Month: August 2008

The Life Before Her Eyes (R, 2008, Magnolia)
“The Life Before Her Eyes” is the story of Diana — both as a seemingly invincible high school student (Evan Rachel Wood) who can’t wait for the rest of her life to begin, and as a considerably more vulnerable adult (Uma Thurman) who, 15 years later, remains haunted by an event that permanently altered the course of that life. What that event is won’t be spoiled here, even if the film’s marketing materials give it away too freely. The impact is that much more pronounced if you know nothing going in, but either way, “Eyes” offers a powerful new perspective on a storytelling device that has become increasingly formulaic over recent time. “Eyes” illustrates Diana’s story on three separate chronological tracks, jumping rather sensibly between her life before the event, her life beyond it, and, most infrequently, the few long moments in which the event is actually happening. The device works beautifully, even if “Eyes” feels excessively and almost cruelly downbeat during some of Thurman’s scenes. That moodiness is validated once the complete truth of story reveals itself, and it never overstays its welcome before the film jerks you back into the present and continues the dark, scary march toward that single scene’s conclusion. When that moment finally reaches its end, the payoff is immense. “Eyes'” final wrinkle is brilliant even if you see it coming, and it ranks among the best of the year if you don’t — especially when you realize the answer was in front of you the entire time.
Extras: Director/production designer commentary, deleted scenes, alternate ending, audition footage, two behind-the-scenes features (that’ll make sense after you see the movie … maybe).

Terminator: The Sarah Connor Chronicles: The Complete First Season (NR, 2007, Warner Bros.)
Apprehensive? That’s understandable. Because really, who needs an entire television series based on a franchise that already overstayed its welcome by the end of its third film? Fortunately, “Terminator’s” fascination with time travel gives it the freedom it needs to freshen itself back up, and “Terminator: The Sarah Connor Chronicles” takes full advantage of the gift and does exactly that. Artistically, “Chronicles” goes the “Battlestar Galactica” route — a little self-serious and borderline pretentious at times, but gifted with a contemporary vision, surprisingly good character reinvention and development, and a story that both goes places and connects all those dots we’d mostly only heard about in the films. Whether “Chronicles” has legs for a long run remain somewhat questionable, and the show isn’t immune to problem spots, including some “robot in the real world” humor that even Vicki the Robot from “Small Wonder” would find lame. But given how messy “Chronicles” could have been — see “Terminator 3” and imagine a whole lot more of that — these are minor nitpicks more than real problems. Lena Headey (Sarah Connor), Thomas Dekker (John Connor) and Summer Glau (you’ll see) star.
Contents: Nine episodes, plus commentary, a three-part making-of feature, audition tapes

Quid Pro Quo (R, 2008, Magnolia)
A childhood accident left him paralyzed from the waist down, but radio personality Isaac Knot (Nick Stahl) has taken his injury, and all that it entails, in stride. But even a pragmatic guy like Isaac doesn’t know what to think when a semi-chance encounter lands him in the company of a heretofore-secret group of able-bodied people who not only sympathize with his condition, but wish they could trade places and assume his condition. It practically goes without saying, based on that outline, that “Quid Pro Quo” is an uncommon piece of work. Turns out, the distinctiveness is contagious, reaching past the plot and infecting the entire film with a strange mood that’s partially erotic and just as equally unsettling. Much as Isaac has stumbled upon an entire world he didn’t even knew existed, so have we, and if “Quo” excels at any one thing, it’s pulling the viewer close while constantly providing subtle reminders that the mood could turn on a dime at almost any time. Whether one likes “Quo” may come down to how much one likes its characters, but the strong reaction it commands — whether it be one of intense interest or intense disdain — makes it a hard film to forget no matter which side you take.
Extras: Deleted scenes, audition footage, an excerpt from the documentary “Whole,” storyboards, tulip montage (really, this is not a joke).

