Month: October 2007

PDF Clip: DVD 2007-10-23

Murder Party (NR, 2007, Magnet)
The Question: Can a group of art students effectively kill a person in the name of art? The answer: Probably not. Fortunately, a bumbling idiot in a hilariously awful Halloween costume has stumbled upon an “invitation” to their fake Halloween party, and the odds could not possibly be any more in their favor unless he was already dead. For those keeping score, here’s what “Murder Party” offers that so many other horror films do not: one victim who is impossible not to like, seven antagonists who are more fun to watch than most movies’ protagonists, a dog who’s smarter than all eight of those people combined, a host of funny moments that are intended to be funny, and a good story that simply goes crazy rather than lose steam. For good measure, “Party” also includes its share of gore and painful ways to die. Really, it does it all. And among the never-ending wave of horror DVDs that have relentlessly been crashing on shelves since mid-August, this is one of the few that emerges as a must-see.
Extras: Filmmakers commentary, making-of feature, knight costume how-to (you’ll understand after you see the movie), bloopers, outtakes, pumpkin bread recipe (again, you’ll understand), installation video (ditto).

Meet the Robinsons (G, 2007, Disney)
It would be futile to explain the plot of “Meet the Robinsons” in a way that both makes acceptable sense and fits in this small space. Let’s just say it involves an ingenious young orphan, a time machine, a wacky family, a really cool house, a villain with an axe to grind, some musically-gifted frogs and quite a lot more. Like most computer-animated films, “Robinsons” has a lot going on in a short space of time, and there’s a specific moment — oddly enough, when we meet the Robinsons — where it looks like the whole thing is heading off the rails into random wackyland. Fortunately, things settle down almost as quickly as they lose control, and all those crazy pieces fall into place to form into a pretty sweet story that doesn’t forget to be funny. “Robinsons” isn’t exactly immune to predictability, but anyone who’s bothered by that is taking it too seriously. A handful of great characters — not to mention a whole lot of eye candy — come through whenever the story can’t.
Extras: Director (and special guest) commentary, deleted scenes (with introductions), making-of feature, DVD game, inventions feature, music videos.

Alive Day Memories: Home From Iraq (NR, 2007, HBO)
While “Home of the Brave” unsuccessfully uses the big-budget approach to illustrate the difficulties soldiers face when returning home from Iraq, “Alive Day Memories: Home From Iraq” gets it right by going straight to the source. In “Memories,” 10 soldiers sit down and open up about their experiences. Some have lost limbs, others have suffered permanent brain damage, and one in particular illustrates the trauma that haunts an enormous number of veterans who look superficially unscathed. Each has a very personal story to tell, and while “Memories” illustrates some of the accounts with footage of insurgent attacks, it need not even bother. It’s only too bad the program isn’t longer than it is. The 59-minute runtime makes sense for a TV special, which “Memories” originally was, but there clearly was more said than we saw. It’s unfortunate HBO didn’t include some of that as bonus material, because “Memories” definitely leaves you wanting more. James Gandolfini, who executive produced, also serves as interviewer.
No extras.

Fido (R, 2006, Lions Gate)
Just when you thought every good zombie movie idea had been taken, along comes “Fido,” which imagines a world where zombies have been defeated in a war and reprogrammed, through fancy collar technology, into the equivalent of pets and servants. Is the technology foolproof? Do you even need to ask? The fantastic premise, along with a setting that’s straight out of “Leave it to Beaver,” give rise to a billion and one possibilities, and to “Fido’s” credit, it takes supreme advantage of the opportunity while infusing subtle but undeniable bits of modern-day social commentary into the mix. (Case in point: Carrie-Anne Moss, who plays both a 1950s-era mom and a 1990s-era mom in the span of a sentence.) Rarely will “Fido” go somewhere you don’t expect it to: It knows what its gimmick is, and it proceeds to milk that gimmick eight ways from Sunday until the credits roll. Beyond a few brief slow patches, the approach works quite nicely, and it’s proof that you can tell the same joke repeatedly as long as you tell it well. Billy Connolly shines as Fido, while K’Sun Ray stars as (who else?) young Timmy.
Extras: Cast/crew commentary, deleted scenes (with commentary), composer commentary, DVD-ROM “Zombie Me” game, making-of feature, production galleries.

Mr. Brooks (R, 2007, MGM)
Don’t you wish your life was as jam-packed with activity as Earl Brooks’ (Kevin Costner) is? Not only is he a wildly successful businessman and a celebrated philanthropist, but he also finds time in his busy schedule to kill seemingly random people and get away with his crimes. But being good at killing isn’t the same as enjoying it, and that’s the quintessential conflict in “Mr. Brooks.” Had the film stayed a little truer to that conflict, we’d really have something here: Brooks is a very engaging character, and his path through the film is equal parts perverse, intellectual and silly (sometimes intentionally, sometimes not, but entertaining either way). Problem is, “Brooks” wastes a big chunk of time on a would-be foil (Demi Moore as Det. Tracy Atwood) whose boring personal issues turn her scenes into instant momentum-killers. Fortunately, the power of fast-forwarding, which eluded theatergoers, is now in your hands. With a little creative editing, a so-so two-hour movie becomes a pretty enjoyable 90-minute trip. William Hurt and Dane Cook (don’t worry, he holds his own) also star.
Extras: Filmmakers commentary, deleted scenes, three behind-the-scenes features.

