Dead & Buried (1981) [Limited Edition] – DVD|Blu-ray Disc + I Know What You Did Last Summer (1997) [Special Edition] – DVD|Blu-ray Disc

DEAD & BURIED
***/****
DVD – Image B- Sound C+ (Remixes)/B (Mono) Extras A
BD – Image B+ Sound B Extras A-
starring James Farentino, Melody Anderson, Jack Albertson, Lisa Blount
screenplay by Ronald Shusett and Dan O'Bannon
directed by Gary A. Sherman

I KNOW WHAT YOU DID LAST SUMMER
**/****
DVD|BD – Image A- Sound A Extras A-
starring Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe, Freddie Prinze, Jr.
screenplay by Kevin Williamson, based on the novel by Lois Duncan
directed by Jim Gillespie

by Bill Chambers SPOILER WARNING IN EFFECT. Gary A. Sherman's Dead & Buried and Jim Gillespie's I Know What You Did Last Summer, released theatrically fourteen years apart, together demonstrate that the more the horror genre stays the same, the more it changes. Each of these B-movies resorts to similar cheap tricks (first and foremost a coastal setting (the atmospheric equivalent of a non-perishable in horror)) and traffics in pessimism, yet one is genuinely hopeless and the other is trendily nihilistic–karo syrup as late-Nineties fashion accessory. A great gulf stands between the sensibilities of the two pictures that's unearthed by drawing other such subtle distinctions: one is cruel, the other callous; one is about death, the other about killing; one is sexy, the other exploitive; and so on and so forth. Virtually indescribable to modern audiences despite its familiar elements, Dead & Buried is a Darwinian fossil of the horror cinema, whose DNA has been perverted by the progressive commercialization of the culture and weakening of the intellectual position. Simplified: Current scare flicks still sometimes enjoy provocative subtext (like the recent Freddy Vs. Jason); more often, they die on the vine from WB-itis.

The Stendhal Syndrome (1996) [2-Disc Special Edition] – DVD|Blu-ray Disc

La sindrome di Stendhal
**½/****
DVD – Image B Sound C+ Extras B
BD – Image B+ Sound B+ Extras B
starring Asia Argento, Thomas Kretschmann, Marco Leonardi

written and directed by Dario Argento

Stendhalsyndromecap

by Walter Chaw It's hard for me to reconcile the Dario Argento of the Seventies through to 1982's Tenebre with the Dario Argento ever after (at least until what I've heard is a remarkable comeback, the upcoming completion of his Three Mothers trilogy). The inventor almost by himself of two distinct genres of film in Italy (and just the concept of the arthouse slasher in the world), a co-writer of Sergio Leone's Once Upon a Time in the West, and a revolutionizer of horror-movie music became this guy who stopped aping Hitchcock and started aping…Jeunet? Himself? Even with Max Von Sydow in the fold (Non ho sonno), the pictures post-Tenebre are cheap auto-knockoffs devoid of innovation and lacking the amazingly imaginative gore that marked Argento's early gialli, the archetypal resonance of his supernaturals, or the transcendent, sometimes sublime lawlessness of his hybrids (like Suspiria, for instance, still a towering achievement). They're almost to a one these gaudy, derivative, exhausted pieces of shit.

Girl on the Bridge (1999) – DVD

***½/**** Image C+ Sound B
starring Vanessa Paradis, Daniel Auteuil, Frédéric Pfluger, Demetre Georgalas
screenplay by Serge Frydman
directed by Patrice Leconte

