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THE FLICK: The signature image of Billy Bob Thornton in a Santa suit puking his drunken guts out in a dirty back alley says more than any film critic’s review ever will. If you find the description amusing or even curiously sacrilegious (even though Santa never appears in the Bible people can get pretty defensive about the jolly old elf’s reputation), then “Bad Santa” is for you. And if you’re feeling really naughty, pick up “Badder Santa,” which adds seven more minutes of curse words, simulated sex and holiday cynicism. Thornton is an alcoholic safecracker who runs a yearly department store scam dressed as Santa, reeking of liquor and cigarettes as the children pee, puke and cry on his lap. The plan’s mastermind is his partner, ? (), a dwarf who uses his size to thwart whatever security measures the mall employs. The scam is on course until Thorton becomes unintentionally attached to a needy fat kid and finds himself part of a distorted family unit along with his sometime bartender gi...

THE FLICKS: Robocop is a film that shouldn’t have succeeded on any level, starting with a title that even its own writers found embarrassing. But somehow Dutch director Paul Verhoeven turned the script’s trite sci-fi escapism into a hilariously brutal satire of American capitalism – and still managed to keep the action fast and furious. Peter Weller is Murphy; an honest cop who is brutally murdered then resurrected as the future of law enforcement, Robocop. Fighting his scattered human memories, along with the corrupt executives within OCP, the Reagan-era mega-corporation that now own old-Detroit, Murphy finds himself torn between his programming and his cop instincts. Partner, ? (Nancy Allen) helps him bring down the bad guys and restore his humanity. Not only does Robocop work as a gruesome sci-fi adventure (especially in the longer unrated cut included here), but its barbed-wire wit cuts right to the core of 80’s excess, particularly the laughably over-the-top TV commercials and new...

THE FLICK: The allure of the gangster lifestyle has inspired filmmakers from Howard Hawks to Martin Scorsese – feeding off the intrinsically dramatic rise to power and equally satisfying fall from grace. Fernando Meirelles’ City of God blends this familiar story within a more socially conscious framework. The working-class slums of Rio de Janeiro are the setting for his manically brilliant coming-of-age gangster film, more alive with true cinematic joie de vive than anything in recent memory. Based on a true story of Brazilian gang violence in the 60’s and 70’s, the film follows Rocket, a quiet bystander to the world of violence around him, but jumps from character to character as the crime saga unfolds. Lil’ Ze, who commits his first mass murder by the age of 10, kills his way to the top of the slums. And his taste for blood affects everyone’s life - from Benny, his second-in-command looking to escape to the simple life, to the “runts,” pre-teen gangs who steal candy, cash or whatever...

THE FLICK: For those with an appreciation for Victorian-style horror (Hammer did it best, but there’s quite a few others who took a crack at the big bosomed, starched-collar period-piece genre), the top billing of Christopher Lee and Peter Cushing in The Creeping Flesh is enough to garner considerable attention. For despite their frequent parings, the two rarely played a scene in the same room, let alone with any significant dialogue. This Freddie Francis directed thriller doesn’t offer much other than that, casting Cushing as an obsessive research-type and Lee as his priggish psychiatrist half-brother. The aforementioned “creeping flesh” comes from an ancient skeleton in Cushing’s lab which when exposed to water reconstitutes into a gooey slime monster with telekinetic powers. But before all the scares start, we have to watch Cushing inject his daughter with some “pure evil” solution, which sends her on a psychotic rampage. She winds up in Lee’s asylum, where he jealously blackmails h...

THE FLICK: During their hey-day in the 60’s, spaghetti westerns got no respect. And that might still be the case today if it weren’t for one director: Sergio Leone. The most obvious reason for the success of his “Dollars” trilogy which concluded with “The Good, the Bad & the Ugly,” is the presence of Clint Eastwood. But it was Leone’s work behind the camera that made Eastwood a star...not the other way around. At first glance none of his films stray far from the spaghetti format – stylized violence, stripped-down story and copious close-ups of squinting eyes and itchy trigger fingers. But with “G, B & U,” Leone stretched the genre to fit more grandiose ideas than anyone ever thought possible. Ego may have been the motivating factor (Leone always saw himself as a David Lean-type director whose skills went unrecognized), but the result is irrefutably one of the best westerns ever made. After setting up the background for his trio of leads (Eastwood is the soft-hearted loner, Eli ...