Home of the Brave (R, 2006, MGM)
What happens to soldiers who return home from Iraq, visibly wounded or not, has become an increasingly hot topic of conversation in the last couple of years. “Home of the Brave,” then, deserves kudos for being the first big-budget attempt at dramatizing the issue. Unfortunately, beyond its intentions and the novelty of being first on the scene, that’s really all the kudos it deserves. “Brave” certainly means well, and it’s not without its moments, but the film paints the problem with such excessively broad strokes that it eventually loses its grip on authenticity. The ironic result undermines rather than increases awareness of the issue at hand. With that mission failed — and with an increasing wave of excellent documentaries succeeding where it can’t — “Brave” offers little other reason to keep watching. Samuel L. Jackson, Brian Presley, Jessica Biel and Curtis “50 Cent” Jackson star.
Extras: Filmmakers commentary, deleted scenes.

Normal Adolescent Behavior: Havoc 2 (NR, 2007, New Line)
Wendy (Amber Tamblyn) and her small but mixed circle of friends avoid the hassle of dating and sleeping around by exclusively spending time (and sleeping) with each other. Sounds like a fun plan, but it’s not an airtight one — especially when Wendy falls for an outsider (Ashton Holmes) who thinks her friends are insane. In case you’re wondering: Yes, that “Havoc 2” tag is as slapped-on as it looks in the title. Truth is, “Normal Adolescent Behavior” has little beyond that designation in common with the original “Havoc,” which itself is known more for Anne Hathaway’s nude scenes than for being a good movie. But New Line needs some kind of hook for this straight-to-video “sequel,” which doesn’t even have gratuitous nudity going for it. Meanwhile, Wendy’s obnoxious, her friends are obnoxious, and even her mom is obnoxious. And the outsider? He actually makes those obnoxious friends look good. Only Wendy’s little brother (Daryl Sabara) is worth a salt grain of interest. His reward? Not one, but two storylines that simply trail off into oblivion.
Straight-to-DVD brands are a hot item among studios right now, and
Extras: Making-of feature, character profiles.

Just the Extras: New Special Editions on DVD
— “Saw III: Director’s Cut” (NR, 2006, Lions Gate): Extended cut of film, three commentary tracks, three behind-the-scenes features, trivia game, music video, preview of “Saw IV” (don’t look surprised).
— “Hostel: Director’s Cut” (NR, 2005, Sony Pictures): Extended cut of film (with optional new ending), four commentary tracks, deleted scenes, seven behind-the-scenes features, interview, TV special, photo galleries.
— “Hollow Man: Director’s Cut” (NR, 2000, Sony Pictures): Extended cut of film, “HBO Making-of” feature, 15 behind-the-scenes features, VFX comparisons.
— “2001: A Space Odyssey: 2-Disc Special Edition” (NR, 1968, Warner Bros.): Crew commentary, behind-the-scenes documentary, three other behind-the-scenes features, Stanley Kubrick feature and interview, concept art.
— “Eyes Wide Shut: Two-Disc Special Edition” (NR, 1999, Warner Bros.): Uncut and theatrical versions of film, scene-specific commentary, “Lost Kubrick” feature, live Kubrick footage, interviews, behind-the-scenes documentary.
— “The Shining: 2-Disc Special Edition” (R, 1980, Warner Bros.): Crew commentary, making-of documentary (with commentary), three behind-the-scenes features.
— “Hellraiser: 20th Anniversary Edition” (R, 1987, Anchor Bay): Cast/crew commentary, interviews, behind-the-scenes feature, promo spots, galleries, DVD-ROM screenplay.
— “Cujo: 25th Anniversary Edition” (R, 1983, Lions Gate): Director commentary, three-part making-of feature.

PDF Clip: DVD 2007-10-16

The Hoax (R, 2006, Miramax)
Clifford Irving (Richard Gere) is, like most writers, a commercial failure. But that doesn’t mean he doesn’t tell a good story, especially when it results in a major publishing house funneling him gobs of money after he deceives a few honchos into thinking he’s about to write Howard Hughes’ exclusive autobiography. That “The Hoax” is based on a true story almost makes it a must-see movie by default: The idea that someone could be so arrogant as to pull a two-pronged fast one on one of the world’s most powerful men and publishers, respectively, is fascinating in its own right. But “The Hoax” does one better by living up to its premise. Gere is fun to watch, and best buddy Dick Suskind (Alfred Molina) is a scene-robbing riot. The story takes some bizarre turns, and it manages to effectively alternate between humor and suspense without ever losing sight of either. Consequentially, rooting for and against the same con at the same time is both sensible and all kinds of fun. Hope Davis, Marcia Gay Harden and Stanley Tucci also star.
Extras: Two filmmaker commentary tracks, deleted scenes (with commentary), extended scene, two behind-the-scenes features.

