Game of Thrones: The Complete Third Season (2013) – Blu-ray + DVD + Digital Copy

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Image A Sound A Extras A+
“Valar Dohaeris,” “Dark Wings, Dark Words,” “Walk of Punishment,” “And Now His Watch Is Ended,” “Kissed by Fire,” “The Climb,” “The Bear and the Maiden Fair,” “Second Sons,” “The Rains of Castamere,” “Mhysa”

by Jefferson Robbins Kings and counsellors, indeed. George R.R. Martin’s fantasy cycle A Song of Ice and Fire–five very large novels deep now–is concerned with impassioned monarchs and their desperate ministers, as well as the deformations wrought by their egotistical wars. HBO’s series adaptation “Game of Thrones” maintains that fascination, the source of much of its continuing suspense and appeal: Anyone in the fragmenting kingdom of Westeros could die at any time, by sword or sorcery or simple dysentery, and the wounds of war upon the body politic are reflected on the characters.

Saturn 3 (1980) – Blu-ray + DVD Combo Pack

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**/**** Image A- Sound A- Extras B+
starring Kirk Douglas, Farrah Fawcett, Harvey Keitel
screenplay by Martin Amis
directed by Stanley Donen

by Bryant Frazer There are bad movies and there are tantalizingly bad movies, and Saturn 3 is the latter–the type of bad movie that tickles the imagination and demands an explanation. On first blush, there’s nothing unusual about it. Released in 1980, it was clearly trading on the post-Star Wars mania for sci-fi movies. The casting of Farrah Fawcett, at the time a big star, was a reasonable commercial gambit. And the release of Alien a year earlier certainly explained the idea of a monster movie set in space. If you look at the credits, you simply get a sense of older Hollywood types–director Stanley Donen, actor Kirk Douglas–striving to keep up with the prevailing trends.

But then you watch the movie, and you wonder: what the hell happened here?

Homefront (2013) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A- Extras C+
starring Jason Statham, James Franco, Winona Ryder, Izabela Vidovic
screenplay by Sylvester Stallone, based on the novel by Chuck Logan
directed by Gary Fleder

by Bill Chambers After a drug bust goes farcically awry, undercover DEA agent–and ex-soldier, natch–Phil Broker (Jason Statham) retreats to rural Louisiana with his little girl, Maddy (Izabela Vidovic), hoping to give her a peaceful life raising horses while he makes ends meet as a carpenter. But like father, like daughter: When the school bully pushes Maddy too far on the playground one day, she fights back with a few Bourne-worthy movies, setting off a chain reaction that leads the boy’s humiliated, meth-head mother (Kate Bosworth) to sic her swamp kingpin brother Gator (James Franco) on Broker, who proves so invincible against all comers that it piques Gator’s curiosity. Some (too) light snooping on his part uncovers Broker’s former identity, and he enlists his girlfriend (Winona Ryder–the film has an eclectic cast, to say the least) to rat Broker out to the biker gang that’s looking for him. All because of an altercation in a schoolyard.

The Jungle Book (1967) [Diamond Edition] – Blu-ray + DVD + Digital Copy

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***/**** Image C+ Sound A- Extras A
story by Larry Clemmons, Ralph Wright, Ken Anderson, Vance Gerry, inspired by the Rudyard Kipling “Mowgli” stories
directed by Wolfgang Reitherman

by Bill Chambers SPOILER WARNING IN EFFECT. The Jungle Book receives only two passing mentions in Neal Gabler’s mammoth biography of Walt Disney, even though it has the distinction of being the last animated film Disney lived to produce and ended his career in a commercial triumph to bookend the early success of Snow White and the Seven Dwarfs. Gabler’s brevity on the subject suggests that The Jungle Book was of little consequence to Disney, but there are clues to the contrary between the lines, such as when Gabler writes tantalizingly about Walt’s opinion that early drafts of the script were too “sober.” Indeed, he was personally invested in the project to the point of choosing it over his relationship with long-time story man Bill Peet, who’d brought Rudyard Kipling’s Mowgli stories to Disney’s attention in the first place. Peet’s adaptation was, as Walt saw it, beset by its fidelity to Kipling, and he solidified his vision for lighter-hearted fare by hiring radio icon Phil Harris, whose husky, hearty voice would become synonymous with Disney animation in those posthumous years. The energy and levity Harris brought to the minor character of Baloo the Bear led to a reconceiving of the narrative so that it pivoted, in Gabler’s words, on the Falstaff/Prince Hal dynamic between Baloo and child hero Mowgli.

