The Grey (2012) – Blu-ray + DVD

**½/**** Image A Sound A+ Extras C+
starring Liam Neeson, Frank Grillo, Dermot Mulroney, James Badge Dale

screenplay by Joe Carnahan & Ian Mackenzie Jeffers, based on Jeffers's short story "Ghost Walker"
directed by Joe Carnahan

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by Angelo Muredda The teaser for Joe Carnahan's The Grey closes with Liam Neeson MacGyver-ing a wolf-punching power glove out of mini-liquor bottles. It's a great hook, and easily the best trailer of the year. It's also kind of a lie. To be fair, Carnahan's latest–after the dreadful one-two (wolfless) punch of Smokin' Aces and The A-Team–is a career-saving return to form, although Narc was hardly epic stuff. Adapted from a short story by Ian Mackenzie Jeffers, The Grey ambitiously aspires to be a Jack London-esque exploration of ruffians fighting for their lives against an unmoved wilderness; tonally, it sits somewhere between the gritty naturalism of "To Build a Fire" and the bros-only philosophical seminar of The Sea-Wolf. Carnahan brings an admirable seriousness to this task and invests his band of rogues with some nice human touches, but there's a dopiness to this material that doesn't always pass muster. Watching The Grey's arctic powwows between protagonist Ottway (Neeson) and his sad burly men, I was most reminded not of endangered-man potboilers but of The Breakfast Club, which similarly gathers a group of rejects around the high-school equivalent of a makeshift fire for some prime bonding. Slogging through these men's tales of woe isn't exactly detention, but eventually it does start to feel like homework.

Vertigo (1958) – Universal Legacy Series DVD

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****/**** Image A Sound A Extras A
starring James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore
screenplay by Alec Coppel & Samuel Taylor, based on the novel D’Entre Les Morts by Pierre Boileau and Thomas Narcejac
directed by Alfred Hitchcock 

by Walter Chaw SPOILER WARNING IN EFFECT. What Vertigo lacks that others of Alfred Hitchcock’s undisputed late masterpieces do not, just in terms of sheer bulk volume, is scholarship. Weird, because the film is Hitchcock’s most complex, albeit in many ways also his most opaque. It’s as if it defies analysis by being at once too obvious and too obscure, enough so that critical reads of it are inevitably both naïve and pompous. It’s true that attempts at unlocking the film are akin to diagnosing a particularly-disturbed patient’s dysfunction: that you’re fucked up is right there on the surface for everyone to see, but the reasons why are damnably difficult to beat from the grey bramble. Attempts to articulate what works about the picture invariably wind up describing the technical mechanism (the perspective distortion, the monumentalism, the voluminous and self-announcing rear projection) rather than the ineffable, perverse rapture that it provokes.

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

Mustown****/**** Image A- Sound A Extras D+
starring Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Baharie
screenplay by Steve McQueen and Abi Morgan
directed by Steve McQueen

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by Walter Chaw Brandon is a cipher from beginning to end, and while that’s usually a detriment, in Steve McQueen’s extraordinary, gruelling Shame, it’s key to why the whole thing works. Even better is that Brandon, a widely-presumed sex addict (to my mind, the film works better without a pop diagnosis), is played by Michael Fassbender, he of the matinee-idol looks and piercing green eyes. It’s interesting that what he plays best is ambiguity (next up: a robot in Prometheus), an unknowable quality that inspired McQueen’s previous installation piece, Hunger, making the lonesome protest of hunger-striker Bobby Sands into a holy mystery, a relic unknowable and his English bull tormentors Romans with spears knowing not what they do. No less ecclesiastical, Shame is a feature-length indulgence and scourging, making it fair to wonder if McQueen’s aim isn’t to assail each of the Deadly Sins in due course–his own septet on glowing, adjoined celluloid panels. It’s a great explanation of the title, and makes me wonder if the next one won’t be “Avarice.” Anyway, the film only works because Fassbender is beautiful. Ugly guys don’t get to be ashamed of sex.

