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This debut feature of muscleman favorite Reg Park is one of the better sword ‘n’ sandal epics; it has good action and a terrific villainess in Fay Spain. The okay story is Benoit’s L’Atlantide, re-shaped to fit the fad for all things Hercules. The Film Detective’s disc is the Woolner Bros.’ American release, trimmed by half a reel and given an entirely new audio mix. It’s still an impressive show.

Hercules and the Captive Women

Blu-ray

The Film Detective

1961/ 1963 / Color / 2:35 widescreen / 95, 101 min. / Street Date April 13, 2021 / Ercole alla conquista di Atlantide, Hercules Conquers Atlantis / 24.99

Starring: Reg Park, Fay Spain, Ettore Manni, Luciano Marin, Laura Efrikian, Enrico Maria Salerno, Ivo Garrani, Gian Maria Volontè, Mario Petri, Salvatore Furnari, Maurizio Coffarelli, Nicola Sperli.

Cinematography: Carlo Carlini

Film Editor: Maurizio Lucidi

Original Music: Gino Marinuzzi Jr., Armando Trovajoli

Written by Vittorio Cottafavi, Sandro Continenza, Duccio Tessari, Nicolò Ferrari using a...

The Film Detective (Tfd), a classic media streaming network and film archive that restores and distributes classic films for today’s cord-cutters, wholly owned by Cinedigm (Nasdaq: Cidm), announces the collector’s release of Hercules and the Captive Women (1963), coming to Blu-ray and DVD April 13.

The latest special-edition release from vintage film champion Tfd, this epic sword-and-sandal adventure stars Reg Park and Fay Spain, with direction from Vittorio Cottafavi. Originally released in 1961 as Ercole alla conquista di Atlantide in Italy, Hercules and the Captive Women is the version edited for the U.S., released for audiences in 1963.

Action-packed from the beginning, Hercules (Park) first encounters Ismene (Altan) when he must save her from a shape-shifting creature. Victorious, Ismene brings Hercules home to Atlantis where they come face to face with Ismene’s mother, the evil Queen Antinea (Spain), prepared for battle to end her pursuit of world conquest.

The release...

The lineup has been unveiled for year’s edition of the Venice International Film Festival, taking place August 28 through September 7. Aside from films previously announced as coming to Tiff, some major new announcements include Olivier Assayas’ Wasp Network, James Gray’s Ad Astra, Roy Andersson’s About Endlessness, Ciro Guerra’s Waiting for the Barbarians, David Michôd’s The King, Benedict Andrews’ Kristen Stewart-led biopic Seberg, and Roman Polanski’s J’accuse. Only two films by female directors made into the competition lineup: Haifaa Al-Mansour’s The Perfect Candidate and Shannon Murphy’s Babyteeth.

Check out the lineup below (hat tip to Mubi), which also includes other sections at the festival.

Competition

The Truth (Hirokazu Kore-eda)

The Perfect Candidate (Haifaa Al-Mansour)

About Endlessness (Roy Andersson)

Wasp Network (Olivier Assayas)

Marriage Story (Noah Baumbach)

Guest of Honour (Atom Egoyan)

Ad Astra (James Gray)

A Herdade (Tiago Guedes)

Gloria Mundi (Robert Guédiguian...

Movies by Martin Scorsese, Dennis Hopper, David Cronenberg, Bernardo Bertolucci, Luis Bunuel and Federico Fellini are among the lineup of the Venice Classics section at the 76th Venice Film Festival.

A new 35mm print of Scorsese’s 1977 film “New York, New York” will be screened in honor of United Artists’ centennial. The new copy, playing courtesy of MGM, will be presented by one of the film’s producers, Irwin Winkler, who will hold a masterclass following the screening.

Among the newly restored classics will be Hopper’s 1980 film “Out of the Blue”; Cronenberg’s 1996 movie “Crash”; a double bill of Bernardo Bertolucci pics – “The Grim Reaper,” the director’s feature debut, which bowed in Venice in 1962, and “The Spider’s Stratagem,” presented at Venice in 1970; Federico Fellini’s “The White Sheik,” which premiered at Venice in 1952; and Bunuel’s 1955 film “The Criminal Life of Archibaldo De La Cruz.”

