Skip to content

Olive Films Paramount Catalog Titles For Essays

¡Saludos desde España!
From the Oscar-winning Belle Epoque and the superbly sexy Jamón Jamón to Julio Medem at his quirky best, Olive has some of Spain’s finest film offerings this January.

These DVDs and Blu-rays will all be available to own on January 30th. Preorder now!



PENÉLOPE CRUZ (Volver, Vicky Cristina Barcelona, Nine)
JORGE SANZ (Conan the Barbarian, The Girl of Your Dreams, Lovers: A True Story)
FERNANDO FERNÁN GÓMEZ (All About My Mother, The Spirit of the Beehive, Butterfly)
ARIADNA GIL (Pan’s Labyrinth, Appaloosa, Alone with You)
CHUS LAMPREAVE (Volver, Talk to Her, Broken Embraces)
Directed by FERNANDO TRUEBA (The Queen of Spain, The Artist and the Model, Two Much)

“Credit [Fernando] Trueba with keeping his lyrical, strikingly acted film alive with sensual possibilities.” – Peter Travers, Rolling Stone

Spain, 1931 is a politically divided nation and on the brink of war. With allegiances torn between Republican and Traditionalist factions, Fernando (Jorge Sanz, Conan the Barbarian), a disillusioned soldier, has chosen a third option — going AWOL. Fate intervenes during his escape when he meets Manolo (Fernando Fernán Gómez, All About My Mother), an admiring land owner who sees himself mirrored in the young man and welcomes him into his home — a home inhabited by Manolo’s four visiting daughters, each more beautiful than the other. Clara (Miriam Díaz-Aroca, High Heels), Violeta (Ariadna Gil, Pan’s Labyrinth), Rocío (Maribel Verdú, Y Tu Mamá También) and Luz (Penélope Cruz, Vicky Cristina Barcelona) will prove to be more than just a pleasant distraction for Fernando. While seeking refuge from the chaos of the outside world, he’ll find romance at every turn in the witty love story Belle Epoque.

Belle Epoque, director Fernando Trueba’s (The Queen of Spain) 1994 Academy Award® winner for Best Foreign Language Film, is written by Rafael Azcona (from a story by Azcona, José Luis García Sánchez and Fernando Trueba) and co-stars Agustín González (El abuelo) and Chus Lampreave (Volver).

LANGUAGE: SPANISH (with optional English subtitles)
VIDEO: 2.35:1 Aspect Ratio; COLOR

Belle Epoque will be available on DVD and Blu-ray on January 30th.



PENÉLOPE CRUZ (Volver, Vicky Cristina Barcelona, Nine)
JAVIER BARDEM (No Country for Old Men, Skyfall, Biutiful)
STEFANIA SANDRELLI (1900, The Conformist, Divorce Italian Style)
JORDI MOLLÀ (In the Heart of the Sea, Colombiana, Bad Boys II)
JUAN DIEGO (Your Next Life, All Is Silence, TV’s Paco’s Men)
Directed by BIGAS LUNA (Golden Balls, The Chambermaid on the Titanic, Sound of the Sea)

“’Jamón Jamón’is the funniest sexy movie, or the sexiest comedy, since ‘Like Water for Chocolate.’” – Roger Ebert

From director Bigas Luna (Golden Balls) comes Jamón Jamón, starring Academy Award® winner Penélope Cruz (Vicky Cristina Barcelona) making her motion picture debut opposite Academy Award® winner Javier Bardem (No Country for Old Men) and co-starring Jordi Mollà (In the Heart of the Sea), Stefania Sandrelli (1900) and Juan Diego (Your Next Life).

Written for the screen by Cuca Canals, Bigas Luna and Quim Monzó, Jamón Jamón traces the romantic entanglements of the beautiful and pregnant underwear factory worker Silvia (Cruz); José Luis (Mollà), the father of her child and heir to the factory fortune; Raul (Bardem), underwear model, seducer and would-be-bullfighter; and Conchita (Sandrelli), José Luis’ doting mother, family matriarch and Raul’s lover. Through a series of Machiavellian plot machinations, Conchita will seek to tear apart the relationship between her wealthy son and the second-class Silvia. Melodramatic, surreal (a duel using ham legs is a highlight) and oozing with sexual tension, Jamón Jamón is soap opera at its grandest.

LANGUAGE: SPANISH (with optional English subtitles)
VIDEO: 1.85:1 Aspect Ratio; COLOR

Jamón Jamón will be available on DVD and Blu-ray on January 30th.