Bad Teacher (2011) – Unrated Blu-ray + DVD Combo Pack

*/**** Image A Sound B- Extras C-
starring Cameron Diaz, Justin Timberlake, Lucy Punch, Jason Segel
screenplay by Gene Stupnitsky & Lee Eisenberg
directed by Jake Kasdan

by Jefferson Robbins It’s time for a teacher-centric dark comedy, I think. American public education, always beset, is under threat today by moralists, union-busters, profiteers, economic malaise, and taxpayers who simply refuse to vote for better school funding. We say that children are our future, yet we bus them off every day to institutions we no longer find trustworthy. Federal regulation collides with common sense, and all that matters in the end is filling in the bubbles on a Scantron sheet. Education needs its own The Hospital or Network–something like an update of Arthur Hiller’s 1984 Teachers, but with more focus, and better bite. What it doesn’t need, or at least doesn’t benefit from, is Bad Teacher.

Mission: Impossible – Ghost Protocol (2011) – Blu-ray + DVD + Digital Copy

***½/**** Image A Sound A+ Extras B
starring Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton
screenplay by Josh Appelbaum & André Nemec
directed by Brad Bird

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by Walter Chaw Even though Brad Bird directed The Iron Giant (arguably the best film in a year, 1999, rife with great films), even though he's responsible for the best Fantastic Four flick there ever will be (The Incredibles) as well as the best overall Pixar release (Ratatouille), I still had the chutzpah to be skeptical when I heard that his live-action debut would be the fourth entry in the Mission: Impossible franchise. I am contrite. Mission: Impossible – Ghost Protocol (hereafter Ghost Protocol) is the model of the modern action picture. It has exactly two quiet moments (I counted)–the rest is audacious, ostentatious, glorious action set against not only the expected fisticuffs but also a ferocious sandstorm in Dubai and the bombing and partial collapse of the Kremlin. It's an honorary Bond movie better than any of them (only the Casino Royale redux enters the same conversation–well, maybe On Her Majesty's Secret Service, too), filled to stuffed with clever gadgets (and their logical application), exotic locales, beautiful women, and fast cars. It's sexy, sleek, knows better than to take its foot off the pedal, flirts with relevance without ever attempting depth it's not equipped to deal with, and establishes J.J. Abrams as better than idol Spielberg in the producing-good-action-movies sweepstakes. Not content to scale just any building, it has returning hero Ethan Hunt (Tom Cruise) climb the Burj Khalifa; not content to stage a brawl in a parking garage, it finds one of those robotic ones to provide a third dimension to the scrambling in vintage, brilliant, 1980s Hong Kong style. In a series that boasts John Woo as director of its first sequel, Ghost Protocol has the big, giant clanking ones to outdo Woo.

Justice League: Doom (2012) – Blu-ray + DVD + Digital Copy

***/**** Image A- Sound A- Extras B+
screenplay by Dwayne McDuffie, based on "Justice League: Tower of Babel" by Mark Waid
directed by Lauren Montgomery

by Jefferson Robbins I've figured out what Warner Premiere's DC Universe features need: music-only audio tracks. At least, as long as Christopher Drake stays on as in-house composer. His scores, from All-Star Superman to Batman: Year One to the new Justice League: Doom, are varied, adventurous, and attuned to character in a way that puts, say, Michael Giacchino to shame. His music has the same evocative power as the fables from which it springs, and at times it outclasses the direct-to-video animation it adorns. I'm not sure Drake could do "sprightly and happy," but as long as he's scoring the DCU projects, he won't get the chance. The non-sequential movies, overseen by long-time producer Bruce Timm, take their cues from DC Comics' big-screen live-action entries like Superman Returns and The Dark Knight. Punch, mope, punch some more, mope, punch really hard… Both the aforementioned theatrical fare and the DCU cartoons are firmly in PG to PG-13 territory, because why would any little kid want to watch a Batman movie, right? Right, guys…?

