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"The heat is on..."

Precocious teenage girls are movie mainstays for a few reasons. They tend to be cute, for starters. They give young audiences someone to identify with and perhaps envy, because the movie girls get to say and do things that would get their real-life admirers grounded at best, imprisoned at worst. We have our favorites, of course, going all the back to The Bad Seed, The Children’s Hour and the original Lolita. More recently, we’ve been perversely charmed by sexually manipulative antiheroines such as Christina Ricci in The Opposite of Sex, Maggie Gyllenhaal in Happy Endings, Mina Suvari in American Beauty and Ellen Page in Juno. These characters have little in common except that they were captivating on screen and well treated by their screenplays.

As often as not, the genre requires the young woman to be a fish out of water, perhaps relocated from a big town she likes to a small one she despises. Her story, like that of male counterparts in similar youth-market efforts, is designed to put the “coming” in “coming of age.” You know the bit: Sexual awakening is an awkward, confusing process fraught with physical and emotional peril. But there’s a fine line between useful familiarity and plain old cliché. Unfortunately, Daydream Nation can’t decide whether it wants to be radical, routine or ridiculous.

During the Korean War, a platoon led by Laurence Harvey and Frank Sinatra is captured and sent off to Manchuria. Here the men are brainwashed into believing that Harvey saved them all in an incredible feat of heroism (which he did not) and that he’s a loveable guy (which he isn’t).The unfortunate Harvey is programmed to become a remote-control assassin. Back in the States, Sinatra is plagued by nightmare memories of the experience, and gradually comes to believe that something … really did happen. The question is whether he and Harvey can solve the mystery and discover the target before Harvey is triggered.

The Manchurian Candidate accomplishes a spectacular balancing act. It is simultaneously one of the most intense suspense thrillers ever to emerge from Hollywood, and an absolutely corrosive satire. Said satire is all the more brilliant for savaging both the extreme right and the extreme left of the political spectrum. Also of note is Angela Lansbury’s ferocious performance as Harvey’s gorgon mother. Only 37, and but three years older than the man playing her son, she is utterly convincing, and a villain for the ages. Unquestionably, this is director John Frankenheimer’s masterpiece.

"You unlock this door with the key of imagination. Beyond it is another dimension— a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into the Twilight Zone."

In 1972 he made us an offer we couldn't refuse. A couple of years later he followed it up with one of the finest sequels in Hollywood's history. Of course, I'm talking about Francis Ford Coppola. His movies are often considered epics. When Coppola paints, he tends to paint big. But it wasn't always like that for the once young director. He learned his trade, oddly enough, from the master of the B movie, Roger Corman. It was there that he learned to do more with less. It was there under the tutelage of Corman that Coppola and Jack Hill gave us one of the most atmospheric films to come out of the B movie machine: Dementia 13. It was another one of Corman's attempts to squeeze everything he could out of his resources. Coppola was working, mostly as a sound designer, on Corman's The Wild Racers. He offered Coppola the remaining resources to crank out one of his quick specials. Coppola put together a quick script that was intended to capitalize on the Psycho craze of the time.  The result was a creepy film that might have been better than the feature the funds came from, at least horror fans think so.

Louise (Haloran) is arguing with her husband in a row boat when he has an inconvenient heart attack and dies. The inconvenience for him is quite obvious. For Louise it means she won't be getting her hands on any of his family's money when Mother (Dunne) finally kicks the bucket. So Louise develops a quick plan. She dumps hubby in the lake and arranges things so it looks like he had to leave suddenly for business in New York. Meanwhile, she'll stay with his family at their castle and estate in Ireland. But, things don't go as planned. The family is still mourning the death of Kathleen (Dowling) many years ago in a drowning incident. Each year they have a private little ceremony, and the event has shaped their very existence at Castle Haloran. There's also someone with an axe to grind, preferably in the heads of unlucky victims. Good old family Dr. Caleb (Magee) plays detective and has the pond where Kathleen died drained, revealing an even deeper mystery. Who killed Kathleen and now members of the Haloran clan and anyone else unlucky enough to be in the wrong place at the wrong time?