Nebraska (2013) – Blu-ray + DVD + Digital HD

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***½/**** Image A Sound A Extras C+
starring Bruce Dern, Will Forte, June Squibb, Stacy Keach
screenplay by Bob Nelson
directed by Alexander Payne

by Walter Chaw Alexander Payne returns to form after the disappointing The Descendants with the muted, often hilarious, and sentimental-without-being-schmaltzy filial road trip Nebraska. It’s easily his most tender work, despite the mordant, sometimes bitter humour Payne has become known for in his best work (Election remains his crowning achievement; About Schmidt is no slouch, either), and it makes a brilliant move in offering a showcase opportunity for national treasure Bruce Dern. Shot in black-and-white, with a spare, minimal production design making it an expressionist piece projecting the barren interiors of its broken characters, Nebraska, though not the adaptation of the identically-named collection of Ron Hansen short stories I initially hoped it was, at least possesses the same wintry, intellectual mien.

Arrow: The Complete First Season (2012-2013) + Supernatural: The Complete Eighth Season (2012-2013) – Blu-ray Discs

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ARROW: THE COMPLETE FIRST SEASON
Image A Sound B Extras B-
“Pilot,” “Honor Thy Father,” “Lone Gunmen,” “An Innocent Man,” “Damaged,” “Legacies,” “Muse of Fire,” “Vendetta,” “Year’s End,” “Burned,” “Trust but Verify,” “Vertigo,” “Betrayal,” “The Odyssey,” “Dodger,” “Dead to Rights,” “The Huntress Returns,” “Salvation,” “Unfinished Business,” “Home Invasion,” “The Undertaking,” “Darkness on the Edge of Town,” “Sacrifice”

SUPERNATURAL: THE COMPLETE EIGHTH SEASON
Image A Sound B+ Extras B
“We Need to Talk About Kevin,” “What’s Up, Tiger Mommy?,” “Heartache,” “Bitten,” “Blood Brother,” “Southern Comfort,” “A Little Slice of Kevin,” “Hunteri Heroici,” “Citizen Fang,” “Torn and Frayed,” “LARP and the Real Girl,” “As Time Goes By,” “Everybody Hates Hitler,” “Trial and Error,” “Man’s Best Friend with Benefits,” “Remember the Titans,” “Goodbye Stranger,” “Freaks and Geeks,” “Taxi Driver,” “Pac-Man Fever,” “The Great Escapist,” “Clip Show,” “Sacrifice”

by Jefferson Robbins Kindred shows in more ways than just their sharing a network, a Vancouver, B.C. shooting base, and a David Nutter-helmed pilot, The CW’s “Arrow” and “Supernatural” also share a gestalt. Post-“The X Files”, post-“Buffy”, they grapple with family legacies, duty versus desire, and bonds (specifically male) threatened by the intrusion of a) monsters and b) lovers. Watching the debut season of the former alongside the eighth season of the latter, it becomes clear that “Arrow”‘s showrunners, headed by Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg, are just as steeped in the modes and methods of this youth-oriented action programming as “Supernatural” creator Eric Kripke. Both series find young, handsome protagonists consumed with the bloody twilight work left undone by their dead fathers; and both–despite “Arrow”‘s roots as a second-tier DC Comics property straining for multimedia relevance–are better, and bloodier, and in some ways more relevant, than one has any right to expect.

