Green Lantern: Emerald Knights (2011) – Blu-ray Disc

**½/**** Image A Sound B+ Extras B-
Emerald Knights
screenplay by Alan Burnett and Todd Casey
directed by Lauren Montgomery
The First Lantern
screenplay by Michael Green and Marc Guggenheim
directed by Christopher Berkeley
Kilowog
screenplay by Peter J. Tomasi, based on "New Blood" by Peter J. Tomasi and Chris Samnee
directed by Lauren Montgomery
Mogo Doesn't Socialize
screenplay by Dave Gibbons, based on the story by Alan Moore and Dave Gibbons
directed by Jay Oliva
Laira
screenplay by Eddie Berganza, based on "What Price Honor?" by Ruben Diaz and Travis Charest
directed by Jay Oliva
Abin Sur
screenplay by Geoff Johns, based on "Tyger" by Alan Moore and Kevin O'Neill
directed by Christopher Berkeley

by Jefferson Robbins The DC Universe direct-to-video animation series continues to earn its reputation, for good or ill, as a by-fans/for-fans endeavour. Producer Bruce Timm and company pump out Green Lantern: Emerald Knights as a kind of B-side to Martin Campbell's disappointing Green Lantern feature film–a supporting document, the sort of thing valued mostly by collectors and fetishists. DC Comics fanboys will thrill to a flashback glimpse of planetary invasions carried out by back-issue bad-guy species the Dominators; casual viewers will likely just think it's cool how the guys with the rings blow shit up with giant green energy swords in outer space.

The Fox and the Hound (1981) [25th Anniversary] + The Little Mermaid (1989) [Platinum Edition] – DVDs|The Fox and the Hound/The Fox and the Hound II (2006) [2 Movie Collection] – Blu-ray Disc

THE FOX AND THE HOUND
***½/**** Image C- Sound B Extras C
uncredited screenplay, based on the novel by Daniel P. Mannix
directed by Art Stevens, Ted Berman, Richard Rich

THE LITTLE MERMAID
*½/**** Image B- Sound C Extras A
written and directed by John Musker and Ron Clements

by Bill Chambers SPOILER WARNING IN EFFECT. With The Fox and the Hound and The Little Mermaid bookending an especially turbulent decade for a studio mortally locked in a struggle to reconcile its animation pedigree with its crass commercial instincts, the former has come to be regarded in the Disney mythology as the Good Friday to the latter’s Easter Sunday. It’s therefore fitting that the two films they most emulate are 1942’s Bambi and 1950’s Cinderella, respectively, as the Forties marked the last time the Mouse House was on the brink of foreclosure. (The Fox and the Hound goes so far as to recycle cels from Bambi.) Much like The Little Mermaid represented a somewhat cynical reboot of the fairytale default, so, too, was Cinderella a glorified salvage operation following the money-/audience-hemorrhaging pro bono work Uncle Walt did on behalf of FDR’s Good Neighbor policy. Alas, the Good Friday and Easter Sunday analogy applies to not just Disney’s phoenix-like resurrection but also the tonal and moral disparity between the two pictures: one is the sad truth; the other is wishful thinking.

Breaking Bad: The Complete Second Season (2009) + Breaking Bad: The Complete Third Season (2010) – Blu-ray Discs

Breakingbads23cap

Season 2 – Image A Sound B+ Extras B+
“Seven Thirty-Seven,” “Grilled,” “Bit by a Dead Bee,” “Down,” “Breakage,” “Peekaboo,” “Negro y Azul,” “Better Call Saul,” “4 Days Out,” “Over,” “Mandala,” “Phoenix,” “ABQ”

Season 3 – Image A- Sound B+ Extras B+
“No Mas,” “Caballo sin Nombre,” “I.F.T.,” “Green Light,” “Mas,” “Sunset,” “One Minute,” “I See You,” “Kafkaesque,” “Fly,” “Abiquiu,” “Half Measures,” “Full Measure”

by Bryant Frazer “Breaking Bad”‘s first season delivered a pulpy, compulsively watchable crime drama. I was a fan, but I found a lot to complain about, too. The show seemed ready to burst with hackneyed family drama, inane narrative tangents, and placeholder characters who pointed the way to tense moments without earning their screentime. I didn’t even like AMC’s key art for that first year, a dopey shot of protagonist Walter White (Bryan Cranston) standing in the middle of the desert, pantsless and packing heat. It turns out that “Breaking Bad”‘s debut season, truncated to seven episodes by a writer’s strike, was just an overture. The second season is a big, meaty pot roast of a show, cooking slow and low for eleven long hours. And that tour-de-force is damn near eclipsed by Season Three, which sees the series growing leaner and meaner than before, more forceful and more focused in its almost playfully outsized sense of menace.