THE FLICK: It’s impossible to manufacture a cult movie. It just goes against the definition of the word. Films like “Rocky Horror” and the “Evil Dead” trilogy were ultimately successful because of a genuine passion that came through onscreen; not some pre-fab notion that audiences would embrace anything intentionally bizarre or left-of-center. But if ever a film came close to gauging the sort of cult reaction it would inspire upon release, it’s “Bubba Ho-Tep.” Director Don Coscarelli (“Phantasm”) and star Bruce Campbell (“Evil Dead’) are no strangers to rabid horror fans to begin with, but working with a story that combines an aging Elvis Presley, a black JFK and an 4000 year-old soul sucking mummy from East Texas all but guaranteed some curiosity seekers. What they might not have expected is a sweetly sentimental heart beating deep underneath all the horror-comedy hijinks. Lifted from a novella by Joe R. Lansdale, the set-up finds Elvis hiding in a run-down nursing home, his fame noth...

THE FLICKS: Let me make this perfectly clear: no review will ever to justice to the Walt Disney’s Treasures collection...especially this one. There simply isn’t enough time in the day, week or the month to browse through everything these discs have to offer. These are, without a doubt, the very definition of collectible DVDs. And as such, their value (both as limited edition pressings and as entertainment) will vary depending on how interested you are in the material presented. But there’s no denying that Wave 3 is every bit the accomplishment the previous discs were. And Disney is due for some seriously good karma just by making these shorts, features and television short subjects available, many for the first time in fifty years. So what’s all the fuss about. Well, first is Mickey Mouse in Living Color, covering the mouse house mascot’s career from 1939 to today featuring 21 shorts, including oldies and more recent resurrection attempts like “Runaway Brain.” As host Leonard Maltin ex...

THE FLICK: Just as “Jaws” ushered in the modern blockbuster, one could say “Independence Day” was the first post-modern blockbuster. Marketed as a movie event, the final product that audiences saw onscreen was almost beside the point. This was peer pressure filmmaking (“What else are you gonna do, read a book?”) and inspired the now commonplace box-office habit of recouping the bulk of the production costs on opening weekend. After that, it’s all gravy. So it’s surprising to revisit director Roland Emmerich’s alien invasion/disaster flick combo and find it’s not quite the empty headed money making machine everyone remembers it to be. In fact, unlike most of today’s event movies, “Independence Day” delivers on its promise to “wow” you with worldwide destruction on a vast scale plus some cleverly scripted twists that make the overloaded story hum with 8-year-old’s unbridled enthusiasm. Yes, I did say “clever” and “Independence Day” in the same sentence, but stick with me. The story (and ...

THE FLICK: I know it’s tantamount to heresy to admit this in the state of Michigan, but I’m not a big hockey fan (and after watching the Red Wings sink yet another season, I imagine some other fair-weather fans might say the same thing). So the movie “Miracle” might not be the religious experience for me that it is for fans who view that one incredible victory in the 1980 winter Olympics over the Soviets as the sport’s crowning achievement. However, it’s impossible not to recognize the near-perfect performance by Kurt Russell as tough-as-nails coach Herb Brooks, the man who molded a group of amateur college kids into a team that could rival the best in the world...at least for one night. “Miracle” skates around most of the underdog sports film clichés to deliver the unexpected; a character-driven drama that’s more interested in the “how” behind the team’s success rather than the big game itself. Not that the classic match-up, when it finally arrives, isn’t suitably dramatic. Director G...

GHOSTS OF THE ABYSS – Originally released in Imax theaters, this James Cameron directed exploration of the “real” Titanic loses some of its grandeur in the confines of a home theater. Bill Paxton tags along as the self-professed “king of the world” guides robotic cameras into areas of the sunken luxury liner that have never been seen before. The DVD includes the new 90-minute cut of the film plus a whole disc of extra footage, interviews and multi-angle features. 13 GOING ON 30 – Every generation since the original “Freaky Friday” puts their stamp on the whole body swapping routine. You know the drill: kid gets tired of doing homework, walking the dog, taking out the garbage, and dreams of growing up overnight so they can drink, smoke and stay up watching late night talk shows (trust me kids, it’s not as glamorous as it sounds). “13 Going On 30” follows the same formula but with a more romantic angle in mind. Jenna (played as an adult by “Alias” star Jennifer Garner, who comes off much...