Night of the Comet (1984) [Collector’s Edition] – Blu-ray + DVD Combo Pack

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½*/**** Image C+ Sound C+ Extras B
starring Robert Beltran, Catherine Mary Stewart, Kelli Maroney, Geoffrey Lewis
written and directed by Thom Eberhardt

by Walter Chaw SPOILER WARNING IN EFFECT. There’s a quote from the seventh season of “The Simpsons” that applies to the problem before us where Bart, happening on a “Schoolhouse Rock” thing and learning from Lisa that it’s one of “those campy ’70s throwbacks that appeals to Generation X-ers,” says, “We need another Vietnam to thin out their ranks a little.” If there were, and if it had, we might’ve avoided the current rage for hipsterism–if the Joss Whedons of the world (and David Cranes and so forth) had found themselves casualties in some hostile jungle setting, then would this current youth generation have adopted, ironically, that last generation, and would people like me at my tender age of 40 be fuelling demand for hale distribution/archival companies like Shout! to produce exhaustively-supplemented HiDef releases of garbage like Thom Eberhardt’s excruciating Night of the Comet? Look, I’m not immune–I wrote an entire monograph (200+ pages, no kidding) on Steve De Jarnatt’s Miracle Mile that, in my defense, was more memoir than anything else (or is that more disclaimer than defense?). Still, I’ll proclaim to my grave that Miracle Mile has substance, while Night of the Comet has none. The first and greatest danger of nostalgia is that, having grown up with certain artifacts, we treat them like family and tend to love them unconditionally, as family does. This affection doesn’t mean that Junior isn’t a grinning idiot, however, because at least in this instance, he is. And I’m a strong believer that if one of your family members is a grinning idiot, it’s actually your job not to inflict him or her on other people.

We’re the Millers (2013) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A Extras D
starring Jennifer Aniston, Jason Sudeikis, Emma Roberts, Ed Helms
screenplay by Bob Fisher & Steve Faber and Sean Anders & John Morris
directed by Rawson Marshall Thurber

by Walter Chaw Rawson Marshall Thurber’s return to the territory of the screwball gross-out comedy that put him on the map, the better-than-it-should-be Dodgeball, is the better-than-it-should-be (but not as good as DodgeballWe’re The Millers, an essentially plotless road-trip intrigue that nonetheless glances off 2013’s concern with the decline of the middle class while providing a couple of chuckles along the way. It’s the lowbrow version of Albert Brooks’s Lost in America if looked at through a particularly sympathetic lens–a hint of a conversation about class, a whiff of something about how hard it is to make a living on streets getting meaner by the day. Ultimately, it’s probably just lucky that the cast assembled has an impressive improvisational pedigree (and that the director is open to making adjustments midstream), lending a stale comedy of mistaken identity a degree of perhaps-undeserved life. It probably doesn’t hurt that We’re the Millers never, at any point, tries to be something it’s not: rescued by a total lack of ambition.

Plus One (2013) – DVD

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+1
***/**** Image A- Sound A Extras B-

starring Rhys Wakefield, Logan Miller, Ashley Hinshaw, Natalie Hall
screenplay by Bill Gullo
directed by Dennis Iliadis

by Walter Chaw David (Rhys Wakefield) screws up and loses girlfriend Jill (Ashley Hinshaw), only to run into her the night of a gigantic, hedonistic, Gatsby-esque party attended by rave strippers, DJs, and drug dealers. An unlikely place to stage a comeback, David, with buddy Teddy (Logan Miller), coaxes Jill into a conversation that goes south–but then the lights cut out, there’s a weird meteorite event outside, and David finds himself with the opportunity to try the conversation again: same place, different Jill. It seems that something’s created a quantum split–a little bleed-over maybe from a parallel dimension that twists time and creates doubles of all the revellers, though only a few notice. The ones who don’t party on in a kind of nightmarish inattention that reminds of the dreamscapes of Miracle Mile and After Hours; the ones who do begin to wonder what will happen when the time-slips overlap and they find themselves attempting to share the same space as their doppelgängers.

