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Opscode, a company that gives cloud infrastructure automation for the business, has raised $19.5 Million in sequence C funding led through Ignition partners, with Battery Ventures and Draper Fisher Jurvetson participating within the round. The business also these days introduced that Ignition partners’ John Connors has joined Opscode’s Board of administrators. This newest funding brings Opscode’s total funding to $33 million.
Opscode provides companies the means to enhance fully automated server infrastructures that scale in the cloud or in the back of the firewall. truly, the enterprise’s offering permits builders and engineers to outline what infrastructure they are looking to construct after which manage these complex methods in a couple of environments.
Opscode’s application, Chef, is an open-source methods integration framework built specificallyfor automating the cloud. Mitch Hill, CEO of Opscode, says Chef makes it easy to set up servers and scale applications within infrastructure. The enterprise also presents a version of Chef for private clouds, which Hill says has been receiving a lot of consideration from the commercial enterprise.
as an example, track carrier Rhapsody uses Opscode within the cloud. And Ancestry.com uses the providing to increase at the back of the firewall. Hill says that the business exceptionally faces competition from historic faculty equipment managements functions offered via IBM, HP, and BMC, which were developed a couple of years in the past. Hill maintains that Opscode’s Chef works with the cloud, and is in a position to abruptly set up adjustments, whereas additionally promising scalability.
presently, Opscode has tons of of paying customers, and lots of users (some are the use of the carrier for gratis).
The financing circular, which turned into oversubscribed, can be used towards constructing the business’s software engineering, earnings, advertising and marketing and business construction teams.
Dahan Tech, a utility company in South Korea specializing in embedded systems and electronic design automation (EDA) technology, has become the most up-to-date distributor for the eXtremeDB(tm) actual-time embedded database and Perst(tm) open source, object-oriented embedded database from McObject(r), the two organizations announced. Dahan Tech will immediately begin advertising, income and guide of McObject's software.
Dahan Tech, a utility firm in South Korea focusing on embedded methods and digital design automation (EDA) expertise, has become the most up-to-date distributor for the eXtremeDB™ actual-time embedded database and Perst™ open source, object-oriented embedded database from McObject®, both corporations introduced. Dahan Tech will automatically begin marketing, earnings and support of McObject’s utility.
the new partnership is especially promising as a result of Dahan Tech’s and McObject’s goal markets enormously overlap. McObject’s database systems are designed to achieve the performance and small code footprint required in purchaser electronics, which is an incredible business in South Korea. And each agencies supply key construction solutions for military, aerospace and different safety-important purposes, in response to Dahan Tech usual supervisor Hyunseok Min.
“methods in these fields are experiencing significant growth in the dimension and complexity of kept data. developers are trying to find database technology that offers more desirable pace, reliability and development ease compared to ‘homegrown’ options, together with minimal reminiscence and CPU calls for,” Min observed.
“eXtremeDB offers a very good tune record of assembly these wants. For armed forces and aerospace methods, the eXtremeDB excessive Availability edition presents confirmed fault tolerance. eXtremeDB’s developer equipment – chiefly its interesting type-safe API, which prevents essentially the most usual error from making it into run-time code – are brilliant to groups that need an additional margin of security in their functions,” Min stated.
Dahan Tech is additionally an incredible Korea reseller of IBM Rational’s (previously Telelogic’s) Rhapsody in C (UML)-primarily based mannequin-pushed building (MDD) environment. McObject provides an eXtremeDB plug-in for Rhapsody in C that allows sooner time-to-market of excessive satisfactory embedded software applications that require embedded data administration.
“we've seen huge market pastime in McObject’s eXtremeDB/Rhapsody integration, from IBM Rational valued clientele who see the price in a single device set that allows for them to visually mannequin their utility or gadget, access eXtremeDB’s utility programming interfaces and generate code that interacts with the database from within Rhapsody,” Min talked about.
Dahan Tech valued clientele encompass KAI (Korea Aerospace business), Samsung Thales, and Korea’s ADD (company of defense department). The business also serves developers in Korea’s becoming client electronics trade. to satisfy purchasers’ facts administration wants, Dahan Tech will provide connected consulting, working towards and integration capabilities besides the eXtremeDB expertise.
