United Kingdom released, PAL/Region 2 DVD: LANGUAGES: Japanese ( Dolby Digital 2.0 ), Japanese ( Dolby DTS 5.1 ), English ( Subtitles ), SPECIAL FEATURES: Cast/Crew Interview(s), Interactive Menu, Scene Access, Trailer(s), SYNOPSIS: Can love prevail over sex, money, androids, and ninjas? Erotibot is the latest film from the production company behind the powerful earth, shattering Big Tits Zombie & ultra bloody gorefest The Horny House of Horror. Tamayo (Mahiro Aine) is so adorable! From the time she was small she has been treated as the ultimate princess! Tomayo, is heiress to her wealthy family’s fortunes. In order to protect her from outside danger she is looked after by three android bodyguards. The first android is masterful and good looking. The second has beastlike strength, and the third is a clumsy misfit who can’t seem to get anything right. He fantasises over his mistress and is adored by her. Together, the three androids help detect danger, and serve Tomayo during the day, and occasionally engage in after-dark ‘bedroom protection’ as well… Life is good! Meanwhile another family member, Tsukiyo (Japanese AV star Maria Ozawa) who is jealous of Tomayo, hires a private detective to spy on her. He uncovers a dark secret that Tomayo is in fact the “bastard daughter” of a servant. When Tsukiyo discovers this, she is consumed by rage believing Tomayo to be an embarrassment to the family and not ‘pure blood’. Along with her servant Azami (Asami, The Machine Girl, Robogeisha), she plots to regain the inheritance she believes to be hers! Can she distract the three Androids long enough to exact her plan?! Who will the Androids serve in the end?! Which Android will win Tamayo’s love?! …Erotibot ( Karei naru erogami-ke no ichizoku: Shinsô reijô wa denki shitsuji no yume o miru ka ) ( Nippon Splatterotics 3 )

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Of all the Philip Marlowes, Robert Mitchum’s in Farewell, My Lovely resonates most deeply. That’s because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler’s legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there’s plenty of Mitchum’s renowned self-deprecating humour and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a lovable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption, and betrayal. Like Malloy, he’s disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the ’70s had to offer. (By the way, you’ll notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) –Bill Desowitz

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Of all the Philip Marlowes, Robert Mitchum’s in Farewell, My Lovely resonates most deeply. That’s because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler’s legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there is plenty of Mitchum’s renowned self-deprecating humour and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a loveable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption and betrayal. Like Malloy, he’s disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the 1970s had to offer. (By the way, you will notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) –Bill Desowitz, Amazon.com

Farewell My Lovely [DVD] [1975] <- Read More Buy Now for £9.99 (Best Price)

Amazon.co.uk Review
Of all the Philip Marlowes, Robert Mitchum’s in Farewell, My Lovely resonates most deeply. That’s because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler’s legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there is plenty of Mitchum’s renowned self-deprecating humour and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a loveable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption and betrayal. Like Malloy, he’s disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the 1970s had to offer. (By the way, you will notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) –Bill Desowitz, Amazon.com

Farewell My Lovely

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Amazon.co.uk Review
When Ridley Scott’s cut of Blade Runner was finally released in 1993, one had to wonder why the studio hadn’t done it right the first time–11 years earlier. This version is so much better, mostly because of what’s been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what’s been added (a bit more character development and a brief unicorn dream that drops a big hint about Deckard’s origins). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further “explanation”; he later confessed that he thought if he did it badly they wouldn’t use it. (Moral: never overestimate the taste of movie executives.) The movie’s spectacular futuristic vision of Los Angeles–a perpetually dark and rainy metropolis that’s the nightmare antithesis of “Sunny Southern California”–is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie’s shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or “replicant”), makes Blade Runner one of the few science fiction pictures legitimately to claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M. Emmet Walsh. –Jim Emerson, Amazon.com

In the Box Set: It is a fitting testament to Blade Runner‘s enduring appeal that it should receive the red-carpet box set treatment in this Collector’s Edition, which represents a sizeable outlay not least in terms of shelf space. The chunky black box (about the size of the yellow pages) houses a slide-out tray containing the DVD, eight original lobby cards an original one-sheet movie poster, the draft shooting script and a movie image card with the corresponding 35mm film frame attached. As with all such sets the whole is rapidly diminished by removing its parts, presenting the dilemma of whether to mount the poster and pictures, or leave them pristine but unseen in their original state.

The DVD included contains Ridley Scott’s director’s cut version of the film, but offers no new features or commentaries which would have added considerably to the set’s desirability. The original draft shooting script by Hampton Fancher and David Peoples does, however, provide some fascinating insights in its moments of departure from the version that was finally filmed. Perhaps the most compelling example is Deckard’s final, decisive contribution to the “is he or isn’t he” debate: “I knew it on the roof that night. We were bothers, Roy Batty and I! Combat models of the highest order. We had fought in wars not yet dreamed of in vast nightmares still unnamed. We were the new people … Roy and me and Rachael! We were made for this world. It was ours!” –Steve Napleton

Blade Runner

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