Casablanca (1943) [Two-Disc Special Edition] DVD|[Ultimate Collector’s Edition] – Blu-ray Disc + [70th Anniversary Edition] – Blu-ray Disc

***/****
DVD – Image A+ Sound A Extras A
BD (Ultimate Collector's Edition) – Image A- Sound B+ Extras A
BD (70th Anniversary Edition) – Image A Sound A Extras A
starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains
screenplay by Julius J. Epstein & Philip G. Epstein and Howard Koch, based on a play by Murray Burnett, Joan Alison
directed by Michael Curtiz

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by Walter Chaw Whenever I watch Casablanca (and there's a lot of pressure that comes with watching Casablanca (the chorus from Freaks rings in my head: "One of us, one of us, we accept you, one of us")), I'm stricken by what the film would have been had Orson Welles or John Huston (or even Billy Wilder–Rick is, of course, the prototypical Wilder outsider) sat at the helm instead of the madly prolific Michael Curtiz. Schooled in German Expressionism, Curtiz, by the time of Casablanca, had lost much of anything like a distinctive visual style, and on this film, a troubled production from the start, there's a lack of imagination to the direction that contributes, at least in part, to the way that Casablanca just sort of sits there for long stretches. For all of its magnificent performances (Claude Rains, best here or in Alfred Hitchcock's Notorious; Peter Lorre, a personal favourite; and let's not forget Sydney Greenstreet), Casablanca is curiously sterile: its politics are topical, but its love story is passionate by dint of history rather than proximate ardour. Ingrid Bergman arguably gave off more heat in Victor Fleming's Dr. Jekyll and Mr. Hyde and inarguably did so in Gregory Ratoff's Intermezzo. Casablanca is legendary, and that forgives a lot of its blemishes.

Tinker Tailor Soldier Spy (2011) – Blu-ray + DVD + Digital Copy

****/**** Image A Sound A Extras B
starring Gary Oldman, Colin Firth, Tom Hardy, John Hurt
screenplay by Bridget O'Connor & Peter Straughan, based on the novel by John le Carré
directed by Tomas Alfredson

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Mustownby Walter Chaw The easy thing is to say that Tomas Alfredson has followed up his tremendous vampire flick Let the Right One In with another vampire flick, a story of Cold War British Intelligence as men in shadows, exhausted, living off the vibrancy of others. Yet Tinker Tailor Soldier Spy, the Swedish director's adaptation of John le Carré's seminal spy novel, is something a good deal more than a clever segue from one genre film to another. Less a companion piece to the latest Mission: Impossible than a bookend to Lars Von Trier's end-of-the-world Melancholia, it's a character study, sure, but more accurately it's an examination of a culture of gestures and intimations, where a flutter of an eyelid causes a hurricane in another part of a corrupt, insular world. Naturally, its timeliness has nothing to do with its literal milieu (all Russian bogeys and '70s stylings)–nothing to do with recent world events that have an entire CIA cell blown up in Iran and Lebanon–and everything to do with its overpowering atmosphere of feckless power and utter resignation. It's a spy thriller that Alfred Lord Tennyson would've written–the very filmic representation of acedia.

Lady and the Tramp (1955) – Diamond Edition Blu-ray + DVD

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**½/**** Image A Sound A- Extras A
animated; screenplay by Erdman Penner, Joe Rinaldi, Ralph Wright, Don Dagradi
directed by Hamilton Luske, Clyde Geronomi, Wilfred Jackson

by Bill Chambers Given that it may have the most famous scene in the Disney oeuvre, it’s odd that Lady and the Tramp doesn’t enjoy a better, or at least bigger, reputation. The first animated feature in CinemaScope, as well as the studio’s first original story1 and its first dog movie (various Pluto-starring shorts notwithstanding), the film, despite earning the highest grosses of any Disney production since Snow White and the Seven Dwarfs, seems to have been eclipsed in the public consciousness from a genre standpoint by 101 Dalmatians and from a cinematographic standpoint by Sleeping Beauty, each of which followed so closely on Lady and the Tramp‘s heels as to reduce history’s perception of it to a dry run. It’s a bit better than that, but, coveted “Diamond” status to the contrary, frankly not one of the greats.

It Happened at the World’s Fair (1961) – DVD

*½/**** Image B+ Sound A
starring Elvis Presley, Joan O'Brien, Gary Lockwood, Vicky Tiu
screenplay by Si Rose and Seaman Jacobs
directed by Norman Taurog

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by Bill Chambers Over the main titles, Elvis sings the jaunty "Beyond the Bend" ("Breeze sing a happy song/This heart of mine is singing right along") from the cockpit of a cropduster. He playfully re-enacts North by Northwest by swooping down to ogle a couple of cuties in a convertible, telling his co-pilot, Danny (Gary Lockwood), that he can have the one in the red dress, 'cause "her ankles are a little thick." It's around this point that Elvis vehicles started to develop a sociopathic streak; Viva Las Vegas's crass reduction of anyone Elvis doesn't need to literal cannon fodder is perhaps in the embryonic stage in these opening moments of It Happened at the World's Fair, or when Mike ducks out on his quasi-daughter and his best friend without saying goodbye, effectively cutting them from the show-stopping, Music Man-ish final number.