“As McObject expands its Asia Pacific operation, South Korea represents a key embedded technology market. throughout the growth of its company, Dahan Tech has validated that it is familiar with the businesses in this box, their technical challenges and their needs in a software solution company. they are very assured that Dahan Tech and McObject will effectively construct market share in Korea together,” stated Chris Mureen, McObject’s chief working officer.About Dahan Tech
Dahan Tech is a software distributor that specialize in embedded utility, which has emerged as predominant boom opportunity in Korea. on account that its inception in October 1998, the business has grown its offerings in EDA, embedded systems, mathematical and scientific solutions, while organising an exceptional utility distribution community. The business's leadership in its market segments outcomes from providing competitive product offerings, positive advertising, and seamless technical competencies. Dahan Tech is dedicated to enjoying a pioneering position in market building and expertise innovation, which enables it to fulfill the ever-changing requirements of both conclusion-user valued clientele and company companions. For more suggestions see www.dahan.co.kr.About McObject
established by using embedded database and precise-time methods specialists, McObject presents proven statistics administration expertise that makes precise-time programs smarter, extra legit and more reasonably-priced to advance and maintain. McObject counts amongst its purchasers industry leaders equivalent to Chrysler, Lockheed Martin, Siemens, Phillips, EADS, JVC, Tyco Thermal Controls, F5 Networks, DIRECTV, CA, Motorola and Boeing. McObject, primarily based in Issaquah, WA, is committed to offering inventive expertise and first-rate capabilities to valued clientele and companions. The enterprise can also be reached at +1-425-888-8505, or consult with www.mcobject.com.
McObject and eXtremeDB are emblems or registered trademarks of McObject LLC. All other business or product names outlined herein are trademarks or registered trademarks of their respective house owners.
each year, Apple puts on the global developers convention (WWDC), a pricey technical get-collectively for serious Macintosh programmers. not like trade shows similar to Macworld Expo, WWDC isn’t full of lots of of vendors; bag-carrying, button-clad attendees; and degrees awash with entrepreneurs, headset microphones, and lots of styling gel. as a substitute, WWDC is a chance for programmers to learn about Apple’s future applied sciences and directions, ask questions, and let Apple comprehend what they’re thinking. developers are Apple’s toughest viewers – they’re least likely to be influenced through promises, and most likely to require tangible proof of claims. WWDC is never effortless from Apple’s element of view.
What’s greater, Apple hasn’t had a superb year. within the wake of Apple’s fiscal troubles and the acquisition of subsequent, hypothesis changed into excessive and expectations had been low for this yr’s WWDC. nobody knew what Apple would carry to the table, and a lot of builders have had their faith shaken with the aid of Apple’s fresh layoffs, expertise freezes, and the ascendence of next executives who appear to hold the fate of the Macintosh in their palms.
Rhapsody & Yellow box — One factor each person at WWDC desired to peer and hear about changed into Rhapsody, Apple’s coming near near working equipment based in part on technologies obtained from next. Apple delivered on that expectation, surprising many attendees with demos of the Yellow container, the ambiance derived from OpenStep in order to occupy core stage below Rhapsody. The Yellow container became proven on each PowerPC and Intel hardware together with an Intel demo of the shoot-em-up online game Quake (writing to the Yellow container’s display PostScript while playing movies in the historical past), plus PowerPC demos of QuickDraw 3D and a commercial utility from Stone Design ported from OpenStep in just a number of days. Apple desired to show one factor: they'd working code, now not just guarantees. The Unix command line become also viewed (to hisses from some attendees), however Apple stressed out it should be hidden in Rhapsody’s Unified free up, obtainable best if users desire it. The Yellow box interface became described as a piece in progress, however already bears some resemblance to the Mac.
however the Yellow container derives directly from OpenStep and includes next standbys like monitor PostScript and Unicode conversion, Apple plans so as to add a couple of Macintosh technologies, including the QuickTime Media Layer (QTML), QuickTime VR, QuickDraw 3D, ColorSync, QuickDraw GX typography, and the V-Twin text indexing engine (on which Apple e.g. is based mostly). although it’s too early to inform what this capability, Apple also referred to all functions built for the Yellow container can have some scriptability, and Yellow box scripting could be carried so far as possible toward AppleScript. The Yellow container will additionally include next’s tons-touted WebObjects FrameWorks and Java.
Apple demonstrated it plans to ship a edition of Rhapsody for computer systems in keeping with Intel chips; youngsters (and this was arguably the massive announcement for WWDC), Apple additionally introduced it is going to ship a version of the Yellow container for Mac OS.
