ is Good, Not Super]]>Wed, 08 Apr 2026 07:00:00 GMThttps://www.soundfurymagazine.com/movie-reviews/the-super-mario-brothers-galaxy-movie-is-good-not-superBy: Philip Sayblack

The Mario Brothers are officially back on the big screen in a new adventure in The Super Mario Galaxy Movie, the second movie in Universal Pictures and Illumination Studios’ Mario Brothers franchise. This latest entry in the series is an entertaining but not necessarily memorable movie. That is due in large part to its story which continues the fan service while also tries to balance that with its true story about family. The story’s pacing is of its own importance to the movie’s presentation, especially considering the movie’s 98-minute run time. The movie’s general look rounds out its most important elements as the Mario Brothers universe expands. This will be addressed later, too. Each item noted is important in its own way to the whole of the movie’s presentation. All things considered they make The Super Mario Brothers Galaxy Movie a fun watch for the most hardcore Mario Brothers fans, but more of a now and then watch for everyone else.
The Super Mario Brothers Galaxy Movie, the latest entry in Universal Pictures and Illumination Studios’ Mario Brothers cinematic universe, is an entertaining new presentation. Regardless of audiences’ familiarity with the vast multitude of Mario Brothers games that Nintendo has created in the franchise’s four decade history, it has something that will appeal to everyone. This is proven in large part through its story. Crafted by Matthew Fogel (The Super Mario Brothers Movie, Minions: The Rise of Gru, The Lego Movie 2), the story centers on the central theme of family. In this case, the focus on family comes in part through Princess Peach’s discovery that she has a sister, who happens to be integral to the plans of Bowser, Jr. (Benny Safdie – Oppenheimer, Uncut Gems, Good Time) who himself is searching for his father (who is being held prisoner by Princess Peach in her castle in the Mushroom Kingdom). Bowser is once again voiced by Jack Black (School of Rock, Nacho Libre, High Fidelity). As it turns out, Peach’s sister is none other than Princess Rosalina (Brie Larson – Captain Marvel, Avengers Endgame, The Marvels). Princess Rosalina is also the woman who told the story that took place in the first of the Super Mario Brothers movies. It is not until almost halfway through Fogel’s story that Peach discovers her tie to Rosalina, and the pair’s connection plays directly into the story’s outcome. At the same time, it leads to one of a handful of plot holes that is obvious in the story. The plot hole in question is this: Considering what Peach learns about her connection to Rosalina, why did Bowser, Jr. kidnap Rosalina, when he could have just as easily gone after Princess Peach? The only argument that could be made is that maybe Bowser, Jr. did not know of Peach’s connection to Rosalina, either, thus leading him to go after only Rosalina. That is the only argument that makes any sense.
That aside, the pair’s connection is something that is sure to make female audiences smile, along with the strong, independent persona that Peach exhibits in her search for Rosalina. Of course, that persona is clearly a way to help push Nintendo’s latest Mario Brothers video game, Princess Peach: Showtime.
Peach and Rosalina’s connection is just one of the ways in which the theme of family is presented in this story. As noted, Bowser, Jr. is searching for his father in this story. He does manage to locate and rescue him, but also in this case, there is a massive plot issue of its own, which will be discussed momentarily. Audiences learn through Fogel’s story, that Bowser and Bowser Jr. have been separated for some years. Fogel never fully explains what caused this separation to happen, leading to more curiosity. This is just one of the problems. Yes, Bowser, Jr. and his father are happy to be reunited, but at first Bowser seems to have actually had a change of heart about Mario and Luigi, yet once he and his son get to Planet Bowser, Bowser allows his son’s anger and delusional mindset to turn him evil again. One would have thought that Bowser’s change would have been a bit more long term and even impacting on his son. So, to see that his son was responsible for him turning evil again is a bit of a head scratcher and in turn another plot concern even within that matter of family and its importance.
