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BLOODY MOON: While most of director Jess Franco’s fame (or infamy) springs from his sloppy erotic work of the ‘70s, turns out the prolific hack missed his true calling. Bloody Moon may be a rather generic slasher cribbed from the Halloween and Friday the 13th playbook, but Franco actually delivers some suspense and creative gore amidst the usual T & A and POV shots. The girls attending the International Youth-Club Boarding School of Languages (I wonder if they’re still taking applications!?) are being stalked by a faceless killer who punishes their overt sexuality with various gardening tools One of them even allows herself to be tied down on a stone altar right next to a power saw. We’re not talking Ivy League material, here. Yet Franco’s photography is much better than average and his story is moderately coherent (something to do with incest and a big inheritance), both of which are a big step up from his usual low standards. There’s nothing really to recommend Bloody Moon unless...

THE PAUL NASCHY COLLECTION: In a Halloween season curiously bereft of Euro-cult titles, BCI’s Paul Naschy Collection may be the best box set out there! Featuring five titles from Naschy’s hefty supply of ‘70s exploitation shockers, these all feature the actor sans fur (unless you count facial hair) in roles outside of his most popular creation, the werewolf Waldemar Daninsky. In Horror Rises from the Tomb he plays dual roles as the reincarnated warlock Alaric de Marnac as well as the modern naïve ancestor who awakens him. Vengeance of the Zombies deliver “three-times the Naschy” as a Hindu spiritualist, his voodoo abusing brother, and Satan himself. Blue Eyes of the Broken Doll is a well-done Argento knock off retitled House of Psychotic Women for the American market. Exorcism jumps on the William Peter Blatty bandwagon (although Naschy claims he wrote it three years earlier) but manages to differentiate itself without resorting to pea soup. And finally , fast-forwarding to the ‘80s, H...

THE INCREDIBLE HULK: With superhero movies riding a wave of unprecedented popularity, Universal decided to have another go at adapting one of Marvel’s first comic creations, despite the fact that director Ang Lee’s version limped out of theaters in 2003. Execs came up with a new recipe: director Louis Leterrier (Transporter 2) was brought in to pump up the action while Edward Norton was hired to keep things classy. The result see-saws between some interesting character work by Norton as the beleaguered Bruce Banner, a man who’ll do anything to avoid getting angry and unleashing his gamma-powered alter ego, while Leterrier is only too happy to oblige by staging some smashing good fight scenes between Hulk and the Abomination, another gamma-irradiated freak of nature. The film rushes from scene to scene with a pace that suggest some heavy cutting (indeed there are 40-minutes of deleted scenes included) and the tone can’t quite decide on Iron Man irony or Dark Knight drama. But it’s a pas...

THE STRANGERS: When it comes to horror films, there are really two distinct types: the gothic creature features that ooze slime and invade from some parallel dimension or the “real world” monsters who lurk at the edges of your neighborhood. Both are fun, but the latter tends to be more disturbing. The Strangers stalks the same streets as John Carpenter’s Halloween, offering no explanation for the vicious actions of its main characters who hide behind masks and terrorize a young couple at 4am at the dark end of a dead end street. When the victims ask the inevitable question “Why are you doing this to us?” the answer is frighteningly obtuse: “Because you were home.” First time writer / director Bryan Bertino turns the screws beautifully for the first 45-minutes, creating a tragically real relationship for our doomed couple (Liv Tyler and Scott Speedman), giving the audience a stake in their survival. He then proceeds to scare the pants of you with nothing more than footsteps, squeaking d...

INDIANA JONES & THE KINGDOM OF THE CRYSTAL SKULL: I’ll be upfront with you, I didn’t really want another Indy movie to be made. The Last Crusade had enough engine trouble as it was; after 20 years of waiting, I wasn’t confident the franchise engine would even turn over. And from a screenplay standpoint, Crystal Skull is most definitely running on empty. Lucas’ insistence on incorporating ancient alien invaders seems too far afield from Indy’s usual supernatural quests and trotting out fan favorite Marion Ravenwood (Karen Allen) for a 3rd act reunion seemed like desperate pandering. Yet, Crystal Skull plays better on Blu-ray, one-step removed from the unattainable expectations that a fourth chapter was bound to generate. The effects, which the film leaned far too heavily upon, seem more subdued and Spielberg’s shot selection more impressive (that image of Indy silhouetted against an A-bomb sky is a doozy!). Individual scenes are easy to criticize as being beneath the modern forerunn...

