Ben-Hur (1959) [Fiftieth Anniversary Limited Edition] – Blu-ray Disc|[Fiftieth Anniversary] Blu-ray Disc

***½/**** Image A+ Sound A Extras A
starring Charlton Heston, Jack Hawkins, Haya Harareet, Stephen Boyd
screenplay by Karl Tunberg, based on the novel by Lew Wallace
directed by William Wyler

Benhur1click any image to enlarge

Editor's Note: Warner has just reissued Ben-Hur on Blu-ray minus the third disc and material bonuses of the box set, although this release does include the commentary and isolated music score. Technical specs remain unchanged.

by Jefferson Robbins Charlton Heston's Judah Ben-Hur is a Jew in a Roman world, but his emotional journey is all Greek. It's 26 AD, and Judah's bond of friendship, his philia, with Roman noble Messala (Stephen Boyd), is sorely tested. When this bond breaks and Judah's entire family suffers under the Roman version of justice, his romantic love, eros, for his servant's daughter, Esther (Haya Harareet), is smothered by hate and vengefulness. What is left him? Only a really bitchin' chariot race–the paramount action-chase scene in movie history, not matched for twenty years (see below) and still never bettered–and the hope of agape, the love and yearning between Man and God. This faithful but frustrated son of the Torah must learn that path through brushing contact with the new rabbi in town: a humble carpenter's son, bound for glory on the Hill of Skulls.

Salò, or the 120 Days of Sodom (1975) [The Criterion Collection] – Blu-ray Disc

Salocap

Salò o le 120 giornate di Sodoma
***½/**** Image A- Sound B+ Extras B+
starring Paolo Bonacelli, Giorgio Cataldi, Umberto P. Quintaville, Aldo Valletti
screenplay by Pupi Avati (uncredited) and Pier Paolo Pasolini
directed by Pier Paolo Pasolini

by Bryant Frazer There’s a tradition among purveyors of BDSM pornography to append a coda to their project in which the participants in various potentially alarming scenarios are finally glimpsed, all smiles, revelling in the afterglow of a clearly consensual exercise. I assume this custom has very practical benefits–for one thing, it might help stave off prosecution for obscenity or sex-trafficking. But it’s also a signal from the community making the videos to the community watching them that the performances are undertaken with high spirits, lest there be any misunderstanding about the actual circumstances of their making. Despite any apparent unpleasantness, dear viewer, all involved (top and bottom, dominant and submissive) are working towards the ultimate goal of pleasure, not pain.

Attack the Block (2011) + Super 8 (2011)|Super 8 – Blu-ray + DVD + Digital Copy

ATTACK THE BLOCK
***/****
starring Jodie Whittaker, John Boyega, Alex Esmail, Franz Drameh
written and directed by Joe Cornish

SUPER 8
***/**** Image A+ Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw Joe Cornish’s low-budget creature-feature Attack the Block is a charmer, a delight, the kind of rare film–like Jack Sholder’s The Hidden, Stuart Gordon’s Re-Animator, or Steve De Jarnatt’s Miracle Mile–that devotees will latch onto, and for good reason, with the fervour afforded genuine cult classics. It has energy to burn, a strange affinity with E.T.: The Extra-Terrestrial, and a super-cool monster that looks like a cross between Ira from the “Moonshadow” comic and a grizzly bear. That most of it was carried off with practical effects is a shot in the arm for practical effects and a bearer of the nostalgia banner that seems to be popular lately, what with our dreams and memories fodder again for the celluloid couch. Better still, it introduces a new star into the future pantheon in John Boyega, who has charisma to burn as gang leader-cum-saviour Moses. The movie’s tale of a group of street toughs has drawn comparisons to The Warriors, but I think the better analogy is Spielberg’s E.T., not just in that alchemy between the fantastic and the absolutely mundane (South England’s Lambeth neighbourhood), but also in the crafting of a living youth subculture alive with its own language, ritual, and custom. It’s not too much to say that, at its best, Attack the Block makes you feel the way you did when the guys took things into their own hands to deliver the flying, omniscient, omnipotent E.T. to his landing site. It taps into the irrational cool. Which doesn’t happen very often.