The Final Destination in 3-D (2009) – Blu-ray Disc

The Final Destination
**/**** Image B+ Sound A Extras C-

starring Bobby Campo, Shantel VanSanten, Nick Zano, Mykelti Williamson
screenplay by Eric Bess
directed by David R. Ellis

by Alex Jackson It's the summer of 2009. I arrive at the movie theatre, a multiplex twenty miles from home (making it the closest one), to discover that while Rob Zombie's Halloween II has already started, I'm just in time to catch The Final Destination in 3-D. Thinking that I didn't really care which one I saw, that's good enough for me, and so I buy a ticket for the fourth (and, we were led to believe, last) entry in the Final Destination franchise.

Bellflower (2011) + The Change-Up (2011)|Bellflower – Blu-ray Disc + DVD

BELLFLOWER
***/**** Image A Sound A Extras B
starring Evan Glodell, Jessie Wiseman, Taylor Dawson, Rebekah Brandes
written and directed by Evan Glodell

THE CHANGE-UP
½*/****
starring Jason Bateman, Ryan Reynolds, Leslie Mann, Olivia Wilde
screenplay by Jon Lucas & Scott Moore
directed by David Dobkin

by Ian Pugh SPOILER WARNING IN EFFECT. Bellflower earns the right to its melodrama by asking what you have to live for and, more importantly, what you're willing to do to keep your life uncomplicated. Woodrow (writer-director Evan Glodell) and Aiden (Taylor Dawson) don't seem to have much of a life beyond hanging out with their friends and drinking too much–but their minds were suitably "warped" by a second-generation VHS tape of Mad Max. Now they spend their days constructing flamethrowers and muscle cars destined to fit right in with that film's end-of-the-world milieu. Woodrow hooks up with a young woman named Milly (Jessie Wiseman), and as the relationship blossoms (and breaks down), Glodell takes the opportunity to explore the unfathomable guilt and anger that drove George Miller's original road warrior–as well as what Glodell's own heroes have failed to understand about his journey. When we first meet him, Woodrow doesn't know too much about guilt or anger, so his coping mechanisms are extremely fractured. Confrontations with others are typically brief, sometimes without logical end, and the director intentionally tones down most of the violence so that his characters can wallow in passive-aggressive detachment. Sometimes the violent images are chopped out entirely, only to be saved for later in the movie, where they may or may not have been mentally re-edited by Woodrow to conform to a more favorable outcome. That's the thing about the apocalypse: it never goes quite the way you want.

How Do You Know (2010) – Blu-ray Disc

*½/**** Image A- Sound B Extras A
starring Reese Witherspoon, Owen Wilson, Paul Rudd, Jack Nicholson
written and directed by James L. Brooks

by Angelo Muredda “We’re all one small adjustment away from making our lives work,” Paul Rudd’s George chirps, a little too eagerly, in the interminable, banally titled, and curiously unpunctuated How Do You Know. It’s a strange thing for an indicted man on the verge of financial ruin to say, but then How Do You Know is a strange movie, less the tidy romantic comedy its trailer pitches than a monument to the incidental pleasures of narrative ungainliness and lax comic timing.

Better Off Dead (1985) – Blu-ray Disc

Better Off Dead…
***/**** Image B- Sound C-

starring John Cusack, David Ogden Stiers, Diane Franklin, Kim Darby
written and directed by Savage Steve Holland

by Jefferson Robbins Better Off Dead… probably wouldn't have outlasted its peers among cheaply-made '80s teen comedies minus three crucial factors. There's John Cusack's extraordinary Everyguy deadpan: He reacts to absurdity without visibly reacting, a still pivot for the scene around him and the best possible audience surrogate for a vehicle like this. There's writer-director Savage Steve Holland's visual wit, rooted in classic cartoons and well-abetted by editor Alan Balsam (Revenge of the Nerds). And finally, there's Holland's clearly-demonstrated understanding of what it's like to be a teenage male–collapsing in the face of spurned love, so immersed in one's own fantasies and neuroses that everyone, even relatives and close friends, seems a grotesque. This internal state gets externalized in Better Off Dead…, as no matter where Cusack's Lane Meyer goes, he's confronted with such bizarre contortions of humanity that he might as well be an astronaut among aliens.