THE FLICK: ItÕs been a while since director Richard Donner has gone medieval. Think back to a time before Matthew Broderick was ÒMr. Sarah Jessica ParkerÓ and was starring in the modest hit ÒLadyhawkeÓ with Michelle Pfeiffer. ItÕs been a while for author Michael Crichton, tooÉall the way back to ÒEaters of the DeadÓ (which was turned into ÒThe 13th WarriorÓ on film not so long ago). But thatÕs more experience than most filmmakers ever get with this historical sub-genre usually limited to sword-and-sorcery epics replete with cut-rate visual effects and scads of tatterdemalion extras. So ÒTimelineÓ at least has a couple of guys with experience to take the reigns. Unfortunately, the horses must have bolted somewhere in production and never circled back. The casting, the script, the editing Ð no department seems to have been on the same page. How else to you explain surfer-dude extraordinaire Paul Walker as the son of a renowned archeologist (not to mention his inexplicable crush on his da...

THE FLICK: With all the praise heaped on director David Fincher by adoring cinephiles it’s no wonder he has delusions of Hitchcockian greatness. How else could you explain him taking on the challenge of a film set almost entirely inside one room, inside one house, with a one massive McGuffin at the heart of it all. “Panic Room” is Fincher’s mental exercise; a directorial challenge of storyboarded B-movie visual excess. The results (suspenseful but showy with an overly simplistic script from David Koepp) are much closer to Hitchcock hand-me-downs Brian DePalma or Dario Argento than the old master himself. Jodie Foster tackles the single-mom role as a recently divorced Manhattan apartment shopper who buys a three floor brownstone which houses a singular curiosity piece: a well-stocked panic room, complete with video monitors, air conditioning and a safe full of money. Of course, no one knows about the money except the three men who break in to steal it (played by Forest Whitaker, Jared L...

DIRTY PRETTY THINGS: A socially conscious thriller or a mystery with a message depending on how you look at it, director Stephen Frears’ (“High Fidelity,” The Grifters”) descends into the immigrant underworld of London where backroom organ “donations” are doing steady business. And selling a kidney might be the only way out for a pair of proud but desperate refugees from the law. Unpredictable and engaging, the movie does a good job backing its characters (and the audience) into a corner. Extras include a behind-the-scenes special and running commentary with Frears.

THE FLICK: The “Godzilla” series is in a constant state of flux – from a mean-spirited monster-on-the-loose in the first film to a kid-friendly superhero in the 60s & 70s, the big green guy never feels (or looks) the same way twice. After director Shuseke Kaneko’s invigorating re-invention “All Out Giant Monster Attack,” it looked like the king of the “kaiju” genre (the Japanese word for “monster”) was back in a big way. But “Godzilla Against Mechagodzilla” (2003) is a bit of a momentum killer. Instead of taking the giant monster mythology in new directions, the film purposefully goes back to the standard formula for most of Godzilla’s reign in the 90’s. This time it’s the Japanese government who invests in Mechagodzilla (nicknamed Kiryu), constructing their superweapon from the skeletal DNA of the very first Godzilla that attacked Tokyo in 1954. Kiryu is armed with the latest firepower including an unstoppable freeze ray called “Absolute Zero.” But all those tax dollars go right d...

THE FLICK: More than any of his other 1970’s behind-the-camera contemporaries, George Romero resented the label “horror film director.” And while many might find this attitude ungrateful, it’s exactly what made his films so distinct. After the slow-building success of “Night of the Living Dead,” and with a couple of interesting experiments like “The Crazies” and “Martin” behind him, Romero finally revisited the zombies he’d created with “Dawn of the Dead.” As a sequel, “Dawn” is a direct narrative continuation of the ’69 storyline despite the fact that ten years had passed between movies. But the tone of the film is a complete 180 from the nostalgically paced scares of the first film. Not only had Romero evolved as a filmmaker but society had changed as well, making itself an easy target for the director’s scathing satire of consumer-driven excess. Although their origin is still unexplained, the undead are gaining strength in numbers, forcing what’s left of the human population to scat...

