The Wizard of Oz is a classic. Nobody would dispute that statement. So it’s nice when classic films get the treatment they deserve and this amazing film is getting just that.

Today Warner Bros. announced a new edition of the film to celebrate its 7th anniversary. The Wizard of Oz 75th Anniversary Collector’s Edition will feature a newly mastered version of the film itself as well as a whole bunch of new and improved information about the film as well. But wait, that’s not all.

The film has also received the 3D and IMAX treatment and will show on the big, big screen for one week starting September 20th. The Blu-ray release will follow on October 1.

So, if you’ve ever wanted to see The Wizard of Oz in all its big screen glory, this is your chance. It’s worth it. Go.

For all the info you could want on this great announcement, check out the full press release below.

We don’t often feature documentaries here at The Flickcast. Not sure exactly why that is, especially when the doc in question is about one of the greatest horror films of all time, which is based on one of the best horror novels of all time and directed by one of the greatest directors of all time.

We’re talking, of course, about Stanley Kubrick and his masterpiece The Shining, based on the novel by Stephen King. There’s a documentary coming out soon about the film and it’s creators and it’s called Room 237. If you’ve seen The Shining, you’ll understand. If not, you have bigger problems than can be solved here.

We’ve got a trailer for it after the break. Room 237 comes to theaters and iTunes on March 29th.

Seasons Greetings! This week’s Christmas pick is the 1990 action sci-fi classic I Come in Peace (a.k.a. Dark Angel). International action star and He-Man type (no pun intended) Dolph Lundgren stars as a Houston, Texas cop who tracks down an alien who is killing people in order to harvest the universe’s most powerful narcotic. You may be saying to yourself “That’s really the plot?” and yes, it is. The film also stars Brian Benben (from the HBO classic comedy series Dream On), Betsy Brantley, Matthias Hues, and Jay Bilas.

Jack Caine (Lundgren) is a cop who disregards proper procedure in order to get the job done. While on a routine drug bust to catch a syndicate of yuppie criminals known as the White Boys, Caine’s partner is killed when he is discovered as a cop while trying to entrap them.

Let’s be clear about one thing right from the start. This article is by no means making a blanket statement that all piracy is okay. Piracy in the broadest sense is theft and is wrong. But with most things, it’s not just a black and white, yes or no, right or wrong topic. There is that gray area up for debate and here, we are going to take a look at piracy specifically as it relates to the video game industry.

If a game is about to be or has just been released to retail, is it okay to download off of a torrent site because someone leaked the code out from the manufacturer or was able to rip the files off the disk? Is it okay to use a key generator to claim ownership of a disk so you can play a copy that has been passed around your dorm? No. These are blatant acts of theft. These are where people are trying to mess with the system for their own personal benefit and denying payment to the people and companies behind the created game.

Some will argue that games are too expensive nowadays and piracy is their way of “sticking it to the man” to show them they aren’t okay with high prices. The truth of the matter is that, in relation to inflation, games are cheaper today than they were twenty years ago. During the heyday of the NES and SNES where larger cartridge memory required higher manufacturing costs resulting in some games costing well above even today’s norm price of $59.99. Don’t believe me? Go ask anyone in finance (or even your third grade math teacher) if something that cost $79.99 in 1990 is cheaper than something that today is sold for $59.99 and expect a slap in the face from them.

Kirby is the most adorable mascot in the Nintendo pantheon. He is a cute, pink little ball that sucks up enemies and can use their powers. I always assumed he ate the souls and gained their strength, and that underlying creepiness always punctuated his cuteness.

In honor of the Mascot’s 20th anniversary, Nintendo has announced plans to release a special commemorative disc to Wii consoles this fall. No word on what titles we can expect in this set, but the game will no doubt encompass the earlier era of the character.