The complete...

She could never be a saint, but she thought she could be a martyr if they killed her quick.—Flannery O’Connor The mist uncovers Japanese soldiers as well as the grim sight of severed heads by the side of the hot springs where Catholic priests are being tortured. A priest kneels down in horror, almost catatonic, unable to bring himself to believe in the evilness of these men, the men of the Inquisitor. Why are these priests, who came to this “swamp of Japan” to spread the Word of the Lord, suffering so immensely on the hands of these soldiers?To the modern, secular audience, the theme of Silence (2016) is of great irony: the all-powerful Catholic Church, the institution that spread terror across Europe for 700 years with her bonfires and witch hunts and enforcing an almost maddening outlook at faith and personal behavior, comes to an unconquerable land where...

Handsome star of spaghetti westerns including A Pistol for Ringo

When the spaghetti western was born in the early 1960s, some of the Italian lead actors disguised their names under American-sounding ones (though nobody was fooled). Among those competing successfully with bona fide Yanks such as Clint Eastwood and Lee Van Cleef were Terence Hill (born Mario Girotti), Bud Spencer (Carlo Pedersoli) and Montgomery Wood, a temporary pseudonym taken by Giuliano Gemma, who has died in a car accident aged 75.

The strikingly handsome Gemma was one of the brightest stars of the once deprecated, now revered, genre. After five years in sword-and-sandal epics (also known as peplum films), usually supporting muscle men, Gemma made a name for himself (even if, initially, it wasn't his own) in two westerns directed by Duccio Tessari: A Pistol for Ringo (1965) and The Return of Ringo (1965). Their big box-office success granted Gemma stardom and...

Many—maybe too many, looking at this bunch of bone-tired warriors of Av-virtue—were the travels the Ferroni Brigade embarked on all through 2011: oftentimes for festivals all over Europe, sometimes for visits to this archive or that as part of our programming arbeit (to be read with a Japanese drawl). During those months in the dark, we saw a lot—some of which chimed and rhymed with new works we encountered in this multiplex back home or that gallery abroad, on this collector's Steenbeck or in that producer's private projection room (they still exist).

On one of those trips, we were joined by our main Mubi-man, His Kasness a.k.a. the Kasest with whom we plunged one evening into a brainstorming on what The Festival would look and feel like (truth be told: it was more like a communal delirium—but what do you expect from folks sitting...

by Vadim RizovQuentin Tarantino loves movies, too many and not wisely. It's not that he doesn't recognize great, boundary pushing work for the artfag crowd: his Cannes jury awarded Tropical Malady in 2004. But Tarantino's better known as our foremost champion of junk culture: his now-defunct Rolling Thunder Pictures put out Chungking Express, but it also reissued The Mighty Peking Man. Anyone who has showed up for his marathon presentations from his personal collection ("QTFests" at Austin's Alamo Drafthouse and elsewhere) knows the very real risk of boredom from yet another film that's more fun to summarize than watch. But Tarantino's canonical reshuffling deserves attention, and his aesthetic has its critical equivalent. A contentious thread at Dave Kehr's website last year spiraled into a relatively civil argument about Nathan Lee, with Kehr summing up the case:"There's nothing more natural than for each new generation to revolt against the taste of the last,...

Monday night, watched a 1959 movie called Venezia, la luna e tu (‘Venice, the Moon and You’), in which Alberto Sordi played a gondolier who – you’ve guessed it – gets involved with two silly foreign girls. With only Tonino Delli Colli’s colour photography to recommend it, the main surprise of the film was in seeing Sordi, Nino Manfredi, and director Dino Risi – all of whom, a year or so later, became leading figures in the commedia all’italiana movement which cast a critical eye on contemporary mores in a changing Italy – caught up in such an inconsequential piece of fluff.

Tuesday morning: As there was nothing kicking off on the Lido till the evening, I caught a vaporetto over to Dorsoduro and made my way to the church of San Nicolò dei Mendicoli, which Donald Sutherland worked so hard to restore in Don’t Look Now. Obviously, whoever took over...