Dexter: New Blood (2021-2022) – Blu-ray Disc

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“Cold Snap,” “Storm of Fuck,” “Smoke Signals,” “H is for Hero,” “Runaway,” “Too Many Tuna Sandwiches,” “Skin of Her Teeth,” “Unfair Game,” “The Family Business,” “Sins of the Father”

by Bill Chambers SPOILER WARNING IN EFFECT. It begins with a white buck. Dexter is tracking it through the woods, a regular Natty Bumppo. Though he has a clear shot, something stops him from pulling the trigger, and he falls to his knees in a parody of biblical defeat. A second attempt the following day is foiled when a sharp noise from elsewhere causes the wildlife to scatter, while a third and final try sees him lowering his rifle and surrendering to the beauty of the beast. Dexter and the white buck are kindred spirits–outliers of their species, yet built to blend into their surroundings. Trophies, ultimately, for their rarity. The premiere episode of “Dexter: New Blood”, “Cold Snap,” might be my favourite of the character’s entire television run, because it allows him this brief state of grace. There was a season of “Dexter” where he went searching for signs of a higher power, but it’s here that he finds one, and what makes this so different from our serial-killer Pinocchio’s previous real-boy epiphanies is that, for once, there’s no noise in his head. In fact, this most compulsive of narrators only starts talking to us again after the tranquillity of the moment is shattered, which is a surprisingly understated gambit for “Dexter”. It’s a crowd-pleasing thing, I suppose, when he finally pipes up (it’s Clark Kent ducking into a phone booth, or Popeye squeezing a can of spinach), but it plays to me as bitter commentary on how short-lived inner peace is these days for anyone with a moral compass–even one as faulty as Dexter’s.

Stephen King: 5-Movie Collection – Blu-ray Disc

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THE DEAD ZONE (1983)
****/**** Image C Sound A
starring Christopher Walken, Brooke Adams, Tom Skerritt, Herbert Lom
screenplay by Jeffrey Boam, based on the novel by Stephen King
directed by David Cronenberg

by Walter Chaw Michael Kamen’s score for The Dead Zone sounds so much like Howard Shore’s work that if I didn’t know better… Maybe something about Cronenberg inspires doomed Romanticism in his collaborators. What’s sometimes lost in the focus on body-horror in his pictures is how like opera they are–so like opera, in fact, that The Fly was eventually turned into one. Each is in some way about the loss of the self to love and all those elevated metaphors for love like body transformation, breakdown, decay, death. He is a poet of liebestraum. His films are suffused with it, as well as–here’s another German term for you–overwhelming waves of Weltschmerz. The Dead Zone was the first Cronenberg feature since 1979’s Fast Company not scored by Shore; the two would never be separated again. In a CINEFANTASTIQUE article published at the time of The Dead Zone‘s release (1983), Cronenberg tells of producer Dino De Laurentiis desiring a “name” composer and discarding Shore before landing on Kamen, then fresh off Alan Parker’s Pink Floyd: The Wall. I don’t think Cronenberg gave up that kind of control again. The Dead Zone is an adaptation of a Stephen King bestseller and home to one of only a handful of lead roles for Christopher Walken, who’s idol-handsome but, you know, off-tempo. A curious affliction for a trained, gifted hoofer, you’ll agree. I used to refer to Cronenberg as an insect anthropologist, an alien observer, and that’s true, I think. But as I grow older and, minute-by-minute, devastation-upon-devastation, immensely, geometrically wearier, I’m seeing Cronenberg as afflicted by a certain Proustian lost time. The more I know of grief, the more I hear that edge in Cronenberg’s voice echoed in my own.

The Immortal Story (1968) [The Criterion Collection] – Blu-ray Disc

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Histoire immortelle
***/**** Image A- Sound A- Extras B+

starring Jeanne Moreau, Roger Coggio, Norman Eshley, Orson Welles
written by Orson Welles, from a short story by Karen Blixen
directed by Orson Welles

by Bryant Frazer It's one of those salutary coincidences of movie history that the final narrative film completed by Orson Welles would turn out to be this rumination on an old man's obsession with storytelling. It's not that Welles was exactly elderly at the time (he was 51 when he made it), but there's a matter-of-fact finality to the work that becomes just a touch spooky in retrospect. Commissioned by the French national television agency as a Jeanne Moreau vehicle to commemorate the transition to colour television, The Immortal Story required that Welles work in colour for the first time, catalyzing a fairly dramatic evolution of his style. But it gave him the opportunity to adapt a short story by Karen Blixen (a.k.a. Isak Dinesen), one of his favourite writers, and to work again with Moreau, one of his favourite actors. Less than an hour long, it has remained an obscure film for a variety of reasons, but it's intermittently remarkable despite its modesty.