The Conversation (1974) – Blu-ray Disc

****/**** Image A- Sound A Extras A+
starring Gene Hackman, John Cazale, Allen Garfield, Cindy Williams
written and directed by Francis Ford Coppola

by Walter Chaw The moment I decided that movies were something to be respected, studied, opened layer-by-layer rather than merely enjoyed and cast aside was at a 16mm screening, in a college film course, of Francis Ford Coppola’s 1974 masterwork The Conversation. If we were speaking in different terms, film before it for me is the equivalent of the girls I dated until I met my wife. It taught me about what it is to respect the medium; it showed me the joys of complexity and investment, and it showed me what it was to be in love. It hit me like a freight train. And not only had I never seen The Conversation prior to that hot, close afternoon in the common room where that seminar took place, I had never so much as heard of it. I was humbled by my ignorance, and that helped. I was also at a personal crossroads in my life–that didn’t hurt, either. My sense memory of The Conversation is bifurcated between the feeling of my feet in socks walking along the carpeted hall of my dorm, down the concrete stairs, and into the screening area and sitting next to the girl I liked, who was wearing her sweats, no make-up–and the feeling, years and years later, of watching it on a shitty old laptop in bed with my wife while we waited for the first terrible contractions to happen during the first of our trio of miscarriages. Neither of us ever questioned the wisdom of putting it on, knowing that the toilet backflow scene was coming down the pike. We were naïve. We didn’t know why we wanted to watch it so desperately that night. When people ask me what my favourite movie is, I tell them it’s The Conversation. I don’t even have to think about it.

Pulp Fiction (1994) + Jackie Brown (1997) – Blu-ray Discs

PULP FICTION
****/**** Image A+ Sound A+ Extras A+
starring John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis
written and directed by Quentin Tarantino

JACKIE BROWN
****/**** Image A Sound A+ Extras A
starring Pam Grier, Samuel L. Jackson, Robert Forster, Robert De Niro
screenplay by Quentin Tarantino, based on the novel Rum Punch by Elmore Leonard
directed by Quentin Tarantino

PULP FICTION: VIEW IN iTUNES – USA|CANADA

JACKIE BROWN: VIEW IN iTUNES – USA|CANADA

Mustownby Walter Chaw Seventeen years on, Pulp Fiction still works like a motherfucker. It might, indeed, benefit from the shock of its gleeful use of "nigger," the surprise of its sodomy and ultra-violence, and the sheer pleasure of hearing Sam Jackson say those lines and John Travolta dance again in a movie having faded. What's left is this appreciation of a film that is delighted with cinema and experimental without being a jerk about it (very much like Lars Von Trier's Zentropa, specifically in a black-and-white rear-process cab ride with none of that feeling that Tarantino's trying to make a point as opposed to recognizing something that looks cool and feels right)–a film that is Tarantino in all his gawky, hyperactive, movie-geeking, idioglossic splendour, fully-formed and trying only a bit too hard. Beginning life as a proposed portmanteau to be helmed by a trio of directors (à la Tarantino's later, disastrously-received foray into the anthology format, Four Rooms), the picture retains elements of its three-headed inception by intertwining a trilogy of hard-boiled crime stories in a way superior, it's clear now, to Frank Miller's career-long attempts at the same. Tarantino's purer. The stakes for him are simpler. Pulp Fiction is evidence not of someone with something to prove but of an artist entirely, and genuinely, in love with his medium. He loves film enough to push it to be everything. And Pulp Fiction almost gets there.

Crazy, Stupid, Love. (2011) – Blu-ray + DVD + Digital Copy

**½/**** Image A+ Sound A Extras C
starring Steve Carell, Ryan Gosling, Julianne Moore, Kevin Bacon
screenplay by Dan Fogelman
directed by Glenn Ficarra & John Requa

by Angelo Muredda There's a pretty good movie inside Crazy, Stupid, Love., but no one involved seems to put much trust in it. Lightly melancholic and affecting when it finds its cast at their manic lows, the film at first cavalierly launches its ensemble like discrete pinballs, to great comic effect, only to collapse in a fit of contrived set-pieces torn from the Paul Haggis playbook. It's a shame. If the third act's everyone-at-the-garden-party resolution is economical, it's also distressingly uncrazy: a geometrically tidy solution to a film that's begging for something gawkier.