The Mario Brothers’ own family expands somewhat in this movie as they meet and welcome Yoshi to the group. This is its own problematic add because as Toad (voiced again by Keegan-Michael Key – Wonka, Let’s Be Cops, Keanu) points notes in his introduction to Yoshi, that he is just part of the group/family so randomly. Yes, there is a slight back story offered by Yoshi in the script, but considering all of the hype and buildup that happened regarding Yoshi being included in this movie, one would have thought that he would have played a bigger role in things. The reality is the exact opposite. Instead Yoshi (who is voiced by Donald Glover – Solo: A Star Wars Story, Atlanta, Community) is relegated to a supporting character role. He is more or less a comic relief type figure. It really is disappointing that considering all of the excitement that was built around his inclusion, that this is how Fogel handled his introduction to the Mario Brothers cinematic universe.
Keeping in mind the positives and negatives of the story noted here, the story in whole is imperfect but still engaging and entertaining because of the noted theme of family. This even with the confusing family moment regarding Bowser and his son. Staying on the matter of the story, its run time is 98 minutes. That is 1 hour, 38 minutes. In that time, Fogle manages to tie together everything going on with a bow, so to speak. From Peach’s own taking the lead to find Rosalina and rescue her, to Mario and Luigi trying to deal with things in the Mushroom Kingdom after she takes off, to the group’s collective efforts to stop Bowser and his son in the final act, everything moves forward at a solid pace. Even with so much going on throughout the story, viewers never feel left behind or lost at any point. Keeping this in mind, the story’s pacing is a clear positive to this presentation.
Knowing that the pacing of the movie’s story helps ensure viewers’ engagement and entertainment, there is one more positive to note, so to speak. That positive is the movie’s general look. The look is the same as that from the movie’s predecessor. Being that it expands from that movie, the rich colors of the different worlds are fully immersive as are the designs of each land. At the same time, there is no denying it is very close to the design of Nintendo’s Mario Brothers games that have been released – at least on the Switch – in recent years. So to that end, it is like watching those games on the big screen. For devotees of the Mario Brothers video game franchise, that is sure to ensure a positive mindset. For others, that might not be so much the case. Keeping that in mind, this is still its own point of interest. When this item is considered alongside everything else examined, the whole therein make The Super Mario Galaxy Movie a presentation that will appeal to a wide range of audiences, but likely more to the most devoted Mario Brothers fans than more casual audiences.
The Super Mario Galaxy Movie, the latest entry in Universal Pictures and Illumination Studios’ Mario Brothers cinematic universe, is a mostly positive new presentation from the studios. That is due in part to its story, which takes so many Mario Brothers games, and blends them with a story about family that will both engage and entertain audiences. Even with its plot holes and other concerns, the story still mostly holds up. The story’s pacing adds to its interest, flowing solidly from beginning to end as it combines each of its various elements. The movie’s look rounds out its most important elements, ensuring its own appeal. Each item examined is important in its own way to the whole of the movie’s presentation. All things considered they make The Super Mario Galaxy Movie a presentation that while maybe not as good as its predecessor, is still worth watching at least once.
The Super Mario Galaxy is playing in theaters now. More information on this and other titles from Universal Pictures is available at:
Website: http://www.universalpictures.com
Facebook: http://www.facebook.com/universalstudiosentertainment
Twitter: http://twitter.com/universalpics