CARMELO GÓMEZ (Tierra, Vacas, Secrets of the Heart)
EMMA SUÁREZ (Julieta, Vacas, Tierra)
NANCHO NOVO (Lovers of the Arctic Circle, Tierra, Astronauts)
Directed by JULIO MEDEM (Tierra, Vacas, Sex and Lucia)

“Utterly compelling. A fervid romantic mystery, forever flying off in new and unexpected directions.” – Time Out London

The Red Squirrel (La Ardilla Roja), written and directed by Julio Medem (Tierra) and starring Emma Suárez (Julieta) and Nancho Novo (Lovers of the Arctic Circle), is a stylish thriller à la Hitchcock — with echoes of Vertigo — set in a Spanish campground.

Jota (Novo), a musician with a career in decline and a romantic life in shambles, is on the verge of ending his life by jumping from a bridge when a mysterious figure on a motorcycle comes roaring — quite literally —  into his life.  Rushing to aid the injured cyclist, Jota discovers the driver is a beautiful young woman (Suárez) who’s lost her memory in the crash. Seeing an opportunity to start a new life, Jota creates a fictional backstory for Sofia, the amnesia victim whom he now calls Lisa, claiming that they’re a couple. Fearing her growing suspicion of his ruse, Jota cuts Lisa’s hospital stay short by whisking her off to The Red Squirrel, a remote campground far away from prying eyes. But they soon attract the attention of the other campers, leading to an escalation in Lisa’s erratic behavior. What secrets are hiding in Lisa’s past? And who is Félix (Carmelo Gómez, Tierra), the mysterious stranger who appears at the camp site in search of Sofia? Twists and turns abound in The Red Squirrel.

LANGUAGE: SPANISH (with optional English subtitles)
VIDEO: 1.66:1 Aspect Ratio; COLOR

The Red Squirrel will be available on DVD and Blu-ray on January 30th.


VACAS (1992)

CARMELO GÓMEZ (Tierra, The Red Squirrel, Secrets of the Heart)
EMMA SUÁREZ (Julieta, Tierra, The Red Squirrel)
KARRA ELEJALDE (Biutiful, Spanish Affair, Even the Rain)
ANA TORRENT (The Other Boleyn Girl, Thesis, Things I Forgot to Remember)
Directed by JULIO MEDEM (Sex and Lucia, Tierra, The Red Squirrel)

“This stunning feature debut is clearly the work of a born film maker.” – Stephen Holden, New York Times

Set in Spain’s Basque Country, Vacas (Cows) tells of a bitter rivalry and a decades-old feud between three generations of the Mendiluze and Iriguibel families, stretching from the Third Carlist War through the Spanish Civil War. These families, not unlike the tale of the Hatfields and McCoys, have carried a simmering, deep-seated hatred dating back to a war-time act that left brave Carmelo Mendiluze dead on the battlefield and the cowardly deserter Manuel Iriguibel crippled but alive. Years have not cooled the animosity between these houses as the film traces the lives, loves, and deaths that propel the atmospheric story forward to its inevitable outcome. Directed by Julio Medem (Tierra, The Red Squirrel) from a screenplay by Medem and Michel Gaztambide, Vacas stars Carmelo Gómez (Tierra, The Red Squirrel), Emma Suárez (Julieta, The Red Squirrel), Ana Torrent (The Other Boleyn Girl) and Karra Elejalde (Tierra).

Director Medem is immeasurably aided by cinematographer Carles Gusi (El Niño), whose camera captures the lush foliage of the Basque countryside and cocoon-like farmhouse interiors, successfully recreating a bygone era. The film also features a dramatic score courtesy of composer Alberto Iglesias (The Constant Gardener).

LANGUAGE: SPANISH (with optional English subtitles)
VIDEO: 1.78:1 Aspect Ratio; COLOR

Vacas will be available on DVD and Blu-ray on January 30th.


