Lars and the Real Girl (2007); The Passion of Greg the Bunny: The Best of the Film Parodies Volume 2 (2006-2007); The Cottage (2008) [Unrated] – DVDs

LARS AND THE REAL GIRL
*½/**** Image A Sound B Extras D
starring Ryan Gosling, Emily Mortimer, Paul Schneider, Kelli Garner
screenplay by Nancy Oliver
directed by Craig Gillespie

THE PASSION OF GREG THE BUNNY: THE BEST OF THE FILM PARODIES VOLUME 2
Image B+ Sound B Extras C+
"Fur on the Asphalt," "Wumpus the Monster," "Sockville," "Blue Velveteen," "Plush: Behind the Seams," "Wacky Wednesday," "The Passion of the Easter Bunny: A Fabricated American Movie"

THE COTTAGE
½*/**** Image A- Sound B- Extras D
starring Andy Serkis, Reece Shearsmith, Stephen O'Donnell, Jennifer Ellison
written and directed by Paul Andrew Williams

by Ian Pugh Beyond its pale stab at indie street cred and an Oscar nomination for Best Original Screenplay (which are almost one and the same these days), Lars and the Real Girl shares with Juno an invitation to partake in a never-ending stream of laughs over its premise until it basically flips a switch and instructs you to get emotional over it–the supposed target of discussion here being nothing less than that ever-popular subject of paternalistic revulsion, mental illness. Ryan Gosling turns his "twitchy zombie" knob up to eleven as Lars, a quiet loner living in his brother Gus's (Paul Schneider) backyard shed. After Gus's pregnant wife Karin (Emily Mortimer) expresses concern that her brother-in-law is spending too much time by himself, Lars orders a realistic sex doll named "Bianca" over the Internet and parades it around the neighbourhood as the girlfriend he never had, much to the consternation of Gus, Karin, and Lars's would-be love interest Margo (Kelli Garner), who can only respond with uncertain stares and a lot of hemming and hawing.

Bridge to Terabithia (2007) [Widescreen]; The Seeker: The Dark is Rising (2007); The Spiderwick Chronicles [2-Disc Field Guide Edition] – DVDs

BRIDGE TO TERABITHIA
**½/**** Image A Sound A- Extras C
starring Josh Hutcherson, Annasophia Robb, Robert Patrick, Zooey Deschanel
screenplay by Jeff Stockwell and David Paterson, based on the book by Katherine Paterson
directed by Gabor Csupo

THE SEEKER: THE DARK IS RISING
½*/**** N/A
starring Alexander Ludwig, Christopher Eccleston, Ian McShane, Frances Conroy
screenplay by John Hodge, based on the book by Susan Cooper
directed by David L. Cunningham

THE SPIDERWICK CHRONICLES
**/**** Image A Sound A Extras C-
starring Freddie Highmore, Mary-Louise Parker, Nick Nolte, David Strathairn
screenplay by Karey Kirkpatrick and John Sayles, based on the books by Tony DiTerlizzi and Holly Black
directed by Mark Waters

Bridgetoterabithiacap

by Walter Chaw In the genre of wide-eyed, hyperactive ‘tween bullshit, there seems a common thread of missing parents or siblings with all the attendant Oedipal complexities upon which to coat-hanger every genus of just-pubescent, Uncle Joe Campbell shenanigans. (Oh, I get it, it’s a metaphor for strange hair, jerking-off, and embarrassing hard-ons–no wonder I identify with these things again as I get older.) More underground than overt adolescent emo rock-star/rapist fantasies like vampirism, the flicks of this type that work–such as Sam Raimi’s Spider-Man trilogy, or the third and fifth Harry Potters, or The Passion of the Christ–incorporate the uncertainty and body horror of growing up with hero/martyr fantasies and, ultimately, the melancholy of childhood’s end. The result of a job well done is a piece of enduring, often befuddling, resonance, owing in part to the canny hijacking of some existing folklore or mythology (including comic books) and the gratifying recognition that at the end of all that hormonal devastation is the justification of manhood. Psychosexual psychodrama at least, the new crop of boy-into-man-boy flicks, in the wake of the astounding success of that certain boy wizard (and, shit, probably Shrek‘s, too), takes a new interest in fantasy as a means to specific ontological ends. For this unabashed fan of Matthew Robbins’s idyllic, laden Dragonslayer, it’s not entirely bad news.