by Walter Chaw Patrice Leconte's immaculately-constructed Girl on the Bridge is a lovely, hopelessly romantic little bauble that catches the light no matter how you turn it. The picture stars gamine Vanessa Paradis as Adèle, a suicide girl broken by the lack of a soul mate and a flurry of Parisian bedsheets contemplating a George Bailey-style leap off the edge of a bridge. Her Clarence is Gabor (Daniel Auteuil), a professional knife-thrower who trolls for winsome targets looking to ride the eternity express; and together they paint the world a Fellini shade of red. The similarity is more than cosmetic: in its carnival-of-life (or better, life-as-carnival) atmosphere, the romance that develops between Gabor and Adèle is sublimated into the act of extended, trembling foreplay–lots of knives hurled at naked thighs and only a few nicks here and there to show for it. The act of actual sex is seen as something less than penetrating (Adèle pillow-hops like an adrenalized bunny), but when the pair rushes off to an abandoned train car to be alone, true intimacy only comes once Gabor starts in with the cutlery. Breathless in love like P.T. Anderson's Punch-Drunk Love or Fellini's Nights in Cabiria (which likewise sports a woman of loose morals looking for love in Rome), Girl on the Bridge, Leconte's lightest confection, manages still to convey the director's themes of the mystery of luck as it governs chance meetings and meaningful hits and misses.

La Femme Nikita (1990) + Killing Zoe (1994) – DVDs|La Femme Nikita – Blu-ray Disc

Nikita
***/****
BD – Image A- Sound B+
DVD – Image B Sound A- (English)/B (French)
starring Anne Parillaud, Jean-Hugues Anglade, Tcheky Karyo, Jeanne Moreau
written and directed by Luc Besson

KILLING ZOE
***/**** Image A Sound B
starring Eric Stoltz, Jean-Hugues Anglade, Julie Delpy, Gary Kemp
written and directed by Roger Avary

by Bill Chambers When DVD screeners of La Femme Nikita and Killing Zoe arrived concurrently in my mailbox, I thought I had an angle for a piece: actor Jean-Hugues Anglade, a co-star in both films. I began taking notes, asking myself how they fit into his oeuvre and whether, viewed in tandem, these actioners represent career progression. That’s when I realized: What I know about the work of Jean-Hugues Anglade you could fit on the head of a pin; I’ve only seen him in one other performance, as Zorg in Betty Blue (a.k.a. 37°2 le matin), a movie with obvious but ultimately superficial parallels to La Femme Nikita. So howzabout this for a thematic compromise? Nikita (its native title) and Killing Zoe each take place in France–that’s as good a link between them as Anglade.

The Sixth Sense (1999) [VISTA Series] – DVD|Blu-ray Disc

***½/****
DVD – Image A Sound A Extras A-
BD – Image A Sound A Extras A-
starring Bruce Willis, Toni Collette, Olivia Williams, Haley Joel Osment
written and directed by M. Night Shyamalan

by Bill Chambers There's a feeling of déjà vu at moviehouses this summer: in two different films, a particularly troubled character senses danger of the paranormal kind as the room plummets to freezing temperatures. The difference is that when it happens to Lili Taylor's Nell in The Haunting, it's schadenfreude. The hero of The Sixth Sense, a young boy named Cole, is a more sympathetic creation in a far less shrill enterprise, and we wish nothing more than for the ghosts that haunt him to take a hike.

Can’t Hardly Wait (1998) [10 Year Reunion Edition] – Blu-ray Disc

**½/**** Image B+ Sound B+ Extras B
starring Ethan Embry, Charlie Korsmo, Lauren Ambrose, Jennifer Love Hewitt
written and directed by Deborah Kaplan & Harry Elfont

Canthardlywaitcap

by Bryant Frazer Opportunistic special-edition DVDs are a dime a dozen, so the sudden appearance of a "10 Year Reunion Edition" of Can't Hardly Wait doesn't exactly signal that this insistently lightweight teen comedy is now considered a timeless classic. What it is, instead, is a remarkable time capsule–a look back, as though from decades removed, at what passed for youth culture in 1998. Audaciously staged as a little-more-than-real-time dramatization of a single night's house party, the air humid with that special, pheromone-drenched mist of booze and sweat and young sex and aspirations towards same, Can't Hardly Wait is a reminder of the pop-cultural moment when Brad and Gwyneth were the hot celebrity couple, Jennifer Love Hewitt was an up-and-comer, nobody had ever heard of Selma Blair or Lauren Ambrose, and the likes of Smash Mouth and Eve 6 were planting hit singles on MTV and the radio.