Michael Moore Hates America (R, 2004, Allumination Filmworks)
The worst thing about “Michael Moore Hates America?” Try the title, which positions the film as some angry piece of far-right filmmaking that eats objectivity as a snack between two slices of freedom toast. Even filmmaker Michael Wilson, who chose the title, seems uncomfortable with his choice. He should be. What “MMHA” lacks in first impressions, it redeems behind its cover with a surprisingly heartfelt and balanced questioning of Moore’s tactics and attitudes about a public he claims to serve. Wilson catches Moore in acts of self-contradiction, speaks with subjects who feel betrayed by the films in which they appear, and tries in vain to chase down Moore and provide him a chance to speak for himself (only to be publicly insulted for his efforts). All the while, he positions himself not as a conservative or a liberal, but as someone who simply doesn’t like being lied to by anyone on either side. It’s hard to argue with that perspective, especially when Wilson provides enough damming facts and footage to give it some credibility. But oh, that title. Because of it, the people who stand to benefit the most from this film will instead merely roll their eyes and never give it the time of day. Wilson surely didn’t mean to preach to the choir, but that, unfortunately, is all his film has a chance of doing. No extras.

Planet Terror: Extended and Unrated (NR, 2007, Dimension)
For those unfamiliar with “Planet Terror,” this is Robert Rodriguez’s contribution to the “Grindhouse” double feature that has since been split back into two. For those who need further clarification, this is the movie where Rose McGowan replaces her severed right leg with that unbelievably awesome (and seemingly ammo-independent) machine gun. If you’re looking for something more than that in the way of story, don’t hold your breath. “Terror” throws everything from zombies to soldiers to car chases and scary machines your way, but it doesn’t really concern itself with any kind of lucid plot. In fact, it’s little more than a mess of images and ideas cobbled together in the name of kicking rear and taking names. That’s part of the “Grindhouse” appeal, of course. And as messes go, “Terror” at least manages to be a fun one — once. Once the novelty wears off, there’s little reason to go back and see it again, which isn’t something that so easily can be said of Tarantino’s contribution to the twosome. Josh Brolin, Marley Shelton, Freddy Rodríguez and Naveen Andrews also star.
Extras: Director commentary, audience reaction track (brilliant!), 10-minute film school class, four behind-the-scenes features, trailer/poster gallery.

A Mighty Heart (R, 2007, Paramount)
“A Mighty Heart” recounts the story of Wall Street Journal reporter Daniel Pearl’s (Dan Futterman) 2002 kidnapping, and if you were paying attention to the news around then, you almost certainly already know what happens here. “Heart” appears to presume that you do: The saga of the kidnapping provides the backbone, but the film isn’t placing the burden of storytelling on its eventual turns. Rather, the weight falls on the shoulders of a number of people who often were reduced to footnote status in the news but played immeasurably large roles beyond the surface. Chief among those characters: Daniel’s wife, Mariane (Angelina Jolie). “Heart” pays immense tribute to Daniel as both a reporter and a person, but it’s Jolie’s portrayal of Mariane — and the excellent supporting cast (Futterman, Archie Panjabi, Irfan Khan, Denis O’Hare and Will Patton, among others) surrounding her — that both ignites the film and keeps it lit the whole way through. The character-first approach makes “Heart” a worthy and very respectful homage to all involved, as well as a must-see for anyone interested in discovering the stories behind this story.
Extras: Making-of feature, PSA, information about the Committee to Protect Journalists.

Girl 27 (NR, 2007, Westlake/Red Envelope)
It would be impossible today, but in 1937, MGM tricked more than 100 underage chorus girls into attending a party for its sales staff. When one, Patricia Douglas, tried to escape, she was sexually assaulted and subsequently silenced by a legal stonewalling so effective, her ordeal remained covered up for 60 years. “Girl 27” is what happens when screenwriter and author (and now filmmaker) David Stenn accidentally stumbles upon the cover-up and follows the dominoes that fall from there. The investigation itself is a fascinating study of the combined power of corporate money and paid-for public servants. But “27” really enters some amazing territory when Stenn catches up with an elusive Douglas herself and attempts to get her talking. What’s happened to her life since that night in 1937 — and the trickle-down effect it’s had on her family — makes for a stunning illustration of the effects such a violation can have on a person. That goes as well for the power of words: Sometimes a single, simple phrase can alter someone’s entire trajectory, and “27” aptly demonstrates how.
Extras: Stenn commentary, 1935 short film “Hollywood Extra Girl,” photo gallery.

Transformers: Two-Disc Special Edition (PG-13, 2007, Dreamworks)
A live-action “Transformers” movie has been an inevitable no-brainer since the dawn of the CGI era in filmmaking. It’s downright staggering, then, that after so many years of possibilities and ruminations, this is what we get. For starters, the open 50 (yes, 50) minutes of “Transformers” have barely anything to do with Transformers. The film is crammed with paper-thin human characters whose plights couldn’t be less gripping, and the plotline grows into a bloated mess about artifacts and a possible war against another superpower. Sadly, that’s almost preferable to what happens when the bots take back the stage. Are you ready for Megatron to name-drop ebay or for Jazz to ask some of the humans “what’s crackin’?” You’d better be, because even the coolest robots of the 20th century aren’t immune from the awful dialogue that infects every Michael Bay film. The final scuffle in “Transformers” is pretty cool, and the film’s CGI does look pretty cool when it isn’t butchering the memory of certain character. But those small positives don’t do nearly enough to wash away the bad taste left behind by a film that’s boring, overlong and almost devoid of fan service for seemingly no good reason.
Extras: Director commentary, three making-of features.