Deep Red (1975) + Inferno (1980) – Blu-ray Discs

Profondo rosso
****/**** Image A Sound A Extras C
starring David Hemmings, Daria Nicolodi, Gabriele Lavia, Clara Calamai
screenplay by Dario Argento and Bernardino Zapponi
directed by Dario Argento

INFERNO
***/**** Image A- Sound B Extras D
starring Eleonora Giorgi, Gabriele Lavia, Veronica Lazar, Leopoldo Mastelloni
written and directed by Dario Argento

Mustown

DEEP RED

by Walter Chaw Deep Red is a transitional film from the middle of Dario Argento's most creative period, one that sees the Italian Hitchcock (better: the Italian De Palma) building surreal temples on Hitchcock's meticulous foundations before abandoning them–disastrously and without explanation–following the release of 1982's Tenebre. With little scholarship on Argento that's current and/or comprehensive, and with the director himself seldom asked about his steep decline, what's left is this notion that Argento wanted to escape the Hitchcock-derivative label (only to return to it after the spark had fled or, more likely, proved illusory all along), or that he wanted a psychic divorce from De Palma, whose career Argento's paralleled for a while in theme and execution. Whatever happened eventually, Argento in 1975 seemed to be casting about for a new direction. He'd just completed his "animal" trilogy of gialli (The Bird with the Crystal Plumage, The Cat O' Nine Tails, Four Flies on Grey Velvet) and nursed a belief that the genre had, if not run its course entirely, at least run its course for him. He dabbled in a failed period piece (Five Days in Milan), the function of which appears to be to demonstrate that Argento is no Sergio Leone (though to be fair, almost no one is Sergio Leone), and he contributed to a portmanteau for Italian television–a format to which he'd one day return with buddy George Romero and Two Evil Eyes.

Captain America: The First Avenger (2011) – Blu-ray + DVD + Digital Copy

***½/**** Image A- Sound B+ Extras B
starring Chris Evans, Tommy Lee Jones, Hugo Weaving, Stanley Tucci
screenplay by Christopher Markus & Stephen McFeely
directed by Joe Johnston

by Walter Chaw Given the opportunity to finally do the sequel to his The Rocketeer that I've sort of been hoping to see for the last twenty years, Joe Johnston comes through with flying colours. The absolutely, unapologetically cornpone Captain America: The First Avenger achieves exactly the right tone of Greatest Generation wartime propaganda without any winking post-modern irony to befoul the stew. It's an earnest, genuine underdog story about a wimpy kid, Steve (Chris Evans, digitally reduced), who's beaten up for defending the sanctity of the movie theatre before finally, on his sixth try, being accepted into the army under the kind auspices of mad scientist Dr. Erskine (Stanley Tucci). Erskine sees an essential goodness in Steve, a decency born from the Great War heroism of his long-gone parents, it's suggested (in high-Fifties style), while crusty Col. Philips (Tommy Lee Jones) is persuaded by this twerp's willingness to dive on a grenade to save a platoon made up of the type of men who spent their childhood tormenting guys like Steve. Asked if he wants to kill Nazis, Steve replies that he doesn't want to kill anyone–he simply hates bullies. Steve, see, is an idealist. And any film that paints America's bedrock idealism as heroic is not just the right kind of patriotic (the kind that doesn't demean other cultures) and the right shade of nostalgia (i.e., in love with the essential purity of the hope behind the foundation of our country)–it's more than okay by me, too.

Terri (2011) – Blu-ray Disc

***½/**** Image A- Sound A- Extras C+
starring Jacob Wysocki, Olivia Crocicchia, Creed Bratton, John C. Reilly
screenplay by Patrick deWitt
directed by Azazel Jacobs

by Angelo Muredda On paper, Terri looks insufferable. From its unfortunate trailer, which sells a uniform-outfitted protagonist and whimsical, quintessentially Sundance plot in which a young misfit bonds with a fortysomething man (John C. Reilly, naturally) and feels the first pangs of young love, you'd think it was assembled from the discarded organs of Wes Anderson movies past. What's most surprising about Terri, though, is its skepticism towards the calculated quirkiness of botched American indies about social rejects. When people behave strangely in this film, it isn't the result of a screenwriter groundlessly insisting on his creations' idiosyncrasy (Natalie Portman is thankfully not on hand to make a series of unique sounds when dialogue dries up), but rather a token of what Reilly, in one of many lovely moments, affectionately calls the "unknowability" of people. That curiosity about the unusual and sometimes dark impulses that decent individuals wrestle with makes director Azazel Jacobs's first feature since 2008's Momma's Man something special: a humane portrait of people who speak in fits and starts, throw inappropriate temper tantrums, and awkwardly test their sexual boundaries. Most importantly, it doesn't presume to have its young protagonists figured out. The result is an affecting twist on the coming-of-age narrative, as well as a rare film about teenagers that's in no hurry to turn the amorphousness of late adolescence into something solid and prescriptive.