THE 7TH VOYAGE OF SINBAD: Ray Harryhausen credits King Kong and its creator Willis O’Brien with inspiring him to create his stop-motion masterpieces. But ironically Harryhausen himself influenced an entire generation with movies like The 7th Voyage of Sinbad, painstaking crafting a menagerie of monsters from lifeless lumps of clay. The sort of fantasy film that previously existed only in an 8-year-old boy’s imagination, 7th Voyage sends its swashbuckling hero across the ocean to the island of Colossa to battle a one-eyed Cyclops, two-headed birds and a fire-breathing dragon. You might think that Blu-ray would find fault in much of Harryhausen’s work, but if anything the high definition makes the amount of detail put into the model monsters even more impressive. Sony’s slate of extras is impressive too, with Harryhausen joined on a commentary track with several of his effects contemporaries, new featurettes and a hilarious music video for the vintage single “Sinbad May Have Been Bad, Bu...

THE TEXAS CHAINSAW MASSACE (1973): It isn’t possible to overstate the influence of director Tobe Hooper’s roadkill classic on contemporary horror. There simply wouldn’t be a Saw or Hostel franchise without it. While slasher films owned the ‘80s, everything since then is indebted to Hooper, who pioneered the docu-horror approach in his story of inbred cannibals feeding off the edges of civilization. The acting may be questionable and the script more than a bit out of date, but the original TCM still delivers a killing blow none of the sequels are able to achieve. After delivering an “ultimate edition” a year or so back, Dark Sky Films one-up themselves by presenting all the same materials on Blu-ray hi-def, cleaning up the 16mm image as well as technology will allow and loading the extra space with two documentaries, deleted scenes and a tour of the original shooting location...which is now a cozy bed & breakfast!

LEATHERHEADS: If Tom Hanks inherited Hollywood’s mantle of “everyman” from Jimmy Stewart, George Clooney is most certainly this generation’s Cary Grant. Everything from his smug superiority in the Ocean’s films to his screwball turns in the Coen brother’s comedies hearken back to the golden days of the studio system. So it’s no surprise to see Clooney turn back the clock again when he gets behind the camera as well. In Leatherheads he casts himself as “Dodge” Connelly, an over-the-hill professional football player with a plan to give the sport a boost of legitimacy via star college player / war hero Carter Rutherford (John Kraskinski of The Office). Reporter Lexie Littleton (Renee Zellweger) makes for a perfect love triangle as the three compete for each other’s affections and the game winning touchdown. It’s hard to pile on a film like Leatherheads for being too nostalgic when that’s really its whole point for existing. Clooney has proven he’s quite adept as a director and the script ...

LAST HOUSE ON THE BEACH: The Italian film industry never met a genre they didn’t like...or at least blatantly copy and try to make a quick buck. Even early torture porn like Wes Craven’s Last House on the Left inspired a few nasty imitators in its time such as Aldo Lado’s Night Train Murders and Last House on the Beach, directed by “Mondo” specialist Franco Prosperi. Actually two exploitation movies in one, the film combines the best (or worst) of a brutal crime drama with elements of the nunsploitation fetish flicks. Boasting two recognizable stars from the era –Florinda Bolkan, the grand dame of the grindhouse, and pretty boy Ray Lovelock – Last House on the Beach is a mostly unremarkable entry other than its few moments of advertised sexual depravity. A gaggle of Catholic school girls held hostage by a trio of criminals is a classic set-up for excess; but for a filmmaker whose career was built on Faces of Death-style showmanship, Prosperi is surprisingly reserved here. The most effe...

