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ISSUE #1.2 ~ SEPTEMBER 2015

The Hardcopy is just that, a PDF or print version of the output from the nEoFILM blog, which is hosted by Wordpress. Not everyone likes reading blogs, or material from PC, Laptop or Tablet screens so it only seemed fair and logical to provide an old school version to allow more people to access and enjoy these reviews. Feel free to visit the blog @ www.neofilm.wordpress.com for up-to-the-minute news, muse and movie reviews. The Hardcopy is a compilation LAST month’s output so for the latest, the blog or nEoFILM’s Facebook page https://www.facebook.com/NeofilmFilmReviews are the places to be. So, sit back, brew up and enjoy this months reviews courtesy of nEoFILM...

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INSIDE THIS ISSUE

THE DAY THE EARTH CAUGHT FIRE COLLECTION

● THE DAY THE EARTH CAUGHT FIRE (1961) ● OPERATION: HURRICANE (1952) ● THE H-BOMB (1956) ● THE HOLE IN THE GROUND (1962)

GENERAL REVIEWS

● MISSION: IMPOSSIBLE - GHOST PROTOCOL (2015) ● ANIMAL FARM (1954) ● DINOSAUR ISLAND (2014) ● STAR TREK: RENEGADES (WEB TV MOVIE) (2015) ● GALAXY QUEST (1999) ● 9|11 (TV DOCUMENTARY) ● SHERLOCK HOLMES: GAME OF SHADOWS (2012) ● THE BLACK HOLE (1979) ● DRAGNET (1987) ● CINDERELLA (1950)

SELECTED ARTICLES

● FILM OF THE MONTH ~ AUGUST 2015

● CINEMA-SCOPE @62

nEoFILM STATS

REVIEWS ~ 705 ARTICLES ~ 178

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1961

DIRECTOR: Val Guest

Contains Spoilers!

I first revised this, one of my all time favourite Sci-Fi films,

five years ago and to be honest I’m pretty happy with what I

had to say then. So here it is…

“If this isn’t one of the best and yet widely unseen

environmental sci fi shockers then I don’t know what is.

Though it is not just the science, though certainly

unlikely, but serves as a simple narrative to explain the

consequences of man’s obsession with pushing the boundaries, that makes this such a

winner.

Ultimately, it’s the gritty presentation and cynical characterisations that give this a very

British feel of how we would deal with such a calamity.

Told through the press room at the Daily Express in the 1960’s, this has an uncompromising

view, never patronising nor afraid to use dialogue that is accurate to the characters

regardless of whether the viewer understands.

This is one of the factors that made “The West Wing” so popular and the this film in my

view, rivals “All The President’s Men” for its portrayal of dogged reporting uncovering the

nasty truths.

With a shot of Scotch here and water fight there, it would seem to be all to

realistic view of our nature should this ever befall us and one day, it just

might…”

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But last year, the BFI have restored this British masterpiece again, this time preserving and

future-proofing it with a 4k transfer, loaded with vintage special features, including three nuclear

themed shorts, Operation Hurricane, The H-Bomb and The Hole In The Ground, crystal clear

trailers, radio ads, a new retrospective documentary, a 1998 Guardian Lecture with the late Val

Guest, and one of those late night road safety ads from 1978, entitled “Think Bike” with balding

Edward Judd.

All in all, this is MUST HAVE disc for Sci-fi and film fans alike, at the the very least, a real gem of a

movie and a Blu-ray set bustling with interesting features.

Highly recommended.

OPERATION: HURRICANE (SHORT) 1952

DIRECTOR: Ronald Stark

Operation Hurricane is a short subject chronicling in detail, the

efforts made during the early days of the cold war and more

importantly, the beginnings of the Nuclear Arms Race, as Great

Britain test their first A-bomb in the Indian Ocean. This was it,

the Atomic bomb test by Britain as it entered the burgeoning

race to prove that they were a power-player just six years after

helping to bring the Second World War to a close and I can only

conclude, feeling the need to prove themselves to the growing

nuclear community, I.E. The United States and The Soviet Union.

Of course, the U.K. was not alone in this endeavour but the documentary concludes on this point,

that after half an hour of explaining the details of what they were testing for, the radioactive

effects on food, structures and people, that the final images of a massive explosion and that

mushroom cloud was a statement of intent to a world now consumed with building the biggest and

most destructive bombs in order to rule the world.