Vinyl: The Complete First Season (2016) – Blu-ray + Digital HD

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“Pilot,” “Yesterday Once More,” “Whispered Secrets,” “The Racket,” “He in Racist Fire,” “Cyclone,” “The King and I,” “E.A.B.,” “Rock and Roll Queen,” “Alibi”

by Bill Chambers A feeling of déjà vu pervades HBO’s “Vinyl”, and not just because it’s so prototypical of the network’s taste in weekly dramas. The first–and simultaneously last–ten episodes are a somewhat hellish loop of stylistic motifs, crutches, and tics. Refrains are a musical conceit, and this is a show about the record industry, so maybe there’s a thematic defense for the repetition. But with all the imbibing that goes on on screen, “Vinyl”‘s periodicities (running out of synonyms!) begin to make most sense as cues to take a shot. This review should provide all the drinking prompts you need while also serving as a post-mortem for the series, which got cancelled just as I sat down to write about it.1 At the risk of beating a dead horse, here’s what went wrong–and, occasionally, right–with “Vinyl”.

Game of Thrones: The Complete Fourth Season (2014) – Blu-ray + DVD + Digital Copy

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Image A Sound A Extras A-
"Two Swords," "The Lion and the Rose," "Breaker of Chains," "Oathkeeper," "First of His Name," "The Laws of Gods and Men," "Mockingbird," "The Mountain and the Viper," "The Watchers on the Wall," "The Children"

by Jefferson Robbins I suspect "Game of Thrones" has started to find its high-fantasy elements as tedious as I have. In the show's fourth season, the trio of dragons reared by Danaerys Targaryen (Emilia Clarke)–the only thing that makes her a ruler, aside from her family name–is far more felt than seen, and momentarily more a curse than an asset. Brandon Stark (Isaac Hempstead Wright) and his young cronies have to fight off a frozen-lake's worth of Ray Harryhausen skeletons, a homage so derivative it adds up to me snorting my beer out of my nose. An epic assault on the epic-sized Wall includes an epic total of two giants. The fantasy convention of magic swords with hoity-toity names comes in for ridicule, too, when brutal asshole King Joffrey (Jack Gleeson) demands a title for his new enchanted blade and some wags in the audience yell back "Stormbringer!" and "Terminus!" Woman warrior Brienne of Tarth (Gwendoline Christie), the most gullible when it comes to matters of knightly virtue, gets a nifty pigsticker, names it "Oathkeeper," then spends her only battle of the season beating her adversary's face in with a rock. Magic, in this adaptation of contemporary fantasy's most successful novel series, is bogged down in human muck and mire.

Penny Dreadful: The Complete First Season (2014) – Blu-ray Disc

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"Night Work," "Séance," "Resurrection," "Demimonde," "Closer Than Sisters," "What Death Can Join Together," "Possession," "Grand Guignol"

WATCH THE SHOW IN iTUNES – USA|CANADA

by Bryant Frazer One of the hallmarks of contemporary remix culture is derivative artistic ventures that seek shortcuts to the id, making a playful, self-aware succotash of genre tropes in lieu of inventing new cosmologies. Cleverly done, the approach can yield brainy ruminations on form and content along the lines of Alan Moore's Watchmen or alternate-universe joyrides like Quentin Tarantino's Pulp Fiction and Inglourious Basterds. When the endeavour is shabby and commercial, executed with no love, you end up with smug mediocrities like The Cabin in the Woods or smarmy trash like Dracula Untold. (Nobody–not George Lucas, not Ridley Scott–seems to grok less about what made the original properties they're trying to exploit great in the first place than the fools charged with revitalizing the monster franchises at Universal.) Somewhere in the middle, you get a project like "Penny Dreadful", a monster mash-up set in late-Victorian London that earns no originality points for series creator John Logan, best known for his screenwriting credits on Hugo, Skyfall, and Rango. Named after the pulpy serial publications that sold in old London for a penny each, his show is even more specifically derivative of latter-day pastiches like Moore's The League of Extraordinary Gentlemen and Kim Newman's Anno Dracula than it is of their own 19th-century sources. Still, at its best, his knock-off has an engaging flamboyance that makes it, if not must-see TV, at least agreeable popcorn drama.