Message from Space (1978) – DVD

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***/**** Image C+ Sound C- Extras C Madness A
starring Vic Morrow, Sonny Chiba, Philip Casnoff, Peggy Lee Brennan
screenplay by Hiroo Matsuda
directed by Kinji Fukasaku

by Walter Chaw Essentially a big-budget, feature-film version of Calvinball if Bill Watterson were a manga artist undergoing a psychotic break, Kinji Fukasaku’s balls-insane Message from Space is a very special brand of genius. It honours no structural logic that I can discern, though it does have a kinetic kid-logic, the kind honed from endless summer afternoons tromping around with your buddies, making shit up and being happier than you’ll ever be again in your life. Message from Space captures that headiness, that heedlessness, the sort of reckless creativity that charts the course between memorable films by someone like Ed Wood and forgettable films by every other hack with the same level of talent but not the same joyful dedication. I’m not saying Message from Space is a good movie–I can’t even say that the reasons for its existence are particularly honourable (it’s an obvious Star Wars cash-grab). But I can say that Message from Space is crazy-energetic and has more delightful moments packed into it than a dozen “normal” movies. I also wouldn’t underestimate its influence on a generation of kids Star Wars-hungry during that three-year gap between the first film and The Empire Strikes Back. Herein, find the source of Will Ferrell’s Ron Burgundy at least, and, incidentally, the better version of Mel Brooks’s Spaceballs (and Stewart Raffill’s The Ice Pirates).

Body Bags (1993) [Collector’s Edition] – Blu-ray Disc

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**½/**** Image A- Sound C- Extras B
starring Robert Carradine, Stacy Keach, Mark Hamill, Twiggy
written by Billy Brown & Dan Angel
directed by John Carpenter and Tobe Hooper

by Bryant Frazer In 1989, HBO debuted a horror anthology show, “Tales from the Crypt”, based on stories from the disreputable EC comic books of the early 1950s. Jump-started by a stable of Hollywood big shots like Richard Donner, Joel Silver, and Robert Zemeckis, the show was a hit, and the wisecracking “Crypt Keeper” who introduced each episode quickly became a pop-culture icon. HBO’s rival Showtime, known primarily for its softcore anthology “Red Shoe Diaries”, was presumably aiming to duplicate that success when it backed Body Bags, an anthology project led by co-executive producers John Carpenter and his wife, Sandy King. Despite that genre pedigree, the series never got off the ground, but a pilot was completed: three half-hour segments with a goofy framing story involving Carpenter himself doing a deadpan Betelgeuse impression among the stiffs in a city morgue. The finished omnibus aired on Showtime as a one-off in the summer of ’93.

The Lone Ranger (2013) – Blu-ray + DVD + Digital Copy

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***/**** Image A Sound A+ Extras C+
starring Johnny Depp, Armie Hammer, Tom Wilkinson, Helena Bonham Carter
screenplay by Justin Haythe and Ted Elliott & Terry Rossio
directed by Gore Verbinski

by Walter Chaw What Gore Verbinski's The Lone Ranger has going for it, in addition to a genuinely ugly streak of nihilism and a surprisingly high body count, is that it doesn't seek to "darken" its titular boyscout hero so much as offer that his brand of do-gooderism seems naïve and ineffectual in the modern conversation. It's the same tactic taken by Arthur Penn's own picaresque western Little Big Man, the film it most resembles right down to the framing story: an aged narrator relating his sometimes fanciful tale to a modern chronicler, used to amusing effect when the plot gets out of hand, Princess Bride-style. It's like a lot of movies, I guess (including two Simon Wincer westerns, Quigley Down Under and Lightning Jack), which doesn't mean it's derivative so much as it means that it plays like any number of satires of the kind of innocence that made the Lone Ranger character a favourite of impressionable young Americans for generations. It's more the anachronism of The Brady Bunch Movie than the update of Man of Steel, in other words–and the better for it, even if its ultimate message appears to be that the crimson tide has overtaken us, once and for all, and there's no real room left in the world for the idealism represented by a hero with a list of creeds, the first of which is that to have friends one must first be a friend.