MOTHER OF TEARS: For years Argento apologists have bided their time while the director considered completing his “Three Mothers” trilogy. But as the law of sequels has so often has proven, no film could possibly be worth the wait. And Mother of Tears finds Argento operating nowhere near the height of his powers in a film that feels more like the work of an Argento imitator rather than the genuine article. Reunited with his favorite muse, actress/daughter Asia Argento, the director fills in the blanks of his supernatural story with direct references to previous fan favorites Suspiria and Inferno, leaning on a logical narrative mystery in contrast to the surreal nightmares of the first two films. Despite several inspired flashes of the bizarre (that devil monkey serving as Satan’s bloodhound really freaked me out!), Mother of Tears fails miserably to recreate the atmosphere of unrelenting doom that made the series stand-out in the director’s hit-or-miss oeuvre. Still, Mother of Tears is ...

RODAN / WAR OF THE GARGANTUAS: Although they won’t take home the Nobel Prize this year, Classic Media gets my write-in vote for managing to broker a deal that seemed almost as impossible as peace in the Middle East: convincing Toho studios to release several of their giant monster flicks uncut with Japanese language tracks intact. Next (and hopefully not last) on their list is the long-awaited Rodan / War of the Gargantuas double-feature, either of which could have merited their own solo DVD. If you’re at all familiar with the kaiju eiga genre (and if you’ve read this far, I’ll assume you are) then you already know Rodan was Toho’s first color sci-fi production, introducing a pair of plus-size pteranodons who threaten to huff, puff and blow Tokyo down. The Honda / Tsuburaya creative team uses an American sci-fi template here, with particular inspiration from the giant ant opus Them. But when the monster mayhem starts, it’s all signature Toho-size destruction. The Japanese version drops...

FIST OF LEGEND: The impact Bruce Lee had on the Hong Kong film industry can’t be overstated. Films like Fist of Fury drew so much international attention producers milked the tragic death of their star for years by splicing together stock footage and casting stand-ins just to keep the money train rolling. And although that sort of charisma will never be matched, Jet Li is the heir apparent to Lee’s legacy, even starring in the 1994 remake of the seminal Fist of Fury, retitled Fist of Legend, telling the same story of a Chinese student’s two-fisted rebellion against the occupying Japanese army. Vacillating between angry bad-ass and wide-eyed romantic, the Chen Zehn of Fist of Legend is a contradiction of sorts. Director Gordon Chan isn’t quite willing to give up the genre’s often slapstick elements which were nowhere to be found in the original. But fight choreographer Yuen Wo-Ping matches the best action scenes in Lee’s film, staging the “one-man-against-an-entire-dojo” sequence – by n...

SPEED RACER: Boasting a color scheme full of illegal reds, blue and purples, I’m not sure if Speed Racer should be viewed by anyone under 21. It’s certainly the closest I’ve come to a psychedelic experience since licking that sticker someone passed around at the Floyd concert. But I’m not sure the Wachowski Brothers know who they made the film for either. Like George Lucas’ misguided Star Wars prequels, Speed Racer extends its running time with pointless corporate politics that have no place in a kids’ film. Meanwhile, professional brooder Emile Hirsh is woefully miscast as Speed; he’s like the downer who spoils everyone good trip, man. But for every dramatic beat the Brothers get wrong (and critics were quick to point out a lot of them), there are quite a few they knock out of the park. Visually it’s like driving through Willy Wonka’s chocolate factory at 100mph; all blurred colors and flashing lights sure to cause seizures in the faint of heart. The racing sequences won’t win any poi...

CANNIBAL TERROR: The cannibal craze of the ‘70s had European directors feeding off each other for new and interesting ways to stage their gore. Much of the final product however was banned by Great Britain during the “video nasty” era, a notorious label that is often the only inspiration to watch what are now laughable exercises in filmmaking. And Alain Deruelle’s Cannibal Terror just may be the most hilarious of them all. After a botched kidnapping attempt, three criminals drag their pint-sized paycheck into the jungle until things cool down. But a local tribe of flesh-eaters eventually make sure that justice is served...and gangster is on the menu! Cannibal Terror is a gut-buster of a gut-muncher, so ineptly made that it transcends the genre to become an unintentional spoof of the highest caliber. The “jungle” setting is made up stock footage and one oasis of palm trees off the interstate (seriously, you can see cars driving in the background) while the natives themselves look like p...