In an official statement Nintendo executive VP Scott Moffitt had this to say:

A new Mario game and a big Kirby celebration will help make 2012 an especially great year for Nintendo fans. Whether they’re playing at home on Wii or using Nintendo 3DS to have fun on the go, players can look forward to experiencing some of our biggest franchises in exciting ways.

This release should be similar to the 25th anniversary Mario set that was released a while ago. Although we certainly hope for a more in-depth set of games than the Super Mario World free Mario set. On the flip side though, that collection included some nice bonuses, so if all we get are NES era Kirby Games, a soundtrack, and a Pink Wii-mote, this celebratory set should still be worth it.

After The Maltese Falcon, Treasure of the Sierra Madre is probably Huston’s most famous film—the two may vie for the title of best known. It’s a great movie in the sense that The Godfather and Casablanca are great movies: memorable characters, rich in themes, steep in action, imminently watchable.  The kind of “old” movie for people who don’t like “old” movies.

I doubt anyone reading this won’t know the plot, but just in case, Humphrey Bogart plays Fred C. Dobbs, an out-of-luck drifter settled like dirt in one of Mexico’s dirtiest towns. He meets up with fellow drifter Bob Curtin (Tim Holt), and the two try to pick up odd jobs with even less luck than they started with. After taking brutal revenge on an employer who stiffed them, Dobbs and Curtin meet up with the grizzled and half-mad Howard (Huston father Walter, in an Oscar-winning role), a seasoned prospector looking for some men to share the costs of an expedition to mine for gold.

The three team up and head for the wilderness. Soon after, it’s clear that Howard is the most valuable member of the outfit, able to recognize Fool’s Gold and find the real stuff where the others see dust.  He’s also the mediator, picking up early on the paranoia and greed that will eventually lead to Dobbs’ ruin. At first Howard’s placating, going along with Dobbs to stave off his growing insanity, but as Dobbs’ mental instability increases, Howard becomes warily assertive, suggesting that stop while they’re ahead, planting suggestions in Dobbs’ head, and eventually convincing the group to pull up stakes and quit while they’re ahead.

When I first came back to the film after seeing it years ago, the character of Howard struck me as a first-rate candidate for a paper on behavioral studies and decision-making. The way he subtly becomes the leader who keeps the group together while consistently downplaying his role to elude confrontation made him the most interesting character for me. Of course, any such study would devalue the film, but it’s worth mentioning.

[Note: I said that I would be covering all three of Huston’s war documentaries in one article, but upon watching Report from the Aleutians (and other personal/professional affairs), I’ve decided to draw them out. I may condense The Battle of San Piedro and Let There Be Light, but we’ll see. And I also have Across the Pacific to get into before Treasure of the Sierra Madre, but as much as I’m looking forward to covering that film, I’m enjoying myself all the same watching these.]

Before I even started considering a retrospective on Huston’s articles, I still wanted to watch all his films—at first the big ones, then go on to the ones that looked interesting, after that, eh, maybe the obscure-but-still-kinda-uh-well-liked ones? Then everything—if I could stand it—beyond. Either way, be it as casual viewer or retrospective writer on assignment, Huston’s WWII propaganda films weren’t something I was particularly looking forward to.

It would be a neat curiosity, since the bulk of Huston’s work was based on novels, and this would be one of the few (perhaps only? I haven’t gotten that far ahead in my research) Huston works not based on existing material. Nevertheless, my first glimpse of Report from the Aleutians (1943)’ first five or so minutes all but confirmed my fears—I figured it’d be dated, being all 70+ years old, WWII-ish, and well, topical really. It dealt with something that happened a long time ago and whose importance would be all but lost on my generation and probably my parents’ as well. And even if you like documentaries, at first glance it looks like not much more than simple propaganda—which really was my greatest fear with all three.

I find propaganda fascinating (if you don’t, check out Disney’s war cartoons—ever wanted to see Donald Duck as a Nazi?), but when I’m watching the film for the sole purpose of better understanding Huston, I just got this image of the US Propaganda Department breathing down his neck and telling him everything he can and can’t talk about—which is to say not the ideal collection of films to give insight to the man.