The Invisible (PG-13, 2007, Hollywood Pictures)
“The Invisible” has a problem: Its best twist — that its main character, Nick Powell (Justin Chatwin) is dead, even if he doesn’t initially realize it — isn’t really a twist at all. The commercials and trailers gave it away, the DVD case gives it away, and pretty much every description of the film spills this bean. As such, we spend the first act of “The Invisible” waiting for the inevitable moment when (a) Nick dies and (b) Nick finally realizes he’s a ghost and sets out to solve his own killing. When it happens, we can only sit there and wonder how much better the film would be if the marketing department had some means of keeping this a secret. Unfortunately, its hands were tied. Powell isn’t a terribly interesting character, his killer (Margarita Levieva) fares little better, and the events surrounding his death aren’t particularly engaging. Even the better-hidden second twist isn’t terribly exciting — perhaps because, by that time, “The Invisible” has revealed that it isn’t terribly good. A ghost story without good characters or good thrills can experience no other fate.
Extras: Two filmmaker commentary tracks, deleted scenes, music videos.

PDF Clip: DVD 2007-10-09

28 Weeks Later (R, 2007, Fox)
The rage virus that turned Londoners into crazed zombies in “28 Days Later” appears to have been eradicated, and the powers that be are now letting short bursts of survivors back into a designated safe zone. As one can guess by the mere existence of “28 Weeks Later,” something’s bound to go wrong with that plan. That part is no secret, but the events that lead to it — including a killer opening scene that’s better than most horror films’ climaxes — most definitely are. You need not have seen “Days” to enjoy “Weeks,” which quickly brings you up to speed and starts over with a brand new cast and story-within-a-story. But those who have seen the excellent first film probably will get that much more of a kick out of the sequel, which travels well against the grain as that rare horror movie sequel that doesn’t just retread on old material. “Weeks” deals in thrills more than cheap scares, and its focus on one family of could-be survivors (Robert Carlyle, Catherine McCormack, Imogen Poots and Mackintosh Muggleton) gives it some good storytelling chops as well.
Extras: Filmmaker commentary, deleted scenes (with commentary), five behind-the scenes features.

Surf’s Up (PG, 2007, Sony Pictures)
An adorable computer-animated film … about Hollywood’s animal du jour, penguins … who surf … that wasn’t made by Pixar? It sounds like just another animated also-ran, and the generic title doesn’t help matters. So how’s this for a surprise: “Surf’s Up” just might be the best computer-animated movie Pixar hasn’t made. It accomplishes that partly by doing what Pixar does best — namely, oozing immense kids appeal while cooking up smart joke after smart joke that only adults will truly understand. But “Surf’s Up” also scores points by trying something new with the genre and presenting its story in full mockumentary form, shaky cam and all. It works shockingly and hilariously well, and that’s a credit to the creativity of the animators as well as the writers and voice actors, who have the timing down perfectly. The film isn’t immune to formula — it’s still a kids movie about surfing penguins, after all — but the humor generally scores when the story has its back against the wall. And when all else fails, it sure is pretty to look at.
Extras: Two animated shorts (one new, one from 2002), filmmaker commentary, three games, four behind-the-scenes features, progression reels, music video, photo galleries, DVD-ROM content.

Shark: Season One (NR, 2006, Fox)
Hey look, it’s yet another hour-long legal drama on TV! What’s next, a new hour-long medical drama? In all seriousness, though, “Shark” has its place on the schedule, and it owes that place entirely to its main (and title) character, a former high-priced defense attorney who’s traumatized into switching sides and working for the prosecution. That character, in turn, owes an even larger debt to the talents of James Woods, whose presence elevates a textbook show with a textbook supporting cast into something much more entertaining than the sum of its parts. That’s to say nothing of Woods’ ability to authoritatively deliver lines that would sound silly coming out of most actors’ mouths. Whether that charm can survive the long haul remains to be seen, but the first season serves as a pretty good omen that it can. Jeri Ryan, Henry Simmons, Danielle Panabaker and Sophina Brown, among others, also star.
Contents: 22 episodes, plus commentary, a behind-the-scenes feature, deleted scenes and bloopers.

Black Sheep (NR, 2006, Dimension Extreme)
Henry Oldfield (Nathan Meister) is so afraid of sheep, he wants nothing to do with his share of the family farm. But when he returns to sell his piece of the land, he finds that his brother Angus has been playing mad scientist with the sheep, who in turn have mutated into crazed, people-eating monster sheep. From here, “Black Sheep” can exist either as (a) a self-serious disaster of a film or (b) a tongue-in-cheek train wreck that knows how to have a good time. Fortunately, it opts for the latter, right down to giving us sheep with human-like expressions of disgust and voice “acting” that’s reminiscent of a creature from the “Star Wars” cantina. Most impressively, though, “Sheep” doesn’t automatically make it so easy to root for the sheep, as one might assume it would. The option is always there, of course, but some of the cast members are so enjoyably out of their mind that you might take their side before all is said and done.
Extras: Cast/crew commentary, deleted scenes (with commentary), special scene shot for DVD, making-of feature, bloopers.