Scre4m (2011) – Blu-ray + DVD + Digital Copy

½*/**** Image A Sound A Extras B-
starring David Arquette, Neve Campbell, Courteney Cox, Emma Roberts
screenplay by Kevin Williamson
directed by Wes Craven

by Walter Chaw It seemed like a neat idea, didn't it, to offer a riff on horror movies while making a horror movie? To prove smarter than the genre while producing an effective genre product just the same–something Wes Craven couldn't quite pull off with his New Nightmare (though it was a good try). He did pretty well with the first Scream film, however, which not only gave faint, and ultimately false, hope that Craven was back, but also launched Kevin Williamson as a geek flavour of the month in the Joss Whedon mold. But looking back, Scream is the proverbial slippery slope, pulling off a neat trick at the cost of a couple of sequels (the underestimated first, the godawful second) that require that this deconstructionist urge be carried through to its only logical end: the destruction of the subject. What made Craven interesting initially, with stuff like Last House on the Left and The Hills Have Eyes, wasn't the lo-fi, kitchen sink aspect of his films (the lousiness of them, truth be told), but that they understood essential horror. Fear for your children, mainly–the thing that really moves A Nightmare on Elm Street, and powerful enough that even Craven's shitty sense of humour and timing (remember the banjo music in Last House?) couldn't undermine it. The problem with the long-postponed fourth instalment of the Scream franchise, Scre4m, is that it doesn't have anything essential about it. Built on a specious concept and the backs of films that actually have something at their centres, it's a smug, arch, irritating thing that hates its audience, hates genre films, and, curiously, hates itself most of all.

The Phantom Carriage (1921) [The Criterion Collection] – Blu-ray Disc

***/**** Image A- Sound B+ Extras B
starring Victor Sjöström, Hilda Borgström, Astrid Holm, Tore Svennberg
screenplay by Victor Sjöström, based on a novel by Selma Lagerlöf
directed by Victor Sjöström

Phantomcarriagecapby Bryant Frazer The Phantom Carriage, a seminal achievement in silent filmmaking from that other great Swedish auteur, Victor Sjöström, is a stern, supernatural moral drama that rails against social problems of the day by enlisting an emissary from the Great Beyond to lecture the feckless, abusive protagonist on what a rotten shit he is. Sjöström remains best known internationally for his later Hollywood films, made with the likes of Lillian Gish and Greta Garbo, but The Phantom Carriage already testified to genius behind the camera as well as in front of it. When the movie finished playing, I picked up the disc’s keepcase and squinted at it, in all my ignorance, to determine who so expertly essayed the central character of the alcoholic David Holm. When I read the answer (Sjöström himself), I wanted to fling the box across the room. Show-off.

Rain Man (1988) – Blu-ray Disc

****/**** Image B+ Sound B Extras B+
starring Dustin Hoffman, Tom Cruise, Valeria Golino, Jerry Molen
screenplay by Ronald Bass and Barry Morrow
directed by Barry Levinson

by Alex Jackson From its opening shot of a Cadillac craned across the smoggy Los Angeles skyline as The Belle Stars‘ iconic cover of “Iko Iko” plays on the soundtrack, Barry Levinson’s Rain Man announces itself as one of the very best films of the 1980s. The ultimate high-concept movie, it has a fashionably icy Adrian Lynne/Michael Mann/Ridley Scott aesthetic that’s semi-parodied by way of an absurdist, non-sequitur twist. Pauline Kael called Rain Man “a piece of wet kitsch” while paradoxically impugning its “lifelessness.” In terms of content, it certainly sounds like sugary glurge, but as rendered in the emotionally-detached lexicon of ’80s advertising, all the irony, all the junkiness, has been bled out. The film equates Yuppie materialism with autism, and in a subtle, underhanded way, this humanizes the alien while undermining the film’s own pretension. Once we see this hip disengagement in terms of pathology, we’re no longer attracted and/or repulsed by it.

