A Ghost Story (2017) – Blu-ray + Digital HD

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***½/**** Image B Sound B+ Extras A-
starring Casey Affleck, Rooney Mara
written and directed by David Lowery

by Alex Jackson All forms of an afterlife are kitsch. You can’t even conceptualize Heaven, Hell, reincarnation, or spiritualism without turning it into a greeting card or a joke. Kitsch is built into the concept. There was a point in my life where I felt that while it was kitsch, kitsch was all we had. The only other option was to confront the vast nothingness and indifference of the universe and acknowledge how little time and space we take up in the grand scheme. Maybe our belief in a life after death is the equivalent of Wile E. Coyote running off a cliff and not falling because he doesn’t look down.

The Slayer (1982) – Blu-ray Disc

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***/**** Image B+ Sound B+ Extras A
starring Sarah Kendall, Frederick Flynn, Carol Kottenbrook, Alan McRae
screenplay by J.S. Cardone & Bill Ewing
directed by J.S. Cardone

by Sydney Wegner As co-writer/director J.S. Cardone insists, The Slayer is not quite a slasher. More than titillate or thrill, it seeks to unsettle, to dig at the viewer with emotion rather than throwaway jump scares. The set-pieces have the imaginative gore of any good slasher, but a sadness permeates the film so deeply that all the dorky banter and melodramatic murders in the world can’t disguise it. The slow pace and heavy emphasis on the psychological trauma of its lead doomed The Slayer to be drowned out by the deluge of early-’80s slashers, and most viewers who might have been drawn to the carnage implied by the lurid title and poster were likely left unsatisfied. The Slayer opens with a nightmare: Wandering wide-eyed through a house, the protagonist, Kay, is strangled by long, inhuman hands encrusted in slime and blood. The opening promises the violence and sex (she’s of course wearing a classic skimpy nightgown) of the typical slasher variety, but pay closer attention to the close-ups of a chiming grandfather clock and the beautiful orchestral score–those signal the kind of movie you’re in for. When Kay startles awake from this dream, sweaty and terrified, her husband stands above her. He starts talking to her about something innocuous, but the camera, peering up from a jarringly low angle, makes him seem ominous and oppressive. This, too, is a tell. Kay will spend the movie trying to convince the other characters that what she dreams is real, and they will brush her off, and then they’ll die. They aren’t a comfort to her anymore, because she is far gone to a place where everything is at the wrong angle.

The Car (1977) – Blu-ray Disc

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*½/ **** Image B+ Sound B Extras B
starring James Brolin, Kathleen Lloyd, John Marley, Ronny Cox
screenplay by Dennis Shryack & Michael Butler and Lane Slate
directed by Elliot Silverstein

by Bryant Frazer America’s love of the open road collided with its suspicion of out-of-state license plates in The Car, a risible 1977 thriller about a muscle car on a killing spree. The Car was conceived as a cash-in–an easy riff on Jaws with the working title Wheels(!)–but it earned a reputation for genre silliness that made it a staple of late-night TV line-ups in the 1980s. Shot mostly in the Utah desert, The Car follows sheriff’s deputy Wade Parent (James Brolin) as he investigates a series of mysterious hit-and-run killings involving bicyclists, a hitchhiker, and a mean-looking, black Lincoln Continental. It’s a low-octane concept even for genre knock-offs, and despite the traditional framing of organized law enforcement as the heroes of the piece, there’s not a lot of detective work required. The Car shows up; the Car runs someone over; the Car drives away, blasting its horn triumphantly. It’s not until it takes a special interest in Wade and his schoolteacher girlfriend, Lauren (Kathleen Lloyd), that the deputies concoct a plan to lure it out of town and into a trap, using Wade as bait.

Re-Animator (1985) [2-Disc Limited Edition] – Blu-ray Disc

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H.P. Lovecraft’s Re-Animator
****/**** Image A- Sound B+ Extras A

starring Bruce Abbott, Barbara Crampton, David Gale, Jeffrey Combs
screenplay by Dennis Paoli, William J. Norris and Stuart Gordon, based on H.P. Lovecraft’s “Herbert West–Re-Animator”
directed by Stuart Gordon

by Bryant Frazer An extremely loose adaptation of a generally unloved short story by H.P. Lovecraft (“Herbert West–Reanimator”), Re-Animator is a genre miracle: a low-budget horror movie with a smart script, strong performances, genuinely nightmarish gore effects, and a wicked sense of humour that avoids smugness or condescension. Director Stuart Gordon, who co-wrote the screenplay with gothic fiction specialist Dennis Paoli (from a teleplay by William J. Norris), moderates the ghoulish overtones of Lovecraft’s Frankenstein parody by first establishing an ordinary young-doctors-in-love scenario. In this version, Dan Cain (Bruce Abbott), an idealistic young M.D.-in-training at Miskatonic University, is covertly romancing Meg Halsey (Barbara Crampton), the daughter of the med-school dean (Robert Sampson), when the arrival of transfer student Herbert West (Jeffrey Combs) starts to put a strain on their relationship. Strapped for cash, Dan takes West in as a roommate over Meg’s objections, and he proves to be a problem tenant for a few reasons. Most obviously, he is a prideful twerp who begins his studies at Miskatonic by picking a fight with one of the teachers, the towering, imperious Dr. Carl Hill (David Gale), whose work West regards as derivative. (“So derivative,” he opines in the deliciously bitchy scene that introduces the characters to each other, “that in Europe, it’s considered plagiarized.”) But West is also a budding sociopath with a monomaniacal focus on developing the green-glowing serum he believes brings the dead back to life, and he’s looking to procure fresh bodies on which to experiment. The trouble really starts when goodness is corrupted–when the generally level-headed Dan decides to help him with his research.

Lost in America (1985) [The Criterion Collection] – Blu-ray Disc

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****/**** Image B+ Sound B+ Extras B+
starring Albert Brooks, Julie Hagerty
written by Albert Brooks & Monica Johnson
directed by Albert Brooks

by Bryant Frazer Early in Lost in America, David Howard (Albert Brooks) is trying to convince his wife, Linda (Julie Hagerty), that it’s a good idea to abandon their Los Angeles house in favour of an interstate-ready mobile home. He describes the amenities in detail–it even has a “microwave that browns”–and outlines his dangerously misguided fantasy of dropping out of society to explore the country. “Linda,” he says, “this is just like Easy Rider, except now it’s our turn.” That’s a good line, and not just because Albert Brooks–round-faced, pushing 40, with enormous glasses and a distinctive Jewfro–is a physically and temperamentally unlikely candidate for the Easy Rider lifestyle. It’s really funny because it’s so clearly a terrible idea. In a rush of pride and vocal anger at being passed over for a desired promotion, David lost his job as an advertising copywriter, unwrapping himself from the protective swaddle of gainful corporate employment. Now he wants to drag Linda, a department-store HR functionary, into the void with him. It’s like a car wreck in slow-motion, except the guy driving sold his air bags for gas money and is delivering a peppy monologue about how great it feels not to be wearing a seat belt. This, we understand, is a calamity in the making.

Cult of Chucky (2017) [Unrated] – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A Extras B
starring Fiona Dourif, Adam Hurtig, Alex Vincent, Brad Dourif
written and directed by Don Mancini

by Bill Chambers It’s not uncommon for a long-running horror series to embroider an increasingly convoluted mythology over time, as the kind of premise that launches horror icons also tends to be too primal to sustain a franchise. That’s why Michael Myers became part of the Thorn cult and Freddy Krueger sired offspring while his own backstory continued to blossom. The Chucky saga, the story of a bloodthirsty Cabbage Patch Kid run amok, is no exception, but it’s utterly unique in how the style of these films has pivoted, to use a buzzword, with the evolving narrative. What began as a mostly straight-faced slasher trilogy with a different identity altogether–these were Child’s Play movies–was continued seven years later as a tongue-in-cheek ode to monster mash-ups with 1998’s Bride of Chucky. Post-modernism then entered the picture and the comedy was pushed to the nth in Chucky creator Don Mancini’s directorial debut Seed of Chucky, which seemed to exceed the threshold for camp shared by both the franchise and its fans. Another seven years passed (incidentally, the mythical length of time it takes for the human body to shed its skin) before Mancini’s Curse of Chucky resurrected the title character, this time as the cursed object in an old-dark-house chiller. Now Cult of Chucky sees Mancini retrofitting his Mickey Mouse once again for a Bad Dreams-style psycho-ward thriller. Say what you will about Mancini being a maker of Chucky movies almost exclusively (he’s the rare auteur to initiate, then stay with, a horror franchise), but within these limited parameters he’s had an opportunity to show more range than most genre filmmakers.

Kiju Yoshida: Love + Anarchism [Limited Edition] – Blu-ray Disc

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EROS + MASSACRE (1969)
****/****
Director’s Cut: Image B+ Sound B Extras B-
Theatrical Version: Image B Sound B Extras B
starring Mariko Okada, Toshiyuji Hosokawa, Yûko Kusunoki, Etsushi Takahashi
written by Masahiro Yamada & Yoshishige Yoshida
directed by Yoshishige Yoshida

HEROIC PURGATORY (1970)
***/**** Image A- Sound A- Extras B
starring Mariko Okada, Kaizo Kamoda, Naho Kimura, Yoshiaki Makita
written by Masahiro Yamada
directed by Yoshishige Yoshida

COUP D’ETAT (1973)
***½/**** Image B+ Sound B Extras B
starring Rentarô Mikuni, Yasuo Miyake, Akiko Kurano, Tadahiko Sugano
written by Minoru Betsuyaku
directed by Yoshishige Yoshida

by Bryant Frazer In director Yoshishige Yoshida’s restlessly erotic trio of films dealing with Japanese radicalism (aptly dubbed “Love + Anarchism” by Arrow Films), past and present merge as easily and ineluctably as the personal and the political. Released between 1969 and 1973, they were made at a politically turbulent time in Japan, when the New Left movement gained social currency and student anarchists, the Zengakuren, challenged the status quo by occupying buildings at universities and high schools around the country. In that conflict between anarchy and order, Yoshida saw reflections of Japan’s past–earlier generations of radicals who challenged societal structures in the same way that new activists were pushing back against contemporary norms. Yoshida was not inspired to make anything as simple as a series of biopics or historical dramas; instead, he embarked on a series of formally elaborate films that evaluated the struggles of radicals and would-be revolutionaries from decades past in light of the then-current political moment.

Ghost World (2001) [The Criterion Collection] – Blu-ray Disc

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**½/**** Image A Sound A Extras A+
starring Thora Birch, Scarlett Johansson, Brad Renfro, Steve Buscemi
written by Daniel Clowes & Terry Zwigoff, based on the comic book by Clowes
directed by Terry Zwigoff

by Sydney Wegner Say “privilege” in 2017 and you will inevitably trigger an allergic reaction, particularly if you precede it with the word “white.” “Privilege” feels inflammatory and overused, a casualty of the movement for basic human decency snidely referred to as “PC culture.” For those to whom it applies, it can be hard to confront and accept–especially in America, where the idea that anybody got anything by luck alone goes against everything we’ve been taught is admirable and pure. But in order to use your unjustly-granted powers for good, the knee-jerk defensiveness needs to be agonized over and dealt with. As I’ve matured, I’ve learned that you can’t grow without feeling like garbage, that the concept of learning from your mistakes often applies to learning from the ones you didn’t make intentionally. Now that being a better person seems to have become a radical political act, it’s something that is on my mind a lot.

Alien: Covenant (2017) – 4K Ultra HD + Blu-ray + Digital HD

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**/**** Image A Sound A Extras B+
starring Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride
screenplay by John Logan and Dante Harper
directed by Ridley Scott

by Bryant Frazer It’s rare that a perfect film is also financially lucrative. Ridley Scott’s Alien is one such title–a scary movie that really cuts across demographic boundaries. Think of it as a science-fiction slasher flick or a deep-space old-dark-house thriller with a crew of likeably blue-collar mopes facing off against a shape-changing menace that’s part axe murderer, part wild grizzly, and part serial rapist. It works because it’s non-specific. But in the space of its 117 minutes, it finds what frightens you. Alien stands as a singular achievement. Still, because it was released in the age of the sequel, studio 20th Century Fox eagerly founded a franchise on it, and the series immediately began deconstructing itself. James Cameron’s Aliens was downright reactionary, replacing the first film’s working-class heroes with a bunch of Heinlein-esque space marines, transforming its boogeyman into an opposing army of boogeymen, and saddling Ripley with motherly duties, blithely undoing Alien‘s celebrated subversion of such tropes. In Alien3, the game was truly on: Director David Fincher straight-up murdered Ripley’s new nuclear family before powering the film’s narrative towards a climactic conflagration depicting a Christ-like sacrifice and unalloyed abortion metaphor. This was much more in keeping with the subtextually rich original–but it was decidedly audience-unfriendly. It took another five years for Joss Whedon and Jean-Pierre Jeunet to stick a fork in the franchise; Alien: Resurrection was the first Alien movie that genuinely didn’t seem to give a shit about Alien movies.

Madhouse (1981) – Blu-ray Disc

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There Was a Little Girl
**½/**** Image A Sound B+ Extras B-

starring Trish Everly, Michael Macrae, Dennis Robertson, Morgan Hart
screenplay by Stephen Blakley, Ovidio G. Assonitis, Peter Shepherd and Robert Gandus
directed by Ovidio G. Assonitis

by Sydney Wegner The final frames of Madhouse are a title card with a George Bernard Shaw quote: “…life differs from the play only in this…it has no plot, all is vague, desultory, unconnected till the curtain drops with the mystery unsolved.” In that instant, in one of the most beautifully-executed “middle-finger to my haters” moves in cinema, criticism of Ovidio G. Assonitis’s 1981 clusterfuck is rendered irrelevant. Sneaking that in at the end rather than putting it at the beginning is doubly hilarious, as you’ve just spent an hour-and-a-half trying to grasp onto this ungraspable thing, only to have all your hard work flushed away in a second. If your movie doesn’t make sense, it’s because living doesn’t make sense; case closed. Our own plots are never resolved, people flit in and out of our lives without us ever truly knowing them, our familial relationships are tangled and it’s sometimes impossible to figure out where any animosity began. We think we understand people, but it’s rare that we truly do.

Ghost in the Shell (2017) – Blu-ray + DVD + Digital HD

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**½/**** Image B+ Sound A- Extras C+
starring Scarlett Johansson, ‘Beat’ Takeshi Kitano, Michael Carmen Pitt, Juliette Binoche
screenplay by Jamie Moss and William Wheeler and Ehren Kruger, based on the comic “The Ghost in the Shell” by Shirow Masamune
directed by Rupert Sanders

by Walter Chaw Emily Yoshida, in an article for THE VERGE addressing the outcry over the casting of Scarlett Johansson in Ghost in the Shell, has the last word on the topic as it pertains to anime in general and Mamoru Oshii’s seminal original in particular (an adaptation of a popular manga to which most casual fans in the West won’t have been exposed). She provides a stunning, succinct historical context for Japanese self-denial and the country’s post-bellum relationship with technology, then writes a review of this film in which she systematically destroys it for its essential misunderstanding of the source material. I agree with every word. I learned a lot. And I still like the new film, anyway. I think Ghost in the Shell is probably fascinating in spite of itself and because the environment has made it dangerous for pretty much anyone to discuss what its critics (not Yoshida, per se) wish it did. I like it because its production design is beautiful and I like it even though it’s basically a RoboCop port that takes the American attitude of being horrified by technology rather than the Japanese one of being largely defined by it. It’s puritanical. It was interpreted, after all, by a country founded by Pilgrims. Ghost in the Shell often doesn’t know what to do with the images it’s appropriating, and when push comes to shove, the dialogue falls somewhere between noodling and empty exposition. Still, there’s something worth excavating here.

CHIPS (2017) – Blu-ray + DVD + Digital HD

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**½/**** Image A- Sound A- Extras B-
starring Dax Shepard, Michael Peña, Rosa Salazar, Vincent D’Onofrio
written and directed by Dax Shepard

by Bill Chambers I can’t say I was surprised to see another movie based on a television series flop when CHIPS failed to earn back its meagre $25 million budget last spring. 21 Jump Street is the only recent one that’s stuck, and that had star power behind it, as well as a stubborn presence in pop culture thanks to Johnny Depp. Plus–and this is important–it was good. CHIPS is driven by career supporting actors, and, like Baywatch after it, perhaps, is based on a show that people remember like the candy of their childhood: wistfully, but with reflex revulsion. And unlike when, say, The Flintstones came out (1994, the heyday of the TV-to-film adaptation), there’s no rerun culture cultivating “new” fans of “CHiPS”. If the title still produces a look of recognition in younger viewers, it’s probably as a synecdoche for cop shows the way that “Gunsmoke” and “Bonanza” are synonymous with westerns. The specifics–was there a guy named Porch or Punch or something?–have long since evaporated from the collective conscious. Such is the fate of most pre-prestige television in the age of cord-cutting and so-called “YouTube stars,” but studios today lack the courage to be originators, preferring even the elusive clothing of a brand’s ghost to sending a movie out into the world naked.