A Very Harold & Kumar 3D Christmas (2011) – Blu-ray + DVD + Digital Copy

**/**** Image B Sound B Extras D
starring John Cho, Kal Penn, Danny Trejo, Neil Patrick Harris
screenplay by Jon Hurwitz & Hayden Schlossberg
directed by Todd Strauss-Schulson

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by Angelo Muredda The funniest moment in A Very Harold & Kumar 3D Christmas lasts about three seconds and comes at the end of a barrage of trite digs at the Occupy Wall Street movement that could have been written by Herman Cain at the height of his powers of lucidity. Harold (John Cho), who over the course of these movies has graduated from restless investment banker to high-rolling trader, has just been given a 3D TV that's promised to "make Avatar look Avatarded," and he's about to leave the office through a mass of protestors when Princeton pal-turned-assistant Ken (Bobby Lee) begs to take the bullet for him. The bullet turns out to be a bunch of eggs, launched at the screen at various speeds and from various angles in the first of at least a dozen meta-3D gags that are supposed to be hilarious because having things thrown at you in 3D sucks.  It's a shock when the shot of the aftermath is actually pretty good: poor Ken lies traumatized (or dead?) in a pool of yolk as a Lisa Gerrard knockoff wails incomprehensibly on the soundtrack, à la Black Hawk Down.

J. Edgar (2011) – Blu-ray + DVD + Digital Copy

**½/**** Image A- Sound A Extras C-
starring Leonardo DiCaprio, Naomi Watts, Armie Hammer, Judi Dench
screenplay by Dustin Lance Black
directed by Clint Eastwood

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by Angelo Muredda To say that latter-day Clint Eastwood is an acquired taste seems slightly inaccurate, in that it implies a certain consistency on both the filmmaker's and the viewer's part: while even Invictus and the "Touched by an Angel" outtake Hereafter have their fans, you don't find many of them championing, say, the delirious Europop ballads that punctuate the former. ("And it's not just a game/They can't throw me away/I put all I had on the line," sings a mysterious crooner whose song is played in toto as Mandela descends his helicopter and paces the rugby field.) So let's propose instead that the master of sepia's recent output has been rather like a series of inkblots, in which perfectly smart people have seen completely different things. Some, for instance, find much to admire in the simultaneously milquetoast and monstrous Million Dollar Baby, which I've always read as Eastwood's last laugh at disability-rights activists for a failed lawsuit involving an inaccessible inn he ran years prior; others dismiss Gran Torino, his most watchable film since Unforgiven, as a rare spot of trash. All of this is to say, rather sheepishly, that I kind of liked fusty old J. Edgar, even as I recognized it as a train-wreck throughout. People have been very kind to Eastwood in this restless period, calling his choice of projects as disparate as Changeling and Letters from Iwo Jima "varied," but it's only with J. Edgar that I've understood their spirit of generosity: It's such a chameleonic grab-bag of ideas, good and bad, that some of it can't help but appeal, regardless of whether the entire thing works. (It doesn't.)

Batman: Year One (2011) – Blu-ray + DVD + Digital Copy

***/**** Image A- Sound A Extras B
screenplay by Tab Murphy, from the comics story by Frank Miller
directed by Sam Liu and Lauren Montgomery