Everybody Hates Chris: The Second Season (NR, 2006, CBS)
All of a sudden, a young Chris Rock (Tyler James Williams) is growing up before our eyes, seeking gainful employment and even running for class president despite his complete lack of popularity. Good for him, too: Considering some of the grown-ups he has to deal with (recurring guest stars Whoopi Goldberg and Ernest “Roger Thomas” Thomas, among others), it’s amazing he has any desire to grow up at all. Terrific as the first season of “Everybody Hates Chris” was, it was still a show that, at least subtly, was trying things out and seeing what worked and what didn’t. That’s what inventive comedies do, and it pays even greater dividends in season two, which is both funnier and more self-assured than the already-funny first season. If the new fall comedies aren’t doing it for you, uncovering this underrated gem is as good a Plan B as any. Terry Crews and Tichina Arnold also star, and Rock himself narrates.
Contents: 22 episodes, plus eight behind-the-scenes features and bloopers.

Reign Over Me (R, 2007, Sony Pictures)
“Reign Over Me” is about two people. One of them, Alan (Don Cheadle), is a dentist whose marriage is threatening to crumble. Then there’s Alan’s former roommate Charlie (Adam Sandler), who was so traumatized by losing his family on Sept. 11 that he doesn’t even remember Alan when a chance encounter brings them back together. As it’s designed, “Me” is more a film about Charlie than it is Alan, whose troubles are used to establish perspective more than anything else. That’s understandable; a lost family is certainly worse than a troubled one. But Charlie’s character is so far gone that he inspires exhaustion and aggravation more then sympathy. And while a scene at the end of the second act makes you feel bad for ever feeling aggravated, a scene shortly after makes you feel stupid for ever feeling bad. “Me” is gifted with good writing and acting, and it most definitely presents a fresh perspective on an event with which we’re all familiar. But good writing and good characters don’t always make for a good experience, and “Me” doesn’t offer enough upside to compensate for all the bad feelings it releases. Liv Tyler, Saffron Burrows and Jada Pinkett Smith also star.
Extras: Making-of feature, Cheadle/Sandler jam session, photo gallery.

Evan Almighty (PG, 2007, Universal)
The rise of Steve Carell has brought joy to the lives of many comedy fans, but “Evan Almighty” proves that even his powers have their limits. It doesn’t initially appear that way: The first 30 minutes of “Almighty,” are, in fact, pretty funny. But once Carell’s character transforms from a rookie congressman to a modern-day Noah, the film loses its grip on the schmaltz jar and spills the stuff all over the place. Pretty soon, “Almighty” isn’t sure whether it wants to be a comedy or not, and outside of some funny bits involving animals being animals, it ceases to be one. “Alimighty’s” overlying message is easy to swallow regardless of religious conviction, but when the film’s final conflict hedges on the passage of a slimy land bill and little more, it all seems kind of absurd. Carell and a talented cast of co-stars (Morgan Freeman, John Michael Higgins, Wanda Sykes, Jonah Hill, John Goodman and several of Carell’s “Daily Show” buddies) do their best, but a script this convoluted never had a chance.
Extras: Deleted scenes, outtakes, 10 behind-the-scenes features (some serious, some not so much), trivia game.

Wrong Turn 2: Dead End (NR, 2007, Fox)
Ever wonder what the deformed hill people from those “The Hills Have Eyes” remakes are up to when they’re not making a film? As it happens, they’re just hanging out in the woods, waiting to kill and consume more obnoxious people. The will-be victims are especially grating in “Wrong Turn 2,” which finds them gathered in some remote location to film a reality show. That, apparently, is the new go-to plot device for unimaginative films. And “WT2” is nothing if not unimaginative, from the premise to the stock characters to the aforementioned complete rip-off of another, better film franchise’s predators. Predictably, “WT2” ups the ante in the gore department, which probably is why it exists in the first place. If you just can’t get enough of spilling entrails, maybe you’ll enjoy it. But given how many “gorror” films seem to flood the straight-to-video shelf these days, it’s hard to imagine a more pointless addition to any library than this one.
Extras: Cast/crew commentary, three behind-the-scenes features.