Tim Burton’s The Nightmare Before Christmas (1993) – DVD|[Collector’s Edition] – Blu-ray Disc

***/****
DVD – Image A Sound A
BD – Image A- Sound A+ Extras A-
screenplay by Caroline Thompson, based on a poem by Tim Burton (adaptation by Michael McDowell)
directed by Henry Selick

by Vincent Suarez You know the feeling: too many movies, too little time. You walk down the corridor of your local multiplex, relishing the titles on the marquees and posters, and you know that many will unfortunately have to be seen on home video. If you're lucky, you'll make wise choices, but, occasionally, your home viewing includes that film you regret not seeing theatrically. For me, Tim Burton's The Nightmare Before Christmas (hereafter Nightmare) is one of those films. Having grown weary of Burton's quirkiness after the disappointing Batman Returns, I passed up Nightmare in favour of movies I now cannot recall; what a shame. Fortunately, Touchstone's optical disc presentations of this magnificent film (the previous LaserDiscs and last year's DVD release) provide more than a glimpse of what was surely a wonderful theatrical experience.

I Was a Teenage Strangler (1998) + Vampire Strangler (1999) – DVDs

I WAS A TEENAGE STRANGLER
*/**** Image D Sound D
starring Josh Miller, David Alan Interior, Daisy DeWright, Lil' Erin DeWright
written and directed by The People of Severed Lips

VAMPIRE STRANGLER
*½/**** Image D Sound D Extras C-
starring Misty Mundae, William Hellfire, Ben the Stain
written and directed by William Hellfire

by Ian Pugh Some ten years after the fact, the filmmakers behind the ultra-cheap Factory 2000 brand refer to their super-VHS fetish videos I Was a Teenage Strangler and Vampire Strangler as amateur tributes to Andy Warhol, John Waters, and Dario Argento, though in actuality these are best described as generic paeans to depraved cinema as a whole. Operating in the vein of Gary P. Cohen's do-it-yourself VHS snuff series Video Violence, the F2K crew have a preternatural understanding for how these kinds of movies work and furthermore how they're marketed–and they aren't about to let a complete lack of talent or sophisticated editing equipment discourage them. It's far, far removed from the amateur passion and promise offered by a film like The Equinox …A Journey into the Supernatural, but realize that even pornography shot in scummy basements without the aid of a script can make a bid for cinematic legitimacy and soon you're forced to look at these films with a serious critical eye and maybe a little diseased admiration. Don't misunderstand: they're unforgivably terrible, too often forgetting their own reasoning halfway through. But the circumstances of their genesis should at least count for something.

Twister (1996) – Blu-ray Disc

**/**** Image B+ Sound A Extras C+
starring Helen Hunt, Bill Paxton, Jami Gertz, Cary Elwes
screenplay by Michael Crichton & Anne-Marie Martin
directed by Jan De Bont

by Bill Chambers Jan De Bont’s Twister has a host of problems that mocking its physics–a common pastime among smartasses the summer of its release–doesn’t begin to address, though if the film were even one degree more earnest than it is, moments like the bit where a tornado powerful enough to hoist a tractor leaves two people clinging tenaciously to a wooden support beam under a rickety bridge unscathed would make for prime “MST3K” fodder. (That’s the thing about notorious pedant Michael Crichton, who co-wrote Twister with then-wife Anne-Marie Martin: he figures getting the technobabble right buys him more poetic license than it really does.) For starters, Helen Hunt doesn’t belong in this milieu–and by that I mean the film’s, not that of the blockbuster. (I actually thought she acquitted herself fine in What Women Want and Cast Away.) Blame the contemporary compulsion to spell everything out: The picture saddles her character, Dr. Jo Harding, with a Tragic Past™ so that she’ll have a psychological motivation for chasing twisters, something that is not only completely gratuitous but also forces us to consider her provenance in a way that would never be an issue had the film stuck to the present tense. It’s impossible to imagine the immutably bicoastal Hunt as the Midwest offspring of the rednecks who leave an indelible impression in the opening flashback, and as a result, she wanders through Twister a virtual impostor.