by Jefferson Robbins Before he was a grouchy and politically-nearsighted old man with enough clout to cast Scarlett Johansson in a $60M fetish video, Frank Miller truly did change the face of mainstream superhero comics. Doing so brought him fame as a visionary, a label that implies prophetic or pioneering concepts but–at least in comics art–is most commonly applied to artists fusing pre-existing styles into a successful hybrid, or distilling an old story to its barest elements. Miller did both. In fact, between 1986's "The Dark Knight Returns" and the 1987 "Batman: Year One" arc, his reengineering of the Batman mythos wasn't so much a thrusting of the character forward into the 1980s as a slingshotting back to the 1970s. The core fact of Batman, viewed in the light of Taxi Driver, is that he's Travis Bickle with a cape and lots of money. What is Travis's mohawk if not a costume to strike fear into the hearts of criminals? What is his trick pistol sling, fashioned from a typewriter carriage, but a blue-collar utility belt? And what is the hardboiled dialogue Miller puts in Bruce Wayne's mouth–better read than spoken–but Bicklean self-justification? No coincidence that Batman's first, badly-botched outing as a crimefighter in "Year One" involves the violent rescue of an underaged prostitute.

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

**½/**** Image A- Sound A Extras C-
starring Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law
screenplay by Scott Z. Burns
directed by Steven Soderbergh

Contagioncap1smallby Walter Chaw Less smug (if only be a few degrees) than Steven Soderbergh's other starfucker balls, Contagion surprises with its consistent serious-mindedness, even as it finally disappoints by contenting itself to be a cautionary tale rather than, in a year of world-busters, an end-of-times tale. Even Fail Safe and the inch of dust settled on it has Hank Fonda levelling NYC–all Contagion does is kill Gwyneth Paltrow ugly, which, in the grand scheme of things, is only what every sentient human being in the United States has contemplated already. (I confess I amused myself during the scene in which Paltrow's afflicted adulteress has her brain scooped out of her head by muttering "Goop, indeed." Sue me.) Still, it earns pith points for making Paltrow, typecast as a woman of privilege and longueurs, the Typhoid Mary of the new millennium, and more points still for being resolutely unafraid to characterize all of Asia as a giant petri dish ready to make a mass grave out of the rest of the world. Essentially, Contagion, as it goes about what it's about with absolute professionalism and class, earns its keep by being right, more or less, about everything it bothers to talk about.

The Hangover Part II (2011) – Blu-ray + DVD + Digital Copy

***/**** Image A Sound A Extras C-
starring Bradley Cooper, Ed Helms, Zach Galifianakis, Paul Giamatti
screenplay by Craig Mazin & Scot Armstrong & Todd Phillips
directed by Todd Phillips

by Walter Chaw I guess it says something about picking up speed at the bottom of that proverbial slippery slope that I thought The Hangover Part II was consistently funny and pleasantly vile throughout, and that the only time I felt genuinely offended was during the closing-credits snapshot montage, wherein Eddie Adams's infamous VC execution photograph is re-enacted in a digital tableau mort. That's the line, I guess, and kudos in a heartfelt way to director Todd Phillips and company for finding a lower place to draw it. Until then, The Hangover Part II is a vaguely linear instalment of Jackass, mapping the odd longitudes of male friendship set loose in fleshpot/den of iniquity Bangkok, the Asian equivalent of the first film's Las Vegas; where the original tackles that Sodom's sin-of-choice prostitution, this likewise spends some time with transvestitism and sex-trafficking. Ugly? Well, it's not pretty–but it is pretty funny as it reunites pretty boy Phil (Bradley Cooper), sociopath Alan (Zach Galifianakis), non-descript every-guy Doug (Justin Bartha), and dentist Stu (Ed Helms), for whose wedding the boys have reconvened some ill-defined months after the events of the previous film. Along for the ride this time is adorable little-bro-of-the-bride Teddy (Mason "son of Ang" Lee), who has the de facto Dragon Daddy issues as a Stanford pre-med and concert cellist and who, of course, will go through a heart-warming transformation through the loving attention of unbridled hedonism, drug abuse, organized crime, and mutilation. Oh, and there's a fellating, drug-dealing monkey in a denim Rolling Stones vest. Ah, Bangkok.