THE FLICK: It’s hard to say which is more responsible for the continuing popularity “One Million Years B.C.”: Ray Harryhausen’s stop-motion monsters or the famous one-sheet poster of star Raquel Welch in a furry cavegirl bikini. Both make a strong case for themselves in Fox’s remastered DVD, available separately or as part of the Raquel Welch collection. With no dialogue other than grunts, groans and sparse cave-speak, this sci-fi feature from Hammer studios in Britain follows the fate of two tribes, the primitive Rock Clan and the more advanced (and much better groomed) Shell People. Tumack (John Richardson), ostracized from his Rock brothers, crosses the harsh landscape and falls under the spell of Luana (Welch), who soothes his temper and shows him another way of living. Of course, Tumack’s skills come in handy when a hungry Allosaurus drops in and makes a smorgasbord of the Shell village. Actually, Harryhausen’s monsters play a much smaller role in “One Million Years B.C.” than his...

THE FLICK: The films of Ron Howard are remarkable mainly because they are so unremarkable. Drifting from genre to genre with a consistent amount of box-office success, the director seems to bend his style to suit each new project he undertakes. But the result is often a “film by committee,” hitting all the expected notes but never getting over the creative hump. With “The Missing,” the first project from Howard’s production company, Imagine, that wasn’t created in-house, we finally see a sliver of the heart of darkness the director always kept hidden. Starring Cate Blanchett as a frontier medicine woman and Tommy Lee Jones as her estranged white-Indian mystic father, together they track down a group of renegade Indians who have captured Blanchett’s daughter and plan to sell her into slavery at the Mexican border. Their journey puts them in harm’s way from flash floods, Army scouts, Indian curses, and their own family animosity. Billed as a Western Thriller, the film combines well-drawn...

THE FLICK: Like John Belushi and Chris Farley before him, Jack Black is a fat funnyman whoÕs not for all tastes. His brand of humor can feel desperately obnoxious and, until ÒSchool of Rock,Ó was best used as a walking exclamation point in films like ÒHigh FidelityÓ where his mosh-pit personality played second banana to straight-man John Cusack. But put a guitar in his hands and itÕs almost like pulling the sword from the stone. His work in ÒTenacious D,Ó the mock-rock duo featured in a series of shorts on HBO, should have warned the world that he was a six-stringed genius. But, alas, few people picked up on it until ÒSchool of Rock,Ó BlackÕs breakthrough starring role after the admirable ÒShallow Hal,Ó proved he could not only carry a movie, but also make it his own. As Dewey Finn, a lifelong loser with pathetic musical aspirations for rock stardom, Black finds a custom-written role that fits like tight leather pants. Taking over his roommates identity as a substitute teacher for some...

THE FLICK: Certain films inspire a sense of ownership. They are the underdogs, the movies that no one else knows about, sitting on a dusty shelf in the back of the video store, habitually rented out by a select few who embrace them warts and all. Too unpopular to be called cult...too eccentric to find mainstream success. Films like “Vanishing Point,” a counter-culture action film with a need for speed. Bereft of stars and short on story, the film follows Kowalski (Barry Newman) as he races the clock to deliver a Dodge Charger from Denver to San Francisco in 15 hours. Hopped up on pills, he soon picks up a caravan of local authorities who chase him across three states and several highways trying to end the folk hero worship spawned by a blind DJ (Cleavon Little of “Blazing Saddles”) who preaches the anti-authoritarian gospel. Along the way, Kowalski runs into an eclectic group of characters (helpful hippies, mean-spirited moonies, and a gay version of Bonnie and Clyde) lifted straight o...

Even if a big-screen Western comeback never reaches fruition, the DVD format has seen some true classics of the genre finally get their due. None more so than “Spaghetti Western,” the misbegotten children of Hollywood mythmakers like John Ford filtered through that peculiarly Italian sensibility. But the sub-genre goes much deeper than the seminal work of Eastwood and Leone’s “Dollars” trilogy. Both the good and the bad, the visceral and the political, come to a head in Anchor Bay’s “Once Upon A Time In Italy Collection,” gathering five impressive previously released films into one sweet looking box set. Taking them on alphabetically, “A Bullet For the General” (AKA “Quien Sabe” or “Who Knows?”) is a subtly powerful political statement from director Damiano Damiani disguised as a buddy picture. Chuncho, a bandit/revolutionary with an unquenchable lust for life, befriends a mysterious American he nicknames “Nino.” With the gringo’s help, Chuncho and his gang sweep through Mexico gatheri...