The Lion King (1994) [Platinum Edition] – DVD|[Diamond Edition] – Blu-ray Disc

**/****
DVD – Image A Sound A Extras B+
BD – Image A+ Sound A Extras A-
screenplay by Irene Mecchi and Jonathan Roberts and Linda Woolverton
directed by Roger Allers & Rob Minkoff

Lionkingcap2by Bill Chambers The day The Lion King came out, during the summer of Gump, I bought a ticket for Wyatt Earp instead, convinced that I would be more satisfied by its three hours than by The Lion King's hour and change. Nobody remembers this now, but back then, the trades were counting on the reunion of Silverado collaborators Lawrence Kasdan and Kevin Costner to deliver the sleeper hit of the summer; although back then everybody involved in the production tried to pawn off the film's failure on the growing cult of Tombstone, the fact is that Wyatt Earp is, if not the most boring movie ever made, perhaps the second-most. Still, even when a friend rolled up his sleeve for me a few weeks later to reveal four fingertip-sized bruises he sustained from watching The Lion King with his girlfriend (she white-knuckled her way through the wildebeest stampede 'til his arm went to sleep), I remained unconvinced that Disney's latest blockbuster cartoon, which had grossed over $200M by that point, was worth the price of a ticket, having been taken for a ride by the prestige surrounding the dreadful Beauty and the Beast.

Scarface (1983) [Limited Edition] – Blu-ray Disc

Scarface1

***/**** Image B Sound B+ Extras B
starring Al Pacino, Steven Bauer, Michelle Pfeiffer, Robert Loggia
screenplay by Oliver Stone
directed by Brian DePalma

by Bryant Frazer One of the most powerful moments in Scarface is the culmination of a violent, perfectly judged sequence of events crafted for maximum impact by screenwriter Oliver Stone and staged with ferocious efficiency by director Brian De Palma. It takes place at the end of a night when Al Pacino's Cuban gangster, a feisty little hard-on named Tony Montana, has survived an attempt on his life that left him with a bullet in his shoulder. He has overseen the execution of his boss, who was behind the hit. He has shot dead a corrupt cop who was extorting his cash and favours. And he has just been upstairs to collect from between satin sheets his boss's woman, a sleek blonde dressed in white who is his prize. The camera zooms out from a medium close-up on Pacino's face as, still bleeding, arm in a sling, exhaustion writ large across his face, Tony Montana peers through 20-foot-tall glass windows, staring dumbly into a Giorgio Moroder sunrise as an advertising blimp floats over the water, its pithy slogan an empty promise of greatness yet to come: "The World Is Yours…."

Vera Cruz (1954) + The Outlaw Josey Wales (1976) (DigiBook) – Blu-ray Discs

****/**** Image B- Sound B
starring Burt Lancaster, Denise Darcel, Sarita Monteil, Cesar Romero
screenplay by Roland Kibbee and James R. Webb
directed by Robert Aldrich

Mustown****/**** Image A+ Sound A Extras A-
starring Clint Eastwood, Chief Dan George, Sondra Locke, John Vernon
screenplay by Phil Kaufman and Sonia Chernus
directed by Clint Eastwood

by Jefferson Robbins One mistake in looking at the U.S. Civil War is to assume it began at Sumter and ended at Appomattox. If the wars of living memory have had such tremendous social and personal repercussions, how much could that war among countrymen have? Western movies, for better and often worse, have plumbed this question in the same way noirs and horror movies inquire about their own present moment. Think about the sheer number of greedy killers and dead-eyed psychopaths required to populate "the West" as we came know it through our cinema; what else but a national trauma could create so many murderers and flush them out to the frontiers.

Thor (2011) – Blu-ray + DVD + Digital Copy

**/**** Image A Sound A+ Extras B+
starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins
screenplay by Ashley Edward Miller & Zack Stentz and Don Payne
directed by Kenneth Branagh

by Walter Chaw An uneasy collision of the Henry V Kenneth Branagh and the Peter's Friends Kenneth Branagh, Branagh's foray into the long-form Avengers trailer sweepstakes Thor features a star-making turn from handsome Aussie soap actor Chris Hemsworth (whose star was actually made as James T. Kirk's dad in the Star Trek reboot), a lot of debt to the kitsch elements of Superman II, and another waste-of-life post-credits teaser starring everyone's favourite one-eyed motherfucker. It has the titular Norse God of Thunder deposited fish-out-of-water-style in bumfuck New Mexico (better than Arizona, I guess, where he'd be asked for his papers, denied an education, then probably shot), where he falls under the care of mousy (?) physicist Jane (Natalie Portman), her mentor Selvig (Stellan Skarsgård), and wacky alterna-intern Darcy (Kat Dennings). He's been banished, see, by daddy Odin (Anthony Hopkins); betrayed by tricky brother Loki (Tom Hiddleston); and separated from his beloved hammer until such time as he can prove himself a true Asgardian. Gibberish? You bet. Leave it at this: the movie's pretty decent in a Starman sort of way when Thor's tossing down coffee mugs at a local greasy spoon and demanding more drink and pretty horrible when it's depicting the war between the Norse and the Frost Giants on a massive CGI stage that triggers Tron: Legacy flashbacks like wet heat does Vietnam.