Cloverfield (2008) – DVD|Blu-ray Disc

***½/****
DVD – Image A Sound A Extras A
BD – Image A Sound A+ Extras A
starring Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael Stahl-David
screenplay by Drew Goddard
directed by Matt Reeves
 

Cloverfieldcap

by Walter Chaw I love this movie. I love its freedom and its exuberance, its sense of fun and its creativity. I love that it uses The Blair Witch Project as a launchpad for its low-tech, found-footage brilliance; I love its genius-level viral marketing campaign and its Ludditism and overt technophobia. Where The Blair Witch Project skewered trust-fund kids picking a particularly unfortunate senior project, Cloverfield takes on twentysomething urbanites on top of the world in Manhattan, celebrating the departure of one of their own on the night the chickens come home to roost. There's no explanation of the mayhem in Cloverfield beyond that a monster has attacked and that the recoil its rampage spawns inevitably resembles memories of our collective scarring by 9/11. All it does, really, is clarify that when people at Ground Zero referred to the falling of the WTC as "just like in a movie," it didn't point to a divorce from reality but to an inability, utterly, to conceive of anything so epoch-shaking as possible outside the prism of our precious, silver-graven images. The history depicted in our films is the only history we know.

Mandingo (1975) – DVD

***½/**** Image B- Sound B-
starring James Mason, Susan George, Perry King, Ken Norton
screenplay by Norman Wexler, based on the novel by Kyle Onstott
directed by Richard Fleischer

Mandingocap

by Alex Jackson I was just about to say that I wish Mandingo were better than it is, but then I realized it wouldn't be nearly as good as it is if it weren't also "flawed." Some snarky hipster (Mitch Lovell of the LiveJournal blog (?!) THE VIDEO VACUUM, if you must know) rather brilliantly and concisely summarized the problem of the film in saying, "If you ever wanted to see Mr. Bentley from 'The Jeffersons' check a muscle-bound slave for hemorrhoids, this is the flick for you." Indeed, we get this image in the first ten minutes of the film. The checking of the muscle-bound slave for hemorrhoids, well, that I guess I can…appreciate, for lack of a better word. We all understand that slavery was "evil" on a purely intellectual level, but I don't think we have a terribly substantial visual database of the horrors and humiliations of it–and so I feel there's a real need for a disgusting and sensationalistic exploitation film about the subject. On those terms, let it be said that Mandingo does not disappoint. This has to be the most emotionally ugly film I've seen since Brian Robbins's Norbit.

Square Pegs: The Like, Totally Complete Series… Totally (1982-1983) + Girls Just Want to Have Fun (1985) – DVDs

SQUARE PEGS
Image B+ Sound B Extras B+
"Square Pegs (Pilot)," "A Cafeteria Line," Pac-Man Fever," "Square Pigskins," "Halloween XII," "A Simple Attachment," "Weemaweegate," "Open 24 Hours," "Muffy's Bat Mitzvah," "Hardly Working," "A Child's Christmas in Weemawee," "It's All How You See Things," "Merry Pranksters," "It's Academical!," "The Stepanowicz Papers," "To Serve Weemawee All My Days," "No Substitutions," "No Joy in Weemawee," "The Arrangement"

GIRLS JUST WANT TO HAVE FUN
ZERO STARS/**** Image B- Sound B
starring Sarah Jessica Parker, Helen Hunt, Shannen Doherty, Lee Montgomery
screenplay by Amy Spies
directed by Alan Metter

by Ian Pugh The "square pegs" of the title are brainiac Patty (Sarah Jessica Parker, already having settled into a halting conversational style that never left her) and "fat girl" Lauren (Amy Linker), newly-initiated freshmen at Weemawee High School who pledge during the opening narration of each episode that this year, this year, they're going to be popular. Unfortunately, their never-ending–maybe even Wile E. Coyote-esque–bid to break into Weemawee's social elite always results in half-baked schemes and humiliating compromises. (Upon being ousted from a table in a crowded diner by the popular crowd, Lauren rationalizes that "having them sit where we were just sitting is almost as good as sitting with them.") While "Square Pegs" never fails to empathize with the folks who are young and foolish enough to believe in such a ridiculous enterprise–because it's all they know at this stage of their lives–what really makes the series special is how it forces older viewers to contemplate the people they were in high school and who they are now.