Recently, I saw the brand new live-action film of Thor in 3d on a giant IMAX screen with some close friends (watch for the Hawkeye cameo!). All of us thought the movie was pretty good (though we really didn’t see the point of 3d, big shock). As to be expected, I knew (and hoped) an animated feature of Thor with his big hammer was right around the corner. However, when I received said feature, Thor was right on it, but he was holding a sword? This requires some further analysis.

We open the film to somewhere in Asgard, Thor is fighting a bunch of warriors, armed with swords. The shot suddenly pans up to an appreciative crowd. This would be what one would call a spectator sport. Thor goes back to playing for the crowd and even loses his sword in the process. But one of the combatants lets him pick back up his sword and continue the fight. This is also the time when Sif, a female who is handy with any weapon, shakes her head and walks out of the arena.

The real world will try to teach us many things. It teaches us that only two things are certain, death and taxes. Unfortunately, one of the things that is not always certain is the wonderful mystery of love. Sometimes, it lasts for a lifetime but more often than not it can be a cruel device and become fleeting. The movie, Blue Valentine deals with this difficult subject and explores one such relationship that is clearly on the ropes.

Frankie (played by Faith Wladyka) screams for her daddy. She yells again. The girl makes her way back to the house and crawls inside using the window. She finds her dad, Dean (played by Ryan Gosling) asleep on the couch. Frankie wakes him and they go outside and we realize that their dog, Meagan is gone. They go back inside and try to wake the mother, Cindy (played by Michelle Williams). She resists but eventually stirs.

Of all the straight-to-video titles I didn't expect to see, Street Kings 2 would be high on the list. The original film was a predictable film with bad pacing. The box office was no better. That film pulled in about $26 million and quickly faded into obscurity. But here we are two years later and the title has been attached to a direct-to-video release from Fox. None of the original characters or actors are found here. The title merely suggests a similar story, this time in the Motor City, Detroit.

The film opens with a drug bust gone horribly wrong. Detective Marty Kingston (Liotta) is injured in the violence and spends his recovery at a desk and playing a department crime dog mascot at elementary schools. When his partner turns up shot and killed, Kingston injects himself into the investigation led by a green detective Sullivan (Hatosy). At each turn the investigation appears to paint an ugly picture of the deceased detective. He was as dirty as they come and mixed up in all sorts of seedy deals. It seems hard to believe that Kingston wasn't aware of his partner's dirt. Then other cops implicated in the corruption end up killed, and soon we understand Kingston's motives for being a part of the case.

There are a lot of films that I never expected to see on Blu-ray, at least not for many years. With so many blockbusters still not available in high definition, it's not reasonable to expect that some of the gems you've loved for years, but with limited marketability, would soon find their way to your home theater in HD. If you had asked me a short time ago to list some of those treasures, I think that The Terror would have easily made the list. This is one of those times that it feels good to be wrong, and The Terror might end up being the best surprise release of the year.

Lt. Andre Duvalier (Nicholson) has been separated from his regiment in Napoleon's French army. He finds himself somewhere in The Baltics on the coast. He's tired and near exhaustion when he spots an attractive young woman named Helene (Knight). She leads him to fresh water and a chance to rest. But when she leads him into the surf and disappears, the young soldier is nearly killed. He's rescued by an old woman named Katrina (Neumann). When he tells her about the girl, he's admonished that there is no such person in the area. But he sees her again, and once again is nearly led to his death. Finally a servant of Katrina's tells him he will find the girl at the castle of Baron Von Leppe (Karloff).

"In the beginning there was darkness. And then bang, giving birth to an endless expanding existence of time, space, and matter. Now, see further than we've ever imagined. Beyond the limits of our existence. In a place we call The Universe."

The History series lasted for five seasons. The show used modern space photography, computer-generated images, and demonstrations along with respected scientists to explore the various aspects of our universe. While more time is spent in our own back yard exploring our solar system, the series did take us to the outer reaches of space, going back about 13 billion years. That's as far as we're able to see. The show was narrated by Erik Thompson. Of course, there is plenty of narration by the scientists.