Curse of Chucky [Unrated] – Blu-ray + DVD + Digital

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**½/**** Image A Sound A- Extras B+
starring Fiona Dourif, Danielle Bisutti, Maitland McConnell, Brad Dourif
written and directed by Don Mancini

by Bryant Frazer Say what you will about the Child's Play movies, but don't accuse franchise creator Don Mancini of being a hack. Sure, his Chucky, a walking-and-talking "Good Guy doll" possessed by the soul of a serial killer, is a steal. Nothing original about it. Chucky is a foul-mouthed iteration of creepy Toys "R" Us killers from any number of horror films–most of them dating to Cavalcanti's famous segment from 1945's Dead of Night, though another key influence was the notoriously pants-wetting 1975 TV movie Trilogy of Terror, with its murderous Zuni fetish doll sharing the screen with a terrified Karen Black. But something about Mancini's formulation clicked with Fright Night director Tom Holland, and the 1988 Child's Play, which detailed Chucky's origin story and pitted him against a young boy, was a low-budget success that naturally demanded sequels. Mancini remained on board as screenwriter as two more directors took on two more Child's Play entries. After 1991's Child's Play 3, the character seemed played-out, but Mancini successfully resurrected him with the tongue-in-cheek Bride of Chucky, which brought Jennifer Tilly into the fold along with director Ronny Yu, and Mancini finally took the directorial reins himself with the even more broadly comic Seed of Chucky, which numbered Britney Spears and Martha Stewart among its victims.

Monsters University (2013) [Collector’s Edition] – Blu-ray + DVD + Digital Copy

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**/**** Image A+ Sound A+ Extras A
screenplay by Daniel Gerson & Robert L. Baird, Dan Scanlon
directed by Dan Scanlon

by Bill Chambers On a school trip to Monsters, Incorporated, young cyclops Mike Wazowski, the kind of pipsqueak who gets saddled with the teacher when his classmates choose partners, sneaks onto the scaring platform and follows an octopus-like creature through one of the closet-door terminals. Rather than reprimand him, the monster tells Mike he might have what it takes to become a scarer and gives him his cap, Mean Joe Green-style. That hat bears the logo of the Scarer’s alma mater, Monsters University (better than Fear Tech!); an undergrad is born.

The Town That Dreaded Sundown (1976) – Blu-ray + DVD Combo Pack

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any image to enlarge

THE
TOWN THAT DREADED SUNDOWN

**½/****
BD – Image B+
Sound B-
Extras B+

starring
Ben Johnson, Andrew Prine, Jimmy Clem, Dawn Wells

screenplay
by Earl E. Smith

directed
by Charles B. Pierce

THE
EVICTORS

**½/****
Image B
Sound B-

starring
Vic Morrow, Michael Parks, Jessica Harper, Sue Ane Langdon

screenplay
by Charles B. Pierce, Gary Rusoff, Paul Fisk

directed
by Charles B. Pierce

by
Jefferson Robbins
Charles B. Pierce's
1976 thriller The Town That Dreaded Sundown makes
a fetish of breath.
The bag-headed killer, ripped from the headlines of 1946 Texarkana, is
a
mouth-breather, his mask working like a bellows whether he's exerting
himself
or not. He's announced by his respiring, as when rural housewife Helen
Reed (Dawn
Wells) ceases brushing her rich black hair to listen for him outside
her home.
And his most artful, or perhaps comical, kill is executed with a
bayonet
trombone, stabbing with each exhalation. He's the old stereotype of the
heavy-breathing phone pervert writ deadly, shambling up to parked
teenagers and
taking his jollies as he may. Sexual assault is implicit in his
approach but
quickly disavowed, although he heavily bites his earliest female
victim. An
oral compulsion that is sexual but not; a murder that is penetrative
rape but
not… As scripted, the never-captured Phantom Killer of Texarkana
would be a
pretty interesting psychological study.