It is interesting to point out though, that both the Soviets and Great Britain

achieved their victories without the use of the A-Bomb. The United States of

course, is the only power to use such a device, and twice just to make sure.

As a documentary, it is interesting, dated but a time capsule none the less and

well worth a watch.

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This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The Earth Caught Fire

(1961).

THE H-BOMB (SHORT) 1956

DIRECTOR: David Villiers

This 22 minute short subject was an information film trying to put

into context the dangers and the attitudes needed to survive a

nuclear attack in Great Britain, just a year after the Warsaw

Pactwas signed and the A-Bomb was giving way to the much more

powerful Hydrogen, or H-Bomb.

The film takes us through a detailed breakdown of what damage to

expect and does so in chilling fashion, especially as it was toned

down, but in the same vein that less is more, this is a frighteningly

upbeat educational film, skirting over many of the less palatable

facts about the death tolls, suffering and devastation we could expect from such an attack.

Using diagrams, animations and graphs, the implications are much more chilling than the facts

presented, as the 1950’s English narrator describes the difference between the “Nominal”

A-bomb’s expected damage compared to the 500 times more powerful H-Bomb. If this doesn’t put you of Nuclear proliferation then nothing will!

Highly recommended.

This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The Earth

Caught Fire.

           

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THE HOLE IN THE GROUND (SHORT)

1962

DIRECTOR: David Cobham

The Hole In The Ground is a colour

docudrama, the nearest that I’ve seen to

the chilling 1984 docudrama, Threads,

which focuses on the role and procedures

of the Royal Observer Corps (British) in the

event of a nuclear attack. It is a bit dry,

stiff upper lipped and reeks of propaganda,

focusing almost exclusively on tracking fallout and dismissing, or skirting over the devastation

caused by a the various nuclear detonations.

It also talks a lot about the rates of fallout and radiation does in terms of hours rather than days,

weeks or even years. It completely dismisses the idea that food source and farmland contamination

and is one step removed from the preaching whole “Duck and cover” nonsense.

“It’s all in a days work…” It is frightening how frightened that the government was to feel the need

to lie so blatantly about the impact.

People are apparently safe in their homes and can leave for short periods etc… Yeah, right!

The film should have said that the role of the Observer Corps was just that, to simply bear witness

the destruction of the majority of the country and probably starve to death themselves before help

would arrive, but instead, ops to show them as a sort of modern WW2 Bomber command,

coordinating useful information regarding how to manage the contamination and keep going as if

this was the 1960’s version of the blitz.

Well, we all know now that is far from the truth.

You can almost see the smug grins on their faces as they know the truth, yet

pull out this patronising nonsense to pacify the fears of a nation which is never

happy knowing all the facts.

This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The

Earth Caught Fire.

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 2015

DIRECTOR: Christopher Mcquarrie

May contain spoilers!

By number 5, the Mission: Impossible franchise seems to be

finding its feet. Tom Cruise’s ego, whilst still on top form, is now

conceding more to a weary audience that he is not the centre of

attention, at least not all the time. In this case, the master

Geek, Simon Pegg is standing almost toe to toe with Cruise

throughout and the ensemble established over the past two moves, beginning with J.J. Abram’s

shake up, M:i III (2006), is making this an expanding, action packed and never dull world.

The opening hit’s the ground running, quite literally and with the exception of the ubiquitous

slower paced second acted espionage sequence, the first-rate Opera Assassination is pitch perfect,

pardon the pun; the action is relentless throughout, with a motorcycle chase scene which even puts

John Woo’s M:I 2 (2000) to shame. And that was good too!

It is all about the feel, the tone and the comfort zone with this one. Now we have an established

cast, their relationships are allowed to grow as with the original TV series, with a solid cast gelling

well together and allowing Cruise his moments to shine without him dominating the movie. Simon

Pegg, Jeremy Renner and relative newcomer Rebecca Ferguson as the duplicitous femme fatale are

all good, as is the reliable Alex Baldwin as the obstinate C.I.A. Director.

Overall, the action is exciting, the tone is fun and the plot is interesting without being too

convoluted. And us Brits are kind of the villains… I like it!

If they continue down this road then the next instalment should be a must see!

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 1954

DIRECTORS: John Halas & Joy Batchelor

May contain spoilers!

