Terminator: Salvation (2009) [Digital Copy Special Edition] – Blu-ray Disc

*/**** Image A Sound A+ Extras B
starring Christian Bale, Sam Worthington, Bryce Dallas Howard, Helena Bonham Carter
screenplay by John D. Brancato & Michael Ferris
directed by McG

by Walter Chaw The movie pretends that it's about discovering that which separates humans from machines–an idea of "functional equivalence," if you will, that Duncan Jones does a much better job with in his zero-budget Moon than McG does with in his small-country-GDP-budget Terminator Salvation. But what it's really about is blowing shit up real good for two hours. A tanker blows, a gas station blows, a field of satellite towers blows, a hole blows, and, accordingly, the movie blows. The real secret for success that the human freedom fighters of 2018, led by saviour guy John Connor (Christian Bale), should search for is the one that allows the evil Skynet robots to distinguish manmade fires in the desert that it should examine from those it should leave alone. What they discover instead is a "kill code" they can play on their futuristic boom boxes that "turns off" the machines hunting the people remaining after a nuclear holocaust has left the planet completely habitable for the hundreds of huddled masses tuning their transistor radios to fireside chats with Connor. (But not the types of fires the robots are interested in–see, the robots are only drawn to fires that humans set as ambush traps (and Guns N' Roses (you wouldn't understand)).)

Orphan (2009) – Blu-ray Disc

*½/**** Image B Sound B Extras D
starring Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, CCH Pounder
screenplay by David Leslie Johnson
directed by Jaume Collet-Serra

by Walter Chaw Jaume Collet-Serra's Orphan is a cheap, schlocky, shameless kid-peril flick with an unlikely–cowardly, even–twist and standard resolution. But I'll be damned if it isn't, despite all that, almost worth it just for its nastiness. Alas, in the end, it's not nasty enough. Without a thought in its head, without much understanding of how to earn legitimate frights without maiming (or threatening to maim) adorable children, it joins this year's similarly lost zombie girl-baby flick Grace among end-of-a-cycle, misogynistic shots at the Bad Seed genre. It's the kind of film that's more interesting for the fact of its relationship to other bad-seed flicks post-9/11 (e.g., Japanese redux The Ring and little-seen creeper Soft For Digging) than for anything it does itself. Interesting, too, that it's a relatively big-budget, mainstream picture starring a couple of extremely appealing actors (Peter Sarsgaard as John and Vera Farmiga as his wife, erm, Kate) as the patsies who adopt the titular hellchild, a Russian immigrant named Esther (Isabelle Fuhrman), from one of those autumnal orphanages run by nuns like cuddly Sister Abigail (CCH Pounder). Unfortunately, it's loaded with–there's that word again–cheap jump scares that, at least half the time, are so self-aware as to be parodies of themselves. Post-modernism it ain't, though–post-modernism is smart.

Snatch (2000) [Special Edition] – DVD|Blu-ray Disc

***½/****
DVD – Image A Sound A Extras A
BD – Image C Sound A Extras A
starring Benicio Del Toro, Dennis Farina, Brad Pitt, Rade Sherbedgia
written and directed by Guy Ritchie

by Walter Chaw Guy Ritchie's sophomore effort Snatch opens with a hyperkinetic homage to the first violent robbery of Ringo Lam's City on Fire and continues by aping the slick mod-cool of the British gangster films of the late-'60s and early-'70s. It is a bizarre beast that borrows, steals, re-invents, and winks knowingly when its hand is caught in the imagistic cookie jar. Guy Ritchie laughs at your erudition. He's in it for the money shots–a new champion of the gangster drama as pornography: ultimately empty but undeniably efficient.

The Prisoner: The Complete Series (1967-1968) – Blu-ray Disc

Image A Sound A- Extras B
"Arrival," "The Chimes of Big Ben," "A, B, and C," "Free for All," "The Schizoid Man," "The General," "Many Happy Returns," "Dance of the Dead," "Checkmate," "Hammer into Anvil," "It's Your Funeral," "A Change of Mind," "Do Not Forsake Me Oh My Darling," "Living in Harmony," "The Girl Who Was Death," "Once Upon a Time," "Fall Out"

