The Final Terror (1983) – Blu-ray + DVD Combo Pack

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*/**** Image B+ Sound B- Extras B+
starring John Friedrich, Rachel Ward, Adrian Zmed, Mark Metcalf
screenplay by Jon George & Neill Hicks and Ronald Shusett
directed by Andrew Davis

by Bryant Frazer Of all the lousy, Z-list horror films that flooded American multiplexes in the wake of the success of Friday the 13th, The Final Terror may have the most incongruously A-list IMDb profile page, which explains its failure to languish in well-deserved obscurity. It is exemplary of the 1980s horror boom as opportunistic folly–horror movies were being made by people who had no interest in making horror movies, simply because that’s where the easy money was. Horror buffs know this, but still, how can any self-respecting 21st-century genre cultist resist the siren call of a little-known slasher starring Rachel Ward, Daryl Hannah, Mark Metcalf, Adrian Zmed, and Joe Pantoliano and directed by Andrew Davis?

Deadly Eyes (1982) – Blu-ray + DVD Combo Pack

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Night Eyes
**/**** Image B+ Sound B- Extras B+
starring Sam Groom, Sara Botsford, Lisa Langlois, Scatman Crothers
screenplay by Charles Eglee, based on a screenplay by Lonon Smith and the novel The Rats by James Herbert
directed by Robert Clouse

by Bryant Frazer There's really only one thing you need to know about Deadly Eyes, and I'm going to tell you right here in the lede. Deadly Eyes is a film in which hordes of giant killer rats terrorizing downtown Toronto are played by dachshunds wearing rat costumes. That's it. A monster movie is only as good as its monster, and this monster is wiener dogs in drag. If you don't find that off-putting–perhaps you raised your eyebrows, gasped in delight, and leaned in a little closer to your computer screen upon reading those words–then it's quite possible Deadly Eyes is the terrible horror movie you've been waiting for.

Herzog: The Collection [Blu-ray Disc] – Even Dwarfs Started Small (1971)

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Auch Zwerge haben klein angefangen
***½/****
DVD – Image A Sound B+ Commentary A
BD – Image A- Sound B+ Commentary A
starring Helmut Döring, Gerd Gickel, Paul Glauer, Erna Gschwendtner
written and directed by Werner Herzog

by Walter Chaw Even Dwarfs Started Small opens with a disquieting montage featuring a young girl rending live birds with her teeth that also culminates in the image of a chicken eating another chicken (shades of Magritte's 1927 painting "Pleasure"). Both actions speak to a sort of insensate savagery, the divorce between the Freudian Id and Ego so favoured by the surrealists–and in setting the film in a fictitious place populated entirely by the little people of the title, it touches on the surrealist belief that non-Western civilizations were closer to an undifferentiated nature. The story proper concerns the uprising of a "Prisoner"-like colony against an ineffectual, Kafkaesque godhead (Pepi Hermine) and the Institution he represents. Rebelling against the imprisonment of leader Pepe (Gerd Gickel, tied to a chair throughout), the rebels devolve from a semi-organized protest into bedlam, crucifying monkeys, organizing cockfights, and, in one of the most hopeless conclusions in film, watching as rebel leader Hombre (Helmut Döring) laughs until he chokes at the sight of a defecating camel.

Transcendence (2014) – Blu-ray + DVD + Digital HD

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**/**** Image B Sound A Extras D
starring Johnny Depp, Rebecca Hall, Paul Bettany, Morgan Freeman
screenplay by Jack Paglen
directed by Wally Pfister

by Angelo Muredda If his name wasn't already plastered over the ads for the nerd bona fides the studio hopes it will signal, you'd still know that Transcendence was the work of Wally Pfister from an inimitably-portentous opening shot featuring the long, steady fall of a raindrop: as meaningless a totem as Inception's ever-spinning (or is it wobbling?) top. Having lensed all but one of Christopher Nolan's joyless epics, including that "Twilight Zone" episode told with Miltonic gravitas, Pfister has at last graduated to making his own Nolan film about serious men making serious moral choices in the name of serious ideas–here, sending the first human consciousness up into the cloud to fuse with an artificially-intelligent program, the better to meddle in the affairs of mortals. The Pfister-Nolan collaboration was a fruitful one, the equivalent of a hammer repeatedly meeting its companion gong, but watching the alternately soapy and chilly Transcendence, one can't help but feel the cinematographer-turned-director would have been better served by a more conspicuous departure, a project that better indulged his more melodramatic instincts.

