True Stories (1986) [The Criterion Collection] – Blu-ray Disc

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****/**** Image A+ Sound A+ Extras A+
starring John Goodman, Annie McEnroe, Jo Harvey Allen, Swoosie Kurtz
written by Stephen Tobolowsky & Beth Henley and David Byrne
directed by David Byrne

by Sydney Wegner For as long as I can remember, Talking Heads have been my favourite band. They provided the soundtrack to road trips and living-room dance parties; theirs were the cassettes in my first Walkman and my first car. Among the weird stuff my brother and I cycled through during our blessed hours in front of the TV was a VHS collection of their music videos, which we must have played a thousand times. And then there was True Stories, a special favourite, something we never got sick of. I grew up in Austin but lived about ten miles from the centre of town. Our house was on an acre of land surrounded by untamed woods; we spent our time riding bikes and climbing oak trees and rolling in mud. It felt like we grew up in a small rural town, and those first 12 years of my life formed my idea of Texas. Some of my favourite memories are from road trips to visit my grandparents in San Antonio and summers spent camping our way to New Mexico and Arizona, driving for hours through land where the only evidence of civilization was the road we were on. As an adult, when I visited Utah I thought the mountains might fall and crush me. In Washington, the trees formed a picturesque prison. Only in Texas can I breathe. It’s a place where the world feels so big and flat that I can almost sense myself hanging onto the edge of the earth. What enchanted me about True Stories so much as a child is, of course, its music and its humour, but also that it captured this openness in a way that felt comforting and beautiful, very much unlike the desolate wasteland Texas appears to be in so many other movies about the state. Sometimes I wonder if it confirmed the Texas I already knew, or helped shape it for me. It never seemed like a coincidence that True Stories was released the same year I was born.

Evil Dead 2 (1987) [The Book of the Dead Limited Edition] – DVD|4K ULTRA HD + BLU-RAY + DIGITAL

EvildeadII1Please note that all framegrabs are from the 1080p version

Evil Dead II
Evil Dead II: Dead by Dawn
****/****
DVD – Image A+ Sound A+ Extras A+

4K UHD – Image A- Sound A- Extras B+
starring Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley
screenplay by Sam Raimi & Scott Spiegel
directed by Sam Raimi

by Walter Chaw More a remake with yuks than a sequel, Sam Raimi’s astonishing Evil Dead II is a kitchen-sink splatter flick inspired by the drive-in spam-in-a-cabin tradition and leavened by an unhealthy fascination with The Three Stooges. Leading man and crash-test dummy Bruce Campbell (Bill Chambers referred to him once as “brick-jawed,” and I can’t improve on that, literally or figuratively) turns in a legend-making, career-defining performance, re-imagining his Shemp, Ash, as a man of stage-melodrama, white-hat resolve who comes of age upon discovering his knack for slaying the undead. The great unspoken peculiarity of siege classics like George Romero’s Night of the Living Dead is that there is somehow always discovered a hero who’s biologically hardwired for the task of staying alive in the face of great demonic hordes. The crux is that it’s unspoken no longer in Raimi’s “Dead” trilogy (the third instalment the out-and-out comedy Army of Darkness), which, by the end, becomes a rags-to-rags fable about a retail clerk repelling an army of Harryhausen skeletons laying siege to a medieval castle. In its way, this is as canny a satire of the consumer/clerk relationship as anything in Dawn of the Dead.

First Blood (1982); Rambo: First Blood Part II (1985); Rambo III 4K (1988) – 4K Ultra HD + Blu-ray + Digital

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FIRST BLOOD
***½/**** Image A- Sound B+ Extras B+
starring Sylvester Stallone, Richard Crenna, Brian Dennehy, Bill McKinney
screenplay by Michael Kozoll & William Sackheim and Sylvester Stallone, based on the novel by David Morrell
directed by Ted Kotcheff

RAMBO: FIRST BLOOD PART II
**/**** Image B+ Sound B+ Extras B+
starring Sylvester Stallone, Richard Crenna, Charles Napier, Steven Berkoff
screenplay by Sylvester Stallone and James Cameron
directed by George P. Cosmatos

RAMBO III
**½/**** Image A- Sound B+ Extras A-
starring Sylvester Stallone, Richard Crenna, Marc de Jonge, Kurtwood Smith
written by Sylvester Stallone and Sheldon Lettich
directed by Peter MacDonald