To remember this, think of the Yellow container as an utility atmosphere, like its predecessor OpenStep, as opposed to as a part of Rhapsody’s greater working device. Yellow boxes for Intel and Mac OS would in conception make the Yellow box the highest quality alternative for cross-platform building, as a result of builders might carry functions that run on Rhapsody (both PowerPC and Intel), Mac OS, windows NT, and windows 95 – all using equipment derived from subsequent’s highly considered, object-oriented construction ambiance. in response to Apple, an utility written for the Yellow field can easily be recompiled for a unique platform, and even shipped as a single, large file containing executable code for diverse structures. (Aladdin’s Leonard Rosenthol referred to these courses as "obese binaries.") To hammer domestic the thought, Apple also introduced no-payment licensing of the expertise that allows for the Yellow box to run on precise of windows, so deploying Yellow box applications for windows won’t cost builders extra.
A edition of the Yellow container for the Mac OS is additionally an exciting carrot for some developers. In thought, this would allow clients working nowadays’s Mac OS (or future models, reminiscent of Mac OS eight or Allegro) to run Yellow container applications without switching over to Rhapsody. however no schedule became given and there are severe questions about what subset of the Yellow box may also be supported under Mac OS (threading became mentioned as a major subject, and symmetric multiprocessing is correct out), the means to run some Yellow field functions beneath Mac OS might also support alleviate transition fears and provides Yellow box applications a much broader market.
Rhapsody & Blue container — Apple additionally confirmed Rhapsody’s Blue container working a beta of Mac OS 8, and hosted palms-on labs where builders might run Mac OS classes beneath Rhapsody’s Blue box. in response to Apple, only five of about 500 classes tested within the WWDC labs failed due to error with the Blue field.
The Blue container is practically a Yellow box application designed to run below Rhapsody for PowerPC. (Rhapsody for Intel will no longer encompass the Blue field.) The Blue box makes use of a Mac ROM photograph to run the Mac OS unmodified, so clients can run unaltered Mac OS functions and device enhancements with plenty extra compatibility than Copland would have supplied. The Blue container should still inherit advantages from Rhapsody, together with better virtual memory and i/O improvements. although Mac purposes will now not get separate included memory, crashing the Blue box will not take down Rhapsody. although, as an software, the Blue container will run in its own window, and Mac purposes will no longer take a seat in the identical screen house as Yellow field purposes. Blue container courses can be able to talk with the Yellow container by means of Apple hobbies and greater normal mechanisms like the clipboard, but there will be a firm line between the Mac OS and the Yellow field. The Blue field might be capable of run in a full-reveal mode (and Apple reps cited this protected all displays), but I even have the affect the use of the Blue box might be like peering through a magnifying glass at your historic Macintosh.
Java — all the way through the WWDC keynote, new Senior VP of utility Engineering Avie Tevanian called Java Apple’s greatest chance. It’s no longer clear what number of Apple builders share that opinion, however Apple proved it can make grand statements about Java as neatly because the subsequent utility business, announcing help for the Java basis courses below development through solar, Netscape, and IBM, and simultaneously announcing Java would have full access to Yellow container APIs, thereby making it possible to put in writing Yellow field applications without resorting to purpose C or other programming languages. despite the fact Apple wired its dedication to "100% pure Java," it additionally wired entry to the Yellow container would enable builders to set up best-of-category Java functions, which sounds similar to what Microsoft tells builders about its competing software foundation classes for Java.
The Rhapsody agenda — at present, the Rhapsody time table requires a developer release in mid-1997 (without a Blue box, and doubtless most effective supporting energy Mac 8500/8600 machines), a optimum unlock for early adopters in early 1998 with some Blue field capability for PowerPC, and a Unified release for conventional clients in mid-1998 with full Blue field potential for PowerPC. Apple plans to ship customer and server versions of Rhapsody and has brought up that the Unified unlock will work on these days’s PowerPC-based Macs and Mac clones.