PDF Clip: DVD 2007-10-02

1408: Two Disc Collector’s Edition (PG-13/NR, 2007, Dimension)
Baggage-riddled occult writer Mike Enslin (John Cusack) is much too jaded to believe his own stories, much less the legend of the Dolphin Hotel’s Room 1408, which the hotel’s manger (Samuel L. Jackson) describes simply as an evil bleeping room. Naturally, this being a two-hour film based on the writings of Stephen King, there’s some merit to the manager’s warning. Outside of some moments that will awaken your inner claustrophobe, “1408” isn’t a particularly frightening movie. But it’s such a messed-up and imaginative trip, starring a fascinating and startlingly well-developed cast of characters, that the absence of cheap frights doesn’t even matter. Unpredictability is far more valuable, and this film is rich with it in ways large and small. A point near act three seems to indicate a descent into random wackiness, and it temporarily appears that “1408” is a film that doesn’t know how to wrap itself up. Stick with it, though, because it quickly finds its footing before delivering a knockout of a final scene.
Extras: Extended cut with alternate ending, director/writers commentary, three behind-the-scenes features, deleted scenes (with commentary)

The War: A Ken Burns Film (NR, 2007, PBS)
Upon completion of his legendary Civil War documentary, Ken Burns publicly proclaimed he was done telling stories about war. Fortunately, his filmmaking skills are more apparent than his promise-keeping talents. Burns takes on World War II in “The War,” and the finished “film” — to use his words — is so unmistakably Burns that he need not even put his name on the door. That, mind you, isn’t a bad thing. No one dissects a subject quite like Burns does, and the 15 hours he presents here are so dense with top-flight storytelling and unbelievable, one-of-a-kind images that the minutes just melt away. Despite the “film” designation, “The War” actually splits itself into seven chronological episodes of varying length. Thus, you need not feel any unreasonable obligation to watch it in one sitting or without taking time to watch some lighter fare in between. That, of course, isn’t to say you won’t want to. “The War” isn’t always an easy program to watch, but it’s an even harder problem to turn off once it’s on.
Extras: Burns commentary, making-of feature, deleted scenes, bonus interviews, bios, photo gallery, educational resources.

Sun Dogs (NR, 2006, Palm Pictures)
Lest there be no confusion — because it wouldn’t be the first time — “Sun Dogs” isn’t about the unlikely rise of the Jamaican bobsled team. Rather, it’s about the even more unlikely formation of a Jamaican dogsled team. Lack of snow on which to practice is one thing; training stray dogs of all shapes and sizes to pull a sled in tandem is entirely another. Among other things, “Dogs” captures the entire process, rolling camera as a confused pack of dogs endure their first practice and continuing to roll as the same dogs joyously fly down the same path like a well-oiled machine only a short time later. But “Dogs” also manages, with compelling results, to place its story in a larger context — namely, an island with tremendous international renown that nonetheless is crippled by crime and a damaged educational system. The dogs easily steal the show, but the story of a musher (dogsled-speak for rider) named Newton is every bit as intriguing.
Extras: Four mini-features, dog bios.

Day Night Day Night (NR, 2006, IFC FirstTake)
The less a movie says, the more room it leaves for people to interpret whatever message it supposedly has. That leaves a whole lot of room for interpreting “Day Night Day Night,” which follows a 19-year-old woman (Luisa Williams) as she prepares to carry out a suicide bombing mission in Times Square. “Night” is an extremely sparse movie, with little outside of mission prep and the mission itself comprising the film’s 91 minutes. Wait for the film to make a sweeping statement or for the main character to suddenly bust into monologue mode, and you’ll be waiting a while. That leaves the floor open to all kinds of discussion — whether “Night” is sympathetic to Williams’ character, whether it’s making a statement about the goodwill of Americans, or any number of other interpretations in between. Your best bet, in fact, may be to sit back and see “Night” for what it is: suspenseful entertainment. Will she or won’t she? Avoid reading the back of the DVD case, with spoils far too much, and see for yourself.
Extras: Writer/director commentary

The Sarah Silverman Program. Season One (NR, 2007, Comedy Central)
Sarah Silverman is a one-woman cottage industry dedicated to slamming overexposed blonde Hollywood princesses, but that’s not all she is. Surprisingly — if you’ve never heard of it, anyway — “The Sarah Silverman Program” isn’t a sketch show or a standup show or anything of that sort, but a sitcom starring an alternate-universe Silverman, an alternate-universe version of her sister (Laura Silverman), a mustached cop (Jay Johnston) and two token gay neighbors (Brian Posehn and Steve Agee). That said, the fingerprints on the show are definitely hers, and the finished product resembles a mix between “Strangers With Candy’s” absurd melodrama and “Curb Your Enthusiasm’s” failed experiments in social behavior. It’s not as ingenious as either of those shows, and the musical numbers are a bit much. But it’s definitely different and — particularly when Posehn and Agee are on screen — often very funny.
Contents: Six episodes, plus commentary, musical performances, karaoke, animatics.

Docurama Film Festival IV (NR, 1989-2007, Docurama)
Docurama’s annual DVD film festival seems to bring out the best in its catalog, and the 10 selections (nine new) that comprise “Docurama Film Festival IV” might be the festival’s most compelling body of work yet. Subjects include secret atomic bomb-making apparatuses (the glib but scary “Building Bombs”), a 29-year-old nobody taking on the political machine (“Can Mr. Smith Get to Washington Anymore?”) and what five teachers experience in their first year on a very tough job (“The First Year”). If you’d prefer something lighter, there’s always “Wanderlust,” which dissects the phenomenon known as the road trip movie, and “I Like Killing Flies,” which takes us inside one of the most unique restaurants on the planet. (No, they don’t serve flies.) As always, you can buy the films separately or together at a discount, and you can log onto docuramafilmfestival.com to “experience” the festival and discuss the films with others. (In a nice touch, Docurama actually updated the site this year after puzzlingly ignoring it last time.) Details on all 10 films, including extras, can be found at the site.