TIERRA (1996)

CARMELO GÓMEZ (Vacas, The Red Squirrel, Secrets of the Heart)
EMMA SUÁREZ (Julieta, Vacas, The Red Squirrel)
SILKE (The Dark Hour, Cámara oscura, Just Run!)
NANCHO NOVO (Lovers of the Arctic Circle, Astronauts, The Red Squirrel)
KARRA ELEJALDE (Biutiful, Spanish Affair, Even the Rain)
Directed by JULIO MEDEM (Sex and Lucia, Vacas, The Red Squirrel)

“Doused throughout in the red hues of the Aragon landscape, and stunningly composed in widescreen by d.p. Javier Aguirresarobe, the picture has an unearthly feel that’s a potent stage for the elemental central love story.” – Variety

Tierra (Earth), a quirky, romantic dramedy from Sex and Lucia director Julio Medem, stars Carmelo Gómez (Vacas) as Ángel, a pest control specialist (and recently released mental patient) working the soil in Spanish wine country to rid the terrain of destructive grubs. Unexpectedly, Ángel will find romance and adventure beyond his wildest imagination when he falls for two of the locals: the earthy and soulful farmer’s wife, Ángela (Emma Suárez, The Red Squirrel); and the sensuous, amorous (and much too young) Mari (Silke, The Dark Hour). Tierra’s flights of fancy include spectral doppelgangers, irate migrant gypsies, fierce lightning storms, and one very jealous husband.

Tierra, written and directed by Julio Medem (The Red SquirrelVacas, Sex and Lucia), features Karra Elejalde (Biutiful) and Nancho Novo (Lovers of the Arctic Circle) and is beautifully lensed by cinematographer Javier Aguirresarobe (The Road, Vicky Cristina Barcelona).

LANGUAGE: SPANISH (with optional English subtitles)
VIDEO: 2.35:1 Aspect Ratio; COLOR

Tierra will be available on DVD and Blu-ray on January 30th.


PREEXISTING CONDITIONS [Trashology 2] (2016)

Déjà vu! The gang is back in Preexisting Conditions(Trashology 2). Beginning with a visit to the local library in search of the titular tome, we’re treated to the further adventures of those co-dependent gal pals, Katrina Lizhope (writer/director Brian Dorton, Trashology) and Melissa Couch (Douglas Conner, Trashology) along with the irrepressible Ms. Green (Gerica Horn, Trashology), a diabetic, half-blind, wheelchair-bound mother out to avenge the murder of her son, unaware that houseguests Katrina and Melissa are responsible for his death.

In the grand tradition of Trashology, Preexisting Conditions(Trashology 2) pays homage to the genre films made famous by Pink Flamingos director John Waters while creating its own unique world of sex, violence, fried chicken and revenge.

Slasher // Video presents Preexisting Conditions (Trashology 2), written and directed by Brian Dorton (Trashology, Crazy Fat Ethel) and co-starring newcomer Ayana Moore and Jenny Coulter (Trashology).


  • “A Handsome Dick” short film
  • Deleted and Alternate Scenes
  • Katrina’s ALS Ice Bucket Challenge
  • Outtakes and Blooper Reel
  • Photo Gallery
  • Trailer

LANGUAGE: ENGLISH (with optional English subtitles)
VIDEO: 1.78:1 Aspect Ratio; COLOR, B&W

Preexisting Conditions [Trashology 2] will be available on DVD and Blu-ray on January 30th.





January 4, 2018

“First the good news — and there is some: ‘Heaven’s Gate’ is one of the most stunningly photographed films ever made in this country,” begins the second professional film review I ever wrote, nearly 32 years ago. “It contains several breathtakingly beautiful and powerful sequences, crammed with some of the finest detail ever captured on film.”

Unfortunately, I continued, the film “almost completely fails to tell any kind of story. Michael Cimino has written a thoroughly inchoate screenplay and directed it with stultifying ineptitude. Under his guidance, Kris Kristofferson, Christopher Walken, and Isabelle Huppert turn in three of the most listless performances since John Hall, Turhan Bey and Maria Montez.”

I was part of the second critical pile-on — reviewing the 149-minute version that United Artists put into wide release in April 1981, which was 79 minutes shorter than than the critically-reviled version that had a disastrous one-week run in Manhattan in December 1980. I hadn’t seen the longer cut but wrote that “it’s as if” Cimino “chose to ignore every western directed by John Ford, Raoul Walsh, Howard Hawks, Henry Hathaway, or even Burt Kennedy, Robert Aldrich or Sergio Leone. Perhaps ‘Heaven’s Gate’ should ber made mandatory viewing in film schools. It’s a textbook example of how not to tell a story.”

The longer version has been available on video for years, but I never got very far in a previous attempts to watch it. None of the previous DVDs came close to capturing the film’s glorious visuals, and “Heaven’s Gate” always seemed far less interesting than the story behind the movie, recounted in Steven Bach’s classic book “Final Cut” and the excellent 2004 documentary “Final Cut: The Making an Unmaking of Heaven’s Gate.”