Life (2017) – Blu-ray + Digital

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**½/**** Image A- Sound A Extras C+
starring Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada
written by Rhett Reese & Paul Wernick
directed by Daniel Espinosa

by Bryant Frazer If you’re going to steal, they say, steal from the best. It almost works out for Life, which borrows the fundamentals of its premise from Alien–hostile, shape-changing lifeform let loose in the confines of a spacecraft grows larger and more powerful as it eats its way through the crew–and rides that pony for a good forty-five nerve-jangling minutes before running out of oxygen. Alien‘s setting was an interstellar mining vessel that doubled as a haunted mansion, with long hallways, high vaulted ceilings, and other shadowy spaces where the boogeyman could wait for his prey. Screenwriters Rhett Reese and Paul Wernick lose some of those gothic atmospherics by setting their story on board the International Space Station, since it imparts a more sterile, sci-fi feel. Moreover, in what’s arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best-known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX-heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

Hackers (1995) [20th Anniversary Edition] – Blu-ray Disc

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***/**** Image A Sound B- Extras A
starring Jonny Lee Miller, Angelina Jolie, Fisher Stevens, Lorraine Bracco
written by Rafael Moreu
directed by Iain Softley

by Sydney Wegner When a baby is born, a universe of possibilities opens wide in front of them. They don’t yet know how to move or talk, but they hold within them the capacity for good or evil and everything in between. No matter what, parents look at their children in those first moments of life and think, Here in my hands I hold a doctor, a scientist, a legendary artist, a Nobel prize winner, an Olympic gold medallist. Despite my own failures and shortcomings, I have given birth to a life that may manage to overcome all the shit I will put them through to become someone infinitely greater than myself. Maybe it will influence the lives of millions to make the world a better place. Though parents have a great effect on how they turn out, ultimately they are their own unpredictable and uncontrollable person. We know they’ll change something, that they will affect the people they come to know, that this one small thread they represent will alter the vast human tapestry in some way. Of course, we always hope it will be for the best.

A Cure for Wellness (2017) – Blu-ray + DVD + Digital HD

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***/**** Image A Sound A Extras D+
starring Dane DeHaan, Jason Isaacs, Mia Goth
screenplay by Justin Haythe
directed by Gore Verbinski

by Walter Chaw Gore Verbinski’s A Cure for Wellness is lurid unto beautiful, exquisite pulp, just barmy enough to attract a cult and just smart enough to deserve it. The central conceit is that humans are only really good as biological filters for pollutants; in place of the batteries of The Matrix, the film sees people as distilleries for some sort of immortality potion. The process kills them. I learned when I was young that rabies is a kind of fear of water: its sufferers die of thirst even surrounded by water. The old, rich, white/white-collar victims of A Cure for Wellness entomb themselves in an alpine sanatorium invested in hydrotherapy in hopes of feeling, you know, better. Their sickness is of the soul, alas. The irony of the water cure offered by their ostensible saviours is that the patients become desiccated, mortally. There seems to be a message in there about how the illness of soulless acquisition is self-inflicted, and the amount expended in solution only exacerbates it. Money is bad. The making of it is incestuous, perverse, and insatiable. It’s a strange thing to say in a movie that cost a lot of money, but the point is well taken. Especially now.

C.H.U.D. (1984) – Blu-ray Disc

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**/**** Image B+ Sound B Extras B
starring John Heard, Daniel Stern, Christopher Curry, Kim Greist
screenplay by Parnell Hall
directed by Douglas Cheek

by Bryant Frazer Fondly remembered in cult circles as a surprisingly well-acted low-budget horror diversion, this Reagan-era creature feature boasts a roster of game performances, a plethora of vintage locations from the days when New York City was scary enough by itself, and, of course, that title–one of the most vivid and ludicrous acronyms in film history. A CHUD, as any red-blooded FANGORIA subscriber could have told you many months before the movie itself made its way to their hometown, is a cannibalistic humanoid underground dweller. OK, it’s not the most elegant acronym. For one thing, if the underground dwellers are cannibalistic, does that mean they eat humans, or just other humanoids? And if they do eat humans, doesn’t the fact that they are merely humanoid mean they’re not technically cannibals after all? But forget all that. Cannibalistic. Humanoid. Underground. Dwellers. What else do you need to know?

