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Movie Lovers, It’s Time to Buy a Region-Free Blu-ray Player

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Movie Lovers, It’s Time to Buy a Region-Free Blu-ray Player

As the holidays wrap up and we move into the new year, many film fans who partake in the collection of physical media no doubt probably find themselves with a handful of Blu-rays to unwrap. For fans of the media format, it’s been interesting to watch the industry evolve over time, while also carrying over many mainstays of previous generations of electronics. A lot of people will obviously be content with their home country’s releases, but for many, they make it a point to seek out and receive the best possible edition of a film. Because of the way film rights are handled, oftentimes collectors will find themselves having to scour the internet for a copy of a film they might enjoy, only to find it unreleased in their territory. This leaves one with a somewhat frustrating realization, but also with a solution that opens you up to a vast world of physical media greatness: the region-free Blu-ray player.

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If you’ve been collecting physical formats of media for a long time, chances are you’re well aware of how regions work, and how they’re usually split up between various areas of the world. For example, when it comes to Blu-ray, there are 3 regions: A, B, and C. The heavy hitters for Blu-ray largely fall in Region A and B. Region A houses North and South America, as well as Japan and some other areas. Then there’s Region B, which has Europe and Australia, as well as a handful of other territories. Where you buy your Blu-ray player will correspond to where your default region is set to. However, there are certain mods and players that you can buy from retailers that open up the possibilities of your viewing habits, and these region-free Blu-ray players will allow for ease of access to all the world’s discs.


Movie rights oftentimes become incredibly hard to decipher, especially if they land outside of the major studios that operate internationally as well as domestically. When that happens, it leaves some films unreleased for years in certain countries. Just one example of this is Andrea Arnold’s debut feature Red Road, which was released in the UK and still only has that one version that came out on the format in 2010. Many other directors, such as Sion Sono from Japan, have English-friendly releases for a number of his films only in the UK and nowhere else thanks to the continued work of Third Window Films. These include movies like The Whispering Star, Cold Fish, and Antiporno.

It’s this fact, along with the near extinction of video stores, that has left huge portions of films largely absent from streaming services. This is doubly true if you want to find the works of more niche directors and worse if they happen to be from a country that isn’t English-speaking. Having a region-free Blu-ray player is one of the few legal avenues that film fans can take when it comes to supporting directors of foreign cinema. That’s not to say that the status quo of region-locked practices has stayed the same, however.


Things have begun to change for the better, as 4K Blu-rays – which many people believe might be the last physical media format for film – is almost entirely region-free. Outside of a few select titles, if you pick up a 4K release from anywhere in the world, 99% of the time it’ll be region-free. There’s also the fact that many of these boutique Blu-ray labels make it a point to keep their releases region-free whenever possible, and they almost always only lock their content when it’s made a requirement by the film’s rights holder.

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An example of the benefits that have come out of the tearing down of the region lock via 4K could be seen last year when Second Sight Films put out their excellent edition of George A. Romero’s Dawn of the Dead on 4K and Blu-ray. In that case, you saw the Blu-ray region locked to the B territory, while the 4K release was region-free, allowing for movie fans all over the world the ability to grab the release without problems.


There is also the continued case that many movie fans have to deal with where certain releases that come out in their home territory simply aren’t that good. This can be due to a number of technical faults that are either out of the publisher’s hands or not, such as having to use old masters they’ve been provided with by the studio or their own bad encoding. There’s also the other major reason to own movies: the bonus features. A lot of the time you’ll have companies like Indicator in the UK, who go out of their way to pack their releases with special features, and you’ll only be able to find them on their version of the film. On top of all that, there’s also the fact that you just might not like the packaging of a certain release in your home territory.


While video stores have become basically extinct right in front of our eyes, it oftentimes becomes increasingly difficult for movie fans to find specific titles. This is becoming even more evident as multiple streaming services began to emerge after companies started to see the viability that they offered. Even if one still has the Netflix DVD plan – the one many people forget still exists – chances are if they do have an obscure title on the service, you’d have to end up waiting months for it to even become available. You’d be lucky to find a Blu-ray copy of said film on the service even if it was available.

That’s why region-free Blu-ray players are becoming increasingly valuable investments. It’s why, when the Nintendo Switch was first announced, the bullet point of it being region-free made many gamers ecstatic. It tore down the arbitrary gate that kept gamers in other countries away from physical versions of titles that might be unavailable in their region. That same thought process is also the reasoning behind getting a region-free Blu-ray player, and why anyone who’s a fan of movies should try and seek one out. Physical media for movies is in an odd place, one could say it’s the best it’s ever been as far as the actual content is concerned, but the continued looming dark cloud of streamers is becoming increasingly difficult to ignore. In any case, now is the best time to open up one’s “borders” and collections to the vast catalog that foreign countries have to offer.

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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