Top Five Films of 2017

Well, 2017 was a rather interesting, surreal year for me, one I'd like to quickly forgot, but most likely never will.

It started in January with the presidential inauguration and just kind of snowballed from there over the next few months (busted TV, garage door and car) culminating in mid-June with my wife's sudden cardiac arrest.

I can tell you your whole life basically stops when you're standing over your best friend's unconscious body in the emergency room, one that had been so full of life just two hours earlier when she had left for work, wondering if you'll ever get the chance to hold or even talk to your companion of 17 years again. But miraculously she pulled through (they say it was most likely a blood clot) and things have slowly returned to normal. And God willing, things will stay that way.

I obviously didn't make it to the multiplex as much as I would of liked this year. But fortunately I was able to get caught up via disc and spend a little time at the theater in November and December. Below are five of my favorites from 2017.

1. Lady Bird: Greta Gerwig's autobiographical family dramedy is just a pure pleasure to watch unfold on screen and features outstanding supporting performances from both Laurie Metcalf and Tracy Letts. But the film belongs to the incomparable Saoirse Ronan who proves once again there isn't a character she can't slip on like a glove and make us fall in love with.

2. The Shape of Water: Guillermo del Toro's enchanting, visceral fable concerning a mute who falls in loves with a captured amphibious humanoid (think the Creature from the Black Lagoon) features nice supporting work from Octavia Spencer and Richard Jenkins but is really a showcase for the talents of Sally Hawkins, who along with her performance in Maudie this year is quietly cementing her status as one the best actors working today.

3. The Post: Steven Spielberg's entertaining, well-crafted take on the Washington Post and its decision to print the infamous Pentagon Papers in the early 1970s hums right along and features great performances by Meryl Streep and Tom Hanks. It really looks and feels like a natural prequel to All The President's Men.

4. Phantom Thread: Paul Thomas Anderson's exquisitely rendered period tale of a London fashion designer and the common girl he falls in love with feels like a lost Kubrick classic, all anchored by a subtle-yet-masterful performance by Daniel Day-Lewis.

5. Wind River: Taylor Sheridan's cold, bleak, Wyoming-set thriller is a tightly conceived exercise in loss and redemption, featuring a haunting score by Nick Cave and a career-best performance by Jeremy Renner.

Rounding Out The Top 10: 6. Maudie 7. Wonder Woman 8. Three Billboards Outside Ebbing, Missouri 9. Get Out 10. Hero

Most Overrated Film of 2017: Dunkirk: This "very British" war film from Christopher Nolan was indeed both technically proficient and immersive cinema. It was also cold, boring, unoriginal and devoid of any characterization. Watch, it'll probably win Best Picture.

Happy New Year!

Five Autumn Films Worth Falling For

I'm sure you can tell from my lack of posts this summer that I didn't spend much time at the local megaplex or screening the latest Blu-ray releases. No, I spent most of it caring for my wife, who suffered sudden cardiac arrest in mid-June at age 47. She miraculously was the one in ten who survive these kind of things and thankfully life is slowly getting back to normal.

So you can imagine after three months of hospital stays, scores of doctor visits and countless electrocardiograms, I'm more than ready to spend some time in a darkened theater getting lost for a couple of hours.

As usual, the studios will trot out more than 120 films between now and Christmas. Below are my five worth leaving the house for.

Blade Runner 2049: Denis Villeneuve (Arrival, Prisoners) directs this long-awaited sequel to Ridley Scott's seminal 1982 classic that finds a new replicant hunter (Ryan Gosling) seeking out the long-lost Rick Deckard (Harrison Ford) for help with another batch of manufactured baddies. (Oct. 6)

Wonder Wheel: Woody Allen's 1950s Coney Island tale of a housewife (Kate Winselt) who falls for a handsome lifeguard (Justin Timberlake), only to have her stepdaughter fall for him as well looks like vintage Woody and just the right thing to help us survive the holiday-shopping craze. (Dec. 1)

Star Wars: The Last Jedi: Carrie Fisher's last film and Luke finally speaks after 34 years. How many more reasons do you need? (Dec. 15)

Downsizing: I'm a sucker for anything from Alexander Payne. Yes, even a Honey I Shrunk The Kids-esque satire where scientists miniaturize humans to combat over-population. It got raves at the Venice Film Festival and features Matt Damon and Kristen Wiig. How bad can it be? (Dec. 22)

The Post: Spielberg, Hanks and Streep. Now that's a holiday trifecta worth betting a bundle on. (Dec. 22)

Five More That Should Be On Your Radar: It (Today); Battle of the Sexes (Sept. 22); Kingsman: The Golden Circle (Sept. 22); Murder on the Orient Express (Nov. 10); Phantom Thread (Dec. 25)

A Day Long Remembered: 40 Years of Star Wars

I was six in the spring of 1977. My parents were newly divorced and my mom and I had moved back to our old neighborhood to rent the house literally right next door to the one we had owned as a family of three just a year earlier.