The Conjuring (2013) – Blu-ray + DVD + Digital HD

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**/**** Image B+ Sound A Extras C-
starring Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
screenplay by Chad Hayes & Carey W. Hayes
directed by James Wan

by Walter Chaw Based on a true story in the same way that a pineapple is an apple, James Wan’s latest exercise in jump-scare theatre is the workmanlike haunted house/demonic possession flick The Conjuring. In it, the paranormal investigation team of Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren, co-authors of several books and shown as the film begins lecturing a small auditorium of people on the finer points of ghost-hunting, confront their Greatest Challenge Ever when they’re called to the modest New England farmhouse of the Perron family. It seems this was the former home of a WITCH! Can you fucking believe the luck? An evil witch lived in this house. Fuck. A witch. Motherfucker, am I right? You buy a house and you think that…anyway, it really sucks that a witch lived there. It all starts out innocently enough with the largely indistinguishable Perron girls getting jerked out of bed by an invisible whatever, then evolves into a game of hide and clap (which sounds venereal but isn’t, unless you’re doing it really wrong) that leads to mommy Carolyn (Lili Taylor) getting thrown down a flight of stairs into a creepy, boarded-up cellar™. That’s when daddy Roger (Ron Livingston) calls the Warrens… Well, he doesn’t, because he’s away on a week-long business trip and he’s a skeptic of the Warrens, we learn after the fact… Um… He’s not a well-developed character, seeing as how Wan seems distracted by all the loud noises and crap leaping out at the camera.

The Hangover Part III (2013) – Blu-ray + DVD + Digital


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any image to enlarge

*½/**** Image A Sound A+ Extras C
starring
Bradley Cooper, Zach Galifianakis, Ken Jeong, John Goodman

screenplay
by Todd Phillips & Craig Mazin

directed
by Todd Phillips

by
Angelo Muredda
When Project X
spilled forth from its amniotic
septic tank last spring, I
read it
as a prime example of a
producer-driven form of auteurism pioneered by Judd Apatow. That
found-footage
chronicle of a house party-turned-apocalypse, I suggested, was a
monument to
producer Todd Phillips's equally noxious Hangover
series, where the same Dionysian impulses and
deep-seated hatred of the different–whether female, trans, queer, or
disabled–were championed by a trio of middle-aged men. What a
difference a
year makes. If Project
X
was a brand
consolidator and The
Hangover Part II

was a morbidly curious recalibration of its predecessor, displacing
Phillips's
demonic impulses and scarcely controlled misogynist rage from Bradley
Cooper's
Phil to Ed Helms's Stu, Part
III
is an actors'
contract negotiation sputtered to life. Since the previous instalment,
Cooper has
become a respectable leading man and Oscar nominee and Helms has been
savaged
for the degeneration of his irritating Andy Bernard character on "The
Office", while co-star Ken Jeong's fortunes have inexplicably risen.
Consequently, gone now are the days of Phil's "Paging Doctor Faggot,"
along with Stu's loveable dude-rage and the Wolfpack's infinite jokes
about Mr.
Chow's shrunken Asian manhood. In their place is a surprisingly
neutered, if
inarguably more ethical, product with very few laughs and no reason for
being.

Day of the Dead (1985) [Divimax] – DVD|[Collector’s Edition] – Blu-ray Disc

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****/****
DVD – Image A Sound A Extras A
BD – Image A Sound B Extras A
starring Lori Cardille, Terry Alexander, Joe Pilato, Richard Liberty
written and directed by George A. Romero