Prom (2011) – Blu-ray + DVD

*½/**** Image A Sound B Extras C+
starring Aimee Teegarden, Thomas McDonnell, De’Vaughn Nixon, Danielle Campbell
screenplay by Katie Welch
directed by Joe Nussbaum

by Bill Chambers Prom–not inconsequently promoted as “Disney Prom“–is an ensemble piece I’d love to call Altman-esque, but its major influence appears to be episodic television, specifically the seriocomedies one finds on Disney- owned and operated ABC Family. Much like that weekly dose of “Greek” or “The Secret Life of the American Teenager”, Prom features multifold, compartmentalized storylines, a cast that meets the minimum requirements for forming a model U.N., an unyielding soundtrack geared towards dictating emotions and/or spurring iTunes downloads, and subject matter that alternates between light comedy and light controversy. Its ending even feels like that of a season finale–enough to tide viewers over during the summer, perhaps, but hardly the soaring stuff of Chuck Workman montages. Audiences seemed to sense that Prom was just going to place a big-screen surcharge on the type of thing they’d normally watch for free, and without any larger box-office incentives (3-D, a certified heartthrob, a pre-established character), the film barely recouped its paltry $10M budget.

The Big Lebowski (1998) – [Limited Edition] Blu-ray Disc

****/**** Image C+ Sound A Extras B
starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi
screenplay by Ethan Coen & Joel Coen
directed by Joel Coen

by Walter Chaw I think that once the book closes on the Coen Brothers, they'll be seen as the premier interpreters of our time: the best literary critics; the Mark Twains. I used to believe they were simply genre tourists on this mission to do one for every genre, but it becomes apparent with each new No Country for Old Men and True Grit unlocking each vintage Miller's Crossing and The Hudsucker Proxy that they were interpreting genres long before they took on specific pieces as a whole. Coming full-circle from the wry noir of Blood Simple and Fargo and presenting itself eventually as of a piece with a later Coen noir, The Man Who Wasn't There (just as A Serious Man is a companion piece to Barton Fink), The Big Lebowski serves as the transition point in that process while also moving the brothers from broad genre takedowns to a very specific kind of literary adaptation. That they would follow it up with O Brother, Where Art Thou?, their take on The Odyssey, speaks to a mission statement of sorts: like it, The Big Lebowski is a distillation of a classic piece of literature (Raymond Chandler's The Big Sleep) that completely understands its simultaneous responsibility to its own medium and to its source material. It's not as easy as it sounds.

Executive Decision (1996) – Blu-ray Disc

***/**** Image A Sound B+
starring Kurt Russell, Halle Berry, John Leguizamo, Steven Seagal
screenplay by Jim Thomas & John Thomas
directed by Stuart Baird

by Jefferson Robbins SPOILER WARNING IN EFFECT. Stuart Baird's Executive Decision begins and ends as a bad, bad movie. It starts off wobbling distractedly from one fraught international locale to another, complete with bleeping, wordy chyrons telling us where we are and with whom. It ends in a pile of airliner-in-peril clichés and some flirty banter so terrible it puckers the ears, acting as though Airplane! never happened. In between, the picture gets better, tighter, and tenser than a sub-Tom Clancy military political thriller starring Steven Seagal has any right to be. It accomplishes this, in part, by throwing Seagal off the plane.

A Man Called Horse (1970) – Blu-ray Disc

*½/**** Image B+ Sound B-
starring Richard Harris, Dame Judith Anderson, Jean Gascon, Corinna Tsopei
screenplay by Jack De Witt, based on a story by Dorothy M. Johnson
directed by Elliot Silverstein

Mancalledhorsecap

by Bryant Frazer Hey, peoples of the world: white guys are awesome! Suppose a white guy–a pasty English lord, let's say–were kidnapped by a bunch of Lakota Sioux. Sure, he might try to escape from captivity once or twice, but after a while he'd be totally cool with it. Instead of whining like a paleface, he'd go out and kill some other Native American people, maybe grab him a scalp or two, and then finally prove himself to his tribe by undergoing a bizarre physical ritual and fucking the chief's sister. Eventually, he'll be the leader of the tribe, rocking a tomahawk and a headband and showing them how to skirmish, English-style.