THE FLICK: Born of an era when every low-budget film producer was looking for an angle to make a quick buck in the exploitation market, ÒFight For Your LifeÓ plays the race card with a vengeance Ð pitting a trio of escaped cons (led by white trash kingpin William Sanderson) against an innocent suburban black family. Hurling epithets and punches with equal ferocity, the movie aims to shock (especially with a third act twist akin to ÒLast House on the LeftÓ) but is actually fairly tame by cult cinema standards. Sanderson and his crew taunt their hostages with every ÒdarkieÓ insult you can imagine, but the presiding head of the household (Robert Judd), a minister, insists on turning the other cheekÉuntil he just canÕt take it anymore! (Yup, just like the movie poster). ThereÕs one or two cold-blooded murders, one attempted rape, three successful rapes, and the brutal braining of a 12-year-old boy. And thatÕs before anyone starts fighting back! As ferocious as it all sounds, director Rober...

Making the transition from the comfortable grind of a successful weekly TV series to the bright lights of big-time Hollywood movies has produced more than a few casualties. For every Michael J. Fox or Tim Allen fortunate enough to find the right material, thereÕs a sad-sack like David Caruso who gambled and lost. Others like Jerry Seinfeld are just too smart to try. Ray Romano finds himself in a reasonably good position with ÒWelcome to Mooseport,Ó surrounded by some great actors (Gene Hackman, Marcia Gay Harden, Maura Tierney) and a slew of small town oddballs. So imagine the irony that itÕs Romano himself, and his rambling slow-paced delivery, that seem out of place. When the backwater burg invites the most popular ex-president in history (played to the hilt by Hackman) to be its Mayor, they spark a media feeding frenzy as RomanoÕs handyman character decides to start his own campaign Ð incensed that his long-time girlfriend (Tierney) accepted a date from the commander in chief. The s...

THE FLICK: At their best, Robert RodriguezÕ ÒSpy KidsÓ films are seat-of-your-pants storytelling, blessed with a healthy dose of improvised imagination. The director makes no secret that he likes to work fast and loose, below the studioÕs radar, giving him free reign to make movies his way. The results are a mixed success, with the second film in the series, Island of Lost Dreams, still the most inspired. In the case of ÒSpy Kids 3D: Game Over,Ó the formula is a tad muddled, with most of the series regulars (Antonio Banderas, Carla Gugino and even senior Spy Kid Alexa Vega) relegated to third act cameos. This time the series weakest link, Juni Cortez (Daryl Sabara), is assigned the big mission: stop a cyber-baddie named the Toymaker (Sylvester Stallone) by entering the video game world to prevent kids everywhere from being brainwashed. Ricardo Montalban as Grandfather Cailsta Cortez follows him into the game to help spring JuniÕs kidnapped spy sibling, Carmen. Even without the 3D gimmi...

THE FLICK: For all the bad press Disney has received of late about trouble in the board of directors, the disheartening split from Pixar and the general disarray of the mouse house, allow me to give them some love for the direct-to-video debut of “Lion King 1 1/2.” While not equal to the majesty of the original, the hyperactive story combined with original voice talents like Nathan Lane and Whoopi Goldberg show some concerted effort was put into making this more than just a franchise filibuster for parent’s hard earned dough. The movie follows second bananas Timon and Pumbaa on their quest for “Hakuna Matata” as the events from the first film take place concurrently. Meaning, we see the original “Lion King” through the eyes of the comic relief rather than Simba. It’s a fun gimmick, starting with Timon’s escape from a life of drudgery digging tunnels with his family to his eventual run in a flatulent boar named Pumbaa. Together they find a paradise of no worries, into which Simba appear...

THE FLICK: “Lost in Translation” is a film that finds itself – that’s coincidentally about finding yourself. It’s aimless, free form style (along with the spacey-tunes by ex-“My Bloody Valentine” guitarist Kevin Shields) is a perfect match for the improvisational talents of Bill Murray who stars as Bob Harris, an American actor filming a commercial in Tokyo. Scarlett Johansson is Charlotte, the bored wife of a workaholic photographer in Japan on business. Their chance meetings strike up a friendship and an unspoken connection that allows director Sofia Coppola’s film to take on a playful air of innocence despite the drastic age difference between the two leads. Never quite a comedy – although Murray is given free reign to be himself – the film is brilliantly adept at never saying more than it has too. Coppola explores her own artistic sensibilities as Bob and Charlotte explore the city, drifting through an endless barrage of neon lights and late-night parties. “Lost in Translation” dev...