Street Kings (R, 2008, Fox)
Dumb movies aren’t always bad movies as long as something worth seeing is going on. Case in point: “Street Kings,” which is an extraordinarily dumb film about potentially slimy cops (Keanu Reeves, Forest Whitaker, Jay Mohr) who, while sorting out a mess that could bring the department down, say extraordinarily dumb things. Presumably, “Kings'” dialogue is meant to provide a layer of wit to a story that presumably doubles as some sort of sharp social commentary. It doesn’t, and not just because the story is nowhere near as smart as it thinks it is. But that’s OK. “Kings” is silly, but it’s a high-octane kind of silly that, predictable conclusion aside, entertains at a consistent clip right up to and past the ending. Your intelligence might be insulted and your eyes may roll, but if you’re hungry for some mindless entertainment that absolutely aims to please, you probably won’t be bored. Terry Crews, Hugh Laurie, Chris Evans, Naomie Harris, Common and The Game also star.
Extras: Director commentary, deleted scenes (with commentary), alternate takes, five behind-the-scenes features.

Deal (PG-13, 2008, MGM)
The Texas Hold ’em Hollywood cash cow gravy train is officially running on vapors with the release of “Deal,” a film about a washed-up, not-quite poker legend (Burt Reynolds) who flirts with his demons after taking a rising star (Bret Harrison) under his wing. If that sounds at all familiar, it’s because the plot of “Deal” is one of approximately three possible plot outlines for the glut of poker films that have spawned over the last four years. Sure enough, “Deal” also flashes some shameless product placement while trotting out the usual crop of poker stars for their awkward cameos. And yet, so much formula aside, “Deal” actually isn’t such a bad little film. Reynolds is fun to watch in spite of the creative restrictions cast upon his character, and the film avoids the impossibly fantastical poker scenarios that so many of its peers cluelessly dole out. Certain segments, in fact, are downright technical, and casual but hungry fans of the game might stand to learn a thing or two. But while “Deal” tells the same old story with more reverence than most, it’s still telling the same old story. If you’re waiting for someone to come along and invigorate a fast-fading genre, you’ll still be waiting when this one ends. Shannon Elizabeth, Maria Mason and Jennifer Tilly also star.
Extras: Poker tips feature.

Smart People (R, 2008, Miramax)
“Smart People” is, put succinctly, a coming-of-age film about a handful of people who, one exception (Ellen Page as Vanessa Wetherhold) aside, probably should have come of age quite a while ago. The plot isn’t so much a plot as it is a chunk of days in lives (Dennis Quaid as college professor Lawrence Wetherhold, Thomas Haden Church as his brother, Sarah Jessica Parker as one of his many, mostly unsatisfied former students) already in progress. Translation: It isn’t a story for everyone, and perhaps not worthy to some as being called a story at all. Similar words could be said about “People’s” sense of humor, which takes the word “dry” to new frontiers. That, of course, is only when the film actually has a sense of humor, which isn’t always and becomes increasingly occasional as the characters push ahead. So here’s the bad news: If you came here looking for another “Sideways” from the people who brought you “Sideways,” you might be disappointed by what you get instead. The good news is that when “People” wants to be funny, it often genuinely is, and when it tries to be sincere, it succeeds similarly and never at cost to a script that is, unlike the characters acting it out, very smart indeed. Ashton Holmes, Christine Lahti and Camille Mana also star.
Extras: Writer/director commentary, deleted scenes, interviews, bloopers.

Wide Awake (NR, 2007, Genius Entertainment)
In the last six months, two films have attempted to commercialize anesthesia awareness, a horrifying (and real) scenario in which a patient remains awake and cognizant of pain but unable to move or speak during surgery. The Hollywood version, “Awake,” was a decently entertaining but mostly blundering mess, and a shallow glance at the cover of the similarly-named “Wide Awake” might lead one to assume this is the Asian equivalent or inspiration. Thankfully, that assumption dies a quick death during “Wide Awake’s” very first scene, which is followed by an equally vicious second scene and a good handful more thereafter. Even with that said, “Wide Awake” is measurably less exploitative than “Awake,” eschewing that film’s dopey twists in favor of a smart, lean and genuinely tense mystery that spans 25 year but never feels excessively unwieldy. “Wide Awake’s” storytelling prowess is such, in fact, that it almost makes you forget about the horror of its opening scene. Rest assured (or not), though: Such relief not only is temporary, but prone to disappearing without warning. Unless you just received a clean bill of health from your doctor and won’t need to be near any hospitals anytime soon, proceed with caution. In Korean with English subtitles.
Extras: Deleted scenes, three behind-the-scenes features, interviews.