Looking: The Complete First Season (2014) – Blu-ray + Digital HD

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"Looking for Now," "Looking for Uncut," "Looking at Your Browser History," "Looking for $220/Hour," "Looking for the Future," "Looking in the Mirror," "Looking for a Plus-One," "Looking Glass"

by Jefferson Robbins Not fair to call it a gay "Girls", in part because it dodges the character grotesques of that show in favour of…a less provocative mix of personality types, shall we say. That's a polite way of calling Michael Lannan's HBO dramedy "Looking" boring by comparison–and finally, prettily, boring on its own merits, however better-lensed and more grounded in real personal motivations it might be than Lena Dunham and Judd Apatow's zeitgeister. Handsome gay men abroad in San Francisco's fully actuated sexual culture is a fine launchpad; Lannan and collaborator Andrew Haigh treat their core trio of characters with respect and care; and the cast is all-pro, managing the mini-crises thrown their way as if they actually matter. But while there's no there there in either "Looking" or "Girls", at least the latter goes big and madcap enough to tempt continued viewing; it's not afraid to entertain, or to anger. The curtainfall on "Looking"'s first season incites little hunger for the second.

The Normal Heart (2014) – Blu-ray Disc

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***/**** Image A- Sound A- Extras C+
starring Mark Ruffalo, Matt Bomer, Taylor Kitsch, Julia Roberts
written by Larry Kramer, from his play
directed by Ryan Murphy

VIEW IN iTUNES – USA|CANADA

by Bryant Frazer The Normal Heart begins in 1981, as a ferry pulls in to Fire Island Pines, the nexus of social life for well-off gay New Yorkers who prize sunshine and sexual freedom. Stepping off that boat is Ned Weeks (Mark Ruffalo), a writer from New York who seems at once titillated and disturbed by the buff, barely-dressed men suddenly surrounding him. Weeks, it turns out, is a notorious buzzkill. He wrote an infamous novel criticizing promiscuity ("All I said was having so much sex makes finding love impossible," he objects when called on it), and he resists joining the party with his sexually-active friends, instead watching from the sidelines when their dancing gets dirty. Still, he's human, and wanders into the woods in search of more ephemeral–and anonymous–companionship. As he leaves the island, a newspaper headline draws his attention: "Rare Cancer Is Diagnosed in 41 Homosexuals." And so it begins.

True Detective (2014) – Blu-ray + Digital HD

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“The Long Bright Dark,” “Seeing Things,” “The Locked Room,” “Who Goes There,” The Secret Fate of All Life,” “Haunted Houses,” “After You’ve Gone,” “Form and Void”

by Jefferson Robbins SPOILER WARNING IN EFFECT. On the original 2003 recording of The Handsome Family‘s “Far from Any Road,” husband-and-wife duo Brett and Rennie Sparks intertwine their voices sinuously, trading the song’s lonesome-death verses on equal footing. Her part pared down for the mesmeric opening credits of HBO’s “True Detective”, Rennie’s whisper becomes a sudden intrusion, jarring both the lyrical and visual narrative. It’s a hint of what’s to come in the eight-episode series itself. When a woman character exerts an active pull upon the story of tormented Louisiana State Police detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey), it’s an interruption, a vitriolic hiccup. Prompted by Marty’s stalking and volcanic abuse, his much younger mistress Lisa (Alexandra Daddario) reveals his serial infidelity to his wife Maggie (Michelle Monaghan). To poison Marty for his adulteries, Maggie seduces a drunken Cohle. The two cops have no female peers, only suspects, victims, bereaved mothers, hookers, and strippers to be interrogated, rescued, or ignored.

