Phoenix DVD Blog

There’s a certain age, around 11 or 12, where going to the cinema feels like a major event. Not just something to do, but something you build up to, talk about for days, and remember for years afterwards. For me, that time is tied to a handful of films that still stand out today. Not just because of what they were, but because of when I saw them. I can still picture it clearly, standing in the queue at the sweet counter, convinced I was going to miss the start of the film. Even though we were always there early, at least 20 minutes before the cartoon started, it never felt early enough. At that age, you’re not analysing films, you’re just experiencing them. And somehow, those experiences stick. I had all of these movies before on DVD but sold them when things were tough. I continue to buy movies on Blu Ray these days but only when I really want them or I get a good deal.  ⭐ The Foundation – Star Wars at Home Before all of these, there was Star Wars . That was my ultimate h...

Some directors take their time telling a story. Tony Scott never really did that. His films move. They build momentum early and rarely let go. Even when the story itself is simple, the way it’s told keeps you locked in. I’ve watched a good few of his films again recently, and what stood out straight away is how well they still hold up. Not just because of nostalgia, but because of how they’re made. There’s a pace to his work that feels deliberate. Nothing drags. Nothing feels like filler. And even now, a lot of modern films don’t seem to hit that same balance. If You Only Watch One, Start Here If you’re new to Tony Scott’s films, Top Gun is the obvious starting point , but if you want the clearest example of his style at its peak, start with Unstoppable . It’s simple, direct, and does exactly what a Tony Scott film should do. No unnecessary complexity, no slow build that drags on. It gets moving early and keeps going. If that works for you, then move on to: Crimson Tide for tensi...

The Alien vs Predator films never really got a fair shake. From the moment Alien vs. Predator was announced, a lot of fans had already made up their minds. Even Sigourney Weaver wasn’t a fan of the idea, which didn’t help its credibility early on. But looking back now, I think both AVP and Aliens vs. Predator: Requiem did something that modern franchise films often struggle with, they actually tried to expand the lore in a meaningful way. And in parts, they pulled it off surprisingly well. AVP (2004) – A Smarter Film Than It Gets Credit For The first film had an intriguing premise right from the start . An ancient pyramid buried beneath Antarctica, shifting internal architecture, and a ritual hunt that ties the Xenomorphs and Yautja together? That’s not throwaway writing, that’s someone actually trying to build connective tissue between two iconic franchises. And the pyramid idea itself works better than people give it credit for. The concept that these creatures have been v...

Underworld – A Franchise That Nearly Had It All The Underworld series is one of those franchises that quietly built a loyal following without ever quite getting the credit it deserved. It had a strong identity from the beginning, a gothic aesthetic, a clear mythology, and most importantly, a simple but compelling idea: What if vampires and werewolves weren’t monsters in the shadows… but organised, feuding clans with history, politics, and grudges? For a while, it worked brilliantly. Then, somewhere along the way, it started to drift. I have the quadrilogy Box Set, I believe there were no plans for another movie when this came out but that changed with the release of Blood Wars. A Strong Beginning (2003–2006) The original Underworld laid the groundwork perfectly. It introduced Selene, the war between Vampires and Lycans, and a hidden world operating beneath modern society. The tone was dark, stylish, and surprisingly focused for what could have easily been a throwaway action ...

I watched the first two episodes of the 1966 Batman series this week and was surprised at how little introduction there was. The Bat-Signal was already installed. The red phone was already sitting on Commissioner Gordon’s desk. Batman and Robin were fully operational. No origin story. No trauma. No explanation. Just… Batman. And that got me thinking about how much the character, and superhero films in general, have changed during my lifetime. The Mythic Simplicity of 1966 Batman was pure colour and camp. Episodes were 25–30 minutes. Stories ran across two nights. Villains were theatrical. Fight scenes exploded with “POW!” and “BAM!” on screen. There was no interest in exploring Bruce Wayne’s psychological wounds. The show assumed you knew who Batman was and simply wanted to watch him outsmart flamboyant criminals. It feels lightweight today, even silly at times. But it also feels confident. Batman wasn’t brooding. He wasn’t conflicted. He was civic-minded, polite, and morally upright....