Ace in the Hole (1951) [The Criterion Collection] – Dual-Format Edition

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****/**** Image A- Sound B Extras A-
starring Kirk Douglas, Jan Sterling, Bob Arthur, Porter Hall
screenplay by Billy Wilder, Lesser Samuels, Walter Newman
directed by Billy Wilder

by Walter Chaw Ace in the Hole is full of bees. It’s the most scabrous, uncompromised work from Billy Wilder, who never made a movie that wasn’t kind of an asshole; and never made a movie that didn’t reflect the essential nihilism of his worldview. He’s a fascinating figure, Wilder–a director of obvious genius who has defied easy auteur classification not because he didn’t have his distinguishing characteristics (the outsider hero yearning for assimilation, for instance), but because his films are only queasily liked and then only at arm’s length. His stuff is poisonous. There’s a sense that reviewing him is like trying to dissect a facehugger: if you poke too insistently, you’ll release acid. You can point to Some Like it Hot as an exception, but I would respond that that film is about a notorious gangland massacre, repressed homosexuality, rape (kind of), chiselling, and the difficulties embedded in gender expectation and objectification. Wilder’s treatment of Marilyn Monroe there and in the earlier The Seven-Year Itch, and his later comments about Marilyn’s stupidity, her breasts, and his venal rationale for working with her twice, all feeds into the read that Ace in the Hole is close to autobiography. A curmudgeon with wit is an asshole by any other name. What would Wilder have done with his dream project, Schindler’s List? Like Ace in the Hole, I imagine it would have been more about a world that would endorse such atrocity than about the atrocity itself.

300: Rise of an Empire (2014) – Blu-ray + DVD + Digital HD

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***/**** Image A+ Sound A+ Extras A
starring Sullivan Stapleton, Eva Green, Lena Headey, Rodrigo Santoro
screenplay by Zack Snyder & Kurt Johnstad
directed by Noam Murro

by Walter Chaw If Kenji Misumi made gladiator movies instead of the legendarily violent, indisputably awesome Lone Wolf and Cub series, they'd probably have played a lot like Noam Murro's ludicrous but committed 300: Rise of an Empire (hereafter 300 II). Pornographically (in the best way) violent and generous with Eva Green's ample, and horrifyingly-intense, charms, it tells a parallel story to Zack Snyder's gay porn-meets-military-recruitment video 300–a naval (and navel–ha!, priceless) intrigue involving Greek general Themistocles (Sullivan Stapleton) fending off Persian commander Artemisia (Green) in a sea of sometimes-literal blood. The film is completely unapologetic in its hard-R excess, counting among its atrocities child-rape and sexual slavery in the baddie's backstory with more squarely-clenched jaws than a Dick Tracy convention. It's a testosterone-sloppy cock-opera, of course, lending its countless skewerings the musky weight of sadomasochistic homoeroticism, but by sprinkling in Green's bonzer performance and, late in the game, Lena Headey's grief-stricken Queen Gorgo, 300 II suddenly becomes this rape-revenge/avenging-angel exploitation slasher. It's good, in other words. In a weak moment, I might admit it's even better than that.

Noah (2014) – Blu-ray + DVD + Digital HD

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***/**** Image A+ Sound A+ Extras A-
starring Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins
screenplay by Darren Aronofsky & Ari Handel
directed by Darren Aronofsky

by Walter Chaw Unapologetic, curious, atavistic in its single-mindedness and simplicity, Darren Aronofsky’s Noah is more impactful in the rearview than in the moment. It’s got a hell of a wake. The film is beautiful to look at, it almost goes without saying–as grand and ambitious as its ideas, with one sequence depicting what appears to be the case for intelligent design. It’s truly audacious. In many ways the movie The Fountain wanted to be in terms of scale (and featuring another Clint Mansell score that sounds every bit like a continuation of themes), Noah is a deeply insane interpretation of one of the Bible’s briefest (essentially Genesis 5:32-10:1), most contentious, most instantly-relatable and hence most-beloved of all Old Testament stories. I can only speculate what the Christian response will be (somewhere between mine and Glenn Beck’s assignation of it as the “Babylonian Chainsaw Massacre” is my guess), but for an atheist who counts many strong Christians among his friends, this interpretation is full of the menace and wonder that scripture must hold for the devout. It’s a stirring creation mythology in that it makes no bones about the interference in the affairs of men by a vengeful God. Likewise, it makes no apologies for the atrocities it represents in its visions of suffering and sin. (I can only imagine what Aronofsky’s Sodom would look like.) Noah even finds time for a dialogue about religious fundamentalism and what happens when absolute faith becomes rationale for atrocity. It’s a story about the annihilation of 99.9% of human life on the planet that’s ultimately about the value of compassion, and it’s a critical read of divine texts that skew in that direction. After a series of films attempting to explain the ways of the divine to the mundane, here’s hoping for an Aronofsky adaptation at last of “Paradise Lost”: a most comfortable marriage of material and artist.