There Will Be Blood (2007) – DVD|Blu-ray Disc

****/****
DVD – Image A- Sound A Extras B+

BD – Image A Sound A+ Extras B+
starring Daniel Day-Lewis, Paul Dano, Kevin J. O'Connor, Ciarán Hinds
screenplay by Paul Thomas Anderson, based on the novel OIL! by Upton Sinclair
directed by Paul Thomas Anderson

Mustownby Walter Chaw The jarring, discordant first notes of Jonny Greenwood's score announce that Paul Thomas Anderson's There Will Be Blood will realize the promise shown by the auteur's closest analog, Punch-Drunk Love. Almost experimental in its marriage of noise and vision, it's reminiscent in that regard of a Sergio Leone epic about the foundation of a specific aspect of the American character. Pithy that such a thing plays like watching an insect under glass: There Will Be Blood is accurately described as a piece of existential entomology–Kafka somehow married to Upton Sinclair (on whose OIL! the film is formally based). It's a modern, and modernist, take on The Treasure of the Sierra Madre, starring an actor who may be the best of his generation turning in a performance destined for legend, though I'd offer that when Daniel Day-Lewis actually does go off the rails in making a mad catchphrase out of "I drink your milkshake!", it's proof that the rest of his work here is really rather restrained. The best movie of the year if not for No Country For Old Men, it shares with that masterpiece this idea that money corrupts absolutely, its venom catalyzing on contact. Choosing to open with a silent 16-minute introduction that sees Daniel Plainview (Daniel Day-Lewis)–digging for riches by himself in what could be an outtake from Sierra Madre–discovering his share of silver and parlaying it into an oil empire that will eventually leave him alone, misanthropic, and finally insane, Anderson is clearly implying that material pursuits mine the humanity from mortal loam. While he has disdained political reads of the picture, the philosophical ramifications of Anderson's barren exteriors held up against Plainview's barren interiors–the both of them with endless potential, it would appear, for bottomless wells of bubbling black–are subtext enough, if not, of course, inextricable from politics.

The Recruit (2003) – DVD|Blu-ray Disc

*½/****
DVD – Image A Sound A Extras B-
BD – Image B Sound A Extras B-
starring Al Pacino, Colin Farrell, Bridget Moynahan, Gabriel Macht
screenplay by Roger Towne and Kurt Wimmer and Mitch Glazer
directed by Roger Donaldson

by Walter Chaw Aussie director Roger Donaldson's No Way Out is one of the better Cold War paranoia films: sexy, tricky, and packed with the sort of performances (from Kevin Costner, Sean Young, Gene Hackman, and Will Patton) that spin gold from proverbial straw. Donaldson's The Recruit is another derivative post-Cold War knockoff: boring, predictable, and laden with the sort of hackneyed turns that are not only immanently forgettable, but also doomed to eventually be left off the resumé during those Academy clip retrospectives. What a difference sixteen years makes.

Signs (2002) [VISTA Series] – DVD|Blu-ray Disc

**/****
DVD – Image A- Sound A Extras B
BD – Image A- Sound A Extras B
starring Mel Gibson, Joaquin Phoenix, Rory Culkin, Abigail Breslin
written and directed by M. Night Shyamalan

by Walter Chaw M. Night Shyamalan makes very specific films about very specific concerns in a very specific manner: long master shots; an unusual trust in silence; remarkably few edits for a modern picture; joy in the choice of garish topics; and a thing for failed fathers and their lost little boys. He reminds of Hitchcock in his elevation of pulp art into high art, but differs in that his concerns aren't so much about abnormal psychology, the nervy manipulation of the audience, and the voyeuristic implication of movie-watching as they are about personal demons and Shyamalan's increasingly obvious desire to be considered in the same breath as his idol.

Blade Runner: The Final Cut (1982/2007) [Four-Disc Collector’s Edition] – DVD

****/**** Image A Sound A Extras A+
starring Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos
screenplay by Hampton Fancher and David Peoples, based on the novel Do Androids Dream of Electric Sheep? by Philip K. Dick
directed by Ridley Scott

Bladerunnertfccap

Mustownby Walter Chaw The prototype for the modern science-fiction film, Ridley Scott's Blade Runner, through its seemingly endless iterations, through its growing cult of personality and a production history that's become as familiar as a Herzog shooting mythology, retains its ability to astonish as–along with John Carpenter's contemporaneous The Thing–the last hurrah for the non-CGI, in-camera effects piece. Tron, The Last Starfighter, and Firefox were destined to be the rule of the day at the expense of matte painters and model-makers, here working out puzzles like how to make a futuristic, mechanized advertising blimp appear to be shooting strobes through the glassed ceiling of the Bradbury. Indeed, it's almost impossible to watch Blade Runner now without taking its technical brilliance for granted. It looks like it was made in 2007 (particularly in its newest, digitized incarnation); with its lack of the bluescreen artifacts that plague many of its contemporaries, it's easy to think of a mainframe as the movie's author.