by Walter Chaw The closest television came to true surrealism until the inception of "Twin Peaks", Patrick McGoohan's remarkable, landmark brainchild "The Prisoner" is the headwaters for a dizzying array of modern genre confections. It's audacious in its ironclad refusal to provide the happy ending; in its determination to bugger expectation with every complex set-up and sadistic resolution, the show effectively honours the surrealist manifesto of defeating classification. The fact of it is the function of it–the delight of it being that the series functions as a tonal sequel to Antonioni's Blowup, using the disappearance of that film's photog protag as the launching point for its hero's imprisonment in his Welsh oubliette. Colourfully, quintessentially mod, it even looks the part, after all, acting in 1967 as prescient post-modern (po-Mod?) commentary on the elasticity of this genre model (Bond films in particular, the lead in said franchise McGoohan was offered, er, once upon a time) as allegory for the plastic-fantastic of a progressively absurd world. In its setting of a small town, isolated and beset by what seems a common psychosis, find a connection to Robin Hardy and Anthony Schaffer's claustrophobic The Wicker Man (1973), John Frankenheimer's similar-feeling Seconds (1966), and, yes, Godard's structuralist textbook Alphaville. Of all the ways to approach "The Prisoner", in fact, the most fulsome–if also potentially the most obscure–is that, like Alphaville, it establishes itself as a structuralist (as in Claude Levi-Strauss) exercise while predicting through its execution the post-structuralism/deconstructionism (and eventually surrealism) of, say, a Jacques Derrida.

North by Northwest (1959) – DVD|North by Northwest (1959) [50th Anniversary Edition] – Blu-ray Disc

****/****
DVD – Image A Sound B Extras A
BD – Image A+ Sound B+ Extras A
starring Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis
screenplay by Ernest Lehman
directed by Alfred Hitchcock

Mustownby Walter Chaw Roger Thornhill (Cary Grant) is Alfred Hitchcock's most mercurial anti-hero, the soup bone reduction of the Master's wrong-man theme. An advertising executive so at ease with changing his identity at the fall of a hammer, he has, by film's end, become/done all of the things he's wrongfully accused of being/doing at the beginning of the film. Indeed, Hitchcock would never again mine the idea of the wrong man with this kind of heat–veering off as he did into a more metaphysical kind of guilt transference à la Vertigo with The Birds, Psycho, and Marnie. As North by Northwest opens, Thornhill gives his regards to a night porter's wife ("We're not talkin'!"), steals a cab from a Good Samaritan, and instructs his secretary to send a neglected lover a box of gold-wrapped candy because "she'll think she's eating money." He's a charmer–and he's as oily, despicable, and fast-talking as almost every one of Grant's romantic comedy heroes. Hitch undermines and exploits Grant for the fourth and final time here as a guy we love until we stop for a second to catch our breath and take stock of the myriad ways in which we've been bribed, glad-handed, misled, and led-on.

The Cell 2 (2009) [Digital Copy Special Edition] – Blu-ray Disc

ZERO STARS/**** Image B Sound B Extras D
starring Tessie Santiago, Chris Bruno, Frank Whaley
screenplay by Lawrence Silverstein & Alex Barder and Erik Klein and Rob Rinow
directed by Tim Iacofano

by Walter Chaw Blaringly shot on digital video so that the whole of this shitstorm looks like someone's bat mitzvah, The Cell 2's only reason for existing appears to be to clarify just how underestimated is Tarsem's original The Cell. This dtv trainwreck substitutes Jennifer Lopez with another Latina, Tessie Santiago, seemingly because the producers thought it the best way to soften the blow of the realization that this is an otherwise-unfilmable script retrofitted to launch a franchise. Santiago, a kind of Eva Longoria/Sandra Bullock hybrid, is Maya, the requisite "seer" in another serial-killer intrigue full to bursting with macho exchanges between the men and hysterical exchanges between Maya and anyone else. Tortured by not having thwarted Jigsaw-like murderer The Cusp three years prior, she's brought back on the case not merely because she's a psychic or something, but also because she was The Cusp's only fish that got away, thus giving her unique, erm, insight? Who knows? The Cusp's MO, see, is to repeatedly kill and revive his victims, which actually explains both Frank Whaley's appearance in this thing and what happens to his career by being in it. Irony. They should've called it "The Cell 2: Poor Frank Whaley."