I knew most of the kids from before, so making friends hadn't been a problem. But there was a bit of transition as my mom and I tried to forge a new life for ourselves that didn't include my father.

We both found comfort in movies, usually after errands on Saturday afternoons. I can remember seeing Rocky, Silver Streak and Dino De Laurentiis' King Kong on those days the previous winter, soaking up all the wonderful images and characters, forgetting the word "divorce" ever existed, at least for a couple of hours every weekend.

A new movie from American Graffiti director George Lucas was being teased by 20th Century Fox for release just before Memorial Day weekend of that year. It was a science-fiction adventure billed as "the story of boy, a girl and a universe a billion years in the making." It promised space battles, robots, aliens and a terrifying black-clad villain. It was simply called Star Wars (no episode reference or subtitle back then) and I made my mom take me that first Saturday of opening weekend.

From that pulse-pounding, ear-shattering opening scene where the mammoth Star Destroyer fills the screen as it pursues the tiny Blockade Runner, I was instantly hooked on the story of the farmboy son of a fallen Jedi Knight who fulfills his destiny and joins the fight against the evil Empire.

For the next two hours, I stared wide-eyed at the screen before me, captivated by one glorious scene after another, all enhanced by John Williams' magnificent, thundering score. It was the day I fell in love with the power of pure cinema and never looked back.

Star Wars officially opened on 32 screens May 25, 1977 to rave reviews and lines wrapped around the theaters. Audiences returned in droves for repeat viewings and over the next 13 weeks the number of theaters grew to over 1,000 with the gross reaching nearly $120 million, the most ever in that short a span.

The film held the top spot at the box office not just for the rest of the year but into early 1978 as well, with more than 60 theaters exhibiting it continuously for over a year. By the end of its initial theatrical run, Star Wars had grossed over $220 million, eclipsing 1975's Jaws as the highest-grossing film of all time.

To call Star Wars a cultural phenomenon would be a gross understatement. You really had to be alive at that time to experience just how popular the film was. I mean the brand and its characters were everywhere that summer: magazines, books, T-shirts, pins, you name it. Everyone (except my wife) had seen the film and wanted to talk about it.

And that was just the beginning. By early 1978 we started getting the toys from Kenner, TV specials (the Star Wars Holiday Special featuring Bea Arthur and Art Carney, anyone?), bedsheets, alarm clocks, the list went on. Seriously, from the summer of 1977 through the release of Return of the Jedi in 1983, Star Wars was one big, omnipresent blanket that never lost its comfort or appeal.

Star Wars has built quite a legacy over the last 40 years: eight feature films (with at least three more on the way), a handful of television incarnations, theme-park rides, comic books, novels and any other merchandise they could slap a Wookie or Ewok on. It's a culture that's past down from generation to generation, something to share with our kids, and later our kids' kids.

For me, in addition to igniting my life-long passion for cinema, Star Wars will always remind me of my childhood and those years when it was just my mom and me. A time that could have been fraught with despair and insecurity, but instead was filled with awe and wonder. I don't remember worrying about anything back then, mainly because my mom saw to it that movies like Star Wars were always there to make sure I had better things on my mind.

Quick Blu Review: Streets of Fire

Walter Hill's Streets of Fire had all the makings of a hit in the summer of 1984: big-time action, a rugged hero (Michael Paré), a beautiful damsel in distress (Diane Lane), a menacing bad guy (Willem Dafoe) and an MTV-ready soundtrack. It also had the misfortune of opening on the same day as Star Trek III: The Search for Spock and a week before both Gremlins and the original Ghostbusters.