Jane Goodall’s When Animals Talk (NR, 2008, Animal Planet)
The notion that animals know more than we give them credit for isn’t exactly cult science anymore, but that doesn’t mean we can’t continue to stand amazed at just how much they really do understand. And amaze animals do in “Jane Goodall’s When Animals Talk,” which argues the merits of listening to animals and backs it up with some extremely convincing examples. “Talk” has an occasional tendency to preach its overlying message more than it needs to, and the way it seems to repeat itself between segments is a bit odd, but these are nitpicks. Once it settles into a story — be it about dogs who can sense cancer, parrots with psychic abilities or rats uncovering landmines without putting themselves in any kind of danger — it can’t help but drop jaws simply by illustrating the stories it’s telling. And for every story that amazes or amuses, there’s one that inspires, be it about pets who help kids learn to read or the rescue dogs who changed the face of the post-Sept. 11 recovery effort. “Talk’s” job couldn’t be easier, because these stories practically tell themselves, but that doesn’t make it any less exceptional of a viewing experience. No extras.

Bra Boys (R, 2007, Berkela Films)
Ever have one of those friends who, upon recounting some tale of mischief or wrongdoing, seems to omit just a few details that might taint their side of the story? Imagine if that friend instead told the story as a documentary, and you have some idea of what to expect from “Bra Boys,” which recounts the rise and spread of the Australian surf gang (yes, a gang of surfers) of the same name. As entertainment goes, “Boys” is pretty filling: The surf gang war culture is, especially if you had no idea it even existed, a fascinating phenomenon, and “Boys” decorates its story with some engaging firsthand accounts and some amazing (and sometimes graphic) footage. Problem is, the film is primarily the work of Sunny Abberton, who co-writes and co-directs… and also was instrumental in the formation of the gang that inspired this documentary, which more than anything else is about the tribulations of Koby and Jai Abberton. See a problem there? “Boys” doesn’t, and the bias is syrupy thick in favor of the gangs’ purported positive influence on its environment. Fun to watch though “Boys” certainly is, its truths should be taken with a grain of sand. Russell Crowe narrates. No extras.

Watching the Detectives (NR, 2007, Peace Arch)
As the owner of an independent video store, movie buff Neil (Cillian Murphy) sees plenty of excitement. Unfortunately, all of that excitement comes in video form, and any attempts to create some real-life thrills fall embarrassingly short. Enter Violet (Lucy Liu), who seems to have the exact opposite situation and plenty of excitement to pass around. Can Neil handle all that stimulation? More importantly, can you? Even more importantly, should you? Likeable though “Watching the Detectives” initially and semi-consistently is, it lacks a cuteness filter. One weird thing begets another, and once the zaniness starts to pile up, it becomes a bit much to bear. Considering all this weirdness is the movie’s main point of distinction, as well as a device to take the story down a rather predictable romantic comedy road, that’s no small problem to have. Though never wholly grating nor so weird that it cannot be understood, “Detectives” still feels like a lot of excessive wackiness just for the sake of it. By the end, exhaustion — and very possibly irritation depending on your threshold for cute overload — has settled in where gratification should be. No extras.

Kenny vs. Spenny: Volume One Uncensored (NR, 2007, Comedy Central)
Clarification-slash-trivia time: “Kenny vs. Spenny: Volume One Uncensored” is, in fact, the fourth season of a show that began life as a cult Canadian hit before Matt Stone, Trey Parker and Comedy Central got their collective hands on it. The premise from those first three seasons remains the same: Best friends Kenny Hotz and Spencer Rice challenge each other to ridiculous tests of endurance (who can eat the most meat, who can stay tied to a goat the longest, first guy to stop singing loses), with the loser suffering a humiliation as choreographed by the winner. Kenny cheats, Spenny complains and usually loses, and viewers are treated to the lowest form of television ever to grace Comedy Central. That’s not so much an insult as a statement of near-fact, because there’s no harm in enjoying such unbelievably crass stupidity if you take it for the monumentally guilty pleasure this is. Still, should you fancy such fare, you might wish instead to hunt down the past seasons’ DVDs, all of which were sold in Canada but never in the United States. Season four’s antics push the show to new levels of ridiculousness, but the new episodes also feel considerably more staged than the old ones.
Contents: 10 episodes, plus commentary, bonus footage, an unaired bonus competition and deleted scenes.