“Hate war, but love the American warrior.”
-Lt. Gen. Hal Moore

by Bill Chambers I suppose I said it all in my previous review, but that was some sixteen years ago, and my feelings on the original Rambo trilogy have changed somewhat since then. I attribute this to age (if not maturity), evolving cultural attitudes, and 2008’s Rambo (hereafter Rambo IV), Sylvester Stallone’s powerful reclaiming of the character from the clutches of self-parody and blockbuster bloat. Rambo IV is essentially a stripped-down redux combining elements of the first three films; that there’s nothing particularly innovative about its plot isn’t, however, a commercial concession–what fans were really left to pander to, 20 years after Rambo III fizzled at the domestic box-office?–so much as it’s part and parcel of the movie’s thesis that Rambo’s singular talent for warfare, a blessing and a curse, will never be wasted in a world as shitty as ours. No matter how often or how hard he tries to drop off the grid. There’s a moment in Rambo IV where we hear his interior monologue as he forges himself a new blade: “War is in your blood,” he says. “When you’re pushed, killing’s as easy as breathing.” The tragic weight of these words ripples backwards across the franchise upon revisitation. For the lesser entries (the second and third films), I’d say it now counts among their redeeming qualities.

Halloween (2018) – 4K Ultra HD + Blu-ray + Digital

Halloween (2018) – 4K Ultra HD + Blu-ray + Digital

***½/**** Image B+ Sound B+ Extras C+
starring Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton
written by Jeff Fradley & Danny McBride & David Gordon Green
directed by David Gordon Green

by Walter Chaw In the middle of David Gordon Green’s Halloween–the night before Halloween, as it happens–a family is having a dinner to celebrate something and to meet the new boyfriend of their teen daughter when grandma shows up, drunk and possibly having a panic attack. It’s already not going well, seeing as how mom is lying about having invited her mother to this little do–and when it starts going to hell, she uses the discomfort as justification for not having done it. “See? This is what I’ve had to put up with my whole life.” The grandmother sits down and apologizes. She’s spotted the man who once attacked her for the first time in forty years, and the shock has brought everything flooding back. She starts crying and no one is consoling her. It’s an unbelievably topical moment in a smart, topical film, this suggestion that the effects of assault last a lifetime. That the horror of helplessness and victimization never entirely goes away.

Phenomena (1985) – Blu-ray Disc

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Phenomena (Integral Cut) ***/****
Phenomena (International Cut) ***/****
Creepers ***½/****
Image A Sound B+ Extras A+
starring Jennifer Connelly, Daria Nicolodi, Dalila Di Lazzaro, Donald Pleasence
written by Dario Argento, Franco Ferrini
directed by Dario Argento

by Walter Chaw SPOILER WARNING IN EFFECT. There’s an extraordinary quality of dreams attached to Dario Argento’s Phenomena. It’s the mist that diffuses the light, the sudden foehn windstorms that whip up the trees at night, the logic that links scenes together by theme as opposed to narrative. It’s a naturally beautiful film, its photography of “Swiss Transylvania” almost aggressively lush and somewhat at odds with Argento’s reputation for extreme, some would say forced, artificiality. I would argue that the way nature is shot in this film is so hyperreal it’s actually as surreal as the constructed mindscapes of his more obviously surreal work. Whatever the case, that’s not the only expectation Phenomena upends, as, continuing from Tenebrae, the auteur seems to be working out what he’s described as a terrible experience (the production of Inferno) and dealing with the fallout and expectations afterwards. Indeed, by all reports, Argento was unusually energized and enthusiastic about this project, and that invention, lawless and largely lacking in any sort of guardrails, is obvious and bracing–even as he, at this point in his career, relies perhaps overmuch on recycling his greatest hits. Still, early on, he has a young woman stand in a classroom to declare “screw the past,” which plays as something of a punk mission statement for the singular Phenomena.