“All animals are equal though some animals are more equal

than others”

Louis de Rochemont, a producer I first became aware of with

his 1958 Cinemiracle film Windjammer: The Voyage Of The

Christian Radich, was given the task of producing this, the fist theatrical adaptation of George

Orwell’s communist satire by none less than the C.I.A., as part of their offensive against the rising

threat of Communism in the U.S. as the Cold War heated up during the 1950’s, but he opted to

farm the work out to a London animation firm, Halas and Batchelor.

They went on to make the U.K.’s first theatrically released animated movie, no less than 17 years

after Walt Disney’s Snow White And The Seven Dwarfs (1937), but better late than never! The plot

follows the source book of the same name quite closely, slavishly you might say as it chronicles the

uprising of Manor Farm’s animals over their oppressive and drunken master, Farmer Jones.

He is seen off within a few minutes only to drown his sorrows at the The Red Lion pub and the

animals create a communist society within the farm’s boundaries. As the story progresses, they

repel an attack by other farmers, open up trade with a greedy profiteer and see their society’s core

values eroded by the corrupt “leaders”, the pigs, who, like the very man which this propaganda

film is targeting, are ultimately lead by Napoleon, the Joseph Stalin of the farm.

He and his cohorts become richer and more corrupt whilst the rest toil to build grand symbols of

their little republic, in this case, a windmill.

In the end though, this warning piece about the ultimate flaws of communism are decades ahead of

its time as it foreshadows the eventual fall of The Soviet Union, even though it would not happen

for another 35 years. Orwell got this one right, recognising the issues but also providing a strikingly

poignant weapon to be used by Capitalists against their enemies, especially during this troubling

time.

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Propaganda this most certainly is but it also works as a timeless social satire, one which whether

the players are the U.S. or U.S.S.R., the socialist ideals are never far away from our imaginations

and this only highlights the dangers and flaws of such notions. All the best intentions in the world

won’t protect us from evil, seductive men, a point raised in the narration towards the end in which

it is said that “this could be a great and peaceful world but is isn’t now” to paraphrase just as the

animals are about to revolt again, but this time, against their tyrannical leaders, the pigs.

This is a masterful adaptation of a masterpiece of literary satire. One which so compellingly takes

us by the hand and leads us on a cynical journey though good ideals and notions of socialism only to

snatch the hand away and leave us the mercy of the unfortunate truth. Communism, an ideal of

equality like no other will have to have leaders and they will more than likely give in to

temptations and allow their absolute power to corrupt, absolutely.

Animal Farm is not perfect, seemingly jumping from a mildly plausible animal vs. human set up to

something more anthropomorphised by the end, in which the animals can perform tasks which are

purely fantastical but it is not about that. It is a cartoon, a fantasy, a fable and then animals are

simply allowing us to digest this in a different way, one which is much more compelling than yet

another dry drama which would probably have been forgotten by now.

But because of Animal Farm’s use in schools as both a legitimate learning tool as well as an

effective anti-communist propaganda weapon, it has become a treasured mainstay for so many

adults today. Some would say that the animation is crude and should be forgiven as such but would

disagree. I think that the film is great and the haunting music adds a real sense of tragic drama to

proceedings, as the ever growing sense of doom is lavished upon the screen.

This has the benefit of being both a good film and a interesting piece of social and political history

all rolled into one. A Technicolor time capsule of the war which began just days after The Second

World War should have ended them all. But the war of words, gestures and ideologies was in its

opening decade when the pig, Napoleon’s twisted efforts to take man’s place was unleashed upon

Manor Farm, a farm would be known by the name given to by its new masters, Animal Farm.

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2014

“STINKER!”

DIRECTOR: Matt Drummond

May contain spoilers!

The acting in Australia’s answer to Sir Arthur Conan

Doyle’s The Lost World is nothing short of reprehensible! It

comes a no surprise what so ever that hardly any of the

cast had acted before or so far, since! Almost as much as the derivative and ill conceived plotting!

The only redeeming quality here is actually the above average special effects, namely the CGI

dinosaurs, but SFX only work if the interplay is there and with the cast seeming being plucked from

the rejects list of a second rate acting school, this simply was never going to happen.