]]><![CDATA[Project Hail Mary is everything you want from a sci-fi film, and then some.]]>Tue, 07 Apr 2026 18:26:58 GMThttps://www.soundfurymagazine.com/movie-reviews/project-hail-mary-is-everything-you-want-from-a-sci-fi-film-and-then-someBy: Evan J. Thomas

⭐️⭐️⭐️⭐️⭐️
There are stories that just hit you in different ways. Project Hail Mary is everything you want from a sci-fi film, and then some. It’s smart, emotional, funny, and packed with edge-of-your-seat moments that never let up. From the very beginning, the story pulls you in with its mystery and high-stakes premise, and it only gets better as the layers unfold. I haven't had this type of emotional rollercoasters in a movie in a long time. I admit I teared up a handful of times throughout.

What really sets this film apart is its balance between science and heart. The concepts are fascinating without ever feeling overwhelming, and the human element hits just as hard as the spectacle. There are moments of tension, moments of humor, and even moments that genuinely catch you off guard in the best way.
The lead performance by Ryan Gosling was at his best as he carries the film effortlessly, bringing both vulnerability and wit to a character you can’t help but root for. And visually, it’s stunning—space has never felt so vast, beautiful, and terrifying all at once. Many of the scenes just focus on Gosling's character and "Rocky", a non human character that was a CGI phenomenon.
But the real magic of Project Hail Mary is its message. It’s a story about resilience, patience, connection, and the lengths we’ll go to for survival, not just of ourselves, but of others.
This isn’t just a great sci-fi movie, it’s one of the most engaging, heartfelt, and memorable films in years. I'm predicting will be seeing Project Hail Mary's name in the Oscars for 2027.