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

*½/**** Image B Sound A- Extras C-
starring Russell Brand, Helen Mirren, Greta Gerwig, Jennifer Garner
screenplay by Peter Baynham, based on the film Arthur written and directed by Steve Gordon
directed by Jason Winer

by Ian Pugh Boy, that Russell Brand sure does talk a lot, doesn't he? Jason Winer's modernization of Steve Gordon's 1981 comedy Arthur serves as your latest reminder that Brand is turning his long-winded rambling into a full-blown comic empire–and it's a good thing it makes that point perfectly clear, because otherwise I can't think of any reason why this remake exists. Brand's slurring motormouth is on full display here, and he's such a suffocating presence that Arthur Bach's now-famous inebriety hardly plays a role. Who needs booze when you've got an immature dude who just won't shut up? Of course, the character is still nominally an alcoholic–and the film attempts to "fix" that problem in precisely the wrong way. Fearing it will be seen as an implicit endorsement of excessive drinking, Arthur launches into an overwritten screed about the attendant dangers of same, somehow assuming that Gordon's original didn't comprehend the seriousness of its own premise. Between that mistaken belief and its broad, bland humour, the picture might be more accurately considered a remake of the notorious Arthur 2: On the Rocks.

Lolita (1962) – Blu-ray Disc

****/**** Image A- Sound A
starring James Mason, Shelley Winters, Peter Sellers, Sue Lyon
screenplay by Vladimir Nabokov, based on his novel
directed by Stanley Kubrick

Mustownby Alex Jackson Who is Lolita? There seems to be no independent, cognizant life to the character. She exists purely to be desired or despised. Certainly, she is seen as neither a tragic figure nor a victim–Lolita is always in control. She always has a tight grasp on what her needs are and understands how she’s going to meet them. But simply being clever and conniving doesn’t make you a real person. Humanity could be defined as our ability to experience pain and Lolita lives a practically pain-free existence. Double entendre intended, if you prick Lolita, she isn’t going to bleed. In her eyes, sex doesn’t have many drawbacks. Men lust after her and this gives her power over them.

The Great Dictator (1940) – The Criterion Collection Blu-ray Disc

***½/**** Image B+ Sound A- Extras A-
starring Charlie Chaplin, Paulette Goddard, Jack Oakie
written and directed by Charles Chaplin

by Bryant Frazer In the late 1930s, as a little man named Adolf Hitler prepared the fearsome German army to run roughshod over the country’s European neighbours, Charles Chaplin, one of the greatest of all film artists, responded to the threat of war in the only way that made sense: He prepared a new comedy, The Great Dictator, that mocked Hitler directly.

American Graffiti (1973) – [Special Edition] Blu-ray Disc

****/**** Image A- Sound A Extras B+
starring Richard Dreyfuss, Ronny Howard, Paul Le Mat, Charlie Martin Smith
screenplay by George Lucas and Gloria Katz & Willard Hyuck
directed by George Lucas

Mustownby Jefferson Robbins The skeleton key to George Lucas's American Graffiti isn't in its setting–the cruising culture of exurban southern California, 1962, as witnessed by young participants with the '50s at their back and Vietnam ahead. Instead, it's disassembled and scattered throughout the text, oblique until it becomes obvious. There's the front-seat monologue recited by Laurie (Cindy Williams) for the benefit of her drifting boyfriend Steve ("Ronny" Howard): "It doesn't make sense to leave home to look for home, to give up a life to find a new life." It sounds like her own reverie, but in fact she's quoting an offscreen speech by her college-bound brother Curt (Richard Dreyfuss), who earlier in the film has a hushed alleyway talk with the "cool" teacher (Terence McGovern) who washed out of an artsy New England school and came back to shape young minds in his diesel-scented hometown. This teacher's name, as it happens, is Mr. Wolfe. It's not so much that you can't go home again as that home changes under your very feet. The instinct to cling to its first incarnation–Curt's fondling of his old school locker, John Milner's (Paul Le Mat) continued mingling with high-school kids at roughly age twenty–is really a hope that you'll find something just as valuable in the wider world you know you must face.