Promptly bounced out of theaters by the competition and quickly forgotten, the self-described "Rock & Roll Fable" has always held a special place in my heart. I actually saw it in the theater opening weekend as a 13-year-old and always loved its infectious music and undeniable style. Over the years more and more people have discovered its charms on home video and through revival screenings, elevating one of the more costlier and misunderstood flops of the '80s to revered cult status.

Set in "another time and place," a neon-infused '50s-meets-'80s city with no name, Fire tells the story of Tom Cody (Paré), a former soldier who returns home at the behest of his sister Reva (Deborah Van Valkenburgh) to rescue former flame Ellen Aim (Lane), an on-the-rise rock singer who has been kidnapped by local thug Raven Shadduck (Dafoe) and his motorcycle gang the Bombers.

Cody is willing to help, for a price, and recruits Ellen's smarmy manager Billy Fish (Rick Moranis) and a down-on-her-luck drifter (Amy Madigan) to help. But freeing Ellen is the easy part, as the group is pursued by first the cops and eventually Shadduck, looking for a final, winner-take-all confrontation with Cody.

In between the action we get a lot of music and video-type set-ups, obviously meant to push the soundtrack, a growing trend at that time. The songs more or less drive the story, which is simple, concise and quickly paced. You know what you're getting for the most part with the film, but you wouldn't want it any other way.

Finally released on Blu-ray this week by Shout! Factory and sporting a new 2K scan, this is the best Streets of Fire has looked on any home-video format. Presented in its native 1.85:1 aspect ratio, all those great visuals now fill the screen like never before. Colors are bright and deep, while natural film grain is maintained throughout. There are a couple of discernible blemishes on the print, but they disappear quickly and don't take away from the presentation. Overall, a very nice transfer and light years ahead of Universal's 1998 DVD.

Both The DTS-HD Master Audio 5.1 and 2.0 tracks are fully immersive and sound great at minimal levels.

Extras are loaded on a second disc and include music videos, five vintage featurettes and two feature-length documentaries, one from 2013, the other new to this set, that give fans an definitive, in-depth history of the film from concept to release.

Streets of Fire is a hard film to categorize - part Western, musical and gang picture all rolled into one - and maybe that's why it initially failed to connect with audiences in a crowded summer field 33 years ago.

Fortunately, new generations get a chance to experience a worthwhile film that was solely conceived to do nothing more than transport and entertain. Exactly the reason we go to the movies.

Quick Blu Review: Rumble Fish

Director Francis Ford Coppola seemed to have the Midas touch in 1970s: The Godfather, The Conversation, The Godfather Part II and Apocalypse Now. Four films, 33 Oscar nominations, 11 wins, including two for Best Picture.

Each is considered a masterpiece of American cinema and established Coppola as one of the greatest filmmakers of all time before his 41st birthday.

Unfortunately the '80s weren't as kind to the venerable auteur as a combination of mounting debt, ego and a changing cinematic landscape set the Oscar winner on an inauspicious path most of the decade, dabbling in musicals, coming-of-age tales and a Back To The Future-like time-travel fantasy. 1983's Rumble Fish was one those films.

Based on S.E. Hinton's 1975 novel (Coppola also directed the 1983 adaptation of Hinton's The Outsiders) Rumble Fish focuses on the relationship between teenage hood Rusty James (Matt Dillon) and his former gang leader brother Motorcycle Boy (Mickey Rourke).

While Rusty James craves the gangster lifestyle and matching his brother's almost-mythical reputation, Motorcycle Boy covets a quieter, more transcendental existence. Unfortunately, a local lawman (William Smith) is unwilling to forgive Motorcycle Boy's past transgressions and sets the film on course for a noirish finale.

The plot is really that simple. Along the way we get a gang fight here and there, an intimate moment or two between Rusty James and his girlfriend (Diane Lane) and a confrontation between the brothers and their old man (Dennis Hopper). The whole film seems kinds of cartoonish, complete with unengaging dialog and one-dimensional characters. The running time is a svelte 94 minutes but it frankly seems like another hour has been added.

The one bright side is Coppola's use of black-and-white photography, adding a gritty starkness to the Tulsa, Oklahoma exteriors and populating each shot with unconventional camera angles for a noir-like quality. Coppola appropriately called it his "art film for teenagers."

Newly restored in 4k, Criteron's recent Blu-ray release looks absolutely suburb. Presented in its native 1.85:1 aspect ratio, the black-and-white imagery just pops off the screen. Details are tight and crisp and that Tulsa grittiness has never looked more menacing.