The Devil’s Own (1997) – Blu-ray Disc

**/**** Image A- Sound A
starring Harrison Ford, Brad Pitt, Margaret Colin, Ruben Blades
screenplay by David Aaron Cohen & Vincent Patrick and Kevin Jarre
directed by Alan J. Pakula

by Bill Chambers One of the intriguing consequences of a new home-video medium is that, whether due to a paucity of selection or, in my case, professional obligation, you wind up revisiting some marginal titles you never thought you'd have cause to see again. Case in point: the final film from the mercurial Alan J. Pakula, 1997's The Devil's Own, which docks on Blu-ray as part of Sony's suddenly-aggressive catalogue rollout. The kind of topical widescreen melodrama Hollywood trotted out pretty regularly in the CinemaScope era, as well as the kind of glib commentary on another nation's failures you'd expect from Edward Zwick or Sydney Pollack before Pakula, the picture began life as a typically-contentious Kevin Jarre script about a vicious, coke-snorting IRA terrorist who crosses paths with a "hair-bag"–i.e., a cop still walking the beat long past his prime–while on the lam in New York.

Cops: 20th Anniversary Edition (1988-2007) + Smurfs: Season One, Volume One (1981-1982) – DVDs

COPS: 20TH ANNIVERSARY EDITION
Image B Sound B+ Extras B-
"Cops: 20th Season," "Pilot," "Las Vegas Heat," "First Ten Seasons," "Second Ten Seasons"

THE SMURFS: SEASON ONE, VOLUME ONE
Image B+ Sound B- Extras D
"The Smurf's Apprentice/The Smurfette/Vanity Fare," "King Smurf/The Astrosmurf/Jokey's Medicine," "St. Smurf and the Dragon/Sorcerer Smurf," "The Smurfs and the Howlibird," "The Magical Meanie/Bewitched, Bothered and Besmurfed," "Smurf-Colored Glasses/Dreamy's Nightmare," "Fuzzle Trouble/Soup a la Smurf," "The Hundredth Smurf/Smurphony in 'C'"

by Ian Pugh Kevin Rubio's "COPS"-Star Wars mashup Troops is painfully predictable, but there's a little nugget of profundity in its twist on "COPS"' familiar narration: "Suspects are guilty, period–otherwise, they wouldn't be suspects, would they?" It's the most concise description and criticism of "COPS" one could muster, almost impossible to build on because it so handily defines the tacit agreement the show's producers have with its audience. I mentioned in my review of the parodic "Reno 911!" that Fox's long-running reality show is useless in any political debate about police conduct, and it is–but upon watching several hours' worth of the series in a new "20th Anniversary Edition" DVD set, I became more perturbed by how it attempts to forge an uncrossable distance between you and the suspect. "COPS" always poses itself as something completely external to the viewer: in the interests of entertainment, the vast, vast majority of scenarios involve idiots caught in the act or resisting arrest. You're therefore not only a rubbernecker looking for a visceral thrill–you also come to consider yourself exempt from police scrutiny because you don't break the law and certainly wouldn't do so as blatantly and stupidly as these criminals. It's the equivalent of the moron who has no problem with the government wiretapping his phone because he doesn't believe he does anything to warrant their attention.

Gattaca (1997) – Blu-ray Disc

***½/**** Image A Sound A Extras C+
starring Ethan Hawke, Uma Thurman, Alan Arkin, Jude Law
written and directed by Andrew Niccol

by Walter Chaw No great surprise that the end of our last millennium coincided with a glut of reality-testing, existentially thorny speculative fictions–films that reflected a sudden Ludditism spawned by the looming Y2K disaster, a spate of scary school shootings, and a decade in cinema intent on paving the way for the CG phantasmagorias of the '00s. In ten years, go from the truth-telling, auburn celluloid lasso of sex, lies, and videotape (1989) to the truth-telling digital one of American Beauty (1999), with touchpoints in the appalling, historical-integrity-raping Forrest Gump and Titanic along the way. Of course we're asking ourselves if we've taken the virtuous path through the wood when all looks to be falling down around our ears. The prescience of Blade Runner and The Terminator become clearer, too, as the Eisenhower-era nostalgia fostered by Reagan's time in the White House reaps its harvest in the barely subsumed sex of Pleasantville (1995) and the god in the machine of The Truman Show (1998). Meanwhile, our viability as a species is questioned in solipsistic wonderlands like The Matrix (1999), Dark City (1998), and Michael Almereyda's wonderful Hamlet (2000), wherein noir anti-heroes are transformed into deities of their technology-sick societies. It even explains the black, awesomely unpleasant ending of Spielberg's A.I. and, fascinatingly, why A.I. is now enjoying a critical revision. How terrible is wisdom when it brings no profit to the wise indeed in the key picture of this cycle, The Blair Witch Project; and how brilliantly Kiwi hyphenate Andrew Niccol's Gattaca (1997) manages to craft as timely a picture as there could be about our regret and loathing of our wet-nurse technology, in addition to our dawning recognition, too late, that the birds have come home to roost.