The Spin — There’s no doubt that Rhapsody’s talents is compelling. builders and convention attendees I spoke with have been generally stunned with Apple’s development up to now, despite the fact opinions differed radically as to whether Apple might carry on its bold time table. For some developers, Rhapsody is without difficulty too late: they mandatory mature go-platform building tools over a year in the past, no longer a promise they’ll be attainable a 12 months from now. in spite of this, some developers appeared enormously energized by means of Apple’s plans, together with some makers of low-stage tools and utilities for whom Rhapsody is a giant technical challenge.
youngsters, the gulf between subsequent and Apple cultures remains obvious. Steve Jobs managed to insult or offend many Mac builders in his WWDC fireplace chat, and coffee comments from former next employees all through WWDC sessions highlighted the ameliorations. here's an over-generalization, but next purchasers are inclined to contend with excessive-conclusion, commonly corporate environments with ample bandwidth and CPU materials, whereas Mac consumers are possessive about their machines and are more likely to consider about sharing a single CD-ROM drive across a high college’s LocalTalk network. whether a match medium can be carried out in both Apple’s software engineering groups or Rhapsody continues to be to be seen.
For greater details and announcements from WWDC, investigate Apple’s Developer World site; WWDC Webcasts are available unless 31-may additionally-97. John Norstad has also posted stunning notes on Rhapsody according to what he discovered at WWDC.
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Queen biopic “Bohemian Rhapsody” won the Cinema Audio Society’s top prize for sound mixing at Saturday night’s 55th annual CAS Awards. The film is Oscar-nominated for sound mixing this year along with “Black Panther,” “First Man,” “Roma” and “A Star Is Born.”
In a surprise over heavy-hitters “Incredibles 2” and “Spider-Man: Into the Spider-Verse,” Wes Anderson’s “Isle of Dogs” won the animated prize. “Free Solo” reigned in the documentary field.
TV winners included “The Marvelous Mrs. Maisel,” “Mozart in the Jungle,” “The Assassination of Gianni Versace: American Crime Story” and “Anthony Bourdain: Parts Unknown.”
Three-time CAS award-winner Mary Jo Lang (“Frozen,” “Big Hero 6,” “Inside Out”) received the President’s Award, while Oscar-winning production mixer Lee Orloff (“Terminator 2: Judgment Day,” “The Abyss,” “The Insider”) was honored with career achievement recognition.
Steven Spielberg received the organization’s Filmmaker Award. Seven of the director’s films have been nominated by the Cinema Audio Society: “Jurassic Park,” “Schindler’s List,” “Saving Private Ryan,” “Catch Me If You Can,” “War of the Worlds,” “Lincoln” and “Bridge of Spies.” “Saving Private Ryan” won in 1999.Related
See below for this year’s full set of CAS winners.
MOTION PICTURE – LIVE ACTION
“Bohemian Rhapsody”Production Mixer: John CasaliRe-recording Mixer: Paul MasseyRe-recording Mixer: Tim CavaginRe-recording Mixer: Niv Adiri, CASADR Mixer: Mike TehraniFoley Mixer: Glen GathardFoley Mixer: Jemma Riley Tolch
MOTION PICTURE – ANIMATED
“Isle of Dogs”Original Dialogue Mixer: Darrin MooreRe-recording Mixer: Christopher ScarabosioRe-recording Mixer: Wayne LemmerScoring Mixer: Xavier ForcioliScoring Mixer: Simon RhodesFoley Mixer: Peter Persaud, CAS
MOTION PICTURE – DOCUMENTARY
“Free Solo”Production Mixer: Jim HurstRe-recording Mixer: Tom Fleischman, CASRe-recording Mixer: Ric SchnuppScoring Mixer: Tyson LozenskyADR Mixer: David BoultonFoley Mixer: Joana Niza Braga
TELEVISION SERIES – 1 HOUR
“The Marvelous Mrs. Maisel” – “Vote for Kennedy, Vote for Kennedy”Production Mixer: Mathew Price, CASRe-recording Mixer: Ron Bochar, CASRe-recording Mixer: Michael Miller, CASScoring Mixer: Stewart LermanADR Mixer: David BoultonFoley Mixer: Steven Visscher
TELEVISION SERIES – 1/2 HOUR
“Mozart in the Jungle” – “Domo Arigato”Production Mixer: Ryotaro HaradaRe-recording Mixer: Andy D’AddarioRe-recording Mixer: Chris Jacobson, CASADR Mixer: Patrick ChristensenFoley Mixer: Gary DeLeone
TELEVISION MOVIE or LIMITED SERIES
“The Assassination of Gianni Versace: American Crime Story” – “Part 1: The Man Who Would Be Vogue”Production Mixer: John Bauman, CASRe-recording Mixer: Joe Earle, CASRe-recording Mixer: Doug Andham, CASADR Mixer: Judah Getz, CASFoley Mixer: Arno Stephanian
TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS
“Anthony Bourdain: Parts Unknown” – “Bhutan”Re-Recording Mixer: Benny Mouthon, CAS
OUTSTANDING PRODUCT – PRODUCTION
Dan Dugan Sound Design: Dugan Automixing in Sound Devices 633 Compact Mixer
OUTSTANDING PRODUCT – POST PRODUCTION
iZotope, Inc.: RX 7
CAS STUDENT RECOGNITION AWARD
Anna Wozniewicz (Chapman University – Orange, CA)
Just in time before the Academy Awards, studios release the popular hits of 2018, Bohemian Rhapsody and A Star Is Born, on HD disc. Tune in.Bohemian Rhapsody
4 of 5 stars
Rated R, 96 minutes.