The 2.0 surround DTS Master Audio track sounds great and both dialog and Stewart Copeland's score are clear and robust at minimal levels.

As usual with Criterion, the disc features a bevy of extras and highlights include a Coppola commentary, an alternate remastered 5.1 audio track, new interviews with Coppola, Hinton, Dillon and Lane and the music video for the Stan Ridgeway/Stewart Copeland single "Don't Box Me In," a song I forgot all about and actually remember liking when in was in heavy rotation on MTV some 34 years ago.

Rumble Fish is not Coppola's finest hour, but it does feature some nice visuals and reminds us that truly great directors always seem to crave taking risks, making the films that speak to them, whether audiences embrace them or not.

Tribeca Godfather Reunion To Stream Live On Facebook This Weekend

Fans of classic cinema will be excited to learn that this Saturday's 45th-anniversary Godfather reunion panel at Radio City Music Hall will stream live on the Tribeca Film Festival's Facebook page starting at 8:10 PM EST.

The landmark reunion will be moderated by Taylor Hackford and feature director Francis Ford Coppola along with stars Al Pacino, Robert De Niro, Robert Duvall, James Caan, Diane Keaton and Talia Shire. Fans attending the event will be treated to a screening of both The Godfather and The Godfather Part II beforehand.

Talk about an offer you can't refuse.

Remembering Jonathan Demme

I was sad to hear of Oscar-winning director Jonathan Demme's passing today at 73.

Perhaps my best tribute would be to reprint the retrospective I wrote back in 2011 for the 20th anniversary of The Silence of the Lambs, for my money still the most frightening and expertly crafted thriller ever made.

Originally published February 14, 2011

Today marks the 20th anniversary of Jonathan Demme's The Silence of the Lambs, arguably the greatest psychological thriller ever made.

The film opened on February 14, 1991 (yes, Valentine's Day) to favorable reviews, featured two respected actors (Anthony Hopkins and Jodie Foster) and was based on a bestselling novel. But it's a safe bet that nobody entering the theater that weekend had even the slightest inkling of just what they were in for the next two hours.

Lambs tells the story of Clarice Starling (Foster), a young FBI recruit who is plucked from training in Quantico to interview incarcerated serial killer Dr. Hannibal "The Cannibal" Lecter (Hopkins) in hopes of obtaining a psychological profile on serial killer Buffalo Bill (aptly named for the hide he collects from his victims) before he strikes again.

A psychiatrist in public life, Lecter is more interested in analyzing Starling than being any help to the FBI. But the fresh-face trainee proves to be a worthy adversary and eventually earns the respect and affection of Lecter who begins to throw little morsels of clues her way on just who Buffalo Bill might be.

As Starling follows the trail, Lecter's knowledge soon comes to the attention of a U.S. senator who believes Bill is behind the abduction of her daughter. Lecter agrees to provide more information but only to the senator in person. Soon he is transported to her home state for a face-to-face where Lecter sets in motion his elaborate plan for escape.

From its deft screenplay by Ted Tally, chilling score by Howard Shore, atmospheric photography by Tak Fujimoto and unflinching direction by Demme, Lambs perfectly balances crime, suspense and horror, enveloping you in a world few films of its type ever have. From Lecter's cell block to Buffalo Bill's lair, the film oozes such a raw creepiness that it holds you spellbound - mouth agape, heart in your throat - for the entire 118-minute running time. You want to to look away but you can't.

As masterfully crafted as the film is, it's the two lead performances that make it a film for the ages.

From her backwoods drawl to her youthful persistence, Foster embodies Starling heart and soul. She is our virgin eyes through this terrible world and we desperately need her to guide us to the light. At the beginning, Starling is just a raw recruit looking to make her dead father proud. By the end, she is a battle-tested veteran who's experienced things not even the most seasoned of agents could have ever imagined.

Hopkins' Lecter is quite simply the most terrifying and unsettling character in screen history. His evil is a subtle, refined one - cool, underlying, manipulative. You feel if you look or listen to him too long he'll have you doing things you never thought yourself capable of. But the character is so engaging and original that even as he's leaving a trail of carnage you can't help but root for him.

The Silence of the Lambs became a worldwide phenomenon, grossing more the $270 million and earning five Academy Awards, including Best Picture, Actor, Actress, Director and Screenplay, the last film to sweep in all the top categories. The film spawned a sequel and two prequels but none of them came even close to duplicating the magic of the original.