Jericho: The First Season (NR, 2006, CBS)
Without anybody’s help, Jericho, Kan., was a pretty small town. But even the smallest of towns can shrink ever more when a nuclear mushroom cloud lights the horizon a few hundred miles away and subsequently knocks out power and communication with the rest of the country. As ensemble dramas go, “Jericho” is a funny breed. It’s not hurting for characters and stories to tell, but it’s not likely to inspire favorites in the same way other ensemble shows often do. Even the main character (Skeet Ulrich) is a bit annoying, and that’s to say nothing of the morose teenager (Erik Knudsen) and the big-city IRS employee (Alicia Coppola) who constantly reminds us she’s from a big city. Fortunately, “Jericho” has enough storytelling angles so as not to lean on its characters for too much support. Uncovering the secrets of the town — and, naturally, finding out what caused the explosion and what happens next — makes for some fun television. Lennie James, Gerald McRaney and Kenneth Mitchell, among several others, also star.
Contents: 22 episodes, plus commentary, deleted scenes, a making-of feature and a feature on the post-World War II nuclear arms race.

Just the Extras: New Special Editions Now Available
— “Misery: Collector’s Edition” (R, 1990, Fox): Director commentary, screenwriter commentary, seven behind-the-scenes features.
— “The Jungle Book: 40th Anniversary Platinum Edition” (G, 1967, Disney): Mixed commentary with animators from today and yesterday, making-of feature, seven bonus songs, alternate take of “Bare Necessities” song, and a look at a character who never made it into the finished film.
— “Babel: Collector’s Edition” (R, 2006, Paramount): Feature-length behind-the-scenes director video diary.
— “Elizabeth: Spotlight Series” (R, 1998, Universal): Director commentary, two behind-the-scenes features, photo gallery, sneak peek at the sequel.
— “Species: Collector’s Edition” (R, 1995, MGM): Cast/director commentary, director/crew commentary, seven behind-the-scenes features, alternate ending, image gallery, sneak peak at the sequel.
— “Funny Face: 50th Anniversary Edition” (NR, 1957, Paramount): Paramount retrospective, two behind-the-scenes features, photo gallery.

PDF Clip: DVD 2007-09-25

Knocked Up: Extended & Unrated (NR, 2007, Universal)
She (Katherine Heigl) is successful, pretty and semi-semi-famous. He (Seth Rogen) is jobless, not very pretty, and living with four roommates (Jonah Hill, Jay Baruchel, Jason Segel and Martin Starr) who are different versions of him. But alcohol is a funny thing, and you know where this one is going just by the title on the box. Fortunately, “Knocked Up” isn’t pushing unpredictability as its main asset, and it barely matters that you largely can guess what happens in act three just as easily as you can predict act one. What matters is that the movie is funny — sometimes broadly, sometimes brilliantly, sometimes through a simple throwaway line that makes you laugh a full 30 seconds after someone says it. Best of all, the only bodily function joke come in the form of a grumbling stomach. “Knocked Up” does comedy the nice, hard way, and it manages to be that extremely rare guy film that the women will cherish just as much as the men. This is as feel-good as feel-good comedy gets.
Extras: Cast/crew commentary, deleted/extended/alternate scenes, bloopers, 10 behind-the-scenes features, video diaries, live music, two “best lines” compilations.

Tekkonkinkreet (R, 2006, Sony Pictures)
Numerous camps are fighting for ownership of Treasure Town, a once-proud metropolis that is rotting away at an alarming rate. Interested parties include a cracking Yakuza and a posse of impossibly powerful aliens, but it’s the smallest party of all — a boy named Black and his little brother, White — that elevate “Tekkonkinkreet” from an exquisite anime to an absolutely enchanting one. The no-nonsense premise allows “Tekkonkinkreet” to run wild in areas of higher concern, and the result is a fascinating cast of characters, a city with real history and a dense, arguably epic story that practically tells itself. The attention to detail in “Tekkonkinkreet’s” art is stunning, but it’s merely keeping up with the rest of the film’s appetite for nuance. You need not love anime to love this. Were “Tekkonkinkreet” a live-action film with the same storyline, people would lose their minds en masse.
Extras: Filmmaker commentary, making-of feature, interviews.

Severance (R, 2006, Magnolia)
A handful of employees from Palisade Defence [sic] are headed, whether they like it or not, to a cabin in the woods for a team-building retreat. That alone is enough to strike fear in the hearts of many, but “Severance” ups the ante by unleashing a crazed killer who is hiding in the woods and has nothing to do with any planned workplace activities. Aside from the workplace twist, “Severance” arranges itself in a fashion similar to so many cabin-in-the-woods horror films. But it’s that little twist that pushes the movie ahead of the pack, and “Severance” takes uses that nudge to balance gore, comedy and some genuine “oh no” moments in a way few horror films are equipped to do. (Wait, for instance, until you see how the paintball team-building exercise ends. Not pretty, and yet strangely relatable.) Also nice: A second twist near the beginning of the film’s climax that throws a wrench into the story, modernizes it on a wholly different level, and ensures it won’t run out of steam before the credits roll.
Extras: Cast/crew commentary, eight behind-the-scenes features, deleted scenes, outtakes, alternate ending storyboard, Palisade corporate video.