2001: A Space Odyssey (1968) – 4K Ultra HD + Blu-ray + Digital

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****/**** Image A Sound A- Extras C+
starring Keir Dullea, Gary Lockwood, William Sylvester, Daniel Richter
screenplay by Arthur C. Clarke & Stanley Kubrick, based on Clarke’s short story “The Sentinel”
directed by Stanley Kubrick

by Bryant Frazer In 1965, film director Stanley Kubrick and science-fiction author Arthur C. Clarke embarked on a remarkable collaboration. Taking an old Clarke short story as their starting point, the duo rewrote it and dramatically expanded its scope, drafting the blueprint for a film to be directed by Kubrick as well as for a novel to be scripted by Clarke. In Clarke’s original story, “The Sentinel”, astronauts found an ancient artifact on the moon that functioned as a radio beacon, transmitting signals into outer space. The expanded film treatment was many times more ambitious, beginning in the deep pre-history of human evolution and climaxing with a futuristic journey to Jupiter, where one man confronts an unseen alien intelligence–and undergoes transformation and rebirth. More than a science-fiction thriller or space-bound adventure movie, 2001: A Space Odyssey is a meditation on Man’s place in the universe that mounts a convincing argument that the sum total of human knowledge gathered over the millennia is insignificant, at best, when compared to the vast mysteries of the greater universe. That sense of scale is demonstrated, vividly, in a climactic sequence that uses colour and sound to depict a wild journey into–a distant realm? Another dimension? A new plane of human existence?

The House with a Clock in Its Walls (2018) – 4K Ultra HD + Blu-ray + Digital

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**½/**** Image A Sound A Extras B+
starring Jack Black, Cate Blanchett, Owen Vaccaro, Kyle MacLachlan
screenplay by Eric Kripke, based on the novel by John Bellairs
directed by Eli Roth

by Bryant Frazer What happens when Hollywood’s foremost torture-porn impresario channels his inner child and goes into business with Amblin Entertainment as a director-for-hire on a kid-friendly adaptation of a young-adult thriller from the early-1970s? Well, you get something like Eli Roth’s The House with a Clock in Its Walls–nobody’s idea of an innovative masterpiece, but at least an unpretentious, lavishly-designed, and mischievously-executed spookshow. Adapted by “Supernatural” creator Eric Kripke from a novel written by John Bellairs and illustrated by none other than Edward Gorey, The House with a Clock in Its Walls is one of those sad-orphan-is-sent-away-to-live-with-a-distant-relative yarns that begins with a young boy’s arrival in an unfamiliar city. Naturally, he becomes privy to magical goings-on that open a window on the wider, more dangerous world before him.

Tenebrae (1982) – Blu-ray Disc

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Tenebre
****/**** Image A Sound B+ Extras B
starring Anthony Franciosa, Christian Borromeo, Mirella D’Angelo, Daria Nicolodi
written and directed by Dario Argento

by Walter Chaw SPOILER WARNING IN EFFECT. Dario Argento is a stylist and a fan who pays attention. His films are shrines to Hitchcock in the way that Tarantino’s are shrines to grindhouse exploitation: imitations that transcend imitation by understanding what made the originals work. Argento’s movies invite you to engage with them at a meta-level to appreciate them intellectually, yet are so engaging on a visceral level that it’s hardly a requirement. At their best, they’re phantasmagorias mashing up stuff like Cornell Woolrich, Mickey Spillane, and Edgar Wallace with Antonioni and, of course, Hitchcock. At their worst, Argento’s films either perilously discard the gialli pillars that provide touchstones for him in favour of gothic horror (his truly abominable takes on Phantom of the Opera and Dracula), or desperately try to recapture old glory (The Card Player, Sleepless, and, alas, Mother of Tears).

Mission: Impossible – Fallout (2018) – 4K Ultra HD + Blu-ray + Digital

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***/**** Image A- Sound A Extras A-
starring Tom Cruise, Henry Cavill, Ving Rhames, Alec Baldwin
written and directed by Christopher McQuarrie

