Blade II (2002) [New Line Platinum Series] – DVD

***½/**** Image A+ Sound A+ Extras A+
starring Wesley Snipes, Kris Kristofferson, Ron Perlman, Luke Goss
screenplay by David S. Goyer
directed by Guillermo del Toro

by Walter Chaw Detailing the uncomfortable alliance of Blade and his arch-enemy vampires against a mutant “crack-addict” form of vampire called “Reapers,” Blade II introduces the hints of a twice-illicit romance between Blade (Wesley Snipes) and a succubus princess Nyssa (Leonor Varela) that blossoms after a meet-cute involving the threat of beheading and castration (awww), as well as an unusually pithy look at strange bedfellows in a mutually beneficial conflagration.

Near Dark (1987) – DVD (THX)

****/**** Image A+ Sound A Extras A-
starring Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton
screenplay by Kathryn Bigelow and Eric Red
directed by Kathryn Bigelow

Mustownby Walter Chaw There is an element of the delirious in Kathryn Bigelow’s superb, genre-bending nomadic vampire fable Near Dark–an element of the hopelessly erotic, the melancholic, the breathless. Like the best vampire myths, it recognizes that the root of the monster lies in sexual consumption and addiction, in the interplay between nostalgia for the freedom of youth and the pricklier remembrance of the confused fever dreams of adolescence. (Hence the recurrence in modern myth of a Methuselah beast trapped in the soft body of a child.)

Trouble Every Day (2001)

****/****
starring Vincent Gallo, Tricia Vessey, Béatrice Dalle, Alex Descas
screenplay by Claire Denis & Jean-Pol Fargeau
directed by Claire Denis

by Walter Chaw Plaintive and sad, Claire Denis’s remarkable Trouble Every Day is a rare combination of honesty, beauty, and maybe even genius. It isn’t enough to say that the picture captures the barbarism festering at the core of gender dynamics, nor is it sufficient to express my frank amazement at how Denis subverts genre in ways perverse and powerful. Here’s a canny director who knows the vocabulary of cinema as well as the cruel poetics of sexual anthropology; perhaps it’s enough to say that Trouble Every Day captures something ineffably true about the sex act with images vital, frank, and unshakable.

Buffy the Vampire Slayer: The Complete First Season (1997) + Friends: The Complete First Season (1994-1995) – DVDs

BUFFY THE VAMPIRE SLAYER: THE COMPLETE FIRST SEASON
Image B- Sound B Extras B
"Welcome to Hellmouth," "The Harvest," "The Witch," "Teacher's Pet," "Never Kill a Boy on the First Date," "The Pack," "Angel," "I Robot – You Jane," "The Puppet Show," "Nightmares," "Out of Mind, Out of Sight," "Prophecy Girl"

FRIENDS: THE COMPLETE FIRST SEASON
Image B+ Sound A- Extras B+
"Pilot," "The One With the Sonogram at the End," "The One With the Thumb," "The One With George Stephanopoulos," "The One With the East German Laundry Detergent," "The One With the Butt," "The One With the Blackout," "The One Where Nana Dies Twice," "The One Where Underdog Gets Away," "The One With the Monkey," "The One With Mrs. Bing," "The One With the Dozen Lasagnas," "The One With the Boobies," "The One With the Candy Hearts," "The One With the Stoned Guy," "The One With Two Parts," "The One With All the Poker," "The One Where the Monkey Gets Away," "The One with the Evil Orthodontist," "The One with Fake Monica," "The One with the Ick Factor," "The One with the Birth," "The One Where Rachel Finds Out"

by Bill Chambers Like a child experiencing puberty, the first season of a television series hopes you don't notice that it hasn't settled into its voice yet, that it has no sense of style, that it's unprepared for the microscope of society. The pressures are great for a teenager, but the stakes for a TV show are similarly high: While going through its growing pains, it has a limited number of chances to catch ratings lightning in a bottle. Imagine saying to a gawky adolescent, "Impress me." With the near-simultaneous DVD releases of "Buffy the Vampire Slayer: The Complete First Season" and "Friends: The Complete First Season", there's an occasion to reflect on how a series becomes popular (although the zeitgeist is always such a mystery we can't ever hope for a demonstrable hypothesis) and, for fun's sake, to retrace the evolution of these unique TV-watching experiences.