Available today on 4K Ultra HD, Blu-ray and DVD. Now available on Digital HD.
Rami Malek plays Freddie Mercury in "Bohemian Rhapsody."Twentieth Century Fox
Bohemian Rhapsody isn’t a cradle-to-the-grave type of biopic. It doesn’t go through every section of the band Queen’s Wikipedia index. It may cover a 17- to 18-year period in the life of Freddie Mercury (portrayed by the soon-to-be Oscar-winner Rami Malek) and his bandmates (a terrific Gwilym Lee as Brian May, Joseph Mazzello as John Deacon and Ben Hardy as Roger Taylor), but it’s just as much about Queen’s 1985 performance at Live Aid — a global charity event that is recognized as one of the best, if not the best, rock performances of all time.
The film admittedly mirrors many story structures of other musical biopics (all the notes the 2007 comedy Walk Hard poked fun at). However, there’s an argument that many rockers’ lives all follow the same path, starting from being an everyday person trying to make ends meet, finding love and success, struggling to maintain that love and success, and learning a valuable lesson by the end.
Bohemian Rhapsody finds a nice middle ground between being an unabashed and safe depiction of Queen. It could have dabbled more into the meaty contents of the band and Mercury’s life, but there’s enough here to sing about.
Gwilym Lee, from left, Rami Malek and Joe Mazzello portray the band Queen in “Bohemian Rhapsody.”Twentieth Century Fox
Extras: The 4K Ultra HD release looks about as impeccable as you could hope. All the bright lights and inviting colors really pop on screen, especially when Mercury is strutting around the stage in a leotard.
The Live Aid performance at the end is especially magnetic to watch in 4K. The way the camera swoops through Mercury’s legs as he’s playing the piano and zooms in on Brian May’s guitar — you just can’t top those visuals. And what’s even cooler is the special features include the full recreated Live Aid concert. They only dropped two tracks from the final film, but this full performance flows very well and functions as its own movie. I would have loved to have seen more side-by-side comparisons to the original concert, like they did in the marketing of the home release. It truly seems like Malek studied Mercury’s every move. But I’m sure some YouTuber will do a side-by-side in the future.
In addition, there are two featurettes. One breaks down Malek’s approach to Mercury and how important it was to capture his spirit. The other provides some insight into the look and sound of Queen. As much as you may have wanted a featurette or a commentary that tells you which scenes were shot by disgraced director Bryan Singer, cinematographer Newton Thomas Sigel and polishing director Dexter Fletcher, these bonus features play it safe. Perhaps one day they will get all the details, but for now, 20th Century Fox can’t jeopardize its five Oscar nominations.
Embed code for interview: https://youtu.be/tGqQp1Qg0fs
A Star Is Born (★★★ 1/2) I felt like I was one of the last people to see A Star Is Born. Everybody was telling me why I should see it, and I kept putting it off. But after I saw it a few months ago, I thought the performances were first-rate. Bradley Cooper, Lady Gaga and Sam Elliott all deserve a round of applause. They all put so much passion into their roles. Whenever Lady Gaga gets on the stage, on the verge of tears, you can see all her pain and frustrations rising to the surface in such a beautiful, poetic way. And, of course, the scene when Sam Elliott backs out of the driveway, it just breaks your heart. There’s so much to love about the film.
Bradley Cooper and Lady Gaga's performances in "A Star is Born" are first-rate.Warner Bros.
But the story itself has been driven into the ground. To quote my wife: “I could have written this.” Yes, while you call all the shots, Bradley Cooper (also the director) finds little ways to make the most of each scene. He shoots the film very close to the actors’ faces, to give an intimate feel as they watch these performers expose their souls to stadium crowds.
So, like Bohemian Rhapsody, look beyond the dialogue and the plot line.
Rated R, 136 minutes.