Winter’s Tale (2014) – Blu-ray + DVD + Digital HD

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*/**** Image B+ Sound A Extras D+
starring Colin Farrell, Jessica Brown Findlay, Jennifer Connelly, Russell Crowe
screenplay by Akiva Goldsman, based on the novel by Mark Helprin
directed by Akiva Goldsman

by Walter Chaw Cloud Atlas for the early buffet crowd, Akiva Goldsman’s unsurprisingly dreadful Winter’s Tale hits every single number in the legendary shipwreck lotto, vacillating wildly between unwatchable dreck and oddly-compelling unwatchable dreck. That it’s badly-written is no shocker, given that it’s Goldsman; the treat this time is that the awful script is matched by a horrific first-time director (Goldsman, too) whose dream it was to adapt an essentially unadaptable magic-realist novel by Mark Helprin that offers the again not-shocking glad-handing Carlos Castenada philosophy of healing light and Manifest Destiny. Just like Cloud Atlas, it’s killed most any desire I may have held to read the source material (which I’m sure is a pity), but unlike Cloud Atlas it resists employing yellowface to make its point. That’s an improvement. Not an improvement is casting Will Smith as a monologue-delivering Lucifer–yes, that Lucifer; Eva Marie Saint as a 110-year-old woman; and young Jessica Brown Findlay, a casualty of “Downton Abbey”, who boasts the sucking void of the vacuous and the genuinely uncharismatic. To be fair, she doesn’t get a lot to work with.

Final Exam (1981) – Blu-ray Disc

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*½**** Image B- Sound B- Extras C
starring Cecile Bagdadi, Joel Rice, Ralph Brown, DeAnna Robbins
written and directed by Jimmy Huston

by Bryant Frazer Beware the toothless horror film–it’s no fun being gummed to death. That’s how you feel, more or less, by the climax of Final Exam, a low-budget Halloween knock-off crossed with a dopey frat-boy comedy. Written and directed by Jimmy Huston, who had made a series of southern-fried features for the drive-in circuit with North Carolina-based actor-producer Earl Owensby, Final Exam is a vintage programmer about a handful of students on a mostly-deserted college campus and a serial killer slicing his way through them, essentially at random.

Assassins/Cobra/The Specialist [Triple Feature] – Blu-ray Disc

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COBRA (1986)
*/**** Image C+ Sound C Extras D
starring Sylvester Stallone, Brigitte Nielsen, Reni Santoni, Andrew Robinson
screenplay by Sylvester Stallone, based on the novel Fair Game by Paula Gosling
directed by George P. Cosmatos

THE SPECIALIST (1994)
*/**** Image B+ Sound B+
starring Sylvester Stallone, Sharon Stone, James Woods, Eric Roberts
screenplay by Alexandra Seros
directed by Luis Llosa

ASSASSINS (1995)
*½/**** Image A- Sound B
starring Sylvester Stallone, Antonio Banderas, Julianne Moore, Anatoly Davydov
screenplay by Andy Wachowski & Larry Wachowski and Brian Helgeland
directed by Richard Donner

by Walter Chaw As easy as it is to dismiss Sylvester Stallone as your everyday, run-of-the-mill swinging dick, another in the pantheon of Eighties-into-Nineties box-office meatsticks assembled anew by Sly in his Expendables franchise, it becomes clear in retrospect that Stallone has his finger on the pulse of the zeitgeist in his most personal projects, if not always in his contract jobs. Although an obvious and atrocious failure whose Stallone-authored screenplay, the end-product of a series of rewrites Stallone took it upon himself to inflict on Beverly Hills Cop, Cobra manages still to deliver a few smart genre mash-up moments, a few topical reflections of late-'80s crime-wave paranoia. Sandwiched in there right between his second and third Rambo films and fourth and fifth Rockys, Cobra is the kind of vanity piece that appears now and again in Stallone's repertoire to distract attention away from all the other stuff that only looks like a vanity project. Stallone is sneaky in a very particular way. As a sociologist, intentional or not, he is absolutely brilliant, and just on the strength of his Rocky and Rambo pictures, he's managed as good a diary of the fears and hopes of the last twenty years as any other body of work from any other single artist. He's the Bruce Springsteen of popular cinema. Bruce produced a lot of crap, too.