National Treasure (2004) [Widescreen] + Gone in 60 Seconds (2000) [Director’s Cut – Unrated, New Extended Version] – DVDs|National Treasure [Collector’s Edition] – Blu-ray + DVD

NATIONAL TREASURE
½*/****
DVD – Image B Sound A Extras C+
BD – Image A Sound A Extras B+
starring Nicolas Cage, Jon Voight, Harvey Keitel, Diane Kruger
screenplay by Jim Kouf and Cormac Wibberley & Marianne Wibberley
directed by Jon Turteltaub

Nationaltreasurecapby Walter Chaw How's this for a barometer of the national cinematic weather? National Treasure is going to get more praise than condemnation from me because it isn't homophobic, misogynistic, or blatantly misanthropic. All it is, really, is astonishingly boring, terribly stupid, and, it bears repeating, boring. It's boring. (Also stupid.) Essentially the film is a Hardy Boys adventure where cryptic clues have our intrepid boy scouts traversing America's historic landmarks on a scavenger hunt for two hours and change. Where the hero is a misunderstood scholar, his sidekick is a computer nerd, and his girlfriend's hobby is history because history is cool. (The sequel will probably touch on spelling, maybe arithmetic–be still my beating heart.) And where inspiration runs out a little over half-an-hour into the runtime, causing National Treasure to resort to recycling the same rising and falling in action over and over into–and our film's history buffs will appreciate this–what seems an eternity.

Jack Ketchum’s The Lost (2008) – DVD

***/**** Image A- Sound A Extras B+
starring Marc Senter, Shay Astar, Alex Frost, Ed Lauter
screenplay by Chris Sivertson, based on the novel by Jack Ketchum
directed by Chris Sivertson

Thelostcap

by Alex Jackson SPOILER WARNING IN EFFECT. The Lost is simultaneously polished and crude. For all intents and purposes, it's a direct-to-video release*, and it has a "direct-to-video" vibe to it. There's a broadness to the acting, to put it delicately. It's not that these are bad actors, exactly, it's just that their performances are superficial. I want to say that they lack the nuance of what you'd get in a theatrical feature, but I'm beginning to wonder if there is something about the very nature of the "theatrical film" that is more accommodating of excess. That perhaps the very size of a theatrically-released film can dwarf an over-actor and make the severity of his or her offense somewhat less significant, whereas if a film goes straight-to-DVD, it becomes more performance-oriented. It seems that it's really hard to find camp in a theatrical release and it's really hard to avoid it in dtv product. I don't know whether this is me the viewer projecting something from outside the film–I guess it must be, as I wouldn't imagine that most filmmakers actually intend their movies to bypass the big screen altogether. But wherever it comes from, it's there.

Lake of Fire (2007) – DVD

**½/**** Image A Sound A-
directed by Tony Kaye

by Alex Jackson I'm all over the map on Tony Kaye's epic abortion documentary Lake of Fire. I suppose the first thing that bothers me is that the film purports to be about a controversial issue, as I don't perceive any controversy on the issue of abortion: anybody trying to take away women's access to safe and legal abortions is a moron. It's not that the pro-life movement is immoral and it's not that they merely have values that differ from my own. It's that they are idiots. There is only one right answer and if you can't see it, it's because you are a moron and haven't really thought the situation through.

12 Angry Men (1957) [Collector’s Edition] – DVD

***½/**** Image A- Sound B Extras B
starring Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall
screenplay by Reginald Rose
directed by Sidney Lumet

by Alex Jackson SPOILER WARNING IN EFFECT. Sidney Lumet’s 12 Angry Men is centred around the notion that the guilt of an accused man must be established beyond a reasonable doubt if he is to be punished through the legal system. It’s a notion that most educated adults in this country have already accepted as a basic moral principle, yet 12 Angry Men manages to come off as surprisingly edgy for arguing sincerely in favour of it. The film never answers the fundamental question of whether or not the accused is indeed guilty. (We as an audience are never shown what actually happened on that fateful night, nor do we ever meet another potential suspect.) The possibility that he could have committed the murder and gotten away with it is left smugly unaddressed. Because it could not be proven in court, it simply doesn’t matter.