And it’s quite a story, of how inexperienced UA executives allowed Cimino to run over budget and schedule by many multiples, with the final cost of $44 million (a record for the era) dwarfing the $3.4 million in domestic returns. United Artists, founded in 1919, was sold by its then-owner, the Transamerica conglomerate, to MGM. The film also received credit for more-or-less finishing off the genre (only a dozen or so big-scale westerns have been made in the last 30 years) and, more questionably, for largely ending the studios’ hands-off approach to auteurs that was a hallmark of the so-called new golden age of movies that we refer to as the Seventies.

Now the Criterion Collection has sponsored a gorgeous restoration of the original cut — slightly tinkered with by Cimino (who has eliminated the intermission). It’s truly a thing of beauty, and I would love to say that it’s the great film that its growing legion of fans claim it is. Unfortunately after finally viewing all 228 minutes, I still think it’s a great-looking but an even more stultifying bore than the one I reviewed in 1981 — one of the most egregious examples of directorial self-indulgence in film history. The only difference is that such things are more likely to be celebrated by Seventies nostalgists today than they were in 1980.

The special features include a lengthy, self-serving interview with Cimino and his producer-enabler Joanne Carelli; and shorter ones with Kristofferson and various members of the crew. There’s no commentary track, just a highly defensive printed essay by an Italian critic who attacks Cimino’s critics and praises “Heaven’s Gate” to the skies. And no, you won’t find “Final Cut: The Making and Unmaking of Heaven’s Gate” on the suppementary disc. Fortunately, it’s on You Tube. Still, Criterion is to be commended for giving this historically important film a chance at reappraisal.

“I finally got that interview with Garbo,” gossip columnist Shiela Graham breathlessly announces to F. Scott Fitzgerald in Henry King’s “Beloved Infidel” (1958). It’s a quote that’s fairly indicative of the reality level of this lush, Jerry Wald-produced CinemaScope biopic derived from the first of three self-mythologizing memoirs that Graham wrote about her three-and-half year affair with Fitzgerald, which ended with his death in 1940 (she lived another 44 years).

Gregory Peck is badly miscast as the writer, particularly in his drunk scenes. He’s better when he begs a sympathetic producer (Herbert Rudley, apparently playing a version of Joseph L. Mankiewicz) not to remove him from a writing assignment (pretty clearly “Three Comrades,” Fitzgerald’s only screenwriting credit, where Mankiewicz himself had to rewrite Fitzgerald’s unplayable dialogue) because he needs the money to pay for (the unseen) Zelda’s sanitarium (where she would die in a fire in 1948) and to support his (also unseen) teenage daughter Scottie.

Peck has wonderful chemistry with Deborah Kerr as Graham, who is the film’s protagonist despite Peck’s top billing — at least when he’s not slapping her around, pulling a gun on her, or drunkenly sabotaging a radio audition. Kerr, who played quite a few adultresses in this decade, is wonderful as Graham, who was raised in a London orphanage but invented a posh background when the former chorus girl arrived in New York in 1933 (the film claims 1936) and landed a columnist gig with the North American Newspaper Alliance on the strength of her freelance work for the British tabloids. “Beloved Infidel” drops lots of names, but nobody except the two lead characters and screenwriter Nunnally Johnson are portrayed under their actual monickers.

Eddie Albert, in one of his numerous 1950s best friend roles, plays a thinly-disguised version of Robert Benchley who wises up Graham as the ways of drunks. And Karin Booth turns up briefly as a lead actress who Graham describes as untalented on the set of what’s obviously the King-directed “In Old Chicago.” But apparently to reassure us that Booth isn’t playing Alice Faye, the finale of “That Night in Rio” starring the genuine Faye turns up later as Graham drags the writer to a screening at the Fox lot to cheer him up. Doesn’t work; he dies of a heart attack while finishing up “The Last Tycoon.”

It’s not a great film, but I found its mid-century perspective on 30s Hollywood and journalism interesting (Kerr’s clothes and hairstyles are strictly mid-century). The boutique label Twilight time has just released the never-on-DVD “Beloved Infidel” in a superb-looking Blu-ray with an insolated track showcasing Franz Waxman’s sweepingly romantic score. Julie Kirgo provides another set of well-researched notes, though I tend to doubt her assertion the film was a “modest success.” Film historian John McElwee of Greenbriar Picture Shows reports that Fox “took a $1.3 million bath” on “Beloved Infidel,” which got shellacked by the critics.