HEROES - Seasons 1 & 2: – To answer your question, yes, it really is that good. After debuting on the NBC fall schedule two years ago, producer Tim Kring’s show took off like one of its superpowered characters. The show’s serious-minded approach to comic book mythology actually preceded The Dark Knight in theaters, proving that geek-culture could be just as meaningful and mature as the more pedigreed adult dramas. And for one glorious season there literally was no better show on television. But a ridiculous amount of hype, combined with the writer’s strike, conspired to ensure a predictable sophomore slump in season two. The story Kring and his writers had handled with such care began to go off the rails, new characters were introduced at random while others were trapped in a revolving door of neuroses. But looking back on Blu-ray, even that shortened season is better than most of what passes for entertainment on the other networks. The real achievement of the show is that none of ...

BABY MAMA: I can understand the temptation to write this off as a chick flick, but let’s take a closer look at the chicks in question. Tina Fey broke into boy’s club at Saturday Night Live to become the first female head writer. She currently stars in 30 Rock, hands-down the funniest sitcom on TV. She’s the kind of girl you could fart and burp around yet still find incredibly attractive. And her chemistry with co-star Amy Poehler is the sort of practiced back-and-forth that can only be perfected through years of live television. In short, if you blow off Baby Mama because it stars a couple of women, you’re an ignorant ass. The plot might not bear the mark of comedic genius, but the talent involved is unquestionably brilliant. Fey is an upwardly mobile business woman who hires Poehler to bear her child, despite the fact that Poehler’s white-trash habits clash with her own green-living lifestyle. Most of the film is filled with these “odd couple” moments that in the hands of any other tw...

Star Trek may have led you to believe that the time-space continuum has no sense of humor. But note the eerie similarities between Paris Hilton’s recent political bid and Linda Lovelace for President (Dark Sky Films, 95 min), a bicentennial spoof starring another sword-swallowing quasi-celebrity. Released at the height of the Roger Corman drive-in era, Lovelace was desperately trying to escape the success of Deep Throat and producers like Arthur Marks were willing to give the slut a shot. What spewed forth is a mix of Mel Brooks, Smokey the Bear jokes and more double-entendres than an entire season of Three’s Company (although you’ve gotta admit, “The first woman president to go down in history” is pretty goddamn clever). The sex itself is innocuous; Lovelace looks like she’s humoring her cut-rate co-stars, which include Mickey Dolenz and Scatman Crothers, rather than pleasuring them. And the opening sequence - Linda posed like Patton with a camel-toe in front of an American flag - is ...

When crap like Xanadu earns itself a two-disc DVD release (the magical, musical edition in case you’re interested) you might be wondering if we’ve hit the saturation point. Are there are actually any titles left that haven’t hit video...and if so, should anyone be allowed to see them? I prefer to see the cup as half-full rather than half-empty. Sure, what’s left is a hodgepodge of martial arts flicks and lazy foreign erotica, but if you dig deep enough into the pile you’ll find a few curiosities left in the bin. Phase IV (Legend Films, 84 min) is the only feature-film from Saul Bass, the man who designed the most memorable title sequences in cinema history, most notably Hitchcock’s Psycho and North By Northwest. His take on intelligent ants who wage war on a pair of scientists in the New Mexico desert is ripe for ridicule (it even got the MST3K treatment), but also insanely ambitious. With long dialogue-free stretches of macro-photography following these min-mental giants into their ne...

THE FLICK: One can’t help but wonder how different Sylvester Stallone’s career might have been without John Rambo. As the creative force behind Rocky, he entered Hollywood as a hyphenate writer-actor with grand ambitions and a punching bag full of potential. But three bad film choices later (FIST, Paradise Alley, Victory) he was riding on the coattails of the same character and wondering if lightning would ever strike twice. Go figure, it did. But there was a catch. First Blood and its sequels earned Stallone his next big franchise, but at the cost of his artistic freedom. He became an action-figure rather than an actor; a prisoner of a pop-culture he helped create. So after 20 years of passive-aggressive roles in bland shoot-em-ups (Cobra, Assassins) and ill-conceived comedies (Stop Or My Mom Will Shoot, Oscar) the actor finally saw fit to revisit both franchises and test the waters of cultural relevancy. Rocky Balboa is the easier sell. I mean, how many other fictitious characters ha...

THE FLICK: “Hi, my name is Greg and I’m a Roland Emmerich apologist.” While it might not have the same stigma as alcoholism or sex addiction, said confession can still be downright embarrassing in social situations. Sure, anyone can champion Independence Day or Stargate as “guilty pleasures. But imagine trying to defend Godzilla or The Day After Tomorrow at a crowded table. Before you know it, forks are dropping, throats are cleared and a pitiable hush falls across the room. Trust me, I’ve been there...I know. Yet I stand by my defense of Emmerich and his particular brand of oversize filmmaking. No idea is too grandiose, no explosion to big, no catastrophe too far-fetched to attract his interest. So 10,000 B.C. would seem to be the next logical step in his oeuvre: a sprawling prehistoric adventure flick populated with wooly mammoths, saber-toothed tigers and warring cave-tribes fighting for the future of civilization. It’s a beautiful pitch on paper. But could the king of cinematic bli...

Not that the world couldn’t use another scathing expose on the dangers of nuclear power in third world countries. You just wouldn’t expect it to come under the title Papaya Love Goddess of the Cannibals (Severin Film, 89min); and certainly not from Joe D’Amato, a director whose previous career highlight involved a woman jacking off a Clydesdale. But this 1978 skin-flick gets so sidetracked on social issues and island politics that it forgets to deliver on the title’s promise of death and debauchery. Things start promisingly enough with some foreplay involving the aforementioned tropical fruit and an unexpected castration, but our guide through the overly plotted story, Sirpa Lane (infamous for her own animal act in Walerian Borowczyk’s The Beast), is far from masturbatory material. Co-star “Melissa” spends most of the film topless, but her sex scenes are such a timid touch ‘n grope act the occasional flash of full frontal male nudity is actually a welcome break in the monotony. In the ...

CONTROL Genius Products, 122 mins. When Control opens, Ian Curtis is a malnourished Manchester lad living on a diet of David Bowie and pilfered prescription meds. By the end of the film, he’s a suicide case only two days away from a promising tour of the states as the lead singer of Joy Division, next in line to inherit Britain’s well-tarnished title as “Best Band in the World.” Rock history is littered with these tragic ironies, victims of success and excess who’ve ascended to the throne of musical martyrdom. Outside of the UK, Curtis is only a minor figure, like some lesser saint who only attracts the most desperate prayers from his small but devoted faithful. Control, based on the book by Curtis’ widow and directed by video auteur Anton Corbijn, isn’t interested in making the man a legend; but turning the legend into a man. Shot in B & W, the cinematic equivalent of pressing on vinyl, Corbijn (who snapped shots of the band early in his career) meticulously recreates the groups’ ...

THE FLICK: Writing a review for a film like National Treasure 2: Book of Secrets is akin to a food critic submitting a rating for a McDonalds franchise. Sure, there’s some local flair - a splash of color on the walls, a tricked out kid’s area, maybe an extra wide handicapped bathroom stall – but the menu never changes. In fact, producer Jerry Bruckheimer seemed to go out of his way to duplicate everything from the original; the Ed Harries-for-Sean Bean swap as the central villain is the only distinguishing difference. Otherwise, it’s business as usual for Ben Gates (Nicolas Cage) and his treasure hunting family who spring into action when one of their relatives is accused of having participated in the Lincoln assassination. The McAdventure begins with a fragment of a diary which sends Ben to Paris to the Statue of Liberty, which leads to the queen’s desk at Buckingham Palace followed by the same song and dance in the Oval Office, culminating in an underground chamber beneath Mt. Rushmo...

THE FLICKS: First released as Best Buy exclusives, the Classic Sci-Fi Ultimate Collection Vol. 1 & 2 went on to become such a out-of-print commodity that Universal wisely decided to package them together and sell them in wide release. Sporting 10 films across 6-discs, even if you’re only interested in a few of the titles, the final tally is around five bucks a movie. Presented in their original aspect ratios (a mix of Academy and widescreen) plus trailers, that’s simply too good of a deal to pass up! TARANTULA: The first of several “big bug” movies in the collection, this Jack Arnold directed chiller begins with an experiment gone wrong in the name of science, specifically a nutrient formula that turns lab animals into giant freaks of nature. A local country doctor (John Agar) must solve the mystery behind several corpses sucked bone dry of their vital juices. Watch for Clint Eastwood as a fighter pilot in the final sequence. The effects vacillate between sloppy and superb, but the...

THE FLICK: It took the might of the entire British Navy to defeat Napleon. By comparison, it only took the efforts of three studios (Fox, Universal & Miramax) to get Master and Commander to the screen. But that sort of three-way partnership was almost unheard of in Hollywood, opening the door to bigger budgets on grander epics with less individual risk than going it alone. And make no mistake, director Peter Weir’s massive undertaking of this small-scale story was quite a risk indeed. Although it stars Russell Crowe and features at least three exciting sea battles, this tale of high-seas adventure takes a far more literate approach than, say, Pirates of the Caribbean. With an emphasis on historical accuracy over action, Weir allows the politics of the ship and the grueling lives of its men (officers, mate and able seaman all) to set the tone. Adapted from the series of novels by Patrick O’Brian featuring Captain Jack Aubrey (Crowe), a cultured but confident man of the sea, Master a...

THE FLICK: It’s been seven years since the sleeper success of Alejandro Amenabar’s The Others proved a ghost story didn’t have to lift up its skirt to get an audience’s attention. And while Hollywood continues to beat a dead horse when it comes to the Japanese horror craze, Spanish filmmakers are quietly staging their own mini-comeback in the form of The Orphanage courtesy of producer Guillermo Del Toro. In an attempt to confront her own personal demons, Laura (Belen Rueda) moves her family into the converted orphanage in which she was raised, planning to help disabled kids and cement the relationship with her own adopted son, Tomas. But the appearance of a mysterious stranger and the disappearance of her own son convince Laura that restless spirits have invaded her home with malicious intent. In order to find her child, she must return to the games of her youth and uncover the mystery lurking with the orphanage’s walls. Produced with understated elegance, The Orphanage plays a familia...

THE FLICK: It’s never a good sign when the behind-the-scenes story gets more press than the one that’s taking place on screen. Such is the case with The Golden Compass thanks to a combination of studio politics, creative differences and religious right protests which feared the atheistic agenda underlying Phillip Pullman’s books without even giving Chris Weitz’s film adaptation a fair shake. It’s criminal really that such an imaginative, mature and expensive production was torpedoed before it ever had a chance at the box-office. But such is the risk in today’s Hollywood where establishing a marketable “franchise” takes precedent over telling a story with a beginning, middle and end. Set in one of many alternate realities, the world Lyra Belacqua (Dakota Blue Richards) inhabits is lorded over by the Magesterium, an rather obvious stand-in for the Catholic church, which disguises its Orwellian tendencies with an aura of beneficence embodied by Marisa Coulter (Nicole Kidman), who shows an...

THERE WILL BE BLOOD: Although he began his directing career with both critical and commercial success on Boogie Nights, Paul Thomas Anderson has had to settle for only the former on most of his subsequent work. Neither Punch-Drunk Love nor Magnolia managed to cross into the mainstream despite the big-name talent involved, with audiences perhaps catching a whiff of artistic arrogance. Whatever the reason, the box-office numbers just haven’t backed up the guy most critics have already crowned the savior of American cinema. And things aren’t likely to change after There Will Be Blood, even with a score of Oscar nominations and Daniel Day Lewis’ win for Best Actor. Make no mistake, Anderson has crafted a powerful film set against the background of oil prospecting in the early 1900s; the kick-off to a modern age that was even more ruthless and cutthroat than those that came before. Daniel Plainview is a despicably soulless creation - a man stripped of all humanity - and yet Lewis’ performan...

THE FLICK: I’ve come to loathe the sort of egotistical first-person film reviews that have taken over the web today, most notably on Harry Knowles aintitcool.com. If I wanted to hear about how many Goobers you ate while standing in line I’d check out your MySpace page, otherwise stick to the facts at hand. That being said, I find it next to impossible to write about The Adventures of Baron Munchausen without getting personal. It was, after all, the film most responsible for sending me off to film school and pursuing my own dream of celluloid artistry. The fact that I ended up a poor man’s Roger Ebert is neither here nor there. Meanwhile director Terry Gilliam’s film remains an undiscovered manic masterpiece, perhaps the best proof since Apocalypse Now that true genius can flourish in the midst of chaos. Based on the historical imaginings of its central character, Baron Munchausen (Robert Neville) is a braggart, a phony and a bald-faced liar of epic proportions, his stories full of outr...

THE FLICKS: The death of the drive-in movie theater left a hole in the hearts of many a genre fan. It wasn’t just enjoying a flick in the great outdoors or smuggling in your own snacks or scoring some nooky during intermission. What the current multiplex lacks is that unique double-feature experience: watching two films in quick succession that complement each other like fine wine with a fancy meal. The Tarantino/Rodriquez project Grindhouse was an attempt to recapture the magic, but After Dark’s Horrorfest got there first, rolling out into theaters as a 3-day festival and now hitting DVD as individual titles or in a comprehensive box set. Even though it will set you back around $70 bucks, the latter is definitely the way to go, mixing the good with the bad, the cheesy with the genuinely chilling, for an old-school drive-in experience. THE DEATHS OF IAN STONE: Likely the most pedigreed title of the bunch, this comes from FX wizard Stan Winston’s studio and features some elaborate CGI w...

THE FLICK: Suddenly, the end of the world is in fashion again. After 28 Days Later found a way to cheaply and effectively wipe out life as we know it, the cinema has become obsessed with our own destruction...usually resulting in some sort of flesh-eating zombie plague that holds a mirror to our own inadequacies as a species. The inspiration for all this anarchy is often laid at the feet George Romero and his seminal undead epic Dawn of the Dead. But the true source goes back much further to author / screenwriter Richard Matheson’s influential novella I Am Legend. Twice adapted for the screen – 1964’s underappreciated The Last Man on Earth and 1971’s The Omega Man with a bare-chested Charlton Heston – this third version went through years of development hell before emerging with Will Smith in the lead and director Francis Lawrence (Constantine) behind the camera, telling the same story of a scientist/soldier fighting off an army of mutated survivors of a chemical apocalypse. At least, ...

THE FLICK: Alfred Hitchcock, among his many cinematic talents, had a knack for elevating popular entertainment to high art. Joel and Ethan Coen have proven themselves adept at doing the exact opposite: turning art into popular entertainment. Working in the post-modern Hollywood universe, none of the Coen Brothers’ films are outrageously original; they seem to relish jumping into recognizable formulas (screwball comedy, film noir, etc) between more prestigious projects. But when they choose to bring their A-game, no filmmaker can match their ability craft “indie” ideas with mass audience appeal. Fargo announced their artistic arrival, but No Country For Old Men cemented their reputation. Leaning heavily on their previous set-in-Texas potboiler, Blood Simple, the Coens waste little time and even fewer words getting things started. Llewelyn (Josh Brolin) stumbles upon a pile of bodies and a stack of cash in the desert. Taking a calculated risk, he absconds with the money only to be pursue...

THE FLICKS: The giallo might have officially begun in 1970 with Argento’s The Bird with the Crystal Plumage, but it was perfected over the next decade by innumerable directors who never got much credit. Blue Underground does their part by re-releasing the films included in Anchor Bay’s previous Giallo Collection as stand-alone titles: Short Night of Glass Dolls, Who Saw Her Die, The Case of the Bloody Iris and The Bloodstained Shadow. Which ones are worth adding to your crowded collection? Well, three outta four ain’t bad. Just a year after Argento’s groundbreaking work, director Aldo Lado tried to up the ante with his politically-minded thriller, Short Night of Glass Dolls (1971). Featuring a fair share of recognizable stars (Jean Sorel, Ingrid Thulin and Barbara Bach), some jazzy stylistic touches and an Ennio Morricone score, the film is a direct reflection of Lado’s enthusiasm as a first-time filmmaker. The raw ingredients are nothing special – Bach disappears without a trace, Sore...