True Detective (2014) – Blu-ray + Digital HD

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Image A Sound A+ Extras B-
“The Long Bright Dark,” “Seeing Things,” “The Locked Room,” “Who Goes There,” The Secret Fate of All Life,” “Haunted Houses,” “After You’ve Gone,” “Form and Void”

by Jefferson Robbins SPOILER WARNING IN EFFECT. On the original 2003 recording of The Handsome Family‘s “Far from Any Road,” husband-and-wife duo Brett and Rennie Sparks intertwine their voices sinuously, trading the song’s lonesome-death verses on equal footing. Her part pared down for the mesmeric opening credits of HBO’s “True Detective”, Rennie’s whisper becomes a sudden intrusion, jarring both the lyrical and visual narrative. It’s a hint of what’s to come in the eight-episode series itself. When a woman character exerts an active pull upon the story of tormented Louisiana State Police detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey), it’s an interruption, a vitriolic hiccup. Prompted by Marty’s stalking and volcanic abuse, his much younger mistress Lisa (Alexandra Daddario) reveals his serial infidelity to his wife Maggie (Michelle Monaghan). To poison Marty for his adulteries, Maggie seduces a drunken Cohle. The two cops have no female peers, only suspects, victims, bereaved mothers, hookers, and strippers to be interrogated, rescued, or ignored.

Sleepaway Camp (1983) [Collector’s Edition] – Blu-ray + DVD Combo Pack

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**½/**** Image A- Sound A- Extras B+
starring Mike Kellin, Katherine Kamhi, Paul DeAngelo, Jonathan Tiersten
written and directed by Robert Hiltzik

by Bryant Frazer Ah, summer camp. Softball games, capture the flag, night-swimming, and life-changing boating accidents. Not to mention killer bees, child molesters, maniacs in the shower, and one kid with a whole lot of baggage, if you know what I mean. Sleepaway Camp is a slasher movie, and it depicts lakeside Camp Arawak as a pressure cooker of hormones and teenage flop sweat. Into this fetid milieu step Ricky and Angela, teenaged cousins united by tragedy: a boating accident that killed Angela’s parents and sibling some years earlier. Ricky (Jonathan Tiersten) might be a little awkward, but he just wants to fit in; Angela (Felissa Rose), meanwhile, seems downright disturbed, spending much of her time dead silent, staring down her fellow campers with a mournful, almost accusatory glare. Before long, some of those campers start dropping dead as surely as the flies that coat the glue strips dangling in Arawak’s kitchen. There’s a soup incident, a shower incident, and an incident involving a toilet stall and angry bees. There’s a bit of business with a curling iron that’s probably inappropriate in a movie starring underage actors. The slasher’s hands appear on screen, but do they belong to unhappy Angela? Overprotective Ricky? Or someone else entirely?

The Lego Movie (2014) – Blu-ray + DVD + Digital HD

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**½/**** Image A+ Sound A+ Extras C+
screenplay by Phil Lord & Christopher Miller
directed by Phil Lord & Christopher Miller

by Bill Chambers SPOILER WARNING IN EFFECT. Emmet is the platonic Everyman who becomes embroiled in adventure and intrigue after stumbling on a fabled MacGuffin called the Piece of Resistance. It's Hitchcock with a dash of Star Wars or The Matrix, or maybe vice-versa, as Emmet is designated "the Special" (a.k.a., the Chosen One), the saviour who will lead a band of rebel misfits to victory against the nefarious Lord Business. Oh, and Emmet's a little Lego dude with the voice of Chris Pratt. His predicament takes him on a globe-trotting journey through Legoland (not the theme park but a realm where Lego characters bloom to life à la Toy Story), not quite north by northwest but with a pit stop in the Wild West, where he picks up a wizardly black mentor named Vitruvius (Morgan Freeman–one wants to type "natch"). Lacking obvious talent and vision, Emmet is doubted and doubts himself but eventually rallies the troops and, when Lord Business finally unleashes his liquid freeze-ray known as the Kragle, voluntarily sacrifices himself for the greater good. It helps that he's desperate to impress the sultry, resourceful Wyldstyle (Elizabeth Banks), who considers Emmet hopelessly uncool–especially compared to her boyfriend, Batman (Will Arnett).