So grab some fava beans and a nice Chianti, cuddle up with your Valentine and spend the evening with Hannibal and Clarice. (Yeah, my wife wouldn't go for it either.)

Quick Flick Review: The Lost City of Z

James Gray's The Lost City of Z is the type of meticulously crafted, old-fashioned widescreen period epic Hollywood just doesn't make anymore. Unfortunately with its excruciatingly slow placing, lack of conflict and one-dimensional characters, it probably won't be the film that encourages a revival.

Based on David Grann's 2009 bestselling book, Z tells the story of Percy Fawcett (Sons of Anarchy's Charlie Hunnam), a British officer who in 1906 is commissioned by the Royal Geographical Society to chart Amazonia along the border of Bolivia and Brazil, as the region's rubber plants are becoming a much-sought-after worldwide commodity.

Fawcett's initial expedition is a long, two-year ordeal, fraught with sickness, lack of food and less-than-hospitable natives. But by journey's end, he finds evidence of a long-lost, advanced civilization, its relics so compelling that he makes finding this "lost city of Z," as he calls it, his life's mission for the next 20 years.

The film basically toggles between Fawcett's futile return trips to the jungle and his bittersweet homecomings with wife Nina (Sienna Miller) and their three children. While Darius Knondji's photography and Jean-Vincent Puzos' production design are both exquisite, there's just no conflict, nothing compelling to engage an audience for 141 minutes. The book, while dense and detailed, still managed to capture a sense of adventure and make for a thrilling read. None of that is on display here.

Z does offer serviceable performances by both Hunnam and Miller, as well as some nice supporting work from Angus Macfadyen (Braveheart), Ian McDiarmid (Emperor Palpatine in the Star Wars films) and a beard-sporting Robert Pattison as Fawcett's travel companion Henry Costin.

Director Gray is known more for smaller, character-driven morality tales (The Yards, We Own the Night), not expansive adventure films. Maybe that's the problem. Or maybe The Lost City of Z should have remained on the page, where it belongs. Grade: C

30 Years of The Joshua Tree

Today marks the 30th anniversary of U2's landmark 1987 album The Joshua Tree.

I can still remember heading over to the my neighborhood Peer Records after school to pick up a cassette copy on its release day. I had been a fan since 1983 when a buddy had played the band's War LP for me one day after junior high. I had bought their breakthrough multi-platinum release The Unforgettable Fire the following year with my allowance money (also on cassette), playing it incessantly on my Walkman to the near point of disintegration.

I hurried home that sunny March afternoon three decades ago today, closed my bedroom door, tore off the cellophane wrapper, placed my purchase in my Emerson turntable/cassette player, pressed PLAY, leaned back on my roomy double bed and embarked on an incredible 50-minute, 11-song musical journey that to this day still ranks as one of my favorites of all time.

There had been no advance singles (radio stations had been allowed to play "With Or Without You" just five days prior to the album's release) so nobody really knew what to expect upon that first listening.

The album opens with the crescendo-building, toe-tapping anthem "Where The Streets Have No Name," glides into the reflective, hand-clap-inducing "I Still Haven't Found What I'm Looking For," then segues into the haunting "With Or Without You." Talk about an opening trifecta. Those three songs, in that order, may just be the closest thing to a religious awakening I have ever experienced. I don't think I knew the album had eight more tracks until sometime around May or June.

But more great songs did indeed follow: "Bullet The Blue Sky," "Running To Stand Still," "In God's Country," "One Tree Hill" and "Exit" to name a few. In point of fact, each one of the 11 songs is a great listen, so much so the collection was named Album of the Year at the Grammys the following March.

The Joshua Tree became a cultural phenomenon, selling more than 25 million copies worldwide and elevating the four childhood friends from Ireland to rock-god status. To this day, the album is universally considered not just one of the best of the decade, but of all time.

For me, it will always take me back to that transition year of 1987, when my taste in music would evolve from pop to more thought-provoking alternative fare.

Albums like R.E.M.'s Document, The Alarm's Eye of The Hurricane, The Smiths' Strangeways Here We Come and The Joshua Tree would become my new records of choice as I shed the gumball sweetness of my early adolescence and began walking the formative path to adulthood. Ah, to be 16 again.