Extras: The 4K Ultra HD release is one of the best-sounding 4Ks I own. This should be no surprise for a film that features a lot of music, but even the sounds between the music wow. The roar of a crowd, the movement of equipment and the still moments between their two leads — they make for a must-own 4K purchase. It’s always nice when you don’t have to mess with your remote to turn up or turn down different parts of the film.
And it should go without saying that the picture quality solidifies it. The stage lighting and Lady Gaga’s presence (costumes, hair and all) really boom.
In terms on bonus content, it’s naturally very heavy on the music side. There are loads of music videos and extended performances from the film. The best supplement is the making-of. It features Cooper, Gaga and others talking in a roundtable-type setting, with clips and B-roll thrown in. You get a deep understanding of everyone’s perspective and how they poured their hearts into their individual roles on both sides of the camera.
Overlord (★★★) Everything about the J.J. Abrams-produced Overlord has the potential to make it one of the wildest genre creations to hit the screen. On the surface, it appears to be a cinematic Frankenstein, taking the horrors of war and stitching them together with the concept of Re-Animator — a 1985 B-movie about a syringe with the power to reanimate the dead. And as fun as Overlord can be at times, you can feel the thread holding these ideas together fraying as it plays it too safe.
"Overlord" had the potential to be one of the wildest genre creations on screen. Instead, it plays it safe.Fantastic Fest
In film, a group of American soldiers (Jovan Adepo, Wyatt Russell, John Magaro and Iain De Caestecker) find themselves far behind enemy lines in Nazi-occupied France before the infamous D-Day. Instead of being a routine World War II feature, they get a film where their American soldiers are sloshing around in a bloodbath involving Nazi experiments and mutant zombie members of the Third Reich.
It’s a genius idea, really. There are so many messed-up places you can steer this story. And the way the film kicks off is promising: Americans are about to drop into France from a transport glider. They get those brutal moments where soldiers are being blown to bits left and right, capturing the real terror of war in the same fashion Steven Spielberg did in Saving Private Ryan’s opening.
And how Overlord looks in its 4K presentation is spectacular. It truly grabs hold of you right away and proves itself to be one of the most exciting films to watch in 4K. The gunshots sound lived-in, and the way the camera moves around its setting and how the scenes are edited together are meant for the high-quality format. Crank up the sound and let it drop you into the character’s situation!
While I wish Overlord leaned more into its crazy ideas — and didn’t have a third act that felt like two video game characters duking it out — it remains one of the more entertaining features from last year. The story may not leave teeth marks, but how 4K presents it will.
Rated R, 109 minutes.
Extras: The 4K Ultra HD release comes with beautifully simplistic cover designs, featuring blood splatters in the shape of soldiers parachuting down to their drop zone. The regular Blu-ray is quite ugly and overdone, so if shelf presentation is important to you, the 4K upgrade is the way to go. There are no additional special features on the 4K disc, but the Blu-ray (which also comes with the 4K release) includes a little over a handful of featurettes that walk us through its ideas from start to finish. They begin with J.J. Abrams’ involvement, how the story came to be and what excited each person about the project, and then they jump into the difficulties of certain scenes (particularly the opening scene, which involved a huge gimbal and special/visual effects to capture the horrors of war) and creating characters that they can feel for.
Rated R, 94 minutes.
The Return of the Vampire (★★★ 1/2) Believe it or not, classic black-and-white movies are among my favorite to review, because more often than not they come loaded with historical information that fascinates for days. And Scream Factory’s release of 1943’s The Return of the Vampire does just that. It’s the unofficial sequel to the 1931 classic Dracula, in which Bela Lugosi stars as a 200-year-old Hungarian vampire named Armand Tesla.
Return of the Vampire weaves in real-life events that were happening at the time of its release, making the film super fascinating to watch unfold today. They go from seeing Tesla prowling the English countryside, drinking the blood from villagers’ necks, to seeing him defeated by a pair of scientists (Frieda Inescort and Roland Varno) who drive a railroad spike through his heart. But have no fear, because he’s awakened two decades later after a Nazi bomb releases him — a nice touch. And now, he’s out for revenge.
Bela Lugosi cut a classic vampire figure in the 1931 horror film "Dracula."Scream Factory
So, with because the movie released 76 years ago, the story is not extraordinary, stealing many ingredients from other Dracula films. But to see the master at work, Lugosi creeping with his hand dangling and speaking in his spooky accent, it’s frightening. There’s a reason why he’s a legend and Return of the Vampire just may be his second-best outing as a vampiric character on film. (Trivia: He played Dracula on stage many times, even while he was filming this movie.)