Evilspeak (1982) – Blu-ray Disc

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**/**** Image B Sound B Extras B
starring Clint Howard, R.G. Armstrong, Joseph Cortese, Claude Earl Jones
screenplay by Joseph Garofalo and Eric Weston
directed by Eric Weston

by Bryant Frazer Consider the pig. Pork is damned near a gourmet food these days. Celebrity chefs will serve you layers of pork belly wrapped around potatoes, figs, even pineapple. They'll dip bacon in chocolate, infuse it in vodka, or drape it across an ice-cream sundae, resplendent in its brown glory. Your local organic market probably sells artisanal bacon cured with dark, fine-grained muscovado imported from Mauritius and flavoured with angel farts and faerie dust. The recent cinema has also celebrated the pig, via two excellent Babe movies and a decent adaptation of Charlotte's Web. It wasn't always that way, though. No less an authority than God Himself went Old Testament on pork back in the day, and it took the famous and completely disingenuous "Pork: The Other White Meat" campaign to rehabilitate swine for the U.S. market. What I mean to say is that the 1982 horror movie Evilspeak, in which a trio of crazed, Satan-possessed porkers burst into a bathroom and disembowel a nude woman taking a shower, couldn't have done the humble pig's reputation any favours.

True Blood: The Complete Sixth Season (2013) – Blu-ray with Digital Copy

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Image A- Sound A Extras B-
"Who Are You, Really?," "The Sun," "You're No Good," "At Last," "**** the Pain Away," "Don't You Feel Me," "In the Evening," "Dead Meat," "Life Matters," "Radioactive"

by Bill Chambers SPOILER WARNING IN EFFECT. The penultimate season of "True Blood" was fraught with behind-the-scenes turmoil. Creator-showrunner Alan Ball had departed the series and his replacement, Ball's old "Cybill" cohort Mark Hudis, was himself replaced partway through the season by long-time "True Blood" scribe Brian Buckner. (Ball has a history of tapping out after five seasons and being notoriously difficult to replace–"Six Feet Under" ended when it did because he couldn't convince anyone to take over.) Whether this directly contributed to an abrupt plot development that effectively cleaves the season in two, the truth is that "True Blood" weathers these personnel changes invisibly enough as to affirm it is either on autopilot by now or, to be less generous, was already something of a runaway train that had only ornamental use for a conductor. Whatever the case, the show's sixth year represents a marginal rebound–though at this point in my "True Blood" journey, I'm just a masochist ranking the instruments of torture.

Non-Stop (2014) – Blu-ray + DVD + Digital HD

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½*/**** Image A Sound A Extras D
starring Liam Neeson, Julianne Moore, Scoot McNairy, Anson Mount
screenplay by John W. Richardson & Chris Roach and Ryan Engle
directed by Jaume Collet-Serra

by Walter Chaw Furthering the all-signs-point-to-yes idea that the greatest threat to national security is an ill-informed white guy with a grudge of some kind, Jaume Collet-Serra’s execrable Non-Stop is the latest stop on the Liam Neeson winsome-badass tour. In this one, he plays alcoholic air marshal Bill Marks, grieving the death of his daughter and about to get one last chance to make right with the universe. At this point, it’s fair to ask if Neeson is exploiting the tragic loss of wife Natasha Richardson for added gravitas in shit like this or genuinely drawn to these roles from an insensate expression of pain. Whatever the case, as this is not much different in feel and quality from his soon-to-be-completed Taken trilogy, it might be time for him to find a different agent. Lucky for Bill, sharing the fateful flight essayed in the film is an adorable moppet he can pretend is a version of his daughter and save from death, as well as a middle-aged but exactly-attractive-enough woman, Jen (Julianne Moore), he can pretend is the mother of his dead kid and quasi fall in love with. It’s all so gratifyingly tidy.

Breaking the Waves (1996) [The Criterion Collection] – Dual-Format Edition

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****/**** Image A Sound A Extras A-
starring Emily Watson, Stellan Skarsgård, Katrin Cartlidge, Udo Kier
screenplay by Lars von Trier and David Pirie & Peter Asmussen
directed by Lars von Trier

by Bryant Frazer Breaking the Waves can make you queasy from its opening moments, when director Lars von Trier’s name appears with the title superimposed over it, the title card swaying gently on screen as if it were photographed at sea. The effect is less subtle on home video than it is on a big screen, where you’re not as aware of the edges of the frame, but the message is the same: suddenly, you’re adrift, unmoored, alone.