FIVE STARS ⭐️⭐️⭐️⭐️⭐️

]]><![CDATA[‘Avatar: Fire & Ice’ Will Find Very Targeted Appeal]]>Mon, 06 Apr 2026 22:11:50 GMThttps://www.soundfurymagazine.com/movie-reviews/avatar-fire-ice-will-find-very-targeted-appealBy: Philip Sayblack

This coming May, 20th Century Studios will bring the third installment of its Avatar franchise to home physical release. The movie, which is streaming now via Amazon Prime Video, Apple TV and Fandango at Home, is an over the top work that simply put, will only appeal to the most devoted fans of this movie series. There is sadly little to say to the positive about this movie, save perhaps for its production. This will be discussed shortly. That is sadly not saying much considering the expansive nature of this three-hour-plus story, even with all of the bonus content that tries to apologize for the story. Speaking of the bonus content, it is perhaps about the only other positive, if one can even say that three plus hours of extras is a positive. Keeping all of this in mind, this latest installment of the Avatar series is, again, a presentation whose appeal is going to be extremely limited.
Avatar: Fire and Ash, the latest installment in 20th Century Studios’ ongoing movie franchise, is not a presentation for everyone. Nor is it a movie that is going to appeal to everybody. The one thing that perhaps will appeal widely among audiences is its production. Throughout the course of its three hour, 17 minute run time, the production deserves its share of applause. This is primarily in regard to its look and sound on Blu-ray and 4K UHD. Both platforms look and sound quite impressive in their playback on a 4K UHD television. From the scenes beneath the wave to those in the skies of Pandora to the many other parts of the planet, the colors are rich and the details of every landscape are just as vivid. The sound, from the soundtrack to the general sound effects, is just as immersive. Audiences do not even need a sound bar to be immersed by the movie’s sound. Keeping all of this in mind, the overall production that went into this movie is its main saving grace.
While the production values exhibited throughout Avatar: Fire and Ash deserves some applause, it is sadly about all that audiences have to appreciate here. The story here is so expansive that it is easy to feel the desire throughout to just hit the fast forward button. That is because it feels like the writing team, headed by the series’ creator, James Cameron, did not seem to know exactly where they wanted to go from one point to the next. At the center of the whole is the human boy, Spider. Spider lives among the Na’vi, just like Sully did in the franchise’s first movie and not to spoil too much, but he ends up being accepted by the Na’vi in the end, essentially making this movie just a rehashing of the series’ first movie. As the story opens, it picks up shortly after the events of the conclusion of the second movie. Jake [Sully] and his wife decide that Spider cannot live among them because he is not one of them and that he would never be one of them. He would only draw the humans to them time and again, according to Jake. So, they decide to let another group of Na’vi take Spider back to his own people, but Jake’s biological children resist, leading the whole family to join the voyage, which quickly turns bad after yet another tribe, the so-called Ash People, attacks the traders, who were taking the family along for their voyage.
This is where things really become problematic. The Sully family is separated as a result of the Ash People’s raid. When Jake’s son spots the Ash people attacking his people through the scope of his gun, he cannot bring himself to just shoot and kill them. This could have ended things nice and quickly, but obviously Cameron was not about to let that happen. So, as a result, the family ends up on an even more expansive journey that results in the Ash People partnering with the humans to attack the Na’vi. The “whale hunt” from the second movie is back here, too, though its use does not even become front and center until the third act. It feels like Cameron and his writing team just added it in because they did not know how to really progress the third act, so they just tossed it in. It feels like this is just thrown in as a random plot device to bring the Sully family back together for the movie’s big, climactic final battle. That battle, by the way, plays out so much like the final climactic battle from the series’ first two movies.
The Na’vi obviously come out on top, but here is the thing: Varang, the head of the Ash People, escapes capture and even death and just runs away in the end while Quaritch, the big bad military guy who everyone thought died at the end of the second movie, dies (or so we are led to believe) again this time.
As if everything noted is not enough, there is even more problem with the story as Spider, who could not originally breathe Pandora’s air, loses his mask along the way, and is “saved” by one of his Na’vi “siblings” and miraculously is able to suddenly breathe the planet’s air. A later diagnosis of what happened leads him to become even more a point of interest for the humans because of his changed physiology. Yet somewhere along the way, Spider goes back to having to have a mask while he is underwater, but then as the story ends, he is able to breathe like the Na’vi again. This back and forth for Spider and its impact on his role in the bigger story complicates things even more because it makes this aspect feel contrived in its own right. All things considered, the story that was crafted for this movie is so all over the place, that a person is going to need a program to know what the heck is going on. To that end, it drastically detracts from the viewing experience, hurting the presentation all the more.
Knowing how much the story at the heart of this movie does to hurt the presentation, there is perhaps one other “saving grace” (if one even wats to call it that) in the form of the bonus content. The bonus content’s total run time exceeds three hours itself. So that along with the movie’s expansive run time means a total run time in excess of six hours. No one is going to sit that long for all of that. The bonus content takes audiences deeper in to the creation of this latest Avatar movie, from the special effects to the costumes, to the set design and related concept art, and even various other story elements and more. It is a lot, simply put, and because it is so much, it is a presentation that, again, only the most devoted fans of this franchise will appreciate. Everyone else will be able to watch a little bit and get enough. Keeping this in mind, the bonus content that accompanies Avatar: Fire and Ash works with the movie’s overly expansive story to make the whole a presentation that really only appeal to the noted most devoted of the franchise’s fans. To that end, this movie is just another typical Hollywood blockbuster whose home release is coming along just in time to give audiences a way to stay indoors as temperatures start to rise nationwide.
Avatar: Fire & Ash, the third entry in director James Cameron’s ongoing Avatar movie franchise, is not a presentation for everyone. It is a story that will appeal to a very targeted audience base. This is proven largely through its overly expansive story. Between the far too faceted primary story and the equally multi-faceted secondary aspects, there is so much going on from beginning to end that this story is just too vast. It is too much for itself. The bonus content that accompanies the movie in its home release further expands on that note because of how much time it spends on so many aspects of the movie. Yes, it adds some background to the movie to say the very least, but it adds so much that people are going to want to only watch but so much in one sitting. The only real positive is the production. The movie actually looks and sounds impressive from beginning to end. The picture and sound are crystal clear but that sadly is not going to be enough to save this movie. To that end, this latest installment of the Avatar movie franchise is proof of the old adage that just because we can do something does not mean that we necessarily should.
Avatar: Fire & Ash is streaming now. It is scheduled for home physical release May 19. More information on this and other titles from 20th Century Studios is available at:
Website: https://20thcenturystudios.com
Facebook: https://www.facebook.com/Avatar
Twitter: https://twitter.com/20thcentury