The Living Dead at Manchester Morgue (1974) [2-Disc Special Edition] – DVD|Blu-ray Disc

Let Sleeping Corpses Lie
***/****
DVD – Image B Sound C+ Extras B
BD – Image B Sound B Extras B
starring Ray Lovelock, Christine Galbo, Arthur Kennedy
screenplay by Sandro Continenza & Marcello Coscia
directed by Jorge Grau

by Walter Chaw Without having to squint much, you could see the hero of Jorge Grau's The Living Dead at Manchester Morgue, art-dealing Easy Rider hippie George (Ray Lovelock), trying to deliver the airplane propeller his spiritual brother, David Hemmings' mod-photog from Blowup, buys in tribute to form over function midway through Antonioni's counterculture classic. Instead, George is trying to deliver the sister of the fatal fertility juju from Arthur Penn's Night Moves through titular Manchester into the green countryside on the back of his too-cool motorcycle. He's thwarted initially by the bumper of maiden fair Edna (Cristina Galbo), then by the hungry undead stalking the countryside in search of meaty sociological metaphors, then by an ossified Scotland Yard dick (Arthur Kennedy). Luckily, there's plenty of allegorical beef for everyone, as Grau paints a vivid picture of Mod Madness in steady, deteriorating orbit around the entropy and hedonism of the time–sprinkling it liberally with a disdain for dictatorships Grau no doubt nursed whilst working under the heel of Francisco Franco's regime.

Night of the Creeps (1986) [Director’s Cut] – Blu-ray Disc

*/**** Image A- Sound A- Extras B
starring Jason Lively, Steve Marshall, Jill Whitlow, Tom Atkins
written and directed by Fred Dekker

by Walter Chaw A childhood favourite, Fred Dekker's Night of the Creeps generally underscores the danger of revisiting childhood favourites with a jaundiced eye; this and his sophomore feature, The Monster Squad, show that Dekker was rejected from the USC and UCLA film schools for a reason. I realize it's all supposed to be a cozy, funny-scary homage to the terribleness of low-budget B-movies as a genre unto themselves, but the picture is terribly edited and disastrously paced–the very things that effectively kill both comedy and horror. Unconvinced? The first misstep might be its choice to leave a charming, 1950s-set black-and-white prologue in favour of a faux-Hughesian '80s fandango that, like most of the era's mainstream teen dramas not made by John Hughes, lacks an ear for how we actually talked, and insight into how we actually felt. In any case, it's hopelessly incongruous to go from Ozzie & Harriet to leg-warmers and Wall of Voodoo, resulting in something that isn't a spoof of bad filmmaking so much as an example of it. Night of the Creeps joins The Goonies for me as one of those cult classics I just can't wrap my head around. I remember sort of loving it when I was twelve, meaning only that twelve-year-olds are idiots.

The Hills Have Eyes (1977) – DVD + Wrong Turn (2003) – DVD|Blu-ray Disc

THE HILLS HAVE EYES
***/****
DVD – Image A- Sound A- Extras C+
BD – Image B+ Sound A Extras C+
starring Susan Lanier, Robert Houston, Martin Speer, Dee Wallace-Stone
written and directed by Wes Craven

by Walter Chaw Released the same year as Star Wars, Wes Craven's The Hills Have Eyes boasts of its own Luke Skywalker in the character of a blue-eyed towhead named Bobby (Bobby Houston) who, at an unwelcome call to adventure, finds himself embarked against the forces of evil with a patchwork band of heroes out of their depth. Chewbacca subbed by a ridiculously Rin Tin Tin German Shepherd hermaphrodite (sometimes a girl, sometimes a boy, always a hero), The Hills Have Eyes is Craven's zero-budget follow-up to his astonishingly unpleasant (and influential) exploitation version of The Virgin Spring, The Last House on the Left. A rough, raw, often amateurish take on the Sawney Beane cannibal family legend, the piece derives its power from the canny paralleling of its antagonistic families and its use of archetype and mythology in the telling of what is essentially a caste horror picture.

Trick ‘r Treat (2009) [Digital Copy Special Edition] – Blu-ray Disc

*½/**** Image A- Sound B Extras B-
starring Dylan Baker, Rochelle Aytes, Anna Paquin, Brian Cox
written and directed by Michael Dougherty

by Walter Chaw Less a portmanteau than a Tarantino time-shift/overlap, Trick 'r Treat is a handsomely-mounted bit of fluff that dribbles out like the Cat's Eye redux for which no one was clamouring, with more than a few images borrowed from other Stephen King errata such as Creepshow and Pet Sematary. Michael Dougherty's hyphenate debut, it, a lot like co-writer-on-X2 Dan Harris's own first feature, Imaginary Heroes, has a pedigree and the benefit of the doubt in its corner but washes out as something that needed to marinate longer to reach the full flower of any potential. The buzz surrounding Trick 'r Treat, though, in particular the Internet outrage over the studio's alleged mishandling of it, is peculiarly deafening and–as with most buzz around most projects falsely promised theatrical distribution–in large part hysterical and unjustified.