Hiya, Kids!!: A ’50s Saturday Morning – DVD

by Ian Pugh Take a gander at the stuff you used to watch as a kid and you'll more than likely come to two realizations: 1) that a lot of stupefying crap wormed its way into your living room; and 2) that the shows that were actually pretty good tended to throw out a lot of jokes that flew right over your preteen head. Dedicating each of its four discs to a different block of children's programming from some indeterminate period of the Golden Decade*, Shout! Factory's Hiya, Kids!!: A '50s Saturday Morning DVD collection strongly suggests that this would prove true of every generation from the boomers on. Entire plotlines ripped from the pages of LIFE magazine, a bobbing camera briefly acting the part of the audience collectively nodding its head in agreement, "Hamlet" characterized as a comedy–watching television from fifty years ago is an interesting venture, though "interesting" may be as far as a greenhorn like me can go in examining this set. Although it appears to have deliberately avoided iconic moments from the shows in question in order to maintain the illusion of simply stumbling on them with a flip of the dial, Hiya, Kids!! is somewhat self-defeating as the re-creation of an experience. It's easy to get the gist of the show in question (the "dramas" are especially easy to pin down), but it's extremely difficult to form a substantial opinion about anything in this line-up. True that you often decide whether or not to dedicate yourself to a TV series on the basis of one episode, but with the sheer number of interactive concepts on display–most notably in all-inclusive "clubs"–you realize that the phenomenon that surrounded many of these programs contributed immeasurably to their purpose and appeal. Alas, without much context, the brilliant concept behind Hiya, Kids!! tends to feel a little arbitrary.

Coyote Ugly (2000) [The Unrated Extended Cut] – DVD|Blu-ray Disc

*½/****
DVD – Image A Sound B+ (DD)/A- (DTS) Extras C
BD – Image A Sound A- Extras C
starring Piper Perabo, Adam Garcia, Maria Bello, Melanie Lynskey
screenplay by Gina Wendkos
directed by David McNally

by Travis Mackenzie Hoover J. Hoberman once nailed the work of '80s trash director Adrian Lyne by calling it "the spectacle of female self-actualization (as enacted for a male viewer)." This shrewd playing of both sides of the gender fence figures heavily into Coyote Ugly, which combines a cheesy uplift story with bounce-and-jiggle eye candy to maximize the number of potential ticket buyers. But though it was produced by former Lyne benefactor Jerry Bruckheimer and practically channels the director's empty-calorie flash, the his 'n' hers formula doesn't work this time around: whatever else could be said against the dissipated Brit, there was a hysterical urgency to Lyne that his substitute, David McNally, can't match. You see the flesh, you hear the pain, but aside from some very obvious body-double skin added to the film for DVD, none of it adds up to anything you can't get from Moses Znaimer on a Sunday night.

2001: A Space Odyssey (1968) [Two-Disc Special Edition] – DVD

****/**** Image A+ Sound A Extras B+
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

2001cap

Mustownby Alex Jackson Seeing 2001: A Space Odyssey as a film about evolution is natural but ultimately inaccurate, I think. The Darwinist views evolution as an external response to the world–a survival mechanism–while the Nietzschian views it as an internal, ethical one. Both are touched on in 2001 and both are misleading in that they fail to acknowledge that Man's evolution in this film is born out of destiny. Out of fate. More appropriate to view evolution here in terms of the lifespan of the butterfly or moth. Guided by a supreme alien intelligence, the species of 2001 evolves from the larva (ape) to the pupa (human) to the butterfly (star child).

Bionic Woman: Volume One (2007) – DVD

Image A- Sound A Extras C
"Pilot," "Paradise Lost," "Sisterhood," "Faceoff," "The Education of Jaime Sommers," "The List," "Trust Issues," "Do Not Disturb"

by Ian Pugh David Eick's remake of the old Lindsay Wagner series "The Bionic Woman" is a near-literal relic straight out of 1976 so thoroughly convinced of its premise's timelessness that it merely tosses the same old shit together with popular concerns of the 21st century–terrorism, the Iraq War, North Korea, the omnipresence of computer technology–in the vague hope that it will all alchemize into something that can stand on its own two feet. Call it the oblivious antithesis to an astonishing meta property like Live Free or Die Hard: it carries the expectation for tension within a battle of seemingly-incalculable odds when the outcome was long ago decided in the little guy's favour–I mean, like, decades ago. Interestingly enough, amid its largely indifferent applications of wire-fu, the new "Bionic Woman" offers the best auto-critical metaphor with its mustiest holdover from its precursor: the super-futuristic "action" sound effect that originated in "The Six Million Dollar Man" has been replaced by something that sounds like a computerized approximation of a stalled car.