It is such a shame that a subject which has such a following across all ages can fail so miserably so

often only to be so successful with Jurassic Park (1993), this years record smashing Jurassic World

(2015) an the fantastical world of Godzilla (1954 – Present).

This was an uncomfortable and cringe-worthy watch from the opening frame. In fact, scrap that,

the open logos and credits where better than the film too!

Kids film this might be but even if it is aimed a very young audience, there is no need for it to be

this bad. But with a PG rating, it looks as if it is aimed at the family. Don’t waste your time.

          

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2015

DIRECTOR: Tim Russ

May contain spoilers!

Somewhere between home made videos of wild antics, raw

news footage and movie trailers is the ever growing culture of

web shows and movies. Many of them are great, short but

professionally produced, unregulated media which have fans

across the spectrum but it is also giving rise to projects such

as this.

Released on the 1st August 2015, this Kickstarter funded

project, Star Trek: Renegades is a Star Trek sequel/pilot which no mainstream media outlet will

produce. The idea that ex-cast members as well as actors such as Sean Young can pool together to

produce episodes of the now defunct show is as interesting as it is novel but is it really necessary?

The production values vary from scene to scene, with certain scenes looking as good at the series

which ending a decade ago, dropping in quality to something resembling Tron (1982), the

great-grandfather of modern CGI!

The make up effects are reasonable and the plot is one step removed from a REAL Star Trek pilot

but this reeks of being both a fan pleaser, no doubt a major topic at Star Trek conventions and

plain fanboy art. The cast is good, with Walter Keonig reprising his role as Chekov, Richard Herd as

Admiral Paris, Robert Picardo as Doctor Zimmerman and Tim Russ as Tuvok, as well as sitting in the

director’s chair. Other actors of note were the aforementioned Sean Young and the all but

forgotten original John Conner, Edward Furlong and the less said about Gary Graham the better!

The stand out character and performance here was Manu Intiraymi as Voyager’s child Borg all

grown up and cynical, Echeb, who seems to bring something of the televised Trek to this movie. But

the other than that, besides the usual revealing costumes, ham handed morals and civic dilemmas,

the film is filled with clunky exposition and a main character is supposed to be the daughter of

Khan, which makes no sense what-so-ever; but I am sure there was to be an explanation if the

“series” was picked up?

For Trekies, such as myself, this is worth a watch as it is close to the Star Trek we know and love

but this is not for anyone else. This needs a forgiving eye, one more so than mine…

Watch the movie here and judge for yourself…

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1999

DIRECTOR: Dean Parisot

May contain spoilers!

“Never give up, never surrender”

Considered by many to be one of the best Star Trek films that

was never was, even though J.J. Abrams had stated a love for

this parody of the much beloved franchise, his two instalments are at least, a league below the

quality of this quirky spoof. Complex, affectionate and littered with detailed in-jokes as well as

nods, both subtle and obvious, the relatively unknown movie director, though his TV work is much

more prolific, Dean Parisot has managed to capture the fanaticism of Trekkies and the spirit of

their idol’s adventures in one fell swoop.

Galaxy Quest follows the ageing cast of a Star Trek style 80’s TV series as they do the convention

series only to be recruited by an alien race, the Thermians, who have created a very real version of

their fictional ship along with a whole culture based on what they believe to be “Historical

Documents”, which are of course episodes of the dated TV show.

So after about 20 minutes of a real look at the life of the cast of Star Trek, sorry, Galaxy Quest,

with real references to the star of the classic show, William Shatner, the NTE (Not The Enterprise)

Protector’s crew are transported to the recreated starship and embark of a self-aware adventure

across the galaxy.

Fun, witty and entertaining throughout, this Sci Fi adventure is as much a meta-docudrama about

Trek as it is a Star Trek adventure by another name, with both aspects being fulfilling to avid fans

of the show such as myself and entertaining to everyone else, who will simply enjoy the parody of

Star Trek fandom and the dubious source for their obsessive fanaticism.

In other words, a very well conceived, written and executed movie as much for a broad audience

and those who clearly hold an affection for it.

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 2002

DIRECTORS: James Hanlon, Gédéon Naudet & Jules

Naudet

9|11 was first aired on the 1st Anniversary of the attacks

in September 2001, but by now, the 14th Anniversary of the

world-changing event, 9|11 has lost some of its poignancy

but not much. After so many more detailed accounts,

following the jumpers, the heroic emergency services and

the victims both on the planes and the ground, this rough

cut mash-up of DV footage seems to leave us a little

wanting.