The Butcher Boy (1998) + The Brave One (2007) – DVDs

THE BUTCHER BOY
****/**** Image A Sound A- Extras B-
starring Stephen Rea, Fiona Shaw, Eammon Owens, Alan Boyle
screenplay by Neil Jordan and Patrick McCabe, based on the novel by McCabe
directed by Neil Jordan

THE BRAVE ONE
***½/**** Image B- Sound B Extras C+
starring Jodie Foster, Terrence Howard, Naveen Andrews, Nicky Katt
screenplay by Roderick Taylor & Bruce A. Taylor and Cynthia Mort
directed by Neil Jordan

Butcherboycap

Mustown

THE BUTCHER BOY

by Walter Chaw Opening with a series of panels from Golden Age comics produced circa the era in which the film is set (i.e., 1962), The Butcher Boy identifies Neil Jordan as a director with a secret yen for superhero fantasies. It certainly jibes with the filmmaker's affection for protagonists who, for whatever reason, live in private worlds, in fairytale dreamscapes populated by emblems of good and emissaries of evil–worlds where the most colourful places are the interiors of churches, where the characters' fears and failings alike are assets. Jordan's films are unfailingly about transformation (though sometimes they're about the failure to transform adequately, or quickly enough) and heavy with the illness of existential introspection–the Judas strain with which the modern superhero pantheon is sick. His heroes are rendered simple by their duality, confronted by the idea that for as hollow as it is to change to fit the demands of a particular time and place, it's equally useless to try to stay the same as the world falls down. Jordan makes the movies Terry Gilliam never quite made until Tideland; far from the compassionate fare many label it, his oeuvre is comprised of harsh little ditties about the voraciousness of the social organism and the bites it takes out of individuals living perpendicular to the absolute mean. For me, all of his films, from The Crying Game to Mona Lisa, from The End of the Affair to Interview with the Vampire, are pointedly concerned with the futility of compensatory measures in the lives of deviants.

Crimson Tide (1995) [Unrated Extended Edition] + Enemy of the State (1998) [Special Edition] – DVDs|Crimson Tide – Blu-ray Disc

CRIMSON TIDE
***/****
DVD – Image A Sound A- Extras B+
BD – Image A Sound A Extras B-
starring Denzel Washington, Gene Hackman, George Dzundza, Viggo Mortensen
screenplay by Michael Schiffer
directed by Tony Scott

ENEMY OF THE STATE
**½/**** Image A Sound A- Extras B+
starring Will Smith, Gene Hackman, Jon Voight, Regina King
screenplay by David Marconi
directed by Tony Scott

Tonyscottcrimsoncapby Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. I had expected, on receipt of this pair of Tony Scott sagas, to be discussing a formally advanced director with nothing much going on upstairs. But the films' unfolding induced a melancholy sort of nostalgia I hoped I'd never live to feel, for Crimson Tide and Enemy of the State are Clinton-era end-of-history numbers that speak to a time of stasis, when it was believed that you had to trump up a crisis in order to have a movie. Their subtexts of total disbelief–that we'd ever be in war mode (Crimson Tide), that we'd ever have to worry about government surveillance (Enemy of the State)–seem whimsically complacent now that both premises have proved to be vaguely prescient and not much fun at all. And though the '90s were economically stagnant and loathed by most who lived through them, I can now sadly envision some American Graffiti clone in which this was the last thing glimpsed before everything fell apart.