The New York Ripper (1982) – Blu-ray Disc

**/**** Image A Sound A- Extras B-
starring Jack Hedley, Almanta Keller, Howard Ross, Paolo Malco
screenplay by Gianfranco Clerici, Vincenzo Mannino, Lucio Fulci, Dardano Sacchetti
directed by Lucio Fulci

Newyorkrippercap

by Bryant Frazer The box art for this Lucio Fulci sleazefest describes it as "The Most Controversial Horror Film Ever Made," which is a stretch. "Notorious" would be a better word. The New York Ripper's main claim to fame is its reputation as a sadistic, gory, and generally misogynist giallo–the Italian term referring to a combination of the crime and horror genres (basically a whodunit with slasher elements) that became popular in the 1960s and endured through the 1970s. Released in 1982 and styled after the psychologically ambitious thrillers of Hitchcock, it bears roughly the same relationship to the gialli film cycle that, say, Touch of Evil does to film noir. If the Fulci film isn't exactly as self-aware as the Welles one, it still functions as a capper, a fitting culmination of a particular form.

Drag Me to Hell (2009) [Unrated Director’s Cut] – Blu-ray Disc

***½/**** Image A Sound A+ Extras C+
starring Alison Lohman, Justin Long, Lorna Raver, Dileep Rao
screenplay by Sam Raimi & Ivan Raimi
directed by Sam Raimi

by Ian Pugh The Evil Dead was one of the primary altars at which I prayed as a young student of the cinematic arts–a vital entry in that education for how it left me shocked, nay, stupefied that such a work could actually exist, with its twitching limbs and tree-rapes and fountains of oatmeal ichor. How did they get away with that stuff? So it goes, I think, with Sam Raimi's best efforts, these four-colour horror comics put on film, blindsiding you with their towering insanity before you can understand just how deeply they'll worm into your psyche with their sadness and panic. Sounds incredibly petty to say, but I have to admit that when he found mainstream success and acceptance with the Spider-Man franchise, a little piece of that anarchic spirit died for me. Raimi himself was transparently nostalgic for it in Spider-Man 3, a decidedly misguided attempt to hark back to the themes of his original superhero masterpiece, Darkman.

The Proposal (2009) – Blu-ray Disc

*½/**** Image B+ Sound B+ Extras B-
starring Sandra Bullock, Ryan Reynolds, Malin Akerman, Betty White
screenplay by Peter Chiarelli
directed by Anne Fletcher

Proposalcap

by Bryant Frazer Reviewing a romantic comedy can feel a bit like criticizing a kitten. So what if the feline puked in your slippers? What cat lovers generally want is something that will curl up in their lap, purr like nobody's business, and maybe give off a little heat on a cold winter's night. Complaining that the hungry little fuzzball won't fetch your slippers, can't guard your house, and bears no singular distinguishing marks or characteristics comes across as a tad churlish.

Natural Born Killers (1994) – Blu-ray Disc (Digibook) + Natural Born Killers: The Director’s Cut [Original Uncut Version] – Blu-ray Disc

****/****
R-RATED Image B+ Sound A Extras B+
NC-17 Image A- Sound A Extras A-
starring Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones
screenplay by David Veloz & Richard Rutowski & Oliver Stone
directed by Oliver Stone

Mustownby Walter Chaw Lodged in there like the apple in Gregor Samsa's back next to the spine of the American character is this corrupt speck of frontier spirit, transmogrified in the heat of late-'50s cynicism and irony by heartland bogies Ed Gein and Charles Starkweather–the veneration of them in our collective heart of darkness stoked by a long tradition of outlaw worship from Jesse James to Bonnie and Clyde. The cinematic children of Gein and Starkweather, erupting from the Eisenhower Eden of rocket ships and Cadillacs, range from epoch-shaking pictures like Psycho and The Texas Chain Saw Massacre to New American Cinema masterpieces like Badlands and Take the Money and Run. The heartbeat of the zeitgeist can be kenned in this finger to this pulse, in the individualism we celebrate and the establishment against which we secretly nurse these little serpentine malignancies. Enter Oliver Stone, not so much the provocateur as a perverse, self-indulgent chronicler of that American disease–and why not Stone, who's only ever good when he's talking about the United States and only ever talking about the United States when he's talking about anything else. He takes the Starkweather case and fashions it, from a story by Quentin Tarantino, into a work of extreme, fanatical patriotism: Natural Born Killers.