by Walter Chaw SPOILER WARNING IN EFFECT. Far from the weak sister that critics and fanboys have branded George Romero’s conclusion to his zombie trilogy, Day of the Dead is at once the most hopeful and the most melancholy of the trio while falling short of the stark satirical perfection of the first (Night of the Living Dead) and the bloated satirical imperfections of the perhaps over-celebrated second (Dawn of the Dead). In fact, I find Day to be the equal of Dawn in almost every way and to exceed it in terms of its alacrity–its relative tightness in the development of its ideas about the nature of man unfolding against the backdrop of a rise of a new society. The obvious precursor to the zombie mythos is the Christian faith, with its saviour a zombie installing a new order (covenant) and its key ritual dedicated to a celebration of the eating of the saviour’s flesh and blood: a literal consumption of the Host that incorporates into its rite terms of infection and contagion. In fact, Day of the Dead, of the three, seems the most serious in exploring that spiritual/thaumaturgical connection with the introduction of what is essentially a demigod–an offspring of thought and body in the same way that Christ was meant to be God made flesh in all its weakness–in the form of the much-reviled Bub (Howard Sherman).

Jack the Giant Slayer (2013) – Blu-ray + DVD + Ultraviolet Combo Pack

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½*/**** Image A Sound A+ Extras D
starring Nicholas Hoult, Eleanor Tomlinson, Stanley Tucci, Ewan McGregor
screenplay by Darren Lemke and Christopher McQuarrie and Dan Studney
directed by Bryan Singer

by Walter Chaw There's an interesting moment early on in
Bryan Singer's Jack the Giant Slayer, but don't get used to it. It's a
cross-cut sequence wherein peasant Jack (Nicholas Hoult) and princess Isabelle
(absolutely adorable Eleanor Tomlinson) reveal they're both products of neglect
and the devastation of a parent lost too young. This unites them in strife
and turmoil (in the way that wasn't properly addressed by the Mako/Raleigh
team-up in Pacific Rim) to (likewise) battle monsters of the theoretical
Id (Oedipus is the first guess, Electra the second), here literal giants
in a cloud-shrouded kingdom, accessed by a priapic growth sprouting in the dead
of night. It's the only time the film identifiably belongs to Bryan Singer, a maker of large films nonetheless invested
in personal, intimate deconstructions. People in my world are neatly divided
between the ones who didn't like Singer's Superman Returns and the ones who are
right. I want to believe that movie is the reason why Stanley Tucci, Ewan
McGregor, and Ian McShane said "yes" to Jack the Giant Slayer, and not because Tucci,
McGregor, and McShane are already just filthy impulses cashing paychecks à la
1980s Michael Caine.

World War Z (2013) – Blu-ray + DVD + Digital Copy

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**/**** Image A Sound A Extras B-
starring Brad Pitt, Mireille Enos, James Badge Dale, Matthew Fox
screenplay by Matthew Michael Carnahan and Drew Goddard & Damon Lindelof, based on the novel by Max Brooks
directed by Marc Forster

by Walter Chaw Marc Forster’s World War Z, an adaptation of Max Brooks’s cause célèbre novel (think Stephen Ambrose on the zombie apocalypse) that had a production so troubled the real surprise is Terry Gilliam had nothing to do with it, lands as half an idea, handsomely mounted in a really expensive crater. With almost no relationship to the book beyond honouring its concept of a conflagration told in vignettes, it feels almost exactly like James L. Brooks’s I’ll Do Anything, which began life as a musical and ended up, after extensive reshoots and careening budget overages, song-free, yet whole somehow despite the trauma. That sense of a sudden change in direction, in genre, is all over World War Z–something in its almost apologetic reserve, something in its unmistakable indecision. Indeed, it serves as a fitting metaphor for a zombie as a corpse similarly brought to shambling half-life, but frankly, it could’ve been a lot worse. It works for what it is in the same way that Steven Soderbergh’s Contagion works, and with the same limitations, ambivalence, anticlimax, and handsome mounting. If, at the end, its Damon Lindelof-penned solution* (the twelfth-hour salvation of a freight train jumped its tracks) is as stupid as you would expect something Lindelof to pen, at least the journey there is interesting, even occasionally (if only very occasionally) arresting. A shame that Forster hasn’t gotten any better at directing action since Quantum of Solace.