Bug (R, 2006, Lions Gate)
It’s a little too easy to make assumptions about “Bug” on first glance. We’ve all seen enough horror films to practically bet farms on “Bug” being about some onslaught or another of bugs. Guess what? That, technically, is what it is. But calling “Bug” a film about bugs is like calling “The Wizard of Oz” a film about a road trip. There’s a point A and there’s a point B, but what happens between those points lies one of the wildest mishmashes of contemporary foil-hat paranoia and classic horror hat-tipping ever crammed into a single space. Details will not be spilled here, because sitting in cold disbelief as the film descends into madness is what seeing “Bug” is all about. Just know that it’s completely insane, totally fun, and powered by some of the most fantastic acting that the Academy of Motion Picture Arts and Sciences won’t touch with a 10-foot pole. Ashley Judd, Michael Shannon, Harry Connick, Jr. and Lynn Collins star.
Extras: Director interview and commentary, introduction.

A Dog’s Breakfast (PG-13, 2006, MGM)
Patrick (David Hewlett) is a bit unbalanced. And when he hears what he believes is his sister’s (Kate Hewlett) would-be husband (Paul McGillion) plotting her murder, he does what any unbalanced good brother would do and tries to off him first. Unfortunately, as with everything else in Patrick’s life, murder isn’t easy. Comedy isn’t much easier, but “A Dog’s Breakfast” hits more often that it misses. The comedy is awfully broad for the most part, and while “Breakfast” manages its share of great lines, the domino of resulting hijinks is more amusing than laugh-out-loud hilarious. Still, amusing is miles better than bad, and that’s something “Breakfast” never is. The story is fun, the characters are likeable in spite of themselves, and a big twist down line is satisfying regardless of whether you see it coming or not. It’s riddled with logic holes, but the film is so beyond ridiculous at that point that it hardly matters.
Extras: Filmmakers commentary, deleted scenes, four behind-the-scenes features.

Next (PG-13, 2007, Paramount)
Illusionist Cris ‘Frank Cadillac’ Johnson (Nicolas Cage) isn’t your typical magician, because your typical magician can’t see into the future like he can. The catch is, he can see only his future, and he can only see two minutes ahead of present time. At least that’s mostly the catch, but the caveats are hard to explain unless you see the movie yourself. That’s part of the problem with “Next.” The hook is pretty clever, but when you pad the film with a story about terrorists, a kidnapping and a nuclear weapon set to detonate in Los Angeles, something is bound to break at some point. Sure enough, “Next” gets careless with its rules, and the film gets sloppy before delivering an ending that, while interesting, will strike some as a cop-out. It doesn’t help matters that, even with the original initial setup, “Next” generally feels pretty stock, touting a predictable love interest (Jessica Biel), a threat that never feels like a real threat, and an gaggle of FBI agents who resemble actors playing FBI agents more than actual agents. Julianne Moore also stars.
Extras: Four behind-the-scenes features.

Broken (NR, 2006, Dimension Extreme)
When Hope (Nadja Brand) awakes, she finds herself inside a reinforced pine box. Upon being let out by her captor (Eric Colvin) — and after discovering she’s already been badly injured — she’s given a choice: Do something terrible to stay alive and see her kid again, or give up die. In other words, this is, at least at first, a lost episode of “Saw.” But rather than continue down that road, “Broken” slows it down, and the film becomes a tug-of-war between Hope’s emerging Stockholm Syndrome and her desire to punish her captor and escape. Unfortunately, that simply leads to more punishment and precious little else. Like far too many contemporary horror films, “Broken” seems more concerned with getting off on torturing its cast than explaining why he’s a predator and she’s the prey. It also gives you nothing to truly root for — a small problem that unexpectedly blossoms into a soul-sucking deal-breaker during the film’s last scene.
Extras: Filmmakers commentary, making-of feature, Brand interview, photo gallery.

Zoo (NR, 2007, ThinkFilm)
No sense dancing around it: “Zoo” is a documentary about bestiality. Specifically, it’s about Kenneth Pinyan, a Seattle man who died after attempting to have sex with a horse. No sense dancing around this either: It’s terrible. Presumably to avoid the shock film tag, “Zoo” tries to tell Pinyan’s story with delicate strokes. Footage of the encounter exists, but it’s not here, and the film largely consists of actors reenacting the various accounts that provide the film’s narrative track. Many who see “Zoo” will interpret the soft approach as a means of sympathizing for Pinyan rather than condemning him or abstaining from editorializing at all. But even if you can look past whatever your gut tells you, it’s hard to overcome the complete feeling of emptiness all that dancing leaves behind. The acting often is silly and overdone, the soundtrack is relentlessly heavy, and the film’s climax is so absurdly pretentious that it makes you forget what little insight into Pinyan’s behavior the preceding hour-plus might have offered. Whatever “Zoo” set out to accomplish, mission failed.
Extras: Filmmaker commentary.