The Thing (1982) – Blu-ray Disc

John Carpenter's The Thing
****/**** Image A- Sound A Extras B+

starring Kurt Russell, Wilford Brimley, T.K. Carter, David Clennon
screenplay by Bill Lancaster, based on the story "Who Goes There?" by John W. Campbell, Jr.
directed by John Carpenter

Mustownby Walter Chaw I remember the sick fascination I felt staring at the cardboard standee for John Carpenter's The Thing (hereafter The Thing) in the lobby of the now-flattened two-house cinema where I had gone to see E.T.: The Extra-Terrestrial that dewy summer of my ninth year. It was opening weekend for the Carpenter flick, but the line around the building was for the second week of Spielberg's very own My Friend Flicka, and I was one of the millions of children guilty of flocking away from a movie that promised to make you feel like shit in favour of one that promised to make you cry. I would be afraid to see The Thing and the same year's Blade Runner until at least five years down the road when, during a particularly bad flu, I asked my mom to rent them both from a local video store (also gone–the city of my mind is ever more populous now, year-on-year), figuring that in my fever haze I would be insulated from the horrors that had grown around them in my head. Besides, as a wizened vet of 14, I had survived The Fly, Aliens, RoboCop, and Hellbound: Hellraiser II at the Union Square 6 (also gone), so what horrors could these musty relics hold for me?

Plenty.

Viva Las Vegas (1964) – Blu-ray Disc

***/**** Image A+ Sound A Extras B-
starring Elvis Presley, Ann-Margret, Cesare Danova, William Demarest
screenplay by Sally Benson
directed by George Sidney

Vivalasvegascap

by Bill Chambers First, a word about Richard Attenborough's awesome, heartbreaking Magic. In that 1978 film, Anthony Hopkins plays Corky, a rising star on the ventriloquism circuit–hey, it was the '70s–who beats a hasty retreat to the Catskills to avoid a psychiatric evaluation that would doom his chances of working at NBC. There, he looks up his high-school crush, Peggy Ann Snow (Corky used to recite this sadly desperate/desperately sad rhyme about her: "Peggy Ann Snow, Peggy Ann Snow/Please let me follow, wherever you go"), who really could've been played by any actress of the moment approaching middle age, from Ellen Burstyn to Jill Clayburgh to Marsha Mason to Faye Dunaway. But Attenborough, ingeniously, cast former sex kitten Ann-Margret, so that Corky's nostalgic affection for Peggy isn't an abstract concept. Thereafter, the actress made a cottage industry out of her fading torchdom that reached its inevitable apotheosis when she tackled Blanche Dubois, but in Magic, it provides a crucial point of identification with a main character who can be inscrutable and unlovable that we have a pretty good idea of what Peggy Ann Snow used to be like. We'd pine for her, too.

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

***/**** Image A+ Sound A+ Extras A-
screenplay by John Logan
directed by Gore Verbinski

by Walter Chaw Before he succumbed to bloat with his two Pirates of the Caribbean sequels, Gore Verbinski struck me as a particularly bright light in American genre pictures. His remake of The Ring and the first Pirates of the Caribbean flick were a one-two step that seemed more indicative of his promise than the not-awful-in-retrospect The Mexican and the awful but not bloated Mousehunt. (Well, okay, it was a little bloated.) When he’s right, his stuff plays a lot like South Korea’s genre cinema: walking a tightrope between grotesquerie and lightness that happens so seldom outside of Seoul it’s fair to wonder if proximity to an entertaining dictator is prerequisite. With the CG-animated, Industrial Light & Magic-assisted Rango, Verbinski teams again with muse Johnny Depp to send up Depp’s muse Hunter S. Thompson in what functions as a kind of footnote to both Terry Gilliam’s Fear and Loathing in Las Vegas and Sergio Leone’s four-film Spaghetti Western cycle. Unfortunately, it also references Polanski’s Chinatown and Verbinski’s own concept of an antiseptic purgatory from his endless Pirates of the Caribbean: At World’s End.