True Blood: The Complete Sixth Season (2013) – Blu-ray with Digital Copy

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"Who Are You, Really?," "The Sun," "You're No Good," "At Last," "**** the Pain Away," "Don't You Feel Me," "In the Evening," "Dead Meat," "Life Matters," "Radioactive"

by Bill Chambers SPOILER WARNING IN EFFECT. The penultimate season of "True Blood" was fraught with behind-the-scenes turmoil. Creator-showrunner Alan Ball had departed the series and his replacement, Ball's old "Cybill" cohort Mark Hudis, was himself replaced partway through the season by long-time "True Blood" scribe Brian Buckner. (Ball has a history of tapping out after five seasons and being notoriously difficult to replace–"Six Feet Under" ended when it did because he couldn't convince anyone to take over.) Whether this directly contributed to an abrupt plot development that effectively cleaves the season in two, the truth is that "True Blood" weathers these personnel changes invisibly enough as to affirm it is either on autopilot by now or, to be less generous, was already something of a runaway train that had only ornamental use for a conductor. Whatever the case, the show's sixth year represents a marginal rebound–though at this point in my "True Blood" journey, I'm just a masochist ranking the instruments of torture.

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.

Hannibal: Season One (2013) – Blu-ray Disc

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“Apéritif,” “Amuse-Bouche,” “Potage,” “Œuf,” “Coquilles,” “Entrée,” “Sorbet,” “Fromage,” “Trou Normand,” “Buffet Froid,” “Rôti,” “Relevés,” “Savoureux”

by Walter Chaw I read Thomas Harris’s Red Dragon some time in the summer of 1985, when puberty and a crippling stutter conflated new, confusing biological drives with defensive rage. It’s a wonder, really, that anyone gets out of junior-high alive. I had developed a taste for outré entertainments long around this time–thirteen, gawky, outcast in my mind, if not necessarily in reality. It was easier for me to identify with the Michael Myerses and Jason Vorheeses of the underverse: hiding, voyeuristic, jealous, yearning. I think we learn affinity with monsters as our own bodies betray us, metastasize around us, dosing our brains with liquid spikes of ecstasy and their attendant pitch-black abysses. I took refuge in movies rented from the local video stores in and around my suburban oubliette, and eventually in books like Harris’s masterpiece, which, once discovered, was something I came back to like a scab, like a totem to be worried. Watching Manhunter on VHS a year or so after its release, I was astounded to discover it was Red Dragon. I hadn’t considered that anyone else knew about, much less was interested in, the contents of my secret stash. In the years before Internet and the vast, instant dissemination of information, there were still such things as the private, the personal. Manhunter was validation, exposure, and sanctification of my perversion. I was outed.

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
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"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
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"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.

Telluride ’13: “On Death Row” – Conversation with James Barnes + Portrait of Robert Fratta

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"On Death Row" Conversation with James Barnes
***/****
directed by Werner Herzog

"On Death Row" Portrait of Robert Fratta
**/****
directed by Werner Herzog

by Walter Chaw Two
shot-for-television documentaries, running about 50 minutes apiece, serve as
Werner Herzog's epilogue to 2011's Into the Abyss, each profiling a
single inmate in the inimitable Herzog style that has evolved over the years into something that doesn't punish its subjects (as it once did) so
much as it punishes the audience. Looking back to the way he shot coroner Franc G.
Fallico in Grizzly Man, allowing him to twist a few beats
too long, reveals that Fallico was perhaps a little too eager for the camera. That
strategy–delightful then–is a bludgeon now, as the extra beats have become
interminable and, I'm afraid, useless. Of the two docs screened at this year's
Telluride Film Festival, the first, "Conversation with James Barnes", is
the better, as Herzog gives time to one of Barnes's cousins, who declares The
Exorcist
to be a documentary because, among other things, anyone who twisted her head around like Linda Blair does in that movie would have died. No,
it's true, the logic doesn't work. It's less Herzog finding the
equivalent of his bingo-playing chicken in these inbred huckleberries than it is Herzog getting the money shot by telling the poor, dumb thing that no,
he's never seen The Exorcist. It's brilliant. And it's cruel. "Portrait
of Robert Fratta", on the other hand, profiles narcissistic Death Row
pretty boy Fratta in a way that reveals almost nothing except what it looks
like when Herzog riffs too long on the same theme. In the post-film Q&A,
moderated by an obsequious Ken Burns, Herzog promised that he's done now with
these Death Row interviews–it's almost like he understands that he might have
picked at this one 'til it bled, and his consistent disclaimer that he wants to
humanize these interview subjects because, as a German, he's seen the evil of capital
punishment carried out by a monolithic State, has become brittle and, fatally,
ironic.

