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Thanks for watching!

@@BasementBlus Thank you BB ! 🎬💙

Glad to help. I hope yours arrives really soon!

I ordered from orbitdvd. Glad to have it! Hope you get your copy soon.

😂😂😂😂

I am ready for a rewatch also. Sounds like you need to do a watchalong on your channel.

Hopefully it will arrive sooner. I ordered mine from orbitdvd back when it was first announced.

​​@@BasementBlusI just checked Walmart about an hour ago and it shows I can get it by the 10th of this month.

Good luck. Keep me updated.

They've been doing some reprints/restocks occasionally for some titles, but it's so random unfortunately

Get it while you can!

I'm so glad! I really appreciate all of your comments and such.

I look forward to watching it.

Thank you!

Wiill do, thanks!

I would love for you to post it here. Thank you!

@@BasementBlus My review from a few years ago. "Saw DETOUR on Noir Alley last night. If you usually root for the underdog as I do, it's easy to like the director Edgar Ulmer. Like Joseph Lewis, he frequently had to work with small budgets and that brought out the best in his creativity. Detour is a testament to this--how a director can make gold out of rocks. Just about the most bleak, claustrophobic, downbeat, nightmarish, fatalistic noir ever made. And in the midst of all this is one of the most riveting female performances in American cinema of the 40's. Watch her hidden soft side in a scene at the apartment. Ann Savage's tour de force performance should have at least been nominated for an Academy award. But fat chance of the Academy even giving a thought to a movie such as this. The abrupt, downbeat, complaining ending is perfectly fitting for this low budget masterpiece . Here are three different views 1. " Using unknown actors and filming with no more than three minimal sets, a sole exterior (a used-car lot) to represent Los Angeles, a few stock shots and some shaky back-projection, Ulmer conjures up a black, paranoid vision, totally untainted by glamour, of shabby characters trapped in a spiral of irrational guilt." .2. " Detour remains a masterpiece of its kind. There have been hundreds of better movies, but none with the feel for doom portrayed by Ulmer." 3. From Roger Ebert. "Do these limitations and stylistic transgressions hurt the film? No. They are the film. “Detour” is an example of material finding the appropriate form. Two bottom-feeders from the swamps of pulp swim through the murk of low-budget noir and are caught gasping in Ulmer's net. They deserve one another. At the end, Al is still complaining: “Fate, for some mysterious force, can put the finger on you or me, for no good reason at all" I found these facts about the film interesting.----In 1972, Ulmer said in an interview that the film was shot in six days. However, in a 2004 documentary, Ulmer's daughter Arianne presented a shooting script title page which noted, "June 14, 1945-June 29. Camera days 14." Moreover, Ann Savage was contracted to Producers Releasing Corporation (PRC) for the production of Detour for three six-day weeks, and she later said the film was shot in four six-day weeks, with an additional four days of location work in the desert at Lancaster, California. While popular belief long held that Detour was shot for about $20,000 Noah Isenberg, in conducting research for his book on the film, discovered that the production's final cost was closer to $100,000. As detailed in Savage Detours: The Life and Work of Ann Savage, great care was taken during the post production of Detour. The final picture was tightly cut down from a much longer-shooting script, which had been shot with more extended dialogue sequences than appear in the released print. The soundtrack is also fully realized, with ambient backgrounds, motivated sound effects, and a carefully scored original musical soundtrack by Leo Erdody, who had previously worked with Ulmer on Strange Illusion (1945). Erdody took extra pains to underscore Vera's introduction with a sympathetic theme, giving the character a light musical shading in contrast to her razor-sharp dialogue and its ferocious delivery by Ann Savage. With reshoots out of the question for such a low-budget movie, director Ulmer put storytelling above continuity. For example, he flipped the negative for some of the hitchhiking scenes. This showed the westbound New York City to Los Angeles travel of the character with a right-to-left flow across the screen, though it also made cars seem to be driving on the "wrong" side of the road, with the hitchhiker getting into the car on the driver's side. The car owned by the character Charlie Haskell and later driven by Al Roberts is itself an integral part of the film's plot and is certainly the most memorable prop item in the production. The automobile is a customized 1941 Lincoln Continental V-12 convertible, a base model of a "Cabriolet" but one that features bolted-on rear wheel-well covers and some exterior components added later from Lincoln's limited 1942 version of the same model Reportedly, the production budget for Detour was so tight that director Ulmer decided to use this car, his "personal car", for the cross-country crime drama. Detour was generally well received on its initial release, with positive reviews in the Los Angeles Times, The Hollywood Reporter, Variety in other major newspapers and trade publications. Contemporary screenings of Detour were also not confined to grindhouse theaters; they were presented at top "movie houses". For example, in downtown Los Angeles in May 1946, it played at the 2,200-seat Orpheum in combination with a live stage show featuring the hit Slim Gaillard Trio and the Buddy Rich Orchestra. Business was reported to be excellent despite a transit strike. The film was released to television in the early 1950s, and it was broadcast in syndicated TV markets until the advent of mass cable systems. TV reviewers casually recommended it in the 1960s and 1970s as a worthwhile "B" movie. Then, by the 1980s, critics began citing Detour increasingly as a prime example of film noir, and revival houses, universities and film festivals began presenting the crime drama in tributes to Edgar G. Ulmer and his work. The director died in 1972, unfortunately before the full revival of Detour and the critical re-evaluation of his career occurred. Tom Neal died the same year as Ulmer, but Ann Savage lived long enough to experience the newfound acclaim. From 1985 until just two years before her death in 2008, she made a series of live appearances at public screenings of the film. Your thoughts? I'm sure many here have opinions of this movie"