Gross Anatomy (1989); Betsy’s Wedding (1990); The Gun in Betty Lou’s Handbag (1992) – Blu-ray Discs

GROSS ANATOMY
**½/**** Image C Sound D+
starring Matthew Modine, Daphne Zuniga, Christine Lahti, Todd Field
screenplay by Ron Nyswaner and Mark Spragg
directed by Thom Eberhardt

BETSY'S WEDDING
***/**** Image C Sound D+
starring Alan Alda, Joey Bishop, Madeline Kahn, Molly Ringwald
written and directed by Alan Alda

THE GUN IN BETTY LOU'S HANDBAG
**/**** Image C Sound D+
starring Penelope Ann Miller, Eric Thal, William Forsythe, Alfre Woodard
screenplay by Grace Cary Bickley
directed by Allan Moyle

by Jefferson Robbins To sample three Blu-ray editions fresh out from discount distributor Mill Creek Entertainment, you'd think film comedy in the late 1980s and early '90s was at a tipping point. Or, at least, you'd think this of Touchstone, the Disney sub-studio behind Gross Anatomy, Betsy's Wedding, and The Gun in Betty Lou's Handbag. All three films seem swamped by the decade shift, caught between John Hughes's early-'80s youth revolution and the hardening of romcom formulas that would come to pass after 1990's Pretty Woman (also a Touchstone product). One of the three films, in fact, barely qualifies as a comedy, although it was surely marketed as such. The sense one gets watching them today is of opportunities missed, of storytelling approaches gently meshed together when they should've been gleefully mashed, and of an aversion to risk above all.

The Boondock Saints II: All Saints Day (2010) – Blu-ray Disc

½*/**** Image A- Sound A- Extras B-
starring Sean Patrick Flannery, Norman Reedus, Clifton Collins Jr., Billy Connolly
written and directed by Troy Duffy

by Alex Jackson The first thing I did when I got a FACEBOOK account was look up Travis, my best friend from gradeschool, whom I hadn't seen or heard from in the last twenty years. Looking at his profile, I saw that he listed "extensive" under music and "way too many to list here" for books, but under movies he had just one title: The Boondock Saints. The bands and books he loves are too numerous to mention, but there is a film that, in his mind, towers above all others. There is only one film that bears mentioning. And that film is Troy Duffy's The Boondock Saints. Is it petty of me to not put in that "friend" request? This seems to be all the update I need. Twenty years is a long time. The only things we really had in common were that we both went to the same school and both liked Nintendo and The Monster Squad. That's hardly enough to inoculate a friendship against The Boondock Saints.

The Roommate (2011) – Blu-ray Disc

*/**** Image A Sound A Extras B-
starring Leighton Meester, Minka Kelly, Cam Gigandet, Billy Zane
screenplay by Sonny Mallhi
directed by Christian E. Christiansen

by Bill Chambers SPOILER WARNING IN EFFECT. Sony division Screen Gems, which went from being safe harbour for offbeat studio fare to an opponent of original thought with a remake-heavy slate*, cynically CW-izes another exploitable but ew, old! title with their Single White Female clone The Roommate. It might be genius compared to Single White Female 2: The Psycho, but know that The Roommate is ultimately about as sensitive as that dtv sequel sounds. Playing the most conspicuously mature college freshman since Thornton Melon, “Friday Night Lights”‘ Minka Kelly is Sara Matthews, a small-town transplant studying fashion design at ULA, whose campus appears to consist of one courtyard, one coffee shop, a random frathouse, and a couple of dorms. (Maybe the letter “C” got custody of everything else in the divorce.) Young Sara gets a roommate in Rebecca (“Gossip Girl”‘s Leighton Meester), an art student who announces herself as a humourless prig by refusing to let Sara’s similarly geriatric buddy Tracy (“Hellcats”‘ Aly Michalka) shorten her name. Rebecca gets very clingy very quickly, and the filmmakers fail to provide any explanation for Sara’s tolerance and weird rationalizations (“She’s just overprotective”) beyond the Freudian catchall that she, Sara, is still grieving for her dearly-departed sister. Which in itself is a non-sensical, arbitrary inversion of Single White Female, wherein the Rebecca character is cast adrift after losing her identical twin, driving her to transform herself into another woman’s doppelgänger. (It was a facile yet efficient bit of pop psychology.) If the makers of The Roommate did Batman, the Joker would be a billionaire who lost his parents.