The ÒTrekÓ films almost made a fatal mistake with part ÒV,Ó which disappointed even die-hard fans with its out-of-character stabs at humor and lapses in sci-fi logic. So itÕs no surprise the studio turned to the two men responsible for the successful even-numbered films in the franchise to pull their collective fat out of the fire and give the original Enterprise crew a more respectful send off. Leonard Nimoy and Nicholas Meyer were never afraid to mess with creator Gene RoddenberryÕs vision, which made their films more accessible to audiences that couldnÕt understand the Trek universe. Parallels to 20th century life abound, and, in the case of ÒStar Trek VI: The Undiscovered Country,Ó are often the jumping off point for a metaphorical discussion on current affairs. The hot topic in 1991 was the demise of the communist regime and the uneasy peace between two superpowers. ÒTrek VIÓ transposes the idea to outer space with the wall coming down between the Klingon and Federation empires. B...

THE FLICK: There are very few auteurs still working at the top of their game. Spielberg sold out. Scorsece has lost his edge. Even indies like Cronenberg and Lynch are only intermittently engaging. Yet maverick moviemaker Terry Gilliam continues to deliver fantastically challenging films full of comic genius and visual bravado. And “Time Bandits” is where it all started. After co-directing “Monty Python & The Holy Grail” (as well as the solo project, “Jabberwocky”), Gilliam came into his own with this imaginative take on the standard time travel story. Young Kevin (Craig Warock) is kidnapped by a gang of squabbling dwarves who drag him from one famous historical locale to another. Using a stolen “map of the known universe,” they loot from the likes of Napoleon (Ian Holm), King Agamemnon (Sean Connery) and Robin Hood (John Cleese). Pursued by the “Supreme Being” (Ralph Richardson), the wacky group eventually becomes prisoners of “Evil” (David Warner) and must defeat him to save them...

THE FLICK: As the Western stops and starts its way to a comeback of sorts, a new generation of filmmakers look to put their brand on the genre. Kevin Costner has a head start, having appeared in three previous outings (“Silverado, Dances With Wolves & Wyatt Earp) with varying degrees of success. And it’s obvious that the myth of the Western hero holds a particular appeal for him both as an actor and director. “Open Range” is an undisguised tribute to the men of the frontier – those who traded the comforts of civilization for a life of simple freedoms. But when those freedoms are threatened, as they are in the film by a monopolistic cattle baron who objects to freegrazers Charlie (Costner) and Boss Stegg (Robert Duvall) on his land, the true nature of Man comes into question. For the Charlie the question is, can 10 years of living at peace with himself erase a lifetime of killing? If that sounds a bit like “Unforgiven,” you’re right. But where Eastwood’s film was a nihilistic ode to...

THE FLICK: “Winged Migration” impresses on two levels. First is the innovative and extraordinary photographic accomplishment of capturing images of birds in flight the way they never have before. Second is the behind-the-scenes commitment it took (4 years, 3 directors and 8 ultra-light planes over every continent on the planet) to bring the film to the screen. Inspired by the footage from “Fly Away Home,” lead director Jacques Perrin set out to follow the migratory existence of several species of birds - geese, pelicans, ducks, and a few more colorful varieties. Traveling upwards of 1500 miles on their journey, the scenery is as much a part of the wonder of the film as the birds themselves. The camera soars over mountains, forests, oceans and cities, then skims the ground for a “bird’s eye” view of a life in flight. Yes, it’s a nature film. But there is relatively little commentary and Perrin’s goal seems much more philosophical than educational. Just when things seem to be getting rep...

THE FLICKS: It’s enough to restore your faith in your fellow man. It’s proof there is a higher power. Or at the very least it’s proof that years of internet whining can make a difference. What’ s the big announcement? After 50 years of waiting, the big green lizard himself, Godzilla, is finally speaking Japanese. Well, he’s not actually talking, but all the poor saps he’s stepping on are. And for once fans get to hear the original audio tracks with English “dubtitles” (translations of the English dubs) in place of the unintentionally hilarious voice work. The first two releases to get the treatment on DVD are “Godzilla vs. Megaguirus” and “Godzilla, Mothra, Ghidorah – All Out Monster Attack,” both part of the new wave of G-films that arrived in the post-Roland Emmerich re-make era. Like “Godzilla 2000,” which saw a brief theatrical window in the States, these films feature better effects and bigger explosions, although still relying mostly on “man in a suit” technology. “Megaguirus” is...