The Assassination of Jesse James (2007) + Johnny Suede (1991) – DVDs

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
****/**** Image A Sound A
starring Brad Pitt, Casey Affleck, Sam Shepard, Sam Rockwell
screenplay by Andrew Dominik, based on the novel by Ron Hansen
directed by Andrew Dominik

Mustownby Walter Chaw Kiwi director Andrew Dominick's heroically pretentious The Assassination of Jesse James by the Coward Robert Ford (hereafter Jesse James) is a deflated anti-western in the tradition of Peter Fonda's The Hired Hand and Terrence Malick's Badlands. Broadly, it's a magnification of the Nixonian malaise that infected the early-Seventies, its suggestion that things aren't much worse now than they were then complicated by three decades of cynicism. As a piece, it's almost completely sapped of energy, though it isn't deadpan like Jarmusch's Dead Man. No, think of it as more of a dirge: not ironic, but post-modern; not a death march, but mournful. It's how J. Hoberman once (derisively) described Body Heat, a "remake without an original"–Pat Garrett and Billy the Kid corrupted by McCabe and Mrs. Miller, the whole of it shot through with an autumnal soft focus that looks exactly like the reunion sequence that pushes the third act of Bonnie and Clyde. It vaguely resembles an insect caught in an amber sepulchre. Yet despite its obvious pedigree, it is all of itself, infused with the spirit of the now, suffused with author Ron Hansen's transcendental prettiness (the film is based on his novel), and, as framed by DP Roger Deakins's painterly eye, overwhelmingly beautiful. Deakins is given the keys to the kingdom here and every moment of Jesse James looks like mythology pulled through a cinematic loom, often leaving the edges of the frame lanolin-indistinct as they trail off into history. I hadn't thought it possible to see our current crises of faith cast as romantic, but there it is.

The Adventures of Young Indiana Jones: Volume One (1992-1993/1996-1999) – DVD

Image B Sound B Extras B
"My First Adventure," "Passion for Life," "The Perils of Cupid," "Travels with Father," "Journeys of Radiance," "Spring Break Adventure," "Love's Sweet Song"

by Ian Pugh It's important to understand that Indiana Jones didn't make history cool, but even more important to understand that history didn't make Indy cool, either. "The Adventures of Young Indiana Jones" (formerly known as "The Young Indiana Jones Chronicles" and henceforth "Young Indy") purports to portray the daring archaeologist's early years as he travels around the world with his father (Lloyd Owen), meeting famous figures and going to great pains to teach the young'ns in the audience a thing or two about the artists and revolutionaries of the early twentieth century. Because the attempt to educate binds itself to a down-to-earth approach, the series completely ignores the fact that Indy's franchise appeal lies in a careful collision of the mundane and the fantastic, of reality and fantasy. It's one thing to demythologize the romantic violence often attributed to the Old West but quite another to try to demythologize something so immersed in theology and the supernatural that to abandon them is to lose something inextricably vital to the concept. Imagine if Raiders of the Lost Ark had ended with the Ark of the Covenant revealed to be an ornate box full of dust, sans the wrath of God, and you'll understand the basic problems that plague "Young Indy".

Swamp Thing: The Series (1990-1991) – DVD

Image B- Sound B Extras C
"The Emerald Heart," "Falco," "Treasure," "From Beyond the Grave," "Blood Wind," "Grotesquery," "New Acqaintance," "Natural Enemy," "Spirit of the Swamp," "Legend of the Swamp Maiden," "The Death of Dr. Arcane," "The Living Image," "The Shipment," "Birthmarks," "The Dark Side of the Mirror," "Silent Screams," "Walk a Mile in My Shoots," "The Watchers," "The Hunt," "Touch of Death," "Tremors of the Heart," "The Prometheus Parabola"

by Ian Pugh In many ways the anti-Darkman, Wes Craven's Swamp Thing also saw a comic-book scientist irrevocably transformed into a monster at the hands of hoodlum saboteurs. Alas, unlike Sam Raimi with his masterpiece, Craven is unable to strike a balance between seriousness and silliness, falling too far in the latter direction before the picture finally collapses under its own snarky weight. It is, however, the film that enlightened me as to why B-movie anti-appreciation is such a worthless endeavour, since Swamp Thing never bothers to pretend that it's anything more than a couple of dudes in rubber suits wailing on each other. When you're making a movie in the "MST3K" mindset, as Craven appears to be, you don't really have a movie in mind, per se–you're just positioning actors as they recite lines from a script.