Queen of the Damned (2002)

**/****
starring Stuart Townsend, Marguerite Moreau, Aaliyah, Vincent Perez
screenplay by Scott Abbott and Michael Petroni
directed by Michael Rymer

Queenofthedamnedby Walter Chaw The latest big-screen adaptation of an Anne Rice Vampire Chronicle, Queen of the Damned looks great but remains the sad product of Rice’s juvenilia and velvet eroticism. Its sweaty mythmaking matched by its thirty-something-decade whining, the film substitutes blood for semen in its kinky puerility (a rose-petal love scene is a classic in scarlet euphemism) and becomes boring and pat when it should’ve been trashy and unapologetic. The greatest problem with the film isn’t as obvious as its bad writing and weak structure: it’s that Queen of the Damned tries to make sense where none is to be made.

Vampire Hunter D: Bloodlust (2001)

***½/****
screenplay by Yoshiaki Kawajiri, based on the novel by Hideyuki Kikuchi
directed by Yoshiaki Kawajiri

Vampirehunterdbloodlustby Walter Chaw Yoshiaki Kawajiri’s name is probably not as familiar to anime’s United States fanbase as Hayao Miyazaki, Katsuhiro Ôtomo, Mamoru Oshii, Isao Takahata, or Shinichirô Watanabe, but amid those in the “know,” his Ninja Scroll is among the best pure action/fantasy films of the last fifty years in any medium. Tightly plotted and drawn in a style that crosses Bernie Wrightson with Kelley Jones’s work in Neal Gaiman’s Sandman comic series, Ninja Scroll is one of few eloquent stand-alone justifications for Japanese animation as a movement of true cinematic value and lasting merit. Perhaps accounting for his relatively anonymous standing, Kawajiri’s other films veer wildly from the sloppily drawn though viscerally intriguing Wicked City to the frankly awful Demon City Shinjuku. With Vampire Hunter D: Bloodlust, Kawajiri’s first film since Ninja Scroll six years back, the director takes on Hideyuki Kikuchi’s popular manga D–yousatsukou (the sequel to Kyuuketsuki Hantaa ‘D’, made into 1985’s Vampire Hunter D by Toyoo Ashida), and produces something that falls in quality somewhere between the dizzying heights of Ninja Scroll and the occasionally weak Wicked City, while borrowing images and elements from both.

Buffy the Vampire Slayer (1992) – DVD

*/**** Image D+ Sound D
starring Kristy Swanson, Donald Sutherland, Paul Reubens, Rutger Hauer
screenplay by Joss Whedon
directed by Fran Rubel Kuzui

by Walter Chaw Constrained by, among other things, what writer/creator Joss Whedon calls Donald Sutherland’s reprehensible attitude and script tampering plus director Fran Rubel Kuzui’s inability to stand up to the veteran thespian, Buffy the Vampire Slayer is a slog through the underbelly of cinematic dredge that feels at least twice as long as its 86 minutes. The most stunning thing about this horror-comedy is that the TV series spun from it is very possibly among the top ten shows in regards to quality of writing, performance, and level of intelligence, of the past decade.

Dracula 2000 (2000) – DVD

½*/**** Image A Sound A Extras A
starring Jonny Lee Miller, Justine Waddell, Gerard Butler, Colleen Ann Fitzpatrick
screenplay by Joel Soisson
directed by Patrick Lussier

by Walter Chaw Dracula 2000 is so wilfully contrived and tirelessly stupid that by the end of the film, the fact of itself becomes a matter of onanistic speculation. In other words, what could anyone have possibly been thinking when they decided to not only resurrect the dusty Stoker “Dracula” mythos with a cast of WB-type irregulars, but also follow the lead of Candyman II in featuring a great evil stalking New Orleans circa Mardis Gras?

Shadow of the Vampire (2000)

**/****
starring John Malkovich, Willem Dafoe, Catherine McCormack, Eddie Izzard
screenplay by Steven Katz
directed by E. Elias Merhige

by Bill Chambers They certainly dressed the part in those days. As the pre-eminent German filmmaker F.W. Murnau, John Malkovich declares: “We are scientists engaged in the creation of memory.” On set, before the lamps are fired up and action is called, Murnau and his crew don tinted aviator goggles, looking as if they’re about to launch an atomic bomb. This was standard practice during cinema’s formative years, when it took an intense amount of light to satisfactorily expose an image. (It was not uncommon for those who didn’t take precautions to go blind later in life.) But Malkovich/Murnau is not describing costumes; he’s probably, in fact, speaking for the makers of the gothic comedy in which he appears as the catalyst, Shadow of the Vampire. Director E. Elias Merhige, working from a screenplay by Steven Katz, forges a new memoir of Nosferatu, Murnau’s unauthorized, silent-film-era take on Bram Stoker’s Dracula that was rumoured to star a real vampire.