Worth a Mention
— “The Wire: The Complete Fifth Season” (NR, 2008, HBO): The worst thing about the final season of “The Wire?” Given how each season of HBO’s best show somehow managed to outshine the one that came before it, we can only speculate how incredible season six would have been. Season five presents the show one final new target, and it’s a big one. Mass media, your table is ready. Contents: 10 episodes, plus commentary, a documentary exploring the issues behind the season and a retrospective of the first four seasons.
— “South Park: The Complete Eleventh Season” (NR, 2007, Comedy Central): Meanwhile, the gang from “South Park” takes on such pressing issues as the Easter Bunny and head lice. This set contains the “Imaginationland” episodes, so if you wanted to own those but didn’t want to buy the self-standing “Imaginationland” DVD because you saw it for the double-dipping it was, your wait is over. Contents: 14 episodes, plus mini-commentaries.

Pete Seeger: The Power of Song (PG, 2007, Miriam Collection/Weinstein Company)
There exist plenty of serviceable biographical documentaries, which chronicle the life, times and contributions of the subject at hand and illustrate history through archival footage, photos and interviews with those who know him or her best and famous faces for whom he or she served as a primary influence. “Pete Seeger: The Power of Song” does all of these things, does them perfectly well, and, at least in the early going, seems content to do no more. Fortunately, Seeger’s multiple existences — folk singer, activist, suspected Commie traitor, Wall Street Journal subscriber, revolutionary musician — compel the story of his life to reach past convention, and “Song” sharply rises to the occasion after the table is set and acquaintances are made. What follows is a magnificent story about an exercise in free expression, the ironic wrath it brought forth, and how a seemingly simple folk singer inadvertently hoodwinked some very powerful detractors into accidentally reigniting the movement they foolishly tried so hard to suppress. “Song” is primarily a movie for people who love music, but it is just as much a film for those fascinated by American history — and the people who, even today, haven’t learned the lessons it tries to teach us.
Extras: Five short films from the Seeger family, deleted scenes.

Terminal City: The Complete Series (NR, 2005, Koch Vision)
Talk about your busy days. Within minutes of receiving confirmation that she has breast cancer, Katie Sampson (Maria del Mar) stumbles uninvited into the lens of a reality show that happens to be filming at the same hospital. As it happens, the camera loves her, and almost overnight, Katie has to simultaneously reconcile the effects of an unprecedented scare and a similarly unprecedented opportunity. The narrow, high-concept premise of “Terminal City” seems better suited for a film than a television series. As always, though, a good cast of characters sustains even the most acute of gimmicks, and between Katie’s family, Katie’s partners in television and most certainly Katie herself, this one isn’t hurting at all in that department. “City” cannot quite decide whether it wants most to be a quirky slice of life, a straight-faced family drama, a serious look at the realities of living with cancer, something in between or something else completely. Fortunately, the show balances its multiple desires with enough care so as to give each of its personalities plenty of ground to cover. What was that again about “City” not having enough material to sustain itself as a series? Never mind. If anything, with only 10 episodes to its name, “City” leaves long before it could ever overstay its welcome. Contents: 10 episodes, plus cast/crew interviews.