by Walter Chaw As the title flatly states, Mission: Impossible: Fallout (hereafter Fallout), the sixth instalment in our very own Jackie Chan’s signature series, will be about Ethan Hunt’s (Tom Cruise) emotional baggage, earned over twenty-plus years of saving the world from threats foreign, domestic, and auteur. The main personal casualty for Hunt is the disintegration of his marriage to Julia (Michelle Monaghan), who must remain a “ghost” so that she doesn’t suffer the, yes, fallout from Ethan’s hero work. She checks in every once in a while, Hunt’s teammate Luther (Ving Rhames) tells Ethan’s new flame, former MI6 agent Ilsa (Rebecca Ferguson). It’s what keeps Ethan going. Accordingly, Fallout starts with an apocalyptic dream of Julia in the hands of maddog terrorist Solomon Lane (Sean Harris)–the type of dream James Cameron used so effectively in Terminator 2: Judgment Day, where everyone turns to charcoal and flies apart. It’s important to focus in on all of this because Fallout is about a very specific element of the myth of masculinity, this romanticizing of sacrifice and suffering that men must go through in order to protect the women in their lives. The best part of Martin Campbell’s extremely good Casino Royale is when fatale Vesper Lynd (Eva Green) brings Bond (Daniel Craig) back from the dead and his first sentence is spent asking if she’s okay. There’s a scene like that at the end of Fallout as well when Hunt, back from the dead, apologizes to Julia for everything. It’s the sentiment and the situation that makes men in the audience spring a manly leak. Hunt–even his name is a primordial gender assignation–is the avatar for male expectation, which casts his heroics in an odd light, I think: fantasies of male heroism played against grandiose, extravagant, paranoid delusions. I don’t know now if I’m talking about Cruise or Hunt. Same, same.

Rampage (2018) – Blu-ray + DVD + Digital

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**/**** Image A Sound A Extras B
starring Dwayne Johnson, Naomie Harris, Malin Akerman, Jeffrey Dean Morgan
screenplay by Ryan Engle, Carlton Cuse, Ryan J. Condal and Adam Sztykiel
directed by Brad Peyton

by Walter Chaw Silent Hill is still the best video-game movie, but points awarded to Brad Peyton for taking a flyer at adapting an old side-scrolling punchfest and giving it a standard sub-genre narrative. Rampage is the same kind, if not the same quality, of adaptation as the first Pirates of the Caribbean: an idea that makes no sense on paper that’s unexpectedly decent in execution. Anyway, Rampage is the standard eco-horror conceit of evil scientists trying to engineer something evil for the military-industrial complex, which underestimates the controllability (and the evil) of the thing they’re trying to make and thus endanger a lot of people/the world with their greed/godless curiosity. On the other side, there’s beefy primatologist Davis (Dwayne Johnson, reuniting with San Andreas helmer Peyton) and a disgraced, formerly corrupt scientist named Dr. Kate (Naomie Harris), who enter into an uneasy partnership with government spook Agent Russell (Jeffrey Dean Morgan) to counteract the Frankenstein that’s been unleashed. Said Frankenstein being a growth agent or something that causes a wolf, an alligator, and Davis’s best friend, George, an albino gorilla, to grow to gargantuan proportions–and become nigh invulnerable, to boot. Fans of the arcade game will note that this is faithful casting; they will also recognize the building-punching and helicopter-biting.

Ant-Man and the Wasp (2018) [Cinematic Universe Edition] – 4K Ultra HD + Blu-ray + Digital Code

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**½/**** Image A Sound A- Extras B-
starring Paul Rudd, Evangeline Lilly, Michael Peña, Michael Douglas
written by Chris McKenna & Erik Sommers and Paul Rudd & Andrew Barrer & Gabriel Ferrari
directed by Peyton Reed

by Bryant Frazer Ant-Man and the Wasp opens, like Ant-Man before it, inside Uncanny Valley, with one of those flashback scenes haunted by creepy, de-aged CG replicas of famous actors. Less than 40 seconds into the film, Cartoon Robot Michelle Pfeiffer widens and rolls her eyes in an unsettling, overdetermined gesture that feels no less artificial even if it’s sourced from Pfeiffer’s “real” work in front of a performance-capture camera. It’s not just that CRMP’s eyeballs seem so much more active than those of every other actor in the film–that could be put down to her individual style of emoting–but more that they don’t quite sync up with the rest of her face. Sure, as crimes against nature go this one is minor; the similarly de-eldered Creepy Zombie Michael Douglas looming behind her is more distracting, with a deader face. Still, it’s an unforced error. Why go to these lengths? CRMP’s presence is barely required in the film; in most of her scenes, she’s already wearing a mask. And the scene offers no crucial information or insight.