Oscar: The Morning After/Remembering Bill Paxton

I know I said Friday that Moonlight may prove to be the spoiler for Best Picture, but somehow I didn't think it would play out quite the way things transpired last night. What a wild ending for an otherwise pedestrian and ultimately predictable Oscar telecast.

Granted, Casey Affleck's Best Actor win was a bit of a surprise (Denzel thought so, too) and some of Jimmy Kimmel's bits evoked a laugh or two, but the show still remains too long and devoid of any real reverence for the culture or legacy of cinema.

This year marks the 50th anniversary of the American New Wave and groundbreaking films like The Graduate, Bonnie and Clyde and In The Heat of the Night. There should have been packages put together on all those films. Dustin Hoffman and Katherine Ross should have been presenters. Sidney Poitier should have made an appearance. Sure we got a noble attempt at trotting out Faye and Warren at the end, but we all know how that turned out. I'm all for celebrating cinema's contemporary accomplishments, but let's not forget about its past.

That said, congratulations to both Moonlight and La La Land, two great films that deserve all the accolades and hardware bestowed upon them. It seems we've gotten past all the ill-feelings and contentiousness from last year. Here's to hoping it stays that way.

The other big news on Sunday was the sudden passing of veteran film and television actor Bill Paxton at 61 of complications from surgery.

Paxton's career spanned five decades and included beloved films like The Terminator, Weird Science, Aliens, Near Dark, One False Move, Tombstone, True Lies, Apollo 13 and Titanic, not to mention TV shows like Big Love and Hafields & McCoys.

Seeing Bill Paxton's name on a poster or during the opening credits always promised a little punch to a given film or series. No matter how big or small the role, he effortlessly went about his business and made every character unforgettable. His mischievous smile and dedication to craft will be missed.

Oscar Predictions

Below are my picks in the major categories for Sunday's 89th Annual Academy Awards. Damien Chazelle's La La Land leads the pack with 14 nominations and is pretty much the consensus pick to nab Best Picture, but I've got a feeling Moonlight may just prove to be the spoiler. We shall see. Enjoy the show.

Picture: Moonlight
Director: Damien Chazelle, La La Land
Actor: Denzel Washington, Fences
Actress: Emma Stone, La La Land
Supporting Actor: Mahershala Ali, Moonlight
Supporting Actress: Viola Davis, Fences
Original Screenplay: Kenneth Lonergan, Manchester By The Sea
Adapted Screenplay: Barry Jenkins, Moonlight

Hasbro Unveils 40th-Anniversary Star Wars Figures

The annual American International Toy Fair was held this past weekend in New York and Hasbro used the occasion to unveil its plans for commemorating the 40th anniversary of Star Wars.

In addition to new board games and lightsabers, the company announced it will release the original 12 action figures from the popular 1977 film in the highly articulated six-inch format, on vintage-style cardbacks, starting in April.

And if that weren't enough, collectors will be able to purchase a retro-style display stand that can hold all 12 figures, just like the one released back in 1978.

The original 12 figures (Luke, Leia, Han, Chewie, Obi-Wan, R2, Threepio, Vader, Stormtrooper, Death Squad Commander, Sand People and Jawa) have always been the cornerstone of any self-respecting Star Wars collection. Hasbro re-released most in the smaller three 3/4-inch size on varying vintage cards from 2004 - 2011, but this will be the first time all will be made available on their original Star Wars cardbacks since the late '70s.

Re-living your childhood won't come cheap, though: figures will retail for $19.99 each. That's $240 for the complete set, not to mention tax and the added cost of the display stand. Better start praying for a deep-pocketed Jedi looking for a ride to Alderaan.

Ask & You Shall Receive II: The Hindenburg Now Available On Blu-ray

Well if I knew it was going to be this easy I would have spoken up a long time ago. Yes, another title on my recent Five Films That Still Deserve Some Love in 2017 post has finally arrived on Blu-ray: Robert Wise's The Hindenburg.

With no advance notice, Universal quietly dropped the 1975 disaster flick as a Walmart exclusive on Tuesday. No word yet on any extras, although with a $9.96 list price it's probably just the film and nothing more.

Kind of surprising that Universal released the 42-year-old film themselves, opting not to follow the growing studio trend of licensing deep catalog titles to a specialty label like Kino Lorber.

However it found its way to store shelves, this is great news for a film I've enjoyed since childhood. Looks like I'm headed to a Walmart this weekend. Two down, three to go.