Bambi (1942) [The Signature Collection – Anniversary Edition] – Blu-ray + DVD + Digital HD|[Diamond Edition] – Blu-ray Disc

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***/****
2011 Diamond Edition Blu-ray – Image A- Sound B+ Extras A-

2017 Anniversary Edition Blu-ray – Image A- Sound B+ Extras A-
story direction Perce Pearce and story adaptation Larry Morey, from the story by Felix Salten
supervising director David D. Hand

by Bryant Frazer Bambi is just 70 minutes long, but it’s one of the more versatile features in the Disney canon. It’s a cute circle-of-life story, sure, populated by talking rabbits, nominally sweet-smelling skunks, and wise old owls (not to mention the adorable chipmunks that the owl, for some reason, hasn’t preyed upon). But look what else is going on in this slice-of-wildlife film: an attempt at an animated nature documentary; a tract in opposition to sport hunting; and the impetus for generations of children to weep in terror at the prospect of losing their mothers.

Fist Fight (2017) – Blu-ray + DVD + Digital HD

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½*/**** Image A+ Sound A Extras D
starring Ice Cube, Charlie Day, Tracy Morgan, Jillian Bell
screenplay by Van Robichaux & Evan Susser
directed by Richie Keen

by Bill Chambers Dick joke, dick joke, vamp, vamp, dick joke, vamp, soapbox, gag reel. That’s the stalwart formula of modern comedies, because why wouldn’t it be? People love dicks–pics, jokes, presidents–and the rude jazz of improv and a message that turns junk food into a healthy smoothie. People love smoothies. And bloopers? Are you shitting me? Second only to sliced bread. I have this theory I’m workshopping about social media making everyone believe they’re a comedian and therefore threatened by anything that might be funnier than they are, turning studios into peddlers of junk comedy. This feels somewhat complementary to another pet theory of mine, which I’ve mentioned before in these parts, that digital filmmaking precipitated comedy’s decline the way that video ruined pornography: by making the genre more purely exploitative of the talent, at the obvious expense of artistic discipline. Why craft a punchline when the camera can run indefinitely while you look for one? Anyway, Fist Fight is shit.

Howling II (1986) – Blu-ray Disc

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Howling II: …Your Sister is a Werewolf
Howling II: Stirba – Werewolf Bitch
***/**** Image A Sound B+ Extras A
starring Christopher Lee, Annie McEnroe, Reb Brown, Sybil Danning
screenplay by Robert Sarno and Gary Brandner, based on the novel Howling II by Brandner
directed by Philippe Mora

by Sydney Wegner Let’s get this out of the way first: Howling II–a.k.a. Howling II: …Your Sister is a Werewolf, a.k.a. Howling II: Stirba – Werewolf Bitch–is a mess, an entity that refuses to be judged on any conventional, objective scale. Though originally intended as a comedy, the studio sliced it up to come across as more of a horror movie, and the bizarre result is a tone that changes with each scene. Half new-wave werewolf erotica, half Hammer horror, Howling II‘s themes of grief and rebirth and female sexual empowerment swirl together in a campy, indecipherable whirlwind. Just as things begin to approach being scary, they’re kicked right back down with a novelty wipe effect or a cartoonish facial expression. Christopher Lee, playing werewolf hunter Stefan Crosscoe, was allegedly so appalled by the acting of his co-stars that he spent much of his time offscreen trying to flee the planet using only the power of his mind. You can feel the ennui behind his eyes with every line delivery, yet the attention he commands is undeniable. In a way, his performance is a microcosm of the entire film. The opening shot finds Lee suspended in a sea of stars, reciting werewolf legend from a book, and that is probably the most normal thing that happens in Howling II. It’s ridiculous, it’s stupid; it’s occasionally embarrassing and endlessly fascinating.

The Creeping Garden (2014) [Limited Edition] – Blu-ray Disc

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***/**** Image A Sound A Extras A
directed by Tim Grabham and Jasper Sharp

by Sydney Wegner Earth is so full of tiny things, an infinite variety of life. You might step on fifty species you’ve never heard of on your walk to work, and most of us will spend our lives in ignorance of these obscure wonders. But for every known organism, one can safely assume there is a fan club somewhere devoted to studying it. The Creeping Garden wants to share that devotion with the world while attempting to answer the all-important question: Who are these fanatics, and why do they care? Says co-director Tim Grabham on the Blu-ray’s commentary track, “What is a slime mould?…It depends on who you are and what you’re looking for,” an offhand musing that could have been the film’s tagline. Above all, this is a documentary about looking.