Fright Night (2011) – Blu-ray + DVD

****/**** Image B- Sound A+ Extras C-
starring Anton Yelchin, Colin Farrell, Imogen Poots, David Tennant
screenplay by Marti Noxon, based on the screenplay by Tom Holland
directed by Craig Gillespie

by Walter Chaw After 28 Weeks Later, I wondered when Imogen Poots would become a star. It only took four years. As Amy in Craig Gillespie's really frickin' great Fright Night, she's sexy without being vacuous and tough without being masculinized–her general kick-assness undoubtedly owing in part to screenwriter Marti Noxon, "Buffy the Vampire Slayer"'s showrunner from Season Six to completion. I'm spending time talking about Amy because she's a wonderful character who manages to complete an arc or two in a mere supporting role. Consider a moment in which she mentions her boyfriend's skin clearing up that locates her completely, and believably, in the film's high-school environment–that's a lot of expositional impact in a little package. A remake of Tom Holland's cult classic that was itself one of my VHS favourites (worn to breaking during my formative decade with the movies), Fright Night is delightful because it's absolutely certain of what it is and what it isn't, delivers everything it promises it will (in spades), and genuinely has fun with the 3-D innovation that's the bane of most other movies lately. Smart as hell and unapologetic about it, it presents character beats that matter and sports a performance from Colin Farrell as evil vampire-next-door Jerry that should, no shit, earn him Academy Award consideration. Between him and the chimp from Rise of the Planet of the Apes, it'd be a tough call.

Bridesmaids (2011) – [Unrated] DVD + Something Borrowed (2011) – Blu-ray Disc

BRIDESMAIDS
***½/**** Image A Sound B- Extras A
starring Kristen Wiig, Maya Rudolph, Rose Byrne, Wendi McLendon-Covey
screenplay by Annie Mumolo & Kristen Wiig
directed by Paul Feig

SOMETHING BORROWED
*½/**** Image B- Sound B Extras C+
starring Kate Hudson, Ginnifer Goodwin, John Krasinski, Colin Egglesfield
screenplay by Jennie Snyder Urman, based on the novel by Emily Giffin
directed by Luke Greenfield

by Jefferson Robbins On release, everybody tried to make Paul Feig's Bridesmaids about sex (gender and the act), when its bigger issue is class. Working from a script by Annie Mumolo and star Kristen Wiig, frosted liberally with improv in the manner producer Judd Apatow has made inescapable, the creators spin Wiig's failed cake-maker Annie for an early midlife crisis rooted in bad relationships as well as economic hardship. It's easy to get stuck on the sex angle, given the opening scene: Singleton Annie is stuck in a self-hating friends-with-benefits cycle with sometime-lover Ted (Jon Hamm), doing exactly what he wants in bed–at length, in several variations, and noisily. She gets only smiling, sociopathic dismissal in return as he kicks her out of his lush Milwaukee McMansion. She's pinned some vague hope on a pretty package of a man who's not only bad for her, but vastly wealthier, too. Note how Annie is forced to vault an automatic gate to escape Ted's one-percenter compound. Bridesmaids is not just about relationships in the mush-minded romcom sense–it's about power relationships: who has the most money and thus can bring the most social clout to bear, in the snowglobe economy created by a best friend's nuptials. Goddamn, that's timely.

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

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

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

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

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

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

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

The Wes Craven Horror Collection – DVD

THE SERPENT AND THE RAINBOW (1988)
**½/**** Image B Sound B+
starring Bill Pullman, Cathy Tyson, Zakes Mokae, Paul Winfield
screenplay by Richard Maxwell and A.R. Simoun, based on the book by Wade Davis
directed by Wes Craven

SHOCKER (1989)
**/**** Image B- Sound B-
starring Michael Murphy, Peter Berg, Cami Cooper, Mitch Pileggi
written and directed by Wes Craven

THE PEOPLE UNDER THE STAIRS (1991)
***/**** Image B+ Sound B+
starring Brandon Adams, Everett McGill, Wendy Robie, A.J. Langer
written and directed by Wes Craven

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by Jefferson Robbins The three late-'80s/early-'90s films gathered in Universal's DVD set "The Wes Craven Horror Collection" are far from the director's best, but they show him gathering his powers for the satirical play of the Scream franchise. It's as if Craven careened into the ditch a few times trying to talk about Big Topics before finally deciding that what he was best suited to talk about was slasher movies. That's not to say these pre-emptive excursions have no value, it's just that he had to scout the territory thoroughly before drawing a definitive map. He had to shed some dependencies, too–most notably, given his legacy from A Nightmare on Elm Street, his fondness for dreams as an interface with horror.