Stop Making Sense (1984) – Blu-ray Disc

Stopmakingsensecap

****/**** Image B Sound A Extras A-
directed by Jonathan Demme

Mustownby Bryant Frazer Stop Making Sense opens sparely, with a close-up of a man striding onto an empty stage. By “empty stage,” I don’t mean a bare stage, exactly. I mean a big empty theatre space–it’s basically a rectangular room behind a proscenium, illuminated by bare light bulbs dangling overhead–with furniture, ladders, scaffolding, and the like cluttered near the walls. It feels less like a performance is about to begin than like a rehearsal or, maybe more to the point, an audition. And by “close-up,” I don’t mean a tight shot on the man’s face. Rather, we are looking at his lower extremities–white shoes, white pants–in a Steadicam shot that follows him to a waiting microphone stand. He plops a boombox down beside him and announces, in a faux-naïf voice, “I have a tape I want to play.” If you know the Talking Heads, you’ll recognize this immediately as David Byrne’s shtick. But if this film is your introduction to the band–as it was for teenaged me–there may be something off-putting about the whole precious set-up. “What’s up with this fucking twerp,” I remember thinking, “and his art-damaged affectations?” I quickly learned the joke was on me.

St. Elmo’s Fire (1985) + About Last Night… (1986) – Blu-ray Discs

ST. ELMO'S FIRE
ZERO STARS/**** Image A- Sound C+ Extras C
starring Emilio Estevez, Rob Lowe, Andrew McCarthy, Demi Moore
screenplay by Joel Schumacher & Carl Kurlander
directed by Joel Schumacher

ABOUT LAST NIGHT…
½*/**** Image C- Sound C Extras C
starring Rob Lowe, Demi Moore, James Belushi, Elizabeth Perkins
screenplay by Tim Kazurinsky & Dennis DeClue, based on the play Sexual Perversity in Chicago by David Mamet
directed by Edward Zwick

by Walter Chaw The Brat Pack as a phenomenon is something that largely, blissfully escaped this child of the Eighties–just a touch too young, just a tad too disinterested. When Sixteen Candles came out, I was embarrassed by the Asian caricature enough to avoid talking about it (ditto The Goonies and Temple of Doom–though not, oddly enough, The Karate Kid); when St. Elmo's Fire came out, I was busy sneaking into consecutive showings of Back to the Future. I remember a party where The Breakfast Club was playing in the background, and a girl I had a crush on exclaiming how much she loved it. Later, they played A Nightmare on Elm Street, and whoever's mother it was at whoever's house it was broke up the festivities not long after the body-bag in the hall. (I don't know that I ever saw either movie in its entirety until I was well into my twenties.) Ferris Bueller was my connection to John Hughes, Raiders of the Lost Ark and Marty McFly were my thing–not a Molly Ringwald in sight. The closest I came to assimilation was Red Dawn, which, while awful, is also awesome in a deadening, testosterone-sick way. Looking back, the moment the '80s matured for me was Near Dark, The Evil Dead, Predator, and David Cronenberg's The Fly and not, as it was for many people in my peer group, Pretty in Pink and Some Kind of Wonderful. I remember hosting a sweltering screening of Broadcast News in my bedroom with a couple dozen pals, a considerably less well-attended showing of Angel Heart a few weeks later, and a private viewing of Pump Up the Volume with a girl I really liked and to whom I crystallized my theory of how it was always better watch a movie in the theatre…but not tonight. It was a hot evening. All my memories of movies in the '80s are accompanied by suffocating heat. The decade in my memory is one long summer.