I also wanted to take a moment to acknowledge the passing of veteran televison actor Richard Hatch yesterday at 71. Hatch is best known for playing Apollo on the original Battlestar Galactica series from 1978-'79, another one of my favorites from childhood.

Paired with Dirk Benedict's Starbuck, the duo's weekly galactic scrapes and tussles made for some pretty thrilling Sunday nights at my house. He'll be missed.

Update 2/10/17: It now appears The Hindenburg Blu-ray will go into wider distribution May 2, carrying a $14.98 MSRP (Amazon has it up for pre-order now). I actually picked up a copy yesterday at Walmart. No extras, just the film. Last two on the shelf.

Ask And You Shall Receive: Streets of Fire Coming To Blu-Ray In May

With the ink barely dry on my Five Films That Still Deserve Some Love In 2017 post last Friday, Shout! Factory announced this week that they'll release Walter Hill's 1984 rock-n-roll fable Streets of Fire on Blu-ray May 2.

Released through the label's Shout Select line, the film will feature a new 2k scan and an entire second disc of bonus content.

Way to go, Shout! I can picture that opening "Nowhere Fast" sequence stretched across my widescreen in beautiful high-definition already.

One down, four to go.

Five Films That Still Deserve Some Love In 2017

With the new year comes new hopes and aspirations. For some it's that sought-after job or home. Others yearn for peace and happiness. Many want to believe that a penthouse-residing real estate billionaire will actually make a good president and deliver the country back to the working man.

For me, it's all about keeping my fingers crossed that five long-neglected catalog films will finally find new life in the 21st century. You gotta have your priorities, right?

2017 marks the 20th anniversary of the home-video revolution known as DVD. Yes, two decades ago we finally shed those cumbersome plastic videocassettes and began enjoying movies in our living rooms via crystal-clear, digitally enhanced compact discs. No more rewinding or fast-forwarding. No more fuzzy pictures. Now we could experience our favorite flicks in beautiful widescreen splendor, savor loads of extras and get to know a fun little feature called a commentary track. How on earth did we ever survive the Beta/VHS era?

Unfortunately, there are still several films that have yet to receive that deluxe treatment. Oh sure, some have actually been released on DVD, but you'd never know it with their distorted full-screen or non-anamorphic pictures and crackling sound.

You'd think after 20 years, 10 of those in the high-definition Blu-ray era, that one of the studios or specialty labels (Criterion, Kino Lorber, Twilight Time or Shout! Factory) could have rendered a halfway decent copy of all the lost little gems out there by now. Below you'll find five worthwhile titles that still need some love in 2017.

1. Matewan: I'm still waiting for a "watchable" copy of this 1987 coal-mining classic from indie maverick John Sayles. I seriously have not seen this film since I tried watching the current full-screen Artisan DVD back when Bill Clinton was president. C'mon, Criterion or Twilight Time, get this on the schedule for the film's 30th anniversary. I'm begging you.

2. Streets of Fire: Walter Hill's enjoyable 1984 rock-n-roll fable was released on disc by Universal back in 1998. Unfortunately, it wasn't enhanced for widescreen TVs. There was an anamorphic version struck back in 2007, but it was for the ill-fated HD DVD format that lasted about 10 minutes before being discontinued. This one would be perfect for Kino Lorber of Shout! Factory to finally release on Blu-ray.

3. Iceman: Fred Schepisi's moving 1984 tale of a recently thawed caveman and the Artic scientist who befriends him got a full-screen DVD release from Universal back in 2004. Not a big hit when released, but it does feature nice performances from Timothy Hutton and John Lone and deserves a widescreen edition. Another good one for Kino or Twilight Time.

4. The Hindenburg: A product of the 1970s disaster craze, Robert Wise's 1975 speculative dramatization of the infamous 1937 zeppelin crash received a non-anamorphic DVD release from Universal back in 1998. Sure it's dated and a bit heavy-handed, but it's also entertaining as hell and deserves to be seen in all its widescreen glory. This one's a perfect match for Kino.

5. The Star Wars Trilogy: Sure, the films look and sound great on Blu-ray, but I want the original, unaltered movies I grew up with in that format, not the silly special editions. We know they still exist, Disney, what better time than the franchise's 40th anniversary to finally give fans the versions that actually built the Empire.