BlacKkKlansman (2018) – Blu-ray + Digital

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****/**** Image A- Sound A Extras C-
starring John David Washington, Adam Driver, Laura Harrier, Topher Grace
written by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee, based on the book by Ron Stallworth
directed by Spike Lee

by Walter Chaw Colorado Springs is a big, modern, beautiful city. It's home to natural wonders like the Tolkien-sounding Garden of the Gods and the Cave of the Winds. Its zoo, perched on the slopes of Cheyenne Mountain, is world class. Spencer Penrose built a shrine to his friend Will Rogers on that same mountain when Rogers died in a plane crash. Cheyenne Mountain is also where NORAD is housed, and Colorado Springs is also host to the United States Air Force Academy and, once upon a time, Focus on the Family. It's an ultra-conservative city just south of blue Denver, which is itself south of the trust-fund hippie commune of Boulder. And for a few years starting around 1925, there was no greater stronghold for the Klan in the United States than in Denver. In 1978, Ron Stallworth became the first African-American police officer hired by the Colorado Springs Police Department, and then the first detective when he went undercover to infiltrate a Kwame Ture speech at a black nightclub. In 1979, he answered an ad hoping to establish a chapter of the KKK in the Springs, posing over the telephone as a man who hated every non-white race, but especially "those blacks." A white counterpart attended meetings while Stallworth eventually gained the trust of then-Grand Wizard David Duke. Duke reached out to Stallworth recently because he was concerned he was going to be portrayed as a buffoon in Spike Lee's adaptation of Stallworth's memoir, BlacKkKlansman. I mean, if the hood fits… If there is one indicator of involvement with cults like this, it's deep-seated insecurity. It bears mentioning that Denver's old airport, Stapleton International Airport, is the namesake of five-time Denver Mayor Ben Stapleton, who was a high-ranking member and, until the end of his reign, vocal supporter of the Klan. The airport is gone, but the neighbourhood that replaced it still carries his name.

Solo: A Star Wars Story (2018) [Ultimate Collector’s Edition] – 4K Ultra HD + Blu-ray + Digital Code

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*/**** Image A Sound B+ Extras A-
starring Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Paul Bettany
written by Jonathan Kasdan & Lawrence Kasdan
directed by Ron Howard

by Walter Chaw SPOILER WARNING IN EFFECT. In Roger Ebert’s reviews of the original Star Wars trilogy, he mentions that one of the wonders of this universe is that the droids are thinking, feeling, emotional beings, thus making their torture in Return of the Jedi a visceral thing. In Ron Howard’s expediently-extruded Solo: A Star Wars Story (hereafter Solo), a sassy robot named L3-37, voiced by Phoebe Waller-Bridge, is fused into the Millennium Falcon spacecraft after being murdered in the middle of a slave and prisoner rebellion she’s incited in another interchangeable industrial backwater. I mention this as a point of interest because L3 is the clumsy mouthpiece for broad progressive beliefs in a shockingly bad script by father-son duo Lawrence and Jonathan Kasdan. When Lando Calrissian (Donald Glover) asks if there’s anything else he can get her as he’s leaving a room, she says, “Equal rights?” It’s that kind of character. The kind usually workshopped out when the screenwriter–one of them, anyway–isn’t the most powerful person in the room. She’s Dobby the House Elf from a storyline smartly left out of the film adaptations of Harry Potter, screaming about “droid rights” during a droid Thunderdome sequence done better in everything (but particularly in A.I.), and there mainly I think so that replacement director Howard can slide his brother Clint into a self-satisfied cameo. So this character, liberating droids and releasing slaves and declaring that she’s found her calling, is fused by a grieving Lando into his spaceship to spend the next eight or nine movies getting punched and abused by her new white masters whenever she doesn’t work right away.

Stigmata (1999) – Blu-ray Disc

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**½/**** Image C+ Audio A Extras A
starring Gabriel Byrne, Patricia Arquette, Jonathan Pryce, Nia Long
screenplay by Tom Lazarus and Rick Ramage
directed by Rupert Wainwright