Code Monkeys: Season One (NR, 2007, Shout Factory)
“Code Monkeys” is a show about a video game about a group of people who make video games. Confused? Don’t be. It’s pretty easy to understand once you see it in action, and you can ignore the game-within-a-show gimmick and just focus on the characters if you’re still confused and so wish to do so. Problem is, with the gimmickry stripped away, “Monkeys” is just an animated sitcom about an upstart video game company in the early 1980s, and it’s a rather stupid one at that. The characters, though likeable, are pretty one-dimensional, and the jokes rarely reach beyond bathroom humor and sight gags. “Monkeys'” real genius lives and dies with that gimmick, which gifts the show with a dense trove of obscure references and nods aimed at anyone who played the games of that era. For every lame joke “Monkeys” trots out, there sit at least two or three winks ready to compensate. That, along with the nifty pixelated visual style straight out of the Atari 2600/Nintendo Entertainment System era, transforms what should be a completely forgettable show into a strange treat gaming fans would do right to check out.
Contents: 13 episodes, plus behind-the-scenes feature, gaming tips, daily pranks feature, DVD-ROM content (“Monkeys”-inspired games, wallpaper and downloadable posters).

Nim’s Island (PG, 2008, Fox)
For as long as she’s been alive, Nim (Abigail Breslin) and her scientist dad (Gerard Butler) have held court almost exclusively on their own private island. That is, until a series of strange but disconnected events finds Dad lost at sea and Nim unexpectedly charged with protecting the land from an invading force while simultaneously enlisting the help of an adventure writer (Jodie Foster) who isn’t nearly the person she (or, for all Nim assumes, he) seems to be in print. Huh? Don’t worry: It makes more sense on film than on paper, and the result isn’t half bad, either. Say this for “Nim’s Island:” It’s an adventure film aimed at kids and families that relies on actual human characters with personalities instead of the mind-mushing computer-generated visual excess that seems presently to be the unfortunate norm. The busy story is flawed from top to bottom — mainly thanks to the strange pacing and stacking of major plot events, but in no small part due to repeated misguided attempts to entrust Foster with comic relief duties. But even when she utterly fails at comedy, Foster’s character is likeable. Same goes for Nim, even when in full brat mode, and Dad, who keeps the film glued together despite never being the main attraction. When your three main characters are worth rooting for, something must be working, right?
Extras: Breslin/Foster commentary, writer/director commentary, deleted scenes, three behind-the-scenes features, PSAs.

Queen Sized (NR, 2008, Lifetime/Anchor Bay)
When fat girl Maggie Baker (Nikki Blonsky) finds herself nominated for Homecoming Queen as a prank by some girls from the popular crowd, she sees it as just another cruel prank to ignore. Her friends and supporters, however, see it differently — specifically, as an opportunity to rouse up the disenchanted, win the election and shame the pretty crowd. This should be fun … right? No? Too bad. “Queen Sized” purports to be based on a true story, so some loyalty to source material is to be expected. But no amount of loyalty can justify “Sized’s” need to constantly lead the viewer around by the nose, telegraphing every plot turn and transparently laying bare every character’s simplistic motivation in case you can spell it out yourself. Given the storyline, which is both singular in dimension but ripe for irony, “Sized” had every opportunity in the world to develop a subversive or wicked streak that wouldn’t have interfered with its desire to be likeable. Sadly, it never comes close to doing so, instead resorting to painful levels of overacting, excess mugging, repetitive storytelling devices and pages of “This is how I’m feeling in case you can’t tell” dialogue. Ultimately, what should have been a riotously fun message movie feels instead like something carefully prepared for stupid people or folks who have never seen a movie before. If you’ve managed to read this far, that isn’t you, so keep reading. No extras.

Worth a Mention
— “I Got the Feelin’: James Brown in the ’60s” (NR, 2008, Shout Factory): The latest thing of beauty from Shout Factory compiles three James Brown concerts, including the legendary Boston Garden show that took place one day after the 1968 assassination of Martin Luther King, Jr. Also included in this three-disc set: The VH1 documentary “The Night James Brown Saved Boston.” Extras include bonus documentary interview footage, a panel discussion from the film’s premiere, and bonus Brown performances and audio.
— “Biography: John McCain” and “Biography: Barack Obama” (NR, 2008, A&E): Each DVD, sold separately, contains the respective candidate’s 47-minute “Biography” episode, but nothing else. It’s a shame the two episodes weren’t bundled together on a single, bipartisan and far more compelling disc.
— “Star Trek: The Original Series: Season Two: Remastered Edition” (NR, 1967, Paramount): In space, no one can hear you complain that you bought inferior versions of these “Star Trek” seasons just a few years ago. Contains 26 remastered episodes, plus home movies, episodes from both “Star Trek: The Animated Series” and “Star Trek: Deep Space Nine” and four collectable data cards.
— “I Love the 80s” collection (PG/PG-13, 1984-87, Paramount): Don’t get too excited: Beyond the cheesy new packaging, there’s little compelling about the latest DVD go-rounds for “Footloose,” “Pretty in Pink,” “Ferris Bueller’s Day Off,” “Top Gun” and “Some Kind of Wonderful.” Each is sold separately rather than in box set form, and only the last two on that list sport anything in the way of special features. Considering each of these films is available in more feature-rich iterations, it’s hard to understand who is supposed to want these versions.

