Disc Reviews

Having accidentally caused the death of her mother, Helen (Jenny Neumann) develops an unhealthy fixation with broken glass. Now an adult and an aspiring actress, she auditions for a role in an absurdist play. She gets the part, and also the attention of her handsome co-star. But then someone starts killing off the cast and crew of the play. Is it Helen?

It isn’t really venturing into spoiler territory to reveal that the answer to that question is “yes.” It is just one of the many odd aspects of this Australian slasher flick that the murders are staged in such a way (often, though not always, in first person) as to conceal the identity of the murderer, while the story makes it clear that there is only one person who could be responsible for the deaths. It then has the nerve to reveal Helen as the killer, right at the end of the film, as if this is some kind of surprise. Imagine if Halloween had concluded with the statement that “The murderer is... Michael Meyers!” and you have the idea. Meanwhile, the editing is frequently disorienting, with the 180-degree rule being violated on a number of occasions, and any sense of geography going right out the window (unless we really are supposed to believe that the critic’s home is an annex of the theatre itself). The storytelling is extremely choppy, with the film being broken up into short, barely developed scenes that have very little connective tissue between them. And as far as the plot itself goes, it’s a typical 1980 slasher in every way, just with Australian accents.
Now having said all that, the theatrical setting does add a measure of interest, and there are moments that call to mind Michele Soavi’s later Stagefright (1986). While the latter is by far the better movie, Nightmares (which was also, by coincidence, known as Stagefright) really comes alive in the rehearsal and performance scenes, with some genuinely witty barbs thrown out at the theatrical world, and some striking camera compositions tossed into the mix. So while this film will remain of interest primarily to fans of the 80s slasher movie, said fans will find just enough different here to make the film worth checking out.

By Natasha Samreny

Scent of a Woman is a rich example of classic storytelling maintaining its power through the years. In this American remake of an Italian tale, Al Pacino, Philip Seymour Hoffman and Chris O'Donnell continue to captivate. If you love the film already and want to make it part of your collection, consider its HD-DVD or Blu-ray versions, released later. It seems neither color nor sound were improved for this film until then. To fans' dismay, Universal has yet to update any discs with special features beyond the outdated text-centered cast/crew list and bios.

An ancient facility beneath Antarctica becomes the launching platform to the lost city of Atlantis. Atlantis is buried beneath an ocean in another galaxy and can only be reached with an additional symbol on the Stargate. Because of power limitations this trip, at least for the time being, is a one-way adventure. A crew of scientists and military officers from many countries assemble to explore the Pegasus Galaxy from the Atlantis gate. Led by scientist Dr. Weir (Higginson) and Maj. John Sheppard (Flanigan) they take over the Atlantian command center and begin to explore. In their initial investigations they accidentally awaken the area’s top bad guys, the Wraith. These vampire-like beings suck the life-force out of humans.

When Stargate SG-1 was about to enter its ninth year, there was speculation that after season 8 the series would bow out gracefully with the anticipated exit of Richard Dean Anderson. With that plan in mind, the folks at Stargate Command decided it was time to spin off the franchise, and so was born Atlantis. Stargate Atlantis boasts pretty much the same production team as SG-1. The quality of the production and tight storytelling have translated well to this sister series. Stargate Atlantis took a little getting used to. I wasn’t sure the characters had enough chemistry or were even dynamic enough to carry the high expectations for a Stargate series. Those concerns eventually evaporated by the time Atlantis began to live without the SG-1 companion series. These characters really took off, and they’ve developed into nearly as strong a group as SG-1 ever was. Now with Atlantis available on high-definition Blu-ray, you’ll have the chance to explore where the show from beginning to ending.

"The die was cast. If I just said City Hall the story would end here. But I didn't, and Betsy and I took our fateful trip to Vegas."

Everyone remembers the 1993 provocative film Indecent Proposal with Robert Redford as the rich playboy who offers Woody Harrelson a million bucks to spend a night with his wife, played by Demi Moore. The movie created quite a stir, and more than a little water cooler conversation about what you might do in that situation. What most people overlook, however, is that same kind of situation appeared a year earlier with a more romantic-comedy take in Andrew Bergman's Honeymoon in Vegas. It wasn't one of Bergman's best and certainly not one of his most remembered films. Who can’t argue that The Freshman, The In-Laws (writer), and even Fletch (writer) were better movies? But you can't escape the fact that Bergman was the first to offer up the conundrum that faced Moore and Harrelson a year later. But you probably don't remember Honeymoon In Vegas. Not many folks do if the box office numbers are any indication. