Tag Archives: 2012

Ahi Va el Diablo (2012)

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You need to get to know Adrian Garcia Bogliano. Beyond this movie and Late Phases, he has a movie called Black Circle that’s trying to get picked up in the U.S. I have no idea why it hasn’t, because it has a story about possessed vinyl records and one of the first roles for They Call Her One Eye star Christina Lindberg in decades.

The thing is, just from watching this movie, I could see the films that this Spanish born director loves. I mean, he used to use the name Massaccesi, Margueritti & Pandersolli for the films he directed. If you just got happy, you’re a maniac like me. After all, Aristide Massaccesi is Joe D’Amato. His company Paura Flicks takes its title from the Italian word for fright. And within the credits of his films, Bogliano credits what he refers to as the ayuda espiritual (spiritual guidance) of Nicolas Roeg, Henry James, The Exorcism of Hugh, Sergio Martino, Eloy de la Iglesia, The Centerfold Girls), David Cronenberg, Donald Cammell, Picnic at Hanging Rock, The Entity, Los Iniciados, T.E.D. Klein, Sebastián De Caro, Dust Devil, William Finley, Marilyn Burns and classic rock station KGB San Diego. He’s also referenced Sorcerer, Lucio Fulci, Takeshi Miike, so he could fit in around here.

The movie starts as pure exploitation. A lesbian couple makes love and then discusses how one of them isn’t sure how to tell others that she is gay. That’s when a serial killer attacks, taking the hand of one of them before being beaten. He runs into the night, bleeding everywhere, into a cave where he is never seen again.

The very same cave claims brother and sister Adolfo and Sara, who enter it and never really come back. Their parents are too lost in passion to realize how long they are gone. Something is wrong from here on in their lives and nothing, not even murder, can stop what happens next.

I want you to be as surprised as me at this movie, a film that caught me within the first minutes and never let go. This is a film that understands the power of 70’s horror without being a carbon copy of what has come before. And those quick zooms throughout — Fulci would be proud.

I’ve been reading reviews of this film that disliked the hypersexualization of the story, as well as the “out of nowhere” levitation scene. Seeing as how The Entity is referenced at the close, that’s exactly where that comes from. It all felt natural and new and vital to me.

You can watch this on Tubi.

Come Out and Play (2012)

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This film is a remake of Who Can Kill a Child, which was a shocking movie in 1976. Guess what? It still is now.

Beth (Vinessa Shaw, Hocus Pocus) and Francis are enjoying their last vacation before the birth of their child. But just like Lewis Fiander and Prunella Ransome before, they soon realize that the island they are is empty except for the children. And soon, those children will descend upon them as well.

Perhaps more interesting than the film itself is its director, who only goes by the name Makinov. A gigantic Russian who started his career as a focus puller, he refused to remove his mask — he had several — during the production of the film, choosing to direct from afar almost like Coppola did during One from the Heart.

He then went to Mexico to shoot two documentary films on shamanism and have a near-death experience, after which he became Makinov, stating that “by punishing the ego through anonymity, he can command the wisdom of being one with another.”

Before the movie played festivals, a manifesto from the director was played. He said, “We must remember we are made of blood. An old proverb says that it is better to murder during time of plague. I would say the same when we talk about cinema. People watching stupid heroes saving the world, when the world is surrounded by pain. What a joke. Cinema should teach us about pain. That’s why I make these precious sad stories. To remind us that life is limited and that we are gonna die. I believe in the mystery of the spirit.”

So is or was the masked director, who claimed that he would go on to direct pornography after this? Some thought he was Eli Roth and others believe that it was either REC director Paco Plaza, Gerardo Naranjo or one of the film’s producers, Diego Luna or Gael Garcia Bernal.

You can watch Come Out and Play on Tubi.

Tulpa (2012)

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I’ve often bemoaned the death of the giallo as much as I’ve worried about it’s return over the last few years. So many movies are influenced by it to the point of slavish devotion that keeps them from becoming their own unique films. Or even worse, they are more inspired by American films like Basic Instinct and look boring and lifeless when they should be neon-hued punches to the face.

I’m pleased to report that Tulpa is the movie that I’ve been looking for.

Lisa Boeri (Claudia Gerini) is obsessed with her career, but in the evening, she visits the club Tulpa to unleash her darkest fantasies. The club, led by a Tibetian guru — well, that’s a first — allows her to indulge in all manner of aardvarking potential, but then her lovers start getting killed the day after she makes love to them.

Once those murders start uniting her day and evening hours, she decides to track down the masked killer on her own.

Tulpa was written by Giacomo Gensini and director Federico Zampaglione, whow also made the film Shadow together, along with Dardano Sacchetti, the Italian writer who wrote, well, just about any genre film worth a damn out. I’ll give you three, but he has a huge list of credits: The Beyond, Shock and The Cat o’Nine Tails. So yes, this is a movie with an eye toward the past and the future, as well as an ear. That’s because the soundtrack, by Zampaglione and Andrea Moscianesca, sounds like Goblin.

I had a blast with this film and it felt like a real discovery. And that’s why I spend so much time writing about movies, in the hopes that I can help you do the same.

You can watch this on Amazon Prime and Tubi.

Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s (2012)

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This documentary explores the rise and fall of the violent Italian poliziotteschi genre, which may have started with Dirty Harry and The Godfather clones but emerged as its own unique film form that was uniquely able to address red terrorism and organized crime.

There’s a lot to learn here, including how the idea of shooting without permits and live sound led to the creativity that these movies all have. Plus, you’ll hear from the stars and makers of these films as they explain how these low budget rushed movies were made.

Nearly everyone you would ever want to hear from in this style of movie is here, including Franco Nero, John Saxon, Henry Silva, Antonio Sabato, Fred Williamson, Richard Harrison, Chris Mitchum, Enzo Castellari, Joe Dallesandro, John Steiner and Claudio Fragrasso.

I learned a ton about why Italian movies have dubbed sound and quick zooms that I would have never known if I hadn’t seen it. Throw in some great anecdotes and an explanation of how peblum led to spaghetti westerns which led to giallo which then led to these films and I was hooked.

You can watch this on Amazon Prime and Tubi.

Skyfall (2012)

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I’m excited to welcome JC Greening back to the site. If you’d like to learn more about him and his many projects, here’s how to look him up on the web.

Someone Call Chicken Little, the Sky has Indeed Fallen!

The name’s Greening. James Greening. And I like my spy films masterful, not mediocre.

Open my dossier, and you will see why. I grew up in the 1980’s, which was a great decade for Horror and Coming-of-Age films, but not for spy action thrillers. It was the true age of mediocre for James Bond. Moore was finishing up his career with the extremely cheesy entries of Octopussy (1983) and A View to Kill (1985), and then we entered the under-appreciated, but still boring Bond films of Timothy Dalton. Things weren’t looking great upon the dawning of the 90’s either, as Pierce Brosnan took over the helm of Agent 007 in 1995’s Goldeneye (great soundtrack and video game but left much to be desired in the actual film).

Regardless, I still fell in love with James Bond for some reason. It might have been the fact that my mother made me watch Sean Connery’s older Bond films or that I was training to be a real life spy for the American government (that fell through for several reasons and don’t get me started!), but I was and still am the guy that will watch every Bond marathon on television that I happen to stumble across.

And there’s plenty of reasons to watch hours of Bond on end: beautiful women, exotic locations, cool gadgets, interesting villains, and outrageous stunts…to just name a few. Bond films were always merely a form of popcorn entertainment in my world, but every fan of film needs those kinds of movies in their lives.

Soon though, my world would be completely upended when Skyfall (2012) was released. I had sensed that a masterful, meaningful Bond film was coming, with the close-but-not-quite entry of Casino Royale(2006). Daniel Craig appearing as the new Bond, who had charisma but also a very serious killer side to him (not to also mention he was the first Blonde Bond, which I truly appreciated being blonde myself), along with high-caliber writing and directing, brought this Bond film to a new level of film-making.

However, once I saw the follow-up Quantum of Solace (2008), I lost all hope of a Bond film being a truly great film.

But hope was fully restored with the third entry of Craig’s Bond series, Skyfall (2012). And though clocking in as one of the longest Bond films in history, every minute was absolutely beautiful and kept my utmost attention (unlike even some of the other better Bond films, which inevitably have those 20 minutes or so in the beginning of the third act that seem to just drag on and on…), which is why I rank Skyfall as the best Bond film ever committed to celluloid (well, not actually celluloid, as it was the first Bond to be completely filmed in digital format).