6 Souls (2013) + Dead Souls (2012) – Blu-ray Discs

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SOULS (a.k.a. Shelter)

**/****
Image A
Sound A

starring
Julianne Moore, Jonathan Rhys-Meyers, Jeffreey DeMunn, Brooklyn Proulx

screenplay
by Michael Cooney

directed
by Marlind & Stein

DEAD
SOULS

½*/**** Image
C Sound B Extras C

starring
Jesse James, Magda Apanowicz, Bill Moseley, Geraldine Hughes

screenplay
by John Doolan

directed
by Colin Theys


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by
Walter Chaw
The best scene in the surprisingly-not-awful 6 Souls happens in a toothless hinterland, up yonder in them thar hills, ’round
campfires and lean-tos and a wilderness of patchy facial hair, where
forensic
psychologist Cara (Julianne Moore) meets a Granny Holler Witch (Joyce
Feurring), who is just indescribably awesome. She’s like a refugee from
The
Dark Crystal
–the very incarnation of Aughra, blind but
seeing through an
albino familiar (Katiana Davis) as she performs psychic surgery, sucking up
souls
with her mouth and depositing them in a jar she calls “shelter.” Indeed, it’s
such an awesome scene that it shows up how
perfunctory the
rest of Mans Marlind and Bjorn Stein’s 6 Souls
is; how the idea of a
demon jumping bodies (like The Evil Dead, yes,
but more like Fallen)
can look very much like an early-’90s mid-prestige thriller and
therefore not
anything interesting or special. A shame, as the talent
assembled for
the piece is exceptional–Moore, certainly, along with the
always-fabulous Jeffrey DeMunn as Cara’s dad Dr. Harding. It’s his
fault that
Cara gets involved with psych-patient Adam (Jonathan Rhys Meyers), who, in the
process of manifesting multiple bad-accent theatre personalities, also
seems to
be manifesting their physical traits (like paralysis, say, and bad
acting,
too). Turns out it ain’t science afflicting our man Adam, but you
knew
that already.

The Newsroom: The Complete First Season (2012) – Blu-ray + DVD + Digital Copy

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A Sound B+ Extras B

"We
Just Decided To," "News Night 2.0," "The 112th
Congress," "I'll Try To Fix You," "Amen,"
"Bullies," "5/1," "The Blackout, Part 1: Tragedy
Porn," "The Blackout, Part 2: Mock Debate," "The Greater
Fool"


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by
Jefferson Robbins
The more
I think about Aaron Sorkin's chimerical HBO beast "The Newsroom", the more I think it would work far, far better as a Broadway musical.
That may
be because Sorkin loads the ranks of his ensemble drama with
accomplished
theatre vets, or it may be because of the endless dialogue references to stage
classics,
beginning and ending with Man of La Mancha.
But it's also
a matter of timing: The show offers strange eruptions of relationship
palaver,
set in the midst of world-altering sociopolitical changes and the daily
churn
of building a TV newshour around them. They arrive oddly, maddeningly,
and
frequently, just when the storylines involving real-world events are
beginning to
compel, and they feel almost uniformly dishonest and manufactured. What
I'm
saying is, they'd go down easier if they were sung.

True Blood: The Complete Fifth Season (2012) – Blu-ray + DVD + Digital Copy

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A Extras
B

"Turn!
Turn! Turn!," "Authority Always Wins," "Whatever I Am, You Made Me,"
"We'll Meet Again," "Let's Boot and Rally," "Hopeless," "In the
Beginning," "Somebody That I Used to Know," "Everybody Wants to Rule
the World," "Gone, Gone, Gone," "Sunset," "Save Yourself"