Scream Factory’s restoration looks stunning in black-and-white, especially when Tesla is brought back to life and a dense fog carries over the graveyard. It’s got all those classic monster movie moments — and film historians like Lee Gambin, Gary Don Rhodes and Troy Howarth all provide their own audio commentary about these moments and Lugosi’s history of playing a vampire. It’s essentially a master class in classic horror.
The best part of the film and these historians’ statements is the inclusion of Tesla’s werewolf servant, Andreas Obry (Matt Willis). The inner conflict of Obry deciding whether to serve his master or rid him of evil to help the film’s heroine is peak entertainment.
Not rated, 70 minutes.
Extras: The Scream Factory release (available through shoutfactory.com/shop) includes the three aforementioned audio commentaries, a theatrical trailer and a still gallery.
Youngblood (★★★) In many ways, 1986 hockey film Youngblood, starring Rob Lowe and Patrick Swayze, is your typical sports movie. If you have never seen it before, it may remind you of such titles as Remember the Titans, in which players butt heads, they slowly become friends, a romance enters the picture, something dramatic happens, and may the best team win the championship in the end. You could write this movie yourself, a lot like A Star Is Born. However, that doesn’t mean it doesn’t have charm or value, because it certainly does. So, good on Kino Lorber for reintroducing this film to the masses by restoring it on Blu-ray.
Personally, I am a sucker for ’80s movies. Many aren’t as timeless or as good as you may remember. (Have you watched Sixteen Candles recently? Yikes!) In Youngblood, the vet players on the team, of course, haze the young bloods (also Lowe’s character’s on-the-nose last name), and many of them are quite cruel. Go figure. I can see people in this sensitive age losing their cool if it were released in theaters today. It even has that “wrong kid died” kind of vibe (another Walk Hard reference) between on-screen brothers Dean (Lowe) and Kelly (Jim Youngs).
Despite how silly and melodramatic it can get, Youngblood is solid sports film, filled with ’80s music and sports montages to hype you up.
Rated R, 110 minutes.
Extras: The Kino Lorber release (available for purchase through kinolorber.com) sports a snazzy sketch look on the cover design (featuring Lowe, Swayze and Cynthia Gibb), an audio commentary with director Peter Markle and a theatrical trailer.
Also available this week: Color Me Blood Red (1965, an Arrow Video release); Doctor Who: Resolution; La vérité (1960, a Criterion Collection release); Robin Hood (2018); So Dark the Night (1946, an Arrow Academy release); and Year of the Dragon (1986, a Warner Archive Collection release).
Panic! At the Disco performs for a sold-out crowd at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff
Panic! At the Disco performs for a sold-out crowd at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Nicole Row performs with Panic! At the Disco at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Nicole Row performs with Panic! At the Disco at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Panic! At the Disco performs for a sold-out crowd at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Zach Hansen (left) and Kassia Meyer, both of Chesterfield, before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Jacob Maskel (left) and Willow Ray, both of Georgetown, Ill., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
From the left, Ashten Barnett, of Wayne City, Ill., and Austin Dillman, of Mount Vernon, Ill., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Stephanie Hironimus (left) and Taylor McAmis, both of Columbia, Mo., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Vanessa Hartwick (left) and Lyse Mayberry, both of St. Louis, before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Brittany Harrell (left) and Alyssa Duncan, both of O'Fallon, Mo., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Betty Who performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Two Feet performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Kelby Miller (left) and Addy Price, both of Louisville, Ky., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
From the left, Haley Nettles, of St. Peters, and Kaylee Trbovich, of O'Fallon, Mo., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Chase Hendriex (left) and Leanna Way, both of Collinsville, before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
From the left, Kyle O'Keefe, of O'Fallon, Mo., Breezy Morgan, of Cedar Hill, Mo., and Brittany Morgan, of O'Fallon, Mo., before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
From the left, Jay Strong, of St. Louis, and Jodi Patterson, of Mascoutah, before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff Panic! At the Disco at Enterprise Center
Katelynn Evans (left) and Kesley Evans, both of St. Peters, before Panic! At the Disco performs at Enterprise Center in St. Louis on Tuesday, Feb. 5, 2019. Photo by Jon GitchoffJon Gitchoff
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