Plus the fact that the conspiracy theorists have gone insane

over the past decade with many accusing the French Naudet brothers of being part of the faked

footage brigade. The documentary which was originally supposed to be about a New York

Fire-house, which is why the pair ended up being so close toe the World Trade Centre in the first

place, became something else, with them being taken along for the ride as the crew which were

the subjects of their project would now find themselves in the lobby of the doomed North Tower.

Their raw, first hand POV footage is chilling at times, with the

explosive bangs on the mezzanine roof being the bodies of jumpers

crashing to their deaths above them, the devastated lobby only went

to show the force of the impact 80 floors above and eventually, the

dust-covered city streets after the towers fell.

But like I said, after a myriad of documentaries and two feature films,

the masterpiece that was United 93 and the movie of week, even

though it was directed by Oliver Stone though it is hard to believe,

World Trade Center both in 2006,9|11 has joined a catalogue of films

from that day but the first hand account is still engaging, interesting

and chilling as we know what they didn’t. That they would be lucky to

escape with their own lives that day and that the world was about become a very different place.

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2012

DIRECTOR: Guy Richie

May Contain Spoilers!

The 2012 sequel to Guy Richie’s hit Sherlock Holmes (2009)

meets a major stumbling block. Where do we go from here?

Following the events of the London-based reboot in which

Robert Downey Jr. takes on the mantle of literary

detective, this carries on almost where we left off but in

the three-years between the two movies, BBC’s Sherlock,

starring Benedict Cumberbatch had become a phenomenon in ways that Richie could only have

dreamt of for his own movies.

But it is a shame, because given time to breathe, both versions are good, modern and invigorating

but Downey's Holmes is a heroic Hollywood manifestation, whilst Cumberbatch is all BBC, through

and through. But it seems here, that now we have re-established Sherlock as a slightly mad, rough

and tumble detective, Richie opted to take him down the action road and away from the

intellectual detective from first film.

Here, he is simply fighting his nemesis but there is very little “detecting” going on and it is clearly

following the three act structure of hero meets nemesis, takes a beating but wins out in the end by

making the ultimate sacrifice for his friends. Fair enough but the plot was too hollow to prove this

and Downy is running the risk of being the Baker Street detective in name only.

Having said that, the film was entertaining, funny and the action was good, though way over the

top. Still, far from Holmes’ worst outing and Downy Jr. is always a pleasure to watch with this is

being no exception to that rule. In my view, this was misstep and one which may well have derailed

the budding franchise but with Sherlock to compete with, it was always going to be an uphill

struggle.

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1979

DIRECTOR: Gary Nelson

May contain spoilers!

I want to say that the effects were good for the time. I want to

say the acting was acceptable. I want to say that the screenplay

was more than a mediocre sci-fi script and that Anthony Perkins

was not horribly miscast in this post Star Wars Disney movie.

As the for the acting, all I can say is that it was toss-up between Roddy McDowell’s dustbin shaped

R2-D2 rip-off, V.I.C.E.N.T. and Ernest Borgnine. Maximilian Schell was just incredible, incredible

that he felt no need to act in any way, just go off on one for 90 minutes! But any movie which has

with McDowell and Ernest Borgnine as their best actors is as doomed as ludicrously sized

greenhouse shaped spaceship lingering around the titular Black Hole!

Oh hang on…

So, the action was poor, the script was mediocre and the special effects were, well functional,

though the black hole looked more like Roman candle from a cheap fireworks set. This was 1979, 11

years after 2001: A Space Odyssey (1968), 2 years after Star Wars (1977) and Close Encounters Of

The Third Kind (1977) and the same year as Star Trek: The Motion Picture (1979). There is no

excuse for the cheap look of this film, except for the fact that is easy to forget that Disney was not

the successful and iconic studio that it is today.

They had hit rough times and their output was poor and this poor man’s Star Wars is living proof of

that. But one thing I will say for it, beside the amusement of how bad certain elements where,

especially the casting of Anthony Perkins as a dubious but essentially “good” character, yes, they

cast Psycho in a Disney film and portraying him in a similar light!, and that is the pacing as well as

the late John Barry’s easy to enjoy score.

The plot is simple and ends up being a chase throughout the vast spacecraft, leading to several set

pieces and this is where it works. It is entertaining, corny but fun and no matter how hard you try,

you cannot help rooting for the them a little. But the bizarre Heaven and Hell ending with the dead

villain and his equally dispatched sidekick robot Maximilian, is typical ’70’s nonsense and totally

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out-of-place in such a straight forward sci-fi action romp as this. This is where the film thinks that

it 2001, but trust me, it most certainly is not!

1987

DIRECTOR: Tom Mankiewicz

May contain spoilers!

“Just the facts, maam”

I was kid when I was first introduced to this 1980’s comedy

interpretation of the 50’s/60’s cop drama Dragnet. And I

loved it. But it is a little hard for me judge this in the

context because of this. Yes, it is ludicrous, the plot is more

80’s than 50’/60’s and whilst some comedic scenes work by shining a modern light of what was

funny by modern standards about classic TV, other jokes such a the Police fighter jet complete with

a flashing blue light are step too far.

But then again, this is Tom Hanks in his all but forget comedy era and one which I remember well.

Starring alongside Dan Aykroyd to boot, this was an A-list pairing at the time yet this film has all

but fallen into obscurity. It has all the hallmarks of another adaptation, the 2004 Todd Phillips

directed Starsky And Hutch, which made a comedy out of a relatively serious cop show.

Both have there merits and by doing this, they both serve to breathe some life into franchises

which had long since died and I think that aiming the comedy at the generation gap is fair game but

with Dragnet, it plays it a bit too broadly. There are plenty of Tom Hanks moments and Aykroyd’s

poe-faced Sgt. Joe Friday, nephew of the original’s Lt. Joe Friday, making this a sequel to the TV

series, is great fun but this is as much a comedy vehicle for these two as it is an homage to the

original, and to be honest, homage might be strong word.

All bar the title, this is a generic cop comedy based on the genre, something with The Heat (2013)

may have also done a little better by spoofing the entire genre rather than just a specific title.

As a fan of 80’s comedy, Hanks and Aykroyd, this a worth seeing again but as a dragnet fan,

probably not worth wasting your time.

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1950

DIRECTORS: Clyde Geronimi, Wilfred Jackson & Hamilton

Luske

May contain spoilers!

This classic animation, as with many of the golden age

Disney pictures, have become more iconic than critically

acclaimed. The animation style is good, though not at the

heights of Disney’s greatest works, with many short cuts

used throughout and story is so simple that it manages to

miss the darker points of the story and spend much of its running time focusing on the dastardly

cat’s attempts to kill the friendly mice.

But there is no doubting the style of this animated feature, with Disney’s brand of anthropomorphic

fun throughout, decent enough songs, many of which are now classics in their own rights and

moments of fun. But the plot is only based on the original tale and opts to spend as little time as

possible with its source material, in favour of its own patented brand of Disney action and comedy.

But this certainly serves as a colourful introduction to the story for young children, who will

hopefully seek out the much darker and poignant source, later in life.

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FILM OF THE MONTH ~ AUGUST 2015  

The Film Of this Month is Pixar’s latest hit, Inside Out (3D).

 

 

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CINEMA-SCOPE @ 62

This is the one that stuck! Just a few days shy of a year after the release of the phenomenally

successful This Is Cinerama at the end of September 1952, The Robe (1953) ushered in the simpler

and more palatable widescreen format, Cinema-scope and one which quickly evolved to become

one of the industry standards.

Even though anamorphic widescreen would flourish, Cinema-scope itself, would only last for 15

years, with its last movie, Caprice (1967), being

released in 1967, but the screen dimensions are

still in use today, unlike the doomed Cinerama

process, which with its three projector, three panel

system, was just as complex and overwrought as 3D

was at that time, which would last just over

decade.

Both formats played their parts, with Cinerama’s

contribution indisputable to the evolution of

Cinema with widescreen, stereophonic surround

sound and the idea of making epic documentaries, which the IMAX Corporation would take to the

next step in the 1970’s and beyond but Cinema-scope made it.

Here is a short but compelling documentary on the subject which I believe was included as part of

The Robe’s Blu-ray release. Unfortunately, the Blu-ray edition of The Robe is still only available in

Region A in the U.S. and is not available for anyone else at this time. Hopefully that will change.

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