Surfwise (R, 2008, Magnolia)
Contrary to what the title, DVD art and pastimes of just about everyone who plays a principle role in the film imply, “Surfwise” is not a documentary about surfing. It isn’t even really about suffers. Rather, it’s about a dad (Dorian “Doc” Paskowitz), the lifestyle philosophy he embraces, the woman he marries, the nine children they produce together, and the consequences that philosophy has on a family full of kids who existed outside of the system and the boundaries of what most would consider a normal upbringing. Were “Surfwise” simply a document of Doc’s lifestyle and approach to family-rearing, as most of the film’s first half is, it would have been a perfectly engaging piece of insightful entertainment. But when the shift turns to the kids, now grown, and the various effects that upbringing had on each, “Surfwise” enters an entirely new plane of must-see filmmaking. Every single Paskowitz who graces the screen — patriarch, matriarch, children, siblings, in-laws — has a couple cents to share, and the diversity and conviction of those opinions, as well as which side you take in the end, will keep you thinking and talking about “Surfwise” long after it ends.
Extras: Filmmaker/Salvador Paskowitz commentary, outtakes, behind-the-scenes feature, Surfers Healing PSA.

Rolling Stones: Shine a Light (PG-13, 2008, Paramount)
As is the case with most concert films, there’s little use in reviewing “Shine a Light,” which captures the Rolling Stones on stage through the eyes of one Martin Scorsese. If you like the Stones — or more accurately, if you’ve ever experienced them on stage and understand the full might of what that experience entails — “Light” almost certainly will touch the right nerves. It’s a bounty of gorgeous cinematography given the limitations of the genre, and in case this doesn’t go without saying, it sounds pristine. Though preceded by a brief look behind the scenes and punctuated by various clips from the band’s past, “Light” overwhelmingly keeps the camera trained on the stage. The lack of backstage material once the show starts is an arguable point of contention, and Stones fans of different stripes will inevitably lament the omission of one song or another from the set list. That said, the Stones haven’t lasted this long by putting on so-so shows, and “Light’s” ability to illustrate this in spite of the unavoidable disconnect enforced by the medium is, overwhelmingly, its greatest asset. Forgettable songs from the Stones’ recent catalog take on new life on stage, while a few selections (namely a beautiful rendition of “As Tears Go By” and a thunderous cover of “Champagne And Reefer” with Buddy Guy) may have you running back to the store to pick up the soundtrack.
Extras: Four bonus performances (including an awesome rendition of “Paint it Black”), behind-the-scenes feature.

Harold & Kumar Escape From Guantanamo Bay: Unrated Two-Disc Special Edition (NR, 2008, New Line)
One might assume that the art of making stupid comedies is no art at all. But if that’s the case, why are so many of them so bad, and what in the world is it about “Harold & Kumar Escape From Guantanamo Bay” that makes it so good? It is, in fact, art in motion — in this case, the ability to reach past cliché, sidestep the usual vat of gross-out comedy devices, and come up with something that’s both incredibly stupid and ingeniously self-aware at the same time. Outside of a few unfortunate slips (including, alarmingly, the film’s very first gag), “HKEFGB” demonstrates an understanding of this art with almost miraculous consistency. Or maybe the writers just got lucky and we’re giving them too much credit. Doesn’t matter. If “Stoner Comedy” was an Academy Award category, “HKEFGB” would be commanding Oscar buzz, and Neil Patrick Harris would be in line for a lifetime achievement award for once again stealing the show as himself. John Cho, Kal Penn, Paula Garcés, David Krumholtz and Eddie Kaye Thomas reprise their roles from the first film, and Rob Corddry, Roger Bart and Danneel Harris join the fray.
Extras: In what amounts to one of the more inspired bonus features in DVD lore, the first disc contains a horde of extra scenes and the ability, should you choose, to completely change the story’s direction using those scenes. Also: Theatrical and unrated cuts, two commentary tracks, deleted scenes, one behind-the-scenes feature, digital copy.