Con Air (1997) [Unrated Extended Edition] – DVD|Blu-ray Disc

***½/****
DVD – Image A- Sound A-
BD – Image C+ Sound A- Extras D+
starring Nicolas Cage, John Cusack, John Malkovich, Steve Buscemi
screenplay by Scott Rosenberg
directed by Simon West

Conaircapby Alex Jackson The plot is simplicity itself: Cameron Poe (Nicolas Cage) has just completed his training as an Army Ranger; he goes to a local bar to celebrate with his pregnant wife (Monica Potter), gets assaulted by some thugs, kills one in the ensuing fight, and is convicted of manslaughter. Eight years later, his sentence is up and he hitches a prison flight that happens to be transferring a number of the country's most dangerous and renowned criminals, including Cyrus "the Virus" Grissom (John Malkovich), a brilliant psychopath who murders people just because he can; Nathan "Diamond Dog" Jones (Ving Rhames), a black militant who wrote a book in prison that is now being made into a feature film with Denzel in talks for the lead; William "Billy Bedlam" Bedford (Nick Chinlund), who slayed his wife's parents, brothers, and dog when he discovered the missus in bed with another man; and Johnny 23 (Danny Trejo), a serial rapist with 23 heart tattoos on his arm. ("One for each of my bitches," he explains.) Cyrus leads a revolt on the plane, killing or capturing all of the guards and hijacking the flight. But like Alan Rickman in Die Hard, Tommy Lee Jones in Under Siege, or Powers Boothe in Sudden Death, he has no idea that one of the hostages he's holding is a classically-trained ass-kicker!

Dr. Giggles (1992) [Twisted Terror Collection] – DVD

***½/**** Image B Sound B
starring Larry Drake, Holly Marie Combs, Cliff De Young, Glenn Quinn
screenplay by Manny Coto and Graeme Whifler
directed by Manny Coto

by Alex Jackson SPOILER WARNING IN EFFECT. I have a sentimental attachment to Manny Coto’s Dr. Giggles. This was the movie I saw the night I lost my virginity–October 22, 2000. (I kept the receipt from the video store.) That was my third viewing of the film, the first being when I was 10. My mother rented it and we watched it with her boyfriend Johnny, who had already seen it on cable and called it “kind of a B-movie.” I loved Dr. Giggles so much I showed it to my dad later that summer. Afterwards, I remember him chanting the “Dr. Giggles” nursery rhyme in jest.

Face/Off (1997) [2-Disc Special Collector’s Edition] – DVD

***½/**** Image A Sound A Extras B
starring John Travolta, Nicolas Cage, Joan Allen, Gina Gershon
screenplay by Mike Webb & Michael Colleary
directed by John Woo

by Walter Chaw Arriving right smack dab in the latter half of a decade in American cinema that saw digital “reality” supplant filmic “reality” (and appearing the same year as James Cameron’s Forrest Gump: Titanic), Hong Kong legend John Woo’s high-camp Face/Off directly (and presciently) addresses issues of identity theft, terrorism, and the digital corruption of reality and indirectly addresses Woo’s émigré influence on the modern action film. It’s a key picture in a ten-year cycle obsessed with mercurial personality shifts–with sliding effortlessly in and out of various personae according to expediency and whim. (Michael Tolkin’s awesome Deep Cover being the pinnacle of this trend.) Gauge the state of the nation from its most democratic entertainment; for his part, Woo–struggling to translate the heroic bloodshed of his HK work for western audiences and revealing himself in the process to be a starfucker with questionable taste in Hollywood stars (Christian Slater? John Travolta? Nicolas Cage? Seriously?)–went the self-parodic route with Face/Off (is that Joe Bob Briggs as a lobotomizer in a futuristic supermax, by gum?), wisely un-harnessing Cage’s and Travolta’s intimidating inner hams in turn to roam free-range through the picture’s exuberantly ridiculous tableaux.