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

***/**** Image A+ Sound A Extras D
starring Liam Neeson, Diane Kruger, January Jones, Frank Langella
screenplay by Oliver Butcher & Stephen Cornwell, based on the novel Out of My Head by Didier van Cauwelaert
directed by Jaume Collet-Serra

by Ian Pugh Knight and Day, Salt, and The Tourist failed as '60s spy throwbacks because they constantly reassured you that everything would be all right; if there was something about their various intrigues we didn't quite understand (or weren't supposed to know before some big third-act twist), we could rest assured that someone was pulling the strings to keep the world from falling apart. Unknown finally removes that safety net, and from there it approaches the fear and uncertainty that so fascinated Alfred Hitchcock and Terence Young about the Cold War–this sinking feeling that whatever conspiracies may be driving the plot, there will never be a way to extricate yourself from their tangled webs. True, Unknown's primary attraction is the dissection of identity, and it's simply incapable of stunning you in the same way that the Bourne trilogy stunned you with its own methodical examinations of the self. (If the picture feels derivative of that series, that's because it is.) But at the end, you're left feeling uncomfortable, because you just know you haven't uncovered all its secrets yet.

Soylent Green (1973) – Blu-ray Disc

**/**** Image B Sound B- Extras D+
starring Charlton Heston, Leigh Taylor-Young, Chuck Connors, Edward G. Robinson
screenplay by Stanley R. Greenberg, based on the novel Make Room! Make Room! by Harry Harrison
directed by Richard Fleischer

by Walter Chaw I've spent a lot of time in my life dancing with Richard Fleischer's dystopian Soylent Green. Sometimes it leads, sometimes I do. For everything it does well, there are some things it does badly; and if the things it does well it does extremely well, the things it does badly it, likewise, does just awfully. No half measures here. Beginning with the good, here's Edward G. Robinson tapping his mortality (he succumbed to cancer less than two weeks after production wrapped), finding in his celluloid swan song a depth of despair he rarely touched in his career proper. It's up there with Montgomery Clift's devastated cameo in Judgment at Nuremberg–enough so that when he closes his eyes in appreciation of a leaf of lettuce his long-time companion Det. Thorn (Charlton Heston) has scavenged from the apartment of dead industrialist Simonson (Joseph Cotten, in his last role, too), it actually doesn't make you want to laugh. Not so the incongruities of this dystopian, post-apocalyptic future in a Manhattan (and world) destroyed by over-population, but not to the point where the streets don't empty in observance of a curfew. It presents a future in 2022 that seems unlikely not because we're not currently on the verge of some great ecological disaster, but because rough math suggests that the Heston character would've been born the year before the film's 1973 release and thus his declaration that he'd never seen a grapefruit (or grass, or cows) should worm its way into the audience consciousness as Soylent Green's statement that it's not serious, thoughtful science-fiction, but rather soapbox and screed timed to coincide with, in 1972, the first international conference on climate change.

Hall Pass (2011) [Enlarged Edition] – Blu-ray Disc

***/**** Image B+ Sound A- Extras C-
starring Owen Wilson, Jason Sudeikis, Jenna Fischer, Christina Applegate
screenplay by Pete Jones & Peter Farrelly and Kevin Barnett & Bobby Farrelly
directed by Peter Farrelly & Bobby Farrelly

by Ian Pugh SPOILER WARNING IN EFFECT. Rick Mills (Owen Wilson) is in real estate and Fred Searing (Jason Sudeikis) sells life insurance–and yet these guys treat their own marriages, indeed their own lives, as an epic burden, so where do they get off trying to sell us peace-of-mind? Their leering obsession with sex has become all-consuming of late, prompting their wives (Maggie (Jenna Fischer) and Grace (Christina Applegate)) to grant them a hall pass: a "week off from marriage" in which they have the freedom to do whatever they want with the opposite sex without fear of recrimination. The Farrelly Brothers' Hall Pass tells a fairly conventional story about men and women who very slowly come to recognize just how much they love their significant others. But one thing it doesn't fully reconcile is this impulse that finds the movie's middle-aged male characters blinking madly at attractive women, taking "mental photographs for [their] spank bank"–because even once they've learned their lessons and shouted them from the rooftops, they're still taking those mental photographs. Beneath a thin veneer of sex jokes, the movie is about the denial and suppression of regret that occurs in the quest for long-term happiness.