Skyfall finds our hero spy hunting down a stolen disk of MI6 agents that eventually ends up in the wrong hands of one of the best Bond villains ever – Raoul Silva (played by the amazing Javier Bardem). Mr. Silva then starts killing agents and eventually reveals a master plot to kill the incorrigible M (masterfully acted by Dame Judi Dench). M and Bond head for the hills of Scotland to escape the technological wizardry of Silva, which leads to a classic 80’s montage of setting up deadly booby traps for Silva and his henchmen. A time-tested showdown ensues, and Bond is pushed to his limits to save everyone, including himself. All do not make it out alive, but I will leave the details as a mystery just in case the two people in the world who haven’t seen the film accidentally read this review.

So, Skyfall has all the makings of a classic Hollywood action film and holds true to Bond’s provenance –perfect fodder for popcorn and a couple hours of eye entertainment. But viewers beware – the intelligence of the script, the gorgeous cinematography, the character interactions, and the relationship building in this film make it not only mere entertainment, but a powerful, masterful film!

Instead of Bond building a shallow relationship with a gorgeous woman half his age, this film examines the strong, but strained relationship between M and 007. Instead of Bond using self-driving cars and self-exploding pens, Bond resorts to traditional methods of warfare and his old reliable classic, Silver Birch Aston Martin DB5. Instead of exotic beaches, the film ends in Glencoe, Scotland at the failing Bond manor. Instead of glorifying the spy world, this film examines the current global climate where technology is overtaking traditional espionage and if Bond truly has a place in today’s government voyeurism (and even perhaps in the film world itself).

We are granted a deeper glance into the real world of politics, as well as a killer view of Bond’s family and background. Hinting that Bond’s family were Recusant Catholics (perhaps an attempt at connecting the fictional Bond family with the real Recusants named Bond from Dorset) with the family motto of“Not even the world is enough” (hmm…heard that before, I believe), this James Bond attaches ancestry to his life and ends up destroying that part of himself, replacing it with the much closer and powerful relationships he has with M, the new Q, and Moneypenny. Bond is suddenly not this suave spy in control of all things, but rather much more human and caught questioning his past loyalties and actions.

Thus, the film is self-reflective, meaningful, and holds gut-punching dialogue, which is unlike any other Bond film I have ever laid eyes on, before or since. This is it, film-fan folks…after fifty years and 22 films before it, Skyfall marks the time when Bond finally both entertained and amazed. Skyfall is not only a great Bond film; it is a great film…period. Praise the film gods – I wondered if this film would ever be delivered!

And, it will probably never happen again. As No Time To Die (2020) appears to be a continuation of Spectre (2015) and an examination of his trust in women he loves, I believe Bond has forgotten everything that happened in Skyfall and has moved on to popcorn problems and soda pop scenarios. But that is okay. Craig gave me Skyfall, and for that, I will always remain true to the Bond series until I Die Another Day.

You can rent Skyfall on about every platform and can probably even find it for free on television.

Dark Shadows (2012)

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By all rights, I should hate this movie, but I always end up watching it and enjoying it. There’s my confession.

I mean, it’s a Johnny Depp starring, Tim Burton directed and Seth Grame-Greene (Pride and Prejudice and Zombies, Abraham Lincoln, Vampire Hunter) take on one of my favorite shows ever. I should be judgier.

Yet it does what it should do: it makes me return to the original series and savor it, missing those foam tombstones after seeing just how gorgeous Collinwood could be with an actual budget.

Fifteen years after Barnabas Collins and his family move from Liverpool to Maine — establishing the town of Collinsport and Collinwood — our hero spurns that affectoons of Angelique (Eva Green), who murders his parents and curses him to be a vampire, forever doomed to watch all whom he loves die. She then turns the town against him, who bury him as a witch after his fiancee Josette falls from a cliff.

Yes, Josette is the ancestor that Maggie Evans (who is kind of combined with the Victoria Winters character from the original show) is the reincarnated form of. She’s played by Bella Heathcote and feels drawn to become the governess of modern day Collinwood.

The family has fallen on hard times. There’s the matriarch, Elizabeth (Michelle Pfieffer), her rebellious teenage werewolf daughter Carolyn (Chloë Grace Moretz), her brother Roger (Johnny Lee Miller), his son David and live-in psychiatrist Dr. Hoffman (Helena Bonham Carter), here to treat David who keeps seeing the phoenix-like ghost of his mother Laura.

A construction crew digs up Barnabas’ grave and soon, he’s taken over Willie (Jackie Earle Hadley) as his servant and is back in the family, returning their fishing company to prominence. Of course, his old enemy and lover Angelique runs the town with her fishing company Angel Bay. Despite an initial rekindling of affections, she is soon trying to destroy the Collins family all over again.

This movie has a lot of fun parts, like a party with Alice Cooper playing multiple songs, Christopher Lee showing up as the king of the fishermen and best of all, Jonathan Frid, Lara Parker, David Selby and Kathryn Leigh Scott all making a quick cameo during the party scene. Sadly, Frid would die soon after filming his scene. However, the original cast would report that they were treated as royalty and Depp would say to Frid, “None of this would be possible had it not been for you.”

Radio Silence (2012)

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The question is not how far one will go to take a life, but how far one will go to save a life in this German-produced slasher-noir where Andrew Kevin Walker’s Seven (1995) and 8MM (1999) meets Eric Bogosian’s Talk Radio (1988) and Allan Moyle’s Pump Up the Volume (1990).

The “Roc Doc,” an acidic and opinionated amateur psychologist, operates the basement-bound Radio Nighthawk as he spins ‘60s American soul records and expounds on the news of the day—and he makes the mistake mocking the police for failing to prevent the gruesome murders of the media-dubbed The Night Slitter.

“How difficult can it be to prevent The Night Slitter from breaking down his next victim into individual parts?” Roc Doc ponders.

“Why don’t you put your money where your mouth is,” calls-in The Night Slitter. “After all, everyone has a body buried in the basement. The ego is not master in its own house, Roc Doc.”

And so begins the cat and mouse game with the Roc Doc forced to stay on the air—and admit to his own inner monster and skeletons—if he wants to save the life of The Night Slitter’s current victim: he’s audibly torturing the daughter of the grizzled police inspector on his trail.

Beginning as a Euro-festival acclaimed 20 minute short released in 2010, this 95-minute feature length version—alternately known as Der Tod hört mit (Death Listens) and On Air in other quarters—borrows its inspiration from the New French Extremity film movement spearheaded by Alexandre Aja’s worldwide hit High Tension (2003).

It made its U.S debut under the title Radio Silence via the festival circuit, where it won multiple Best Film and Best Director awards at the Screamfest Horror Film Festival in Los Angeles, the Sacramento Horror Film Fest, the Atlanta Horror Film Festival, and the Rhode Island Int’l Film Festival.

You can watch the full film—with English subtitles—on TubiTv. You can catch up on the cycle of French Horror Films with this great roundup on Scoopwoop.

About the Author: You can read the music and film reviews of R.D Francis on Medium and B&S Movies, and learn more about his work on Facebook.

The Lords of Salem (2012)

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You know, I’ve said it before and I’ll say it again. Rob Zombie would be a fun person to go see a drive-in all nighter with. But man, when he makes movies, I just get the hives.

But hey — it’s radio week. And Heidi, the recovering addict who has become a radio personality in Salem, fits the bill. Of course, she’s played by Sheri Moon-Zombie, but if you’ve seen one of Mr. Zombie’s films, you know that she’s showing up somewhere. Hell, I’d do the same thing too if I made a film. People would complain that Becca is in everything and I’d just get sad.

One night, as Heidi does her morning show-style show at night with Whitey (Jeff Daniel Phillips) and Herman (Ken Foree, Dawn of the Dead), a box shows up with a record that is supposed to be a new black metal band called The Lords.

You know, you’d think Rob Zombie would know a bit more about black metal. But nope.

Anyways, this music creates visions in Heidi’s head and begins to possess her, which continues in her apartment, as the old women downstairs end up being witches. The fact that they’re played by Judy Geeson, Dee Wallace and Patricia Quinn hammers that point home.

Bruce Davison and Maria Conchita Alonso are in this as a Salem witch trial expert and his wife who try to help Heidi, but she’s already too far gone and trapped in a Rob Zombie movie after he watched a bunch of Ken Russell outtakes.

Andrew Prine also walks on as a 17th century priest putting Meg Foster’s witch character to death. I mean, if you can get Simon King of the Witches and Evil-Lyn in the same movie, why not? Zombie ups the ante with Camille Keaton, Barbara Crampton, Michael Berryman, Sid Haig, Lisa Marie, Clint Howard and Udo Keir, making this movie like going to a horror convention without paying $50 to get a photo with your favorite genre star.

It could have been even better, as Richard Lynch shot some scenes for this film. However, due to his worsening health and blindness, Prine took over his role. The money was so tight that the major scene that would have had Lynch, Berryman, Haig and Prine on screen together was never re-shot.

Wait — so where are Keaton, Keir and Howard? They were in a planned film-within-a-film called Frankenstein and the Witchhunter, which was supposed to look like a Hammer film. It didn’t make it into the final movie.

I guess, of all Zombie’s films, this one comes in second place behind House of a 1000 Corpses. You have to admire the audacity of a movie where the lead character gives birth to a mollusk baby while “All Tommorrow’s Parties” gloomily plays. I mean, I was laughing so hard I fell off my couch. And Becca has tried to watch this numerous times to try to convince herself that it’s a better movie than it is. She’s rarely wrong, but this may be one of those times.

Box Office Failures Week: Playback (2012)

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People like to rag on Christian Slater.

I’m not one of those people.

If his name is on the movie, I’ll watch it. Call it bad choices or bad luck, but the Slate does not suck. Granted, most of the movies he’s done of late do, but he himself, does not. He, like Bruce Willis (Precious Cargo), Nicolas Cage*, Eric Roberts (Lone Star Deception), and Tom Sizemore (The Pining) before him, may have fallen on hard times, and some may say he’s gone from heartthrob to has-been, but he always delivers the goods on screen. Always. And while Playback does suck and deserves to be noted as 2012’s lowest-grossing movie of the year, netting under $300 in U.S domestic box office against its $8 million budget (its worldwide gross was just over $57,000 during its 41 weeks in release), it’s not Slater’s fault—although all of the critical reviews on Playback make a point of driving home that Slater once worked along Tom Cruise and now he’s ended up in the lowest-grossing movie of the year.

Long before many came to know Christian Slater for his three-time Golden Globe nominated and 2016 winning role in the USA Network’s Mr. Robot, and a wealth of low-budget indie and direct-to-video films (Alone in the Dark, Bullet to the Head), he was on Hollywood’s A-List with roles alongside Kevin Costner in Robin Hood: Prince of Thieves and he headlined Quentin Tarantino’s True Romance. Slater admirably traded acting chops in John Woo’s Broken Arrow with John Travolta, In the Name of the Rose with Sean Connery, and Interview with a Vampire with Tom Cruise. Then, after starring with Morgan Freedman in the 1998 action thriller Hard Rain, his “star,” as with Nicolas Cage, started to slip. Call it age. Call it changing times. Call it problems with alcohol, drugs, guns, and assault.

Honestly, I don’t care what you call it. The Slate always delivers. And he deserves a Robert Downey, Jr.-styled second chance back to the bigs. His Golden Globe work on Mr. Robot is proof of that.

Watch the trailer.


Okay, so you’re wondering how in the hell does a film with a seven-figure budget earn a three-digit U.S box office? Well, hopefully, you read our previous “Box Office Failure Week” review for Zyzzyx Road, because, Playback suffered from the same exact rollout snafu. (Another is the excellent Jason Patric war film, The Beast). Playback—most likely to fulfill a clause in a SAG or IATSE agreement—played in one theater (location unknown), once-a-day for one week (March 16 to 22) (the bare minimum, theatrical-contractual requirement) and sold approximately 35 tickets. As with Zyzzyx Road, Playback was never meant to be a theatrical feature: it was always intended to be a direct-to-video release.

Coutesy of Mike McGranaghan, with his May 2017 piece, “25 Lowest-Grossing Movies of All Time” at Screen Rant: We come to understand Playback was released by Magnet Releasing: a company that gives most of its films a token theatrical release to promote the digital on-demand release. Magnet debuted the movie on Amazon, iTunes, and satellite/cable services a full month before releasing the film in a solitary theater—effectively giving no one a reason to pay to see it on the big screen. McGranaghan additionally states Magnet utilized the same release-rollout for another of their “lowest-grossing” efforts: The Walking Dead-connected, Sarah Hyland (TV’s Modern Family) bomb, Satanic (2016), which earned a mere $252 in three theaters. It, as did Playback, earned a 0% Rotten Tomatoes score.

Yeah, not a Hyland fan, in whole, or Modern Family—with Sofía Vergara’s Charo-cum-Eva Gabor ripoff annoyances—and way over the whole walking dead cacophony, so whatever. However, the Slate deserves better.

The truth: This isn’t even a Christian Slater flick. His part is little more than an extended cameo (see Eric Roberts’s extensive 500-plus credit resume as an example) to help an indie-production market their film. So what you do get is an unrecognizable bit-player cast of relative nobodies (Ambyr Childers from TV’s Aquarius, Toby Hemingway from The Black Swan, Jonathan Keltz from HBO’s Entourage, Johnny Pacar from TV’s Make It or Break It, and Alessandra Torresani from TV’s The Big Bang Theory) carrying the film via their “legal loophole” low-balled below-SAG rates paychecks.

The story, such as it is, is an obviously rip-off of The Ring—as if we’re not having enough problems with all of the nobody-asked-for-them Americanized sequels and reboots of the superior J-Horror hit. (A more accurate comparison is one of Wes Craven’s lesser known and less successful post-A Nightmare on Elm Street and pre-Scream works: 1989’s Shocker (a failed horror movie written off as a “black comedy” to hide its failure as a horror movie), about an executed “supernatual killer” who becomes “pure electricity” and travels to his victim’s homes via powerlines and home outlets.)

Frank Lyons, a morally-void cop (Slater), gets a second change with an investigation of a missing local teen and comes to discover the town’s dark secret and that an evil spirit—a supernatural slasher—has been unleashed—from a VHS tape. That evil is unleashed by a group of teenagers producing their own indie-horror film when they stumble onto the VHS tape collection of a killer who videotaped the murders of his own family.

I don’t care who you blame Playback on: the writer, director, the producer, or the actors. But don’t blame the Slate: he’s barely in it, and when he is, he, as always, delivers the goods. The truth: his superfluous pedophilia-addicted police officer is the most engrossing character of the film—and seems like it was spliced in from a different movie; it offers no “plot twist” and has no reveal or revelation to the story. Slater fared much better with the two direct-to-DVD movies he did in the same year with Donald Sutherland (who rocks in everything he does): the action-thriller Assassin’s Bullet (trailer/full movie; You Tube) and the western Dawn Rider (full movie; TubiTv).

You can currently catch Slater on the small screen with his role as Dan Broderick on Bravo’s new limited-series Dirty John and Robert Rodriguez’s upcoming superhero action-fantasy, We Can Be Heroes.

* Be sure to check out “Nic Cage Bitch,” our Nicolas Cage blowout written by Paul Andolina of Wrestling with Film. It’s a must read for all fans of the Cage, so check it out and learn about some Cage films you may have missed, such as A Score to Settle, Between Worlds, Kill Chain, Outcast, Rage, and Seeking Justice.

About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook.

Houses of Hell: American Horror House (2012)

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Three students strive to be initiated into a sorority on Halloween night. However, they soon realize that they must fight for their lives from ghosts that have invaded and the housemother that has embarked upon a killing spree.

Oh man — with a synopsis like that, is it any wonder that I picked this movie to watch first on the new Mill Creek Entertainment box set Houses of Hell?

Also known as Paranormal Iniiation, this movie originally played on the Syfy channel October 13, 2012. Morgan Fairchild stars as Miss Margot, the housemother who has decided to kill all of the sorority sisters to create her own ghostly family.

Director Darin Scott also was behind Tales from the Hood 2 and the amazingly titled Megachurch Murder. It was written by Anthony C. Ferrante, who would go on to direct all of the Sharknado movies.

While this never gets to the levels of slasher or paranormal mayhem that you want, you have to realize that it’s a made for cable 2000’s horror movie. Temper your expectations, shut your brain off and have some fun.

This is one of four movies on Mill Creek Entertainment’s Houses of Hell set. It’s an affordable way to get some scares that you may not have seen otherwise. Plus, you get a free code to save these movies digitally on Mill Creek’s MovieSPREE! site. For more information, check out their site.

This movie is also on Amazon Prime.

DISCLAIMER: This was sent to us by Mill Creek Entertainment.