Like Someone in Love (2012) [The Criterion Collection] – Dual-Format Edition

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***½/**** Image A+ Sound A Extras B+
starring Rin Takanashi, Tadashi Okuno, Rio Kase, Denden
written and directed by Abbas Kiarostami

by Angelo Muredda Few filmmakers know how to put you on your guard from the first frame as effectively as Abbas Kiarostami. It's clear enough that Like Someone in Love opens in a bar in Tokyo, but it's harder to say at first what we're looking at and why. The closest voice we hear belongs to the off-camera Akiko (Rin Takanashi), a young woman who's a little too preoccupied with lying her way out of a hostile phone conversation to process the flat image of well-dressed young revellers in front of her. Whether she's our lead takes a couple of false tries to figure out. Our first candidate is a redhead around her age, sitting at a table off to the side until she suddenly relocates to an empty seat in the foreground, coaching Akiko through the rest of her call until she relinquishes her spot moments later to a fortysomething man who speaks to both women with first the familiarity of a parent, then the condescension of a high-end pimp directing his employees. Somewhere in-between these encounters, we briefly lose track of who's even doing the looking. Akiko waltzes into our field of vision on the way to the bathroom, the camera fixed at where her eyeline used to be after she's vacated her seat, as if holding her place until she gets back.

Death Wish (1973) – Blu-ray Disc + Stone Cold (1991) – DVD

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DEATH WISH
***½/**** Image A Sound A
starring Charles Bronson, Vincent Gardenia, William Redfield, Hope Lange
screenplay by Wendell Mayes, based on the novel by Brian Garfield
directed by Michael Winner

STONE COLD
**/**** Image C+ Sound B-
starring Brian Bosworth, Lance Henriksen, William Forsythe, Sam McMurray
screenplay by Walter Doniger
directed by Craig R. Baxley

by Jefferson Robbins The urban vigilante is one of cinema's most potent, enduring figures, and it's worth asking how he got there. Michael Winner's influential but derided Death Wish drafts an explicit genealogy for its cosmopolitan avenger, granting him claim to the mantle of the lone lawman of the Old West. Bereaved through violence, Manhattan architect Paul Kersey (Charles Bronson) takes an assignment revising a valuable development plan near Tucson. There he pauses to watch a cowboy shootout re-enacted for tourists, the bad guys toppling until the besieged sheriff is the sole, righteous survivor. It's a cheap, thrilling, thoroughly Hollywood portrayal of frontier justice, and it represents an ethos Paul's host Jainchill (Stuart Margolin) urges him to carry in his heart back to New York, where unlicensed firearm possession has been illegal since 1911. This tension isn't original to Wendell Mayes's relatively terse screenplay–it originates in Brian Garfield's 1972 source novel, published after the author spent a decade cranking out pulp western yarns. But Death Wish uses this element to make its own statement, grafting the mediated concept of frontier self-justification onto an urban morality play. The western may be dead, and it may have been a lie to begin with (and it may be the cinema of the '70s that killed it), but Death Wish is among the genre's inheritors. Don't all children eventually hope to supersede their parents?

Beneath (2013) – Blu-ray Disc

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**½/**** Image A Sound A Extras A
starring Daniel Zovatto, Bonnie Dennison, Chris Conroy, Jonny Orsini, Mark Margolis
screenplay by Tony Daniel & Brian D. Smith
directed by Larry Fessenden

by Walter Chaw Between producing films for promising newcomers (Ti West and Jim Mickle among them), acting in movies like You're Next, and of course directing his own quartet of exceptional, loaded fright flicks (Habit, No Telling, Wendigo, The Last Winter), Larry Fessenden, quietly, surely, has become perhaps the most important independent voice in horror. He seems interested in the sociology of the genre, in how it's very much the "indicator species" in the cinematic swamp–how it, more than any other genre, has the potential to pull back the curtain. It's not just the affection for genre–and deconstruction is never the end goal–but also the understanding and reworking of the basic tenets of genre that distinguishes Fessenden's work from disrespectful "post-modern" bullshit like Cabin in the Woods. It never feels as though he's slumming (as it did when Coppola and Branagh dabbled in horror); his subtext remains subtext, his perspective is always the victim's rather than the bully's. His own take on the Spam-in-a-cabin/monster-in-the-lake concept, Beneath, showcases that intelligence, even as its energy–particularly when held against his last four films–flags through most of a soft introduction. But what it loses there it makes up for in spades in a piece that ultimately feels a great deal in mood and tone like Stephen King's short story "The Raft." For a child of the Eighties who devoured King's Skeleton Crew upon publication, there can be no higher praise.