Is there a film you’ve tried to watch only to have Fate thwart your efforts again and again? Cat Ballou was on that list for me. I had it recorded on my DVR and lost it, and I don’t know how many times I’ve fired it up via Netflix only to be interrupted or decide I needed a movie with a bit more edge to it. But when I took on Western Wednesdays, I resolved I’d conquer Cat Ballou once and for all.

Perhaps all the build-up and fan enthusiasm (It’s been recommended to me so many times) raised my expectations too high, because Cat Ballou didn’t do much for me. It’s such a classic film I feel like the blame lies with me. I have this kind of abusive relationship with older films, you know. If I don’t love it, it’s my fault. I mean, the AFI ranked it as the tenth best western of all time. It has to be me.

I do have to give Cat Ballou credit for its swinging ’60s enthusiasm. Only in the 1960s could you get away with an action-comedy that features a rousing, continuous sing-a-long by Nat King Cole and Stubby Kaye. I like to picture these production meetings. “How about Jane Fonda as a sexy gunslinger — and she leads a gang — and we’ll have this singing Greek chorus highlighting the action — and Lee Marvin will play two roles!” “Whatever! Sure! Go for it!”

Nowadays, studios freak out when Johnny Depp shows up on a pirate set with gold teeth and dreadlocks. But a silver nose for Marvin? Hell, why not! We may enjoy a lot more sex and violence, but our films have become far more bland when it comes to sheer wackiness.

Fans of Fritz Lang’s 1927 silent masterpiece Metropolis will be delighted to hear that a new cut of the film will premiere tomorrow, February 12, at the Brandenburg Gate in Germany. Streaming video will be shown here at 11:40 am PST today.

The new cut includes nearly 30 minutes of restored, never-before-seen footage discovered in 2008 in Buenos Aires. Not long after the discovery, the BBC reported that representatives of the FW Murnau Foundation, rights holders to the film, confirmed that the recovered footage was indeed part of the original film, which was extensively cut for distribution following its premiere.

The excised scenes purportedly explore several characters in greater depth as well as introduce additional plot elements. In an interview last year with Deustche Welle, film restorer Anke Wilkening mentioned that the missing half-hour will “completely change the film as we know it.” Nevertheless several minutes are still missing.

Premiering in 1927, Metropolis was notable for being among the first films to combine contemporary politics issues with science fiction—in addition to creating an astonishing visual atmosphere heavily influenced by German expressionism and Art Deco. Wilkening, among others, cite its impact on latter-day films such as Blade Runner and its character of inventor CA Rotwang as an archetype of the 1930s-cinema’s mad scientist.

Welcome back to Western Wednesdays’ properly scheduled day and time. In honor of its return to normalcy, I’ve chosen the weightiest film I could outside of Unforgiven: John Ford’s The Searchers.

I’ve been anxious to revisit The Searchers. I haven’t seen it in years, and it’s the kind of film that’s referenced so often that it practically buries an individual memory. Am I remembering actual film, or simply George Lucas or Quentin Tarantino’s visual quotation of it? The lines can really blur. So when it popped up on Netflix Instant, I grabbed the chance to watch it again.

This is a fascinating film, though I’m not sure it’s a particularly enjoyable one. It goes without saying that it’s visually stunning — the sunsets, the famous door frame shots, those endless expanses of Monument Valley, a snowbound herd of buffalo. You’ve seen The Searchers even if you’ve never actually sat down and watched it.  Every shot has been imitated a dozen times over, but that doesn’t make them any less stunning.

But I’ve never felt the story was entirely sure of itself.  Is Ford criticizing the treatment of Native Americans and the racist opinions of his characters? Or does the film uphold them by its uneasy worship of John Wayne’s Ethan Edwards, and its laughter over Marty Pawley’s abuse of his “wife”? Is it saying that violence merely begets more violence?