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click any image to
enlarge

by
Bill Chambers
In general, TV series aren't built to last beyond
four seasons. I think it has something to do with how the educational
system
teaches us that four-year cycles end in graduation. Showrunners
consequently
feel an obligation to symbolically reboot in season five–to send the
high-schoolers off to college ("Dawson's Creek"), to recast the leads
("The Dukes of Hazzard"), to have Fonzie waterski over Jaws
("Happy Days"). To be fair, redefining the status quo doesn't always
mean jumping the shark: for every Cousin Oliver, after all, there's a
Dawn
Summers. Unfortunately, "True Blood" is not one of the exceptions to
the rule, as it goes off the rails in its fifth season in a way that is
different from those countless other times it seemed to be flying
a
kamikaze mission towards ratings oblivion. (This is a show that has
elevated
jumping the shark to an artform.) A good chunk of the season is devoted
to
vampires–creatures who can, in the "True Blood"-verse, run like The
Flash, fly, and fuck like pornstars–sitting around a conference table
debating
politics and religion, and the other "super" groups don't exactly
pick up the slack, what with the werewolves holding auditions for a new pack
leader
and the faes throwing slumber parties with their new BFF, Sookie.

True Blood: The Complete Second Season (2009) + True Blood: The Complete Third Season (2010) – Blu-ray Discs

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S2: "Nothing But the Blood," "Keep This Party Going," "Scratches," "Shake and Fingerpop," "Never Let Me Go," "Hard-Hearted Hannah," "Release Me," "Timebomb," "I Will Rise Up," "New World in My View," "Frenzy," "Beyond Here Lies Nothin'"

S3: "Bad Blood," "Beautifully Broken," "It Hurts Me Too," "9 Crimes," "Trouble," "I Got a Right to Sing the Blues," "Hitting the Ground," "Night on the Sun," "Everything Is Broken," "I Smell a Rat," "Fresh Blood," "Evil Is Going On"

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by Walter Chaw "True Blood" is pulp crap. Yet as Bryant and Bill have already so eloquently pointed out, it's highly-addictive pulp crap–the sort of shallow, handsomely-mounted titillation that fosters the craze that sprung up around prime-time soaps like "Dynasty" and "Falcon Crest". White-collar smut that traffics in the currency of the age: once upon a time it was the super-rich, now it's the supernatural. Plus ça change, plus c'est la meme. It's certainly soapier than showrunner/creator Alan Ball's previous pay-cable drama, "Six Feet Under", but to its credit what "True Blood" does in returning sexuality–and gore, and (southern) Gothic trappings–to the vampire mythos, it does well. The shame of it is that it seems to be ashamed of itself and so continually strives for relevance in aligning the plight of its vampire underclass to gay rights. Bill said it first, but is the appropriate supernatural analogue to gays really vampires? Is it wise to suggest that gays present that same kind of sexual allure? The same kind of blood contagion? Doesn't that play into the Conservative storyline a bit too neatly? At least it's not "The Walking Dead".

Boardwalk Empire: The Complete First Season (2010) – Blu-ray Disc

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"Boardwalk Empire," "The Ivory Tower," "Broadway Limited," "Anastasia," "Nights in Ballygran," "Family Limitation," "Home," "Hold Me in Paradise," "Belle Femme," "The Emerald City," "Paris Green," "A Return to Normalcy"

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by Walter Chaw SPOILER WARNING IN EFFECT. Two things right off the bat about HBO's "Boardwalk Empire". First, the Martin Scorsese who directed the pilot would eat the tedious old guy who made Hugo for lunch. Second, for as good as the first season turns out to be, it's based almost entirely on the strength of a cast minimizing the disappointment of opportunities lost. Even the actors, though, can be something of a liability, in that the mere presence of Michael Shannon cues us that straitlaced, proto-Untouchable Agent Nelson Van Alden is on his way to becoming a full-blown nutter. The premise is tired, too, as almost a century's remove from the 1920s American gangster cycle has made the whole genre exhausted. There are no new delights in a midnight Tommy-gun execution in the woods, or an unhinged Guido unloading on a hapless shopkeeper. There's not much joy, either, in trainspotting the parade of gangsters, the Lucky Lucianos (Vincent Piazza) and Al Capones (Stephen Graham, late of Public Enemies) and Meyer Lanskys (Anatol Yusef), partly because if you're a student of gangland history, you're immediately cued to their fates. Implanted spoilers, if you will. The real revelations of "Boardwalk Empire" are Jack Huston as a mutilated WWI doughboy and Gretchen Mol, who spent the first half of her career as Cameron Diaz's haircut (see also: Malin Akerman) but emerges in this venue as an actress of complexity and intelligence. It's enough to wonder what the series might have been were the casting not so otherwise on the nose–a strange liability, I know.