Thanks for sharing your review!

I am still tryig to figure out my AG rating.

It was released in May, so I did not show it. I will show it on my Instagram though.

@@BasementBlus I still haven't got my tank girl or masters of the universe. Just landed here a day ago though

Yes, thankfully!

I appreciate it!

I appreciate you speaking on each film. I like hearing your opinions.

Can't wait!

That's awesome! I still need to watch that movie.

Very cool!

I have been doing a lot of shopping through Amazon and also orbitdvd.com

I will watch Purple Rain very soon, I promise.

I really need to quit trying to buy all of these titles. Especially if I do not think I will enjoy the film. I should have known better with that title. 😂

Trash Humpers was super boring and the only thing in the film is humping trash and some toilets, and other stuff. I was just wondering were do they find this people in the film...

Yep, that is what I am hearing. 😂

I am always happy to support other collectors. Take care!

@@BasementBlus Thank you I subscribed back to your channel too :)

Thanks!

I appreciate you watching. As you can imagine, my watch pile is so tall. 😂 Please keep the recommendations coming though. Feel free to reply back and give me a list. I will try my best to get to them in July/August.

@@BasementBlus Thanks, Tony! I understand about Watch Piles, believe me. I like to recommend movies that aren't so well known or generally heralded in the same old circles. So my first recommendation is for the western HOUR OF THE GUN, a 1967 take on Wyatt Earp that was years ahead of its time. I also recommend THE ROARING TWENTIES on 4K from Criterion, a really terrific film with James Cagney, my favorite actor of all time. Finally, if you can get the Imprint Blu of ISLANDS IN THE STREAM, which is a beautiful story of a divided family trying to come together one last time before WWII. It's based on an Ernest Hemingway novel. So those are my three recommendations this time, but believe me, I won't be insulted if you don't get to them. Just keep watching and making more of your entertaining, engaging videos!

Oh yes, now I remember. I have two out of the three, so this is doable. I will see about ordering the Twilight Time release for Hour Of The Gun.

Tes! I really enjoyed the Rango character.

I really enjoyed it.

Thanks for watching Corey!

You would think it would be just for me, but it was not.

Well, there is two of us then. 😂

I have not. Where can I view it at?

I always check Letterboxd now when I see a film to see your thoughts.

Very nice!

It is a tongue twister.

Very cool!!

I really enjoyed it.

So true! It is crazy. I have enjoyed both Ghostbusters Afterlife and Frozen Empire. Ghostbusters 2016 was a letdown,

Very intersting. I will check that out. I appreciate you watching.

The bonus features can be found on both discs and both discs are region free.

Thanks for answering. One last question, I forgot to ask. Which version is better, the steelbook or mediabook? Like, is there anything missing on the steelbook edition that the mediabook has and/or vice versa?

I prefer the steelbook, but I own both. They will have the same contents.

I am still hoping to get my hands on that one.

I will try to come up with a list for you.

Thanks!

That is a great film.

Thanks!!

Online for both. I never could find them in any stores.

Yes. Different artwork for the 4K and the Blu-ray.

@@BasementBlus That's true. Different Artwork in Steelbook case.