The Jane Austen Book Club (2007) – DVD

ZERO STARS/**** Image B Sound B- Extras D
starring Kathy Baker, Maria Bello, Marc Blucas, Lynn Redgrave
screenplay by Robin Swicord, based on the novel by Karen Joy Fowler
directed by Robin Swicord

by Walter Chaw I hate smug little pieces of masturbatory treacle like Robin Swicord's The Jane Austen Book Club, bits of piffle strutting around like peacocks on a parade ground, secure in the knowledge that it's pretentious in just the right way for the only demographic that it cares about at all. What kills me is that the idiots thronging to shit like this are the same ones who criticize "mainstream" Hollywood for its propensity to squeeze out cookie-cutter nuggets of worthless effluvium for the slavering approval of teenage boys. I wonder if young men and middle-aged women (the kind who watch "The View" and join Oprah's Book Club) aren't, in fact, natural ideological enemies: the former unaware of the evil stereotypes perpetrated by their favoured entertainment, the latter, you know, likewise. In our age of missing information, it makes perfect sense that mouth-breathing pundits find favourable spawning conditions. And in any age, it makes perfect sense that the stupid ones seek them out.

Life of Brian (1979) [The Immaculate Edition] – DVD + The Adventures of Baron Munchausen (1988) [20th Anniversary Edition] – DVD|Blu-ray Disc

LIFE OF BRIAN
***/**** Image B Sound C Extras A
starring Monty Python
screenplay by Graham Chapman & John Cleese & Terry Gilliam & Eric Idle & Terry Jones & Michael Palin
directed by Terry Jones

THE ADVENTURES OF BARON MUNCHAUSEN
**/****
DVD – Image B- Sound B+ Extras B+
BD – Image B+ Sound B+ Extras B+
starring John Neville, Eric Idle, Sarah Polley, Oliver Reed
screenplay by Charles McKeown & Terry Gilliam
directed by Terry Gilliam

Advofbaronmunchausencapby Walter Chaw Call it a rite of passage, but I'm thinking that boys of my generation memorize the Monty Python repertoire as a buttress against the terror of losing their virginity. (No colder shower than a round of "ni"s, let's face it; reciting the entirety of Monty Python and the Holy Grail is the antithesis of smooth and as such becomes the chit one trades for entry into the club of delayed experience.) Not until you get a little older do you appreciate that Monty Python earned their outsider status by being a satirical animal as opposed to a slapstick one–that the lengths to which they'd go for a joke has more to do with camouflage than with their stated goal of silliness. Owing to my knowing it almost subliminally at this point (let's just say the surprise is gone), I must confess I don't find Life of Brian that funny anymore–but I do find it to be a little amazing. This most recent viewing is the first time I've seen it with thousands of films packed dense into the rear-view, as well as the first time I've been able to appreciate that Life of Brian isn't one of dozens of films that take an irreverent run at fundamentalism, but rather one of the only ones. It's a revelation I greet with equal parts admiration for the picture and horror at the paucity of real conversation about skepticism in our Judeo-Christian culture. Always a lot of dust kicked up when another Dutch artist takes a run at Islam; the only difference in fundamentalist Christianity's response to Life of Brian is that the government didn't sanction the death threats it provoked.

The 6th Day (2000) – DVD|Blu-ray Disc

**/****
DVD – Image A- Sound A- Extras C
BD – Image A- Sound A Extras B-
starring Arnold Schwarzenegger, Michael Rapaport, Tony Goldwyn, Robert Duvall
screenplay by Cormac Wibberley & Marianne Wibberley
directed by Roger Spottiswoode

by Bill Chambers The 6th Day has one idea that made me sit up and take notice. In a future that’s “sooner than you think,” some henchmen from the shallow end of the gene pool have been sent to dispatch Arnold Schwarzenegger’s illegally-cloned charter pilot. Said goons aren’t nervous when confronting the Austrian Oak because they’ve always got a contingency plan: should Ah-nuld snap necks like he’s been doing since Commando, the casualties will be shipped off to a lab for regeneration. In other words, the PG-13 film antiquates Schwarzenegger once and for all.