A second boutique label, Olive Films, has brought another film I’ve long wanted to see out on both DVD and Blu-ray for the first time. Licensed as part of Paramount’s huge and wide-ranging Republic Pictures library, Robert Wise’s “Three Secrets” (1950) is a rare “women’s picture” Wise made for producer Milton Sperling’s quasi-independent United States Pictures, which operated out of the Warner Bros. lot and utilized the studio’s stars and other personnel, as well as its distribution arm (Harry Warner was Sperling’s father-in-law).

WB stars Eleanor Parker, Patricia Neal and Ruth Roman are teamed to good effect in Martin Rackin and Gina Kaus’ soapy variation on “A Letter to Three Wives.” It centers on an injured six-year-old boy who survives a plane crash in California’s Sierra Mountains that’s killed his adopted parents. Converging at an inn near the remote site are not only a team of volunteer rescuers and the media, but three women who gave up a boys born on the same day to the same orphanage. Who’s the mom?

Not your typical Robert Wise film, but he wrings considerable suspense about the boy’s fate and future amid flashbacks depicting each woman’s “dark” past — Neal is the standout as a hard-bitten news executive. Olive’s transfer does justice to Sid Hickox’s evocative black-and-white cinematography in a little-known film (once ubiquitous on TV) that’s well worth checking out.

Warren Beatty’s “Dick Tracy” (1990) was a passion project for director-star Warren Beatty, who at one point in the 1980s recruited Martin Scorsese to direct before Paramount pulled the plug (Beatty eventually directed it himself for Disney’s Touchstone label). It’s out on Blu-ray in a dazzling Blu-ray that showcases the film’s biggest asset, its production design in bold primary colors mimicing Chester Gould’s comic strip. Even with (or perhaps because of ) a cast that included Al Pacino and Dustin Hoffman under pounds of grotesque makeup, and Madonna singing Stephen Sondheim tunes, this love letter to the funny papers fell far short of Tim Burton’s “Batman” from the previous year at the box office. Beatty, who hasn’t appeared on the big screen so far this century (2001’s “Town and County” completed principal photography in 1998) has nevertheless has fought a tenacious legal battle to hold onto sequel rights — going so far as to produce and co-direct a TCM documentary on the comic-strip detective that’s mysteriously missing from Disney’s bare-bones release.

Warners’ second Blu-ray release from the Samuel Goldwyn catalogue is Charles Vidor’s “Hans Christen Anderson” (1952) the first of three expensive Technicolor musicals that closed out the long and distinguished producing career of Goldwyn, who long fancied himself another Ziegfeld. Unlike the other two final films- – the stage adaptations “Guys and Dolls” (released last month) and “Porgy and Bess” (held hostage by the Gershwin estate) — “Anderson” is an original, a “fairy tale” rather than an bio-pic penned by Moss Hart based on a treatment that Myles Connnelly had written back in 1938 for the long-aborning project.

Danny Kaye, who had headlined a handful of frothy Goldwyn musicals in the ’40s, returned to play a fanciful version of Andersen and sing a raft of popular Frank Loesser tunes. The transfer is a bit softer than some WB catalogue titles from this era, but the colors are still quite lovely. With Danny Kaye, Farley Granger, “Jeanmaire, the Famous French Ballerina” (as she is billed) and Roland Petit, Jeamaire’s husband, who also did the choreography for this delightful family film.

“Hans Christen Anderson” and “Guys and Dolls” are being re-released on DVD by Warner Home Video as part of a Goldwyn wave on Jan. 15 that includes William Wyler’s “Wuthering Heights” (1939), which has been out of print since HBO Video’s rights lapsed around 12 years ago. Wyler’s Oscar-winning and “The Best Years of Our Lives” (1947), also out that date, has been out of circulation from MGM for several years. The other cash-cow titles in the DVD-only wave are Sam Wood’s “The Pride of the Yankees” (1942) and “The Bishop’s Wife” (1947). Features carry over from the previous MGM releases; “Best Years” has a new introduction by Virginia Mayo and “new” interviews with Mayo and Teresa Wright (who both died in 2005).

The Warner Archive Collection final round of releases for the year — they’ll be back Jan. 11 — includes Harry Beaumont’s “West of Broadway” (1930) starring John Gilbert; George B. Seitz’ “Shadow of Doubt” (1935) with Ricardo Cortez and Virgina Bruce; Edwin L. Marin’s “Moonlight Murder” (1936) starring Chester Morris and Madge Evans; and Alan Crosland’s “The White Cockatoo” (1936) with Jean Muir and Cortez. Hundreds of single-disc titles are available for WAC’s lowest price of the year — three for $25 if you use the coupon code SAVE5 — through midnight Friday night.