]]><![CDATA[Two Classic B Horror/Sci-Fi Flicks Getting New Attention]]>Mon, 06 Apr 2026 20:17:15 GMThttps://www.soundfurymagazine.com/movie-reviews/two-classic-b-horrorsci-fi-flicks-getting-new-attentionBy: Philip Sayblack

VCI Entertainment is bringing two classic B movies back to life with a new double feature release.
The company will release The Crawling Hand and The Slime People Apr. 21 on separate Blu-ray and DVD presentations. Both movies were released in 1963 by Joseph F. Robertson Productions and were even featured in episodes of the timeless television series, Mystery Science Theater 3000.
Released within only weeks of one another in September 1963 — The Crawling Hand was released first, on Sept. 4 while The Slime People followed on Sept. 18 — both movies would end up bombing, but have gone on to become cult favorites because they are so bad that they are great. Co-written by Bill Idelson, Herbert L. Strock, and Cranston, and directed by Strock, The Crawling Hand centers on the possessed arm of an astronaut who died in an explosion. The explosion happens when the space capsule in which he was riding is intentionally destroyed by scientists after it is discovered something from the lunar surface has possessed him. A college student named Paul Lawrence (Rod Lauren — Terrified, The Young Swingers, Black Zoo) and his girlfriend, Marta Farnstrom (Sirry Steffen — The Beverly Hillbillies,The Tom Ewell Show, Inter Nos) finds the arm and brings it home, leading to lots of bad things happening when the arm comes to life on its own, clearly possessed by whatever had possessed the astronaut. The arm ends up possessing Paul, leading to even more problem. The Crawling Hand also stars Alan Hale, Jr. (Gilligan’s Island, The Giant Spider Invasion, Hang ‘Em High), Peter Breck (Shock Corridor, The Big Valley, The Sword and the Sorcerer), Kent Taylor (Half Past Midnight, Sued For Libel, Four Girls in White), and Allison Hayes (Attack of the 50 Foot Woman, The Undead, Gunslinger).
The Slime People, co-written by Blair Robertson, Vance Skarstedt and directed by Robert Hutton, centers on Tom Gregory (played by Hutton, who also starred in movies, such as They Came From Beyond Space, Hollywood Canteen, and The Steel Helmet) as the head of a group of people who fights up the evil “Slime People” who have come to the surface world to take over the city of Los Angeles. Among those who help Tom fight the slime people are Tom’s daughter, Lisa (Susan Hart — Dr.Goldfoot and the Bikini Machine, City in the Sea, Ride The Wild Surf), Professor Galbraith (Robert Burton — The Big Heat,Cry of the Hunted, I was a Teenage Frankenstein), and writer Norman Tolliver (Les Tremayne — King Kong vs.Godzilla, The War of the Worlds, North by Northwest).
Both movies feature a full feature=length audio commentary as an extra, as well as movie poster, collectible booklet, and two-sided box art.
More information on both of these movies and other titles from VCI Entertainment is available at:

Website: https://vcientertainment.com

Facebook: https://facebook.com/VCIClassicMovies

]]><![CDATA[‘Rental Family’ Is A Heartwarming, Surprisingly Engaging, Entertaining Movie]]>Mon, 02 Mar 2026 18:23:38 GMThttps://www.soundfurymagazine.com/movie-reviews/rental-family-is-a-heartwarming-surprisingly-engaging-entertaining-movieBy: Philip Sayblack