by Walter Chaw 1999 was an interesting year. The end of any millennium is accompanied by some kind of fin de siècle madness and the most recent one, in the United States anyway, was indicated by fears that the Y2K bug would launch our nuclear arsenal, cause airplanes to fall out of the sky, and end life as we knew it. It caused our movies to deal with technological folly (The Matrix, The Blair Witch Project, The Iron Giant, The Thirteenth Floor, eXistenZ, Bicentennial Man), shifting identities (Fight Club, Eyes Wide Shut, The Sixth Sense, The Virgin Suicides, The Talented Mr. Ripley, Memento, Being John Malkovich), and general apocalyptic mood (Magnolia, The Ninth Gate, Arlington Road). Looking back, everything we needed to know about the coming conflagration was here in these few years leading up to 9/11. Amid so many fine genre choices (Stir of Echoes, Audition, The Limey, and so on), consider Rupert Wainwright’s handsome Catholic muddle Stigmata, a hyper-extended music video that makes no sense whatsoever but still works because of Patricia Arquette’s ineffable grace and Gabriel Byrne’s unflappable cool. In its own way, the film is prescient, seeing that its bleach-bypassed, Fincherian ethos would take over as visual shorthand for the coming apocalypse. Expulsion from Eden is this final surrender to digital wonderlands: we lost most of our colour palette along with our innocence.

The Spy Who Dumped Me (2018) – 4K Ultra HD + Blu-ray + Digital

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**½/**** Image A- Sound A- Extras B
starring Mila Kunis, Kate McKinnon, Justin Theroux, Sam Heughan
screenplay by Susanna Fogel and David Iserson
directed by Susanna Fogel

by Bryant Frazer The Spy Who Dumped Me is a lot–femme-centric rom-com, violent action-thriller, dopey spy farce, and genial paean to friendship in the face of adversity–and director Susanna Fogel revels in the tonal disparities from its opening sequence, which intercuts an enthusiastically mounted, bullet-riddled chase scene set in Vilnius, Lithuania, with scenes from a birthday party for Audrey Stockman (Mila Kunis), a 30-year-old grocery clerk who’s just been blindsided by a break-up text from Drew Thayer (Justin Theroux), her boyfriend of one year. The party’s been organized by Audrey’s devoted pal Morgan (Kate McKinnon), an aspiring actress whose ceaseless shenanigans help blunt Audrey’s sadness. It quickly becomes clear that, somehow, the guy hiding out from Lithuanian thugs in the gloomy, desaturated espionage thriller is Drew himself. When Morgan grabs Audrey’s phone and sends a text calling him a “worthless nutsack” and promising to “set his shit on fire,” Audrey gets a returned phone call from that other movie, in which Drew beseeches her to reconsider. Fogel keeps this up for a solid 10 minutes before the film’s title appears on screen, and it’s an intriguing overture.

Twilight (2008) – 4K Ultra HD + Blu-ray + Digital

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**/**** Image B+ Sound A- Extras B
starring Kristen Stewart, Robert Pattinson, Billy Burke, Peter Facinelli
screenplay by Melissa Rosenberg, based on the novel by Stephenie Meyer
directed by Catherine Hardwicke

by Bryant Frazer Author Stephenie Meyer says she wrote her first novel, Twilight, in three months’ time, after the central idea came to her in a dream. Leaving aside the question of whether the notion of a moody teen vampire love story set in and around a high school in the Pacific Northwest is remarkable enough to require that the Muses mainline it directly into your subconscious, the romance of Bella Swan, a quiet, self-abnegating high-schooler from a broken home, and Edward Cullen, a smoking-hot vampire who sparkles under sunlight and has sworn off human flesh, hit a sweet spot. Teenage girls, especially, responded en masse to Meyer’s vision of a smouldering, beautiful boy with the power to end your life at any moment but the grace and restraint to keep his hands to himself. Can you tame him? These sexual politics feel retrograde–the lovestruck nymphet at the mercy of a man forever struggling to keep his carnal desires at bay–but I try to steer clear of kink-shaming. If a strange relationship makes you swoon, whether it’s molded into Twilight‘s denial-of-desire shtick or 50 Shades‘ bondage spectacle, that’s your business and the movies can give you a way to explore that. Disapproving thinkpieces will blossom; feminism will survive.

The Evil Dead (1983) [The Book of the Dead Limited Edition] – DVD|4K Ultra HD + Blu-ray + Digital

Evildead1Please note that all framegrabs are from the 1080p version

****/****
DVD – Image A Sound A+ Extras A+
4K UHD – Image A Sound A- Commentary A-

starring Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker
written and directed by Sam Raimi

by Walter Chaw The Evil Dead defies wisdom: It’s an ultraviolent horror film made on a nothing budget (rumoured to have been in the neighbourhood of three-thousand dollars) that still manages to produce an enduring and brilliant performance and demonstrate (like a Dario Argento shocker) that gore, if it’s perverse enough, can be the beginning and the end of horror. The product of Bruce Campbell’s hilariously physical turn, of Sam Raimi’s genius in fashioning dazzling camera moves, and of an uncredited Joel Coen’s flair at the editing table, The Evil Dead bristles with life and joy. It is a testament to how bliss and the spark of inspiration can elevate a film of any budget in any genre from routine to sublime.