Preston Sturges’ last Hollywood film, the western spoof “The Beautiful Blonde From Bashful Bend” (1949) starring Betty Grable and Cesar Romero, is finally being released on DVD by the Fox Cinema Archives manufacture-on-demand program. It will be on sale around Dec. 20 at e-tailers like Amazon (where most titles are currently being discounted to $14) and Movies Unlimited (where some titles are $15) along with Otto Preminger’s “The Fan” (1949), an adaptation of Oscar Wilde’s “Lady Windermere’s Fan” with Madeleine Caroll, Jeanne Crain and George Sanders; David Butler’s musical “Ali Baba Goes to Town” (1937) starring Eddie Cantor and Gypsy Rose Lee; Tay Garnett’s “Professional Soldier” (1935) starring Victor McLaglen and Freddie Bartholomew; Jean Negulesco’s “The Mudlark” (1950) with Irene Dunne (as Queen Victoria) and Alec Guinness (as Disraeli); and Melvin Frank’s “The Duchess and the Dirtwater Fox” (1976) starring George Segal and Goldie Hawn.

TCM’s busy Vault Collection will release “Western Horizons: Universal Westerns of the 1950s” on DVD Feb. 18. Titles are all Technicolor oaters: Budd Boetticher’s “Horizons West” (1952) starring Robert Ryan and Rock Hudson; Raoul Walsh’s “Saskatechewan” (1954) with Alan Ladd and Shelley Winters; George Sherman’s “Dawn at Soccoro” (1954) with Rory Calhoun and Piper Laurie; John Sturges’ “Backlash” (1945) with Richard Widmark and Donna Reed and George Marshall’s “Pillars of the Sky” (1956) starring Jeff Chandler an Dorothy Malone.

On the Blu-ray front, Olive Films will release a Blu-ray upgrade of Charles Shyer’s “Irreconcilable Differences” (1984), a fascinating comedy a clef starring Ryan O’Neal (as a thinly disguised Peter Bogdanovich), Shelley Long, young Drew Barrymore and, as a Cybill Shepard doppleganger starring in a musical remake of “Gone With the Wind,” Sharon Stone. “Differences” will be available for the first time in its correct aspect ratio, unlike Lionsgate’s wretched-looking and mercifully OOP  DVD release from 2009. It’s scheduled for Feb. 19 from Olive Films, along with Robert Altman’s “That Cold Day in the Park” (1969) with my teenage crush Sandy Dennis.

On Feb. 26, Olive will be offering a Blu-ray upgrade for Leigh Jason’s “Lady for a Night” (1942), John Wayne’s only teaming with  Joan Blondell as well as both the DVD and Blu-ray debuts of Jean Renoir’s “Diary of a Chambermaid” (1946) starring Paulette Godard and her then-husband Burgess Meredith, who also wrote the screenplay. Also on that date: the first authorized video release in any format of R.G. Springsteen’s notorious anti-communist screed “The Red Menace” (1946) starring Robert Rockwell, the future Mr. Rockwell of TV’s “Our Miss Brooks”; and Anthony Mann’s first noir, “Strangers in the Night” (1944) with William Terry and Virginia Grey.

Paramount will be putting out the 3-D conversion of Tony’s Scott’s “Top Gun” starring you-know-who, on Feb. 19. It will be promoted by a six-day run in IMAX theaters beginning Feb. 8.

It turns out that Blu-ray of “Sunset Blvd” was not quite Paramount Home Entertainment’s last hurrah before turning over distribution of its deep catalogue titles not already licensed by Olive Films to WHV. Classic Flix is reporting a March 12 debut of Cecil B. DeMille’s penultimate film as director, “Samson and Delilah” (1949). Restored from the original three-strip Technicolor negatives, the film stars Victor Mature, Hedy Lamarr, George Sanders and Angela Lansbury. Mysteriously, it’s being released in DVD only.

Disney may have bought LucasFilm recently, but for some reason Fox will be release LucasFilm’s production of Ron Howard’s “Willow” in a 30th-anniversary edition, also on March 12.

This is my final column of the year; my final reviews of new movies will appear in the print edition and online next week. Happy Holidays everybody!