Bram Stoker’s Dracula/Mary Shelley’s Frankenstein [Collector’s Box Set] – DVD|Bram Stoker’s Dracula (1992) + Mary Shelley’s Frankenstein (1994) – Blu-ray Discs

BRAM STOKER’S DRACULA
Dracula

**/****

DVD – Image B Sound B+
BD – Image C Sound A Extras A+
starring Gary Oldman, Winona Ryder, Anthony Hopkins, Keanu Reeves
screenplay by James V. Hart
directed by Francis Ford Coppola

MARY SHELLEY’S FRANKENSTEIN
**½/****

DVD – Image D Sound B+
BD – Image B+ Sound B
starring Robert De Niro, Kenneth Branagh, Tom Hulce, Helena Bonham Carter
screenplay by Steph Lady and Frank Darabont
directed by Kenneth Branagh

Bramdracvidcap3by Walter Chaw The first thirty minutes of Francis Ford Coppola’s retelling of the Dracula legend are dazzling and assured: a self-consciously cinematic, fulsome display of technique and loud emotions–expressionism writ large against lurid backdrops and red, backlit shadow plays. It seems impossible that Coppola could keep this up for the duration of the picture, could see to fruition the kind of viable update/continuation of Wiene’s The Cabinet of Dr. Caligari that the Akira Kurosawa film he helped produce, Kagemusha, with its sanguineous, medieval battlegrounds painted with heavy brushes, aspired to be. And sure enough, what begins as a clarion call settles into a somewhat familiar period costume drama spiced up now and again with racy sequences nonetheless sobered by the memory of the delirious hedonism of that opening, wherein we get Dracula’s backstory as a hero of a holy war, repulsing Muslim invaders in Romania, turning to blasphemy when the vengeful Turks fool his wife Elisabeta (Winona Ryder) into believing that her beloved has died on the battlefield, and gleefully chewing artificial scenery with toothy relish.

Observe and Report (2009) [Digital Copy Special Edition] – Blu-ray Disc

****/**** Image A Sound A Extras B-
starring Seth Rogen, Anna Faris, Michael Peña, Ray Liotta
written and directed by Jody Hill

mustown-4826607by Ian Pugh The tide is changing, that much is clear. In just the last month alone, Paul Rudd and Jason Segel have turned a dependence on male bonding into a crisis of sexual identity (I Love You, Man), while Greg Mottola has deromanticized teenage nostalgia (Adventureland). Now, with their thoroughly disturbing Observe and Report, Jody Hill and Seth Rogen finish prying loose the grip that Will Ferrell and Judd Apatow have had on American comedy these past few years. More importantly, the film finally gives a clear voice to the ineluctable madness that the cinema of 2009 has poked and prodded at up to this point. The deadly sociopathy of Alan Moore's Rorschach blooms at last in security guard Ronnie Barnhardt (Rogen), approached with frightened apprehension and a full understanding as to why he would nevertheless be lauded as a hero. As a result, the movie he inhabits is difficult, devastating, and paints our most recent cycles of vulgar, man-child humour as an empire built on unspoken psychosis and violent outbursts. Suddenly, the idea of Ferrell beating up a swarm of grade-schoolers in Step Brothers doesn't seem so hilarious.

The Dark Crystal (1982) [Superbit] + [25th Anniversary Edition] – DVDs|Blu-ray Disc

***/****
Superbit DVD – Image B Sound C+
Anniversary DVD – Image A Sound B+ Extras A
BD – Image B+ Sound B+ Extras A
screenplay by David Odell
directed by Jim Henson and Frank Oz

by Bill Chambers When Jim Henson passed away in 1990, he left behind a diverse legion of fans and a company whose ultimate success, it now seems, hinged on his input. Jim Henson Productions and The Creature Shop are still thriving financially, but as the past few Muppet films (or that silly-looking computer-generated monkey from Lost In Space) demonstrate, the thrill and genius are gone. I'm positive that The Dark Crystal made today by Henson's successors would not provoke from an audience of kids five to fifty the same spellbound response the 1982 original does. Which is not to say there isn't room for improvement.

Obsessed (2009) – Blu-ray Disc

*/**** Image A- Sound B+ Extras C
starring Idris Elba, Beyoncé Knowles, Ali Larter, Christine Lahti
screenplay by David Loughery
directed by Steve Shill

by Bryant Frazer When Hollywood types assimilate exploitation tropes and tactics, they start concocting films like Obsessed, in which Skinny White Bitch Ali Larter runs seriously afoul of Virtuous Black Woman Beyoncé Knowles by throwing herself at Good Husband Idris Elba. In fact, Obsessed is less a movie than it is a marketing plan, calculated to snare audiences entranced by its whiff of sex, celebrity, and dysfunctional race relations. Sure, those are movie-ready elements, but when they're mixed up by filmmakers as staidly unimaginative as the audience they're targeting, the recipe has a distinctly unsavoury flavour combination–gutless as well as tasteless.