Barrio (NR, 1999, Studio Canal/Lions Gate)
Any bored teen or former bored teen can relate to the plight of Rai (Críspulo Cabezas), Javi (Timy Benito) and Manu (Eloi Yebra), who face a hot summer of nothing to do and so much to think about as they seek out signs of life in their working-class Madrid neighborhood. For the most part, that’s all “Barrio” is: Three teens passing time while doing that whole coming-of-age thing teens often do in movies. With one arguably regrettable exception, nothing truly seismic happens to any of the boys. But teen angst, tedium and the threat of a directionless day are a dangerous and entirely resonant combination, and even when nothing presumably is happening, “Barrio” still manages to inspire a sharp sense of curiosity about what will happen next. That’s a credit not only to the film’s ability to capture the moment, but develop its characters in all the right ways. When you shower your cast with the attention “Barrio” gives its chief threesome, heavy plot turns and other contrivances aren’t terribly necessary. And when something big does happen, it’s not necessarily a welcome development, even if it gives you something to talk about after the credits roll. In Spanish with English subtitles. No extras.

Parking Wars: The Best of Season One (NR, 2008, A&E)
The latest reality sensation to hit A&E — which at this point should just change its name or find new words to represent the “A” and “E” — follows the Philadelphia Parking Authority as it issues tickets, breaks out the boot, impounds cars and incurs the wrath and jeers of a not-so-adoring public. Set alternately on the streets and at the impound lot, “Parking Wars” simply rolls camera while the PPA does its job, and the result is what you’d expect: a thankless profession in which no excuse goes unmade and, in the case of the impound lot, no obscenity goes unbleeped. “Wars,” as even the name implies, is a train wreck with zero nutritional value outside the random bit of parking trivia. Fortunately, the producers seem well aware of the fact, inserting ridiculous sound effects and other silly tricks that typically are the domain of a “Saturday Night Live” skit making fun of reality television rather than actual reality television. Cringe-worthy though that may sound, it works for this purpose. “Wars” is trash television under any pretense, and if you’re going to make rubbish, you might as well go all the way and do it with pride. The tongue-in-cheek approach transforms a potential disaster into the arguable guilty pleasure of the season — no small feat given the present reality television landscape.
Contents: Seven episodes, plus 30 minutes of bonus footage.

Doomsday: Unrated (NR/R, 2008, Universal/Rogue)
Stop if you’ve heard this one before: A virus has wreaked havoc on the populace, and affected citizens not lucky enough to make it into walled-off cities of the future have created their own society of cyberpunk savagery and anarchy. A clash between the two societies was inevitable, and so here we are. To be fair, “Doomsday” does a few things differently, most particularly due to a mid-movie twist that significantly changes the landscape and rules of engagement. But when your film never stops moving for nearly two hours, it’s bound to do at least something different. Anyone on the fence about “Doomsday” already can glean that it’s a B-movie paying homage to well-worn concepts. But if you expect something — anything — more than an impenetrable wall of loud noise, mindless action, obnoxiously bad design and painful amounts of screaming, grunting and mugging, now’s the time to put that hope to bed. Despite all that “Doomsday” crams in, no allowance appears to have been made for character, subversion or even a sense of humor, any one of which would have done wonders to break up all that endless noise. As such, the resulting experience feels more like a blaring migraine than the guilty pleasure “Doomsday” should have been.
Extras: Theatrical and unrated cuts, cast/director commentary, three behind-the-scenes features.