The need for connection, for human companionship, is among the most basic of human needs. It is such a need that in Japan, there is even such thing as a “rental family” industry. The industry actually rents out actors who pay the part of friends and relatives at social events so as to make people feel less lonely at such events. Having started in the 1990s it has become such a lucrative industry, that there are now more than 300 rental family businesses in Japan, and now there is even a new drama starring actor Brendn Fraser (yes, an actor playing an actor) that is centered on that industry. Having made its theatrical premiere in November 2025 through Searchlight Pictures (a division of 20th Century Studios), it started streaming last month and is set for physical release this coming Tuesday, Feb. 17 on Blu-ray/digital combo pack. Rental Family (yes, that is actually its title) is an intriguing presentation that deserves to be watched at least once. That is due largely to its story, which will be discussed shortly. While the story does plenty to engage and entertain audiences it is not a perfect presentation. Its writing and pacing do become problematic as it nears its end. It is not enough to doom the movie but does have a notable impact on the presentation. Knowing it is not enough to doom the presentation, there is one more positive to examine, that being the work of the movie’s cast. When the cast’s work is considered alongside the movie’s story, the pairing makes Rental Family further proof of the importance of independent movies in an age of nothing but prequels, sequels, reboots, and movies based on books and actual events.
Rental Family, Searchlight Pictures’ new independent picture starring Brendan Fraser, is a presentation that is well worth watching at least once. That is especially in comparison to so much of the otherwise unoriginal content that Hollywood’s major studios continue to churn out to this day. The movie’s appeal comes in large part through its featured story. Co-written by Stephen Blahut and director Hikari, the story centers on actor Phillip Vanderploeg (Brendan Fraser – The Whale, Dudley Do-Right, George of the Jungle The Mummy, etc.), an American living in Tokyo for the past seven years. His biggest claim to fame is a toothpaste ad in which he played the part of a super powered toothpaste-based hero. Since then, he has found only menial parts while auditioning for much bigger roles. One day, Phillip is invited to work for one of the many rental family businesses in Tokyo, having no idea or real care for it at first. However, as Phillip gets to know his “clients,” he finds himself inexplicably caring for them, perhaps too much, as he even ends up turning down a coveted acting role for a show in Korea because he becomes so attached to a young girl named Mia (played by newcomer Shannon Mahina Gorman) as he takes on the role of her father. The result therein will not be spoiled here. It will be left for audiences to discover for themselves.
That is not his only foible. He also plays the part of a journalist who is interviewing elderly former actor named Kikuo Hasegawa (Akira Emoto). As the pair gets to know each other more throughout the story, Phillip becomes so attached to Kikuo that he defies the wishes of Kikuo’s daughter and takes him back to his childhood home, a long way away. As a result of caring so much Phillip ends up almost getting himself prosecuted and deported from Japan, if not for the help of his friends at the rental family agency.
Meanwhile, the story goes back to Mia (again) as she discovers that Phillip was not her real father, leading to even more story involving her relationship with her mother. This is where things start to become problematic for the overall presentation. The movie’s run-time, not counting the end credits, is one hour 43 minutes. At least a good 20 minutes or so of that time comes at the end as it feels like neither Blahut nor Hikari could fully figure out how to wrap up the story. In other words, it drags on at the end with several points that could have been solid endings. As a result, many viewers may find themselves checking their watches as the story finally nears its end more than once. To that end, the story (and movie) is not perfect, even being worth watching. The one negative noted here is not enough to completely doom the presentation but certainly did not help it, either.
Knowing that the writing and pacing issues that arise in the story’s final act are not enough to doom the movie, there is at least one more positive to note from the movie, that being the work of Fraser and his cast mates. The character development that Fraser displays throughout the course of the movie is subdued and nuanced. It is obvious when things change for him, emotionally, after Mia gives him a mobile that she made in school. In that moment it would have been so easy for him to overact, but thankfully with his experience, he handled the moment and what came after expertly. On the same note, his interactions with his cast mates (most notably Emoto and Gorman) allow them to fully exhibit their talents, too. In the case of Emoto, he does such an admirable job of slowly opening up to Phillip a little more with each interaction. At first, he is tentative about letting Phillip interview him, not even questioning Phillip’s real identity. But as the duo’s friendship grows, audiences slowly see more vulnerability from Kikuo, to the point that Kikuo finally indirectly admits that he knows he is developing dementia and just wants to go home one last time before he dies. Why he wants to return home and the sequence thereof makes for one of the most bittersweet of the story’s items. This will also be left for audiences to discover for themselves. Emoto is to be highly commended for his work alongside Fraser. It easily makes him such a sympathetic character.
In the case of Gorman, even being a newcomer, audiences would not know this about her if they did not watch the movie’s bonus behind the scenes featurette. The innocence that she brings to Mia is so endearing in its own right. That anger that she exhibits as Mia first meets Phillip (whose character in this case is named Kevin) is fully believable. What child would not lash out after being without a parent for so many years? The way in which she gradually opens up and her pained reaction as she discovers Phillip’s secret tugs so much at the heartstrings. Her interaction with Phillip in the story’s finale is just as believable as she basically reintroduces herself to him. It is another heartwarming moment that when considered along with so much else from her performance adds even more to the appeal of the acting. When her work, that of Emoto and Fraser is considered collectively, the whole therein makes for reason enough for audiences to watch this movie. When the acting and story are considered collectively, they make for plenty of reason for audiences to take in Rental Family at least once. This even considering the one issue of the writing in the final act.
Rental Family, Searchlight Pictures’ new human drama starring Brendan Fraser, is a touching new offering that proves itself worth watching at least once. That is proven in part through its story. Yes, the story is based on something real, it is not based on actual events. It is an original work that is full of heart and wonderful acting. The only real negative is the writing and pacing in the story’s final act. Each item examined is important in its own way to the whole of the movie. All things considered they make Rental Family further proof of the place and importance of independent standalone movies in an age of otherwise forgettable movies from Hollywood’s major studios.
Rental Family is streaming now and will be available on BD/digital combo pack Tuesday through Searchlight Pictures. More information on this and other titles from Searchlight Pictures is available at:
Website: https://searchlightpictures.com
Facebook: https://facebook.com/searchlightpics
Twitter: https://twitter.com/searchlightpics

]]>