The Vampire Diaries: The Complete First Season (2009-2010) – Blu-ray Disc

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“Pilot,”
“The Night of
the Comet,” “Friday Night Bites,””Family Ties,”
“You’re Undead to Me,” “Lost Girls,” “Haunted,” “162
Candles,” “History Repeating,” “The Turning Point,” “Bloodlines,”
“Unpleasantville,” “Children of the Damned,” “Fool Me Once,” “A Few
Good Men,” “There Goes the Neighborhood,” “Let the Right One In,”
“Under Control,” “Miss Mystic Falls,” “Blood Brothers,” “Isobel,”
“Founder’s Day”


Vampirediaries

by Walter
Chaw
You can
diagnose things like Kevin Williamson’s tween opera “The Vampire
Diaries” by
how much of the dialogue consists of peoples’ names. “Hey, Ben
is
with Carrie down in the tomb with Josie and Halley. Chris said he and
Caroline
would meet us there, but then Damon said that Stefan was going instead,
but
Stefan still has feelings for Elena…” OMFG, amiright?
Add
to
that a liberal use of music by the likes of Matt Kearney, The
Fray
, and
Bat for Lashes, mix sloppily with
flavour-of-the-month genre fetish,
and, voilà!, the kind of thing everyone describes as a “guilty
pleasure”–which basically means they’re not telling you they
also enjoy “Here Comes Honey Boo Boo”. The
remainder of the dialogue is interested in secret parentage, secret
siblings, and this and that about lore to establish credibility
while simultaneously demonstrating that everyone involved in
this one has read more books
than Stephenie Meyer (a low bar) and is aware of Stephenie Meyer…and
Heath
Ledger…and Emily Brontë. Never mind, you wouldn’t understand.
Similarly
difficult
to understand are magic rings that allow vampires to walk around in
daylight,
ancient tombs sealed by Creole witches led by that bitch from “A
Different
World”, and a complex series of events that need to happen before one
of
this show’s vampires is able to turn one of this show’s hot little
nymphos into
a vampire. It’s a metaphor–not for abstinence, per se, but maybe for
embarrassing tumescence. That’s right, “The Vampire Diaries” is a
boner joke.

Peanuts: Deluxe Holiday Collection [Ultimate Collector’s Edition] – Blu-ray Disc

"A Charlie Brown Christmas" (1965) Image A Sound B+ Extras C

"It's Christmastime Again, Charlie Brown" (1992)


"It's The Great Pumpkin, Charlie Brown" (1966) Image A Sound A Extras C


"It's Magic, Charlie Brown" (1981)


"A Charlie Brown Thanksgiving" (1973) Image A Sound B Extras C


"The Mayflower Voyagers" (1988)

by Jefferson Robbins I defy you to ingest the first minute of "A Charlie Brown Christmas" (***½/****) and not yearn for the idealized childhood nobody ever had. It's not merely nostalgic, it's made of nostalgia. Traversing the quiet streets of your tiny snow-painted town, cracking the whip on a frozen pond, singing a Christmas carol that seems to have lived in your heart long before it was ever written–it's enough to turn a guy Republican. Then, the poison pill, in the very first line of dialogue: "I think there must be something wrong with me, Linus."

Dexter: The Sixth Season (2011) – Blu-ray Disc

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"Those Kinds of Things," "Once Upon a Time…," "Smokey and the Bandit," "A Horse of a Different Color," "The Angel of Death," "Just Let Go," "Nebraska," "Sin of Omission," "Get Gellar," "Ricochet Rabbit," "Talk to the Hand," "This Is the Way the World Ends"

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by Bill Chambers LIGHT SPOILER WARNING IN EFFECT. My favourite episode of "The Incredible Hulk" is the two-hour premiere of the second season, "Married." One of the unfortunately-few instalments written and directed by series creator Kenneth Johnson (a genuine pulp talent), it sees David Banner falling in love with the terminally-ill shrink (Mariette Hartley won an Emmy for the role) helping him contain the Hulk, a hypnotic process that involves David visualizing the Hulk trapped in a giant birdcage in the middle of a pristine desert–a tableau that clearly inspired the dream vistas at the outset of Tarsem's The Cell. Kindred spirits, they eventually marry, but although unleashing the Hulk protects her from harm when external forces threaten her life, it can't save her from the Grim Reaper. "Married" ends on an unusually hopeless note as a young boy who befriended the doctor informs David he's going to devise a cure for her disease when he grows up and David more or less tells the boy he's deluded. One of the most devastating pieces of genre television ever produced, it really could've been the series finale. Unfortunately, the show continued long enough to lapse into self-parody and longer still. Much like "Dexter"–though come to think of it, that happened about halfway through the pilot.