A Star is Born (1976) – Blu-ray Disc (DigiBook)

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***/**** Image A+ Sound B Extras B
starring Barbra Streisand, Kris Kristofferson, Gary Busey, Oliver Clark
screenplay by John Gregory Dunne & Joan Didion and Frank Pierson
directed by Frank Pierson

by Sydney Wegner Two-and-a-half hours ago, I didn’t care one bit for Barbra Streisand. As a mega Kris Kristofferson fangirl, I was grudgingly willing to endure her performance alongside him in A Star is Born. I grew up with people who wouldn’t be caught dead listening to her music; I’d never seen any of her movies. All I knew of her besides the larger-than-life fame and cloned dogs was her legendary ego. Diva, control freak, crazy, stuck-up–many of these distasteful adjectives stemming from the troubled production of A Star is Born. Despite its awards and box-office success (it was the third highest-grossing film of 1976), the years have not necessarily been kind, and almost every recent review has mentioned her presence as overwhelming the movie. That is, the lack of chemistry between the leads, the way the movie skips over chunks of badly needed character development to make room for her songs, and the fashion disasters are frequent complaints with one common target: Babs.

American Psycho (2000) [Uncut Version] – 4K Ultra HD + Blu-ray + Digital

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***/**** Image B+ Sound B+ Extras B+
starring Christian Bale, Willem Dafoe, Jared Leto, Josh Lucas
screenplay by Mary Harron & Guinevere Turner, based on the novel by Bret Easton Ellis
directed by Mary Harron

by Bryant Frazer Books are often said to be “unfilmable,” but it’s the rare text that can be described as “unprintable.” That was the fate that nearly befell Bret Easton Ellis’s notoriously graphic first-person serial-killer memoir, American Psycho. Comprising mainly page after page of vacuous conversation among young and moneyed Wall Street types and littered with references to high-end brand names, American Psycho‘s internal monologue reveals the wealth-addled mindset of Patrick Bateman, an investment banker and tasteless sociopath who specializes in mergers and acquisitions and expresses himself through hateful diatribes, hilariously wrong-headed pop-culture critiques, and the occasional torturous homicide, described in sickening detail. As the book neared release, publisher Simon & Schuster faced pressure to drop it from both inside and outside the company. Feminists attacked it as a how-to manual for misogyny, murder, and mutilation. TIME published a passage about a woman being skinned, while SPY excerpted a scene describing oral sex with a severed head. S&S’s own marketing department was reportedly queasy, and even the cover designer assigned to the book balked. Then, in November 1990, barely a month before its planned appearance on bookstore shelves, S&S yanked the book from its schedule. American Psycho survived, of course. Knopf picked it up and issued it as a Vintage paperback original in early 1991. But a number of booksellers declined to stock it, and a preponderance of critics excoriated it. Even so, it was enough of a success to catch the attention of producer Edward R. Pressman, who developed it as a feature project for Lionsgate, then an upstart film distributor based in Vancouver.

Halloween (1978) – [25th Anniversary Divimax Edition] – DVD|4K Ultra HD + Blu-ray (UPDATED)

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****/****
DVD – Image B- Sound A Extras A
4K UHD – Image A- Sound A- Extras A-

starring Donald Pleasence, Jamie Lee Curtis, Nancy Kyes, P.J. Soles
screenplay by John Carpenter & Debra Hill
directed by John Carpenter

by Walter Chaw As tempting as it is to write the umpteenth dissertation on the importance and brilliance of John Carpenter’s Halloween, it’s almost enough to say that there is very possibly no other seminal Seventies film–not The Godfather, not Star Wars, perhaps not even Jaws–that has had a greater influence on popular culture. It’s a movie about a fishbowl that exists now only in a fishbowl, a picture so examined that its sadistic ability to maintain an atmosphere of horrified anticipation is consumed by the intellectualization of its hedonism=death equation. A screening with fresh eyes reveals a picture and a filmmaker owing incalculable debts to Alfred Hitchcock and Howard Hawks.