True Blood: The Complete Fourth Season (2011) – Blu-ray/DVD/Digital Copy

Image A- Sound A Extras B
"She's Not There," "You Smell Like Dinner," "If You Love Me, Why Am I Dyin'?," "I'm Alive and on Fire," "Me & the Devil," "I Wish I Was the Moon," "Cold Grey Light of Dawn," "Spellbound," "Let's Get Out of Here," "Burning Down the House," "Soul of Fire," "And When I Die"

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by Bill Chambers SPOILER WARNING IN EFFECT. To recap: "True Blood"'s third season ended with Vampire Bill (Stephen Moyer) and his queen (Evan Rachel Wood) revealing a heretofore-unseen ability to defy gravity as they prepared to duel to the death; Hoyt (Jim Parrack) and Jessica (the staggeringly beautiful Deborah Ann Woll) receiving a creepy housewarming present (unseen by them) in the form of a moldy doll; Tara (Rutina Wesley) departing Bon Temps for anywhere less likely to be a hub of supernatural activity; and a newly liberated Sookie (Anna Paquin) disinviting Bill and Eric (Alexander Skarsgård) from her home before vanishing in a ball of light with her literal fairy godmother.

Parker Lewis Can’t Lose: The Complete First Season (1990-1991) – DVD

Image C Sound B Extras B-
"Pilot," "Operation Kubiac," "Power Play," "Parker Lewis Must Lose," "Close, But No Guitar," "G.A.G. Dance," "Love's a Beast," "Saving Grace," "Musso & Frank," "Deja Dudes," "Radio Free Flamingo," "Science Fair," ""Teacher, Teacher," "Rent-a-Kube," "Heather the Class," "Jerry: Portrait of a Video Junkie," "Splendor in the Class," "The Human Grace," "Citizen Kube," "Randall Without a Cause," "Jerry's First Date," "Against the Norm," "King Kube," "Teens from a Mall," "My Fair Shelly," "Parker Lewis Can't Win"

by Jefferson Robbins It's the cool uncle of "Malcolm in the Middle". It's got "Scrubs" among its progeny, and the '80s teen comedies of Savage Steve Holland somewhere back up the line of descent. It may have single-handedly established the swoosh-smash-zip school of sitcoms, festooned with sound effects, inner monologues, and discursive daydreams. If it wanted, "Parker Lewis Can't Lose" could claim "Family Guy" as a descendent, for the way it appropriates "Parker"'s absurdist jump-cuts to tangential situations.1

World on a Wire (1973) [The Criterion Collection] – Blu-ray Disc

Welt am Draht
****/**** Image A- Sound A Extras A
starring Klaus Löwitsch, Barbara Valentin, Mascha Rabben, Karl Heinz Vosgerau
screenplay by Fritz Müller-Scherz and Rainer Werner Fassbinder, based on the novel Simulacron-3 by Daniel F. Galouye
directed by Rainer Werner Fassbinder

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by Jefferson Robbins If computer engineer Fred Stiller (Klaus Löwitsch) doesn't realize he's a digital simulation, you can forgive him for not having seen The Matrix. Rainer Werner Fassbinder's two-part 1973 movie for German TV, World On A Wire, populates Stiller's environment with so many characters who are obviously automata, of greater and lesser sophistication, that he really should get a clue. Most of the people he encounters are over-painted, pancaked and rouged to the point of looking like mannequins or clowns. There are the beautiful women who materialize exactly when needed and stand by for male appreciation. There's the bartender who stands waxen until, as if activated, he lunges forward to offer a cocktail. Even Stiller's own responses to stimuli seem at times posed and inauthentic. But we suspect Fassbinder's satirizing a notoriously affectless society. The distant miens of Stiller's peers and strangers could simply reflect a heart-freezing German ennui–or a universal egotism, in which we mentally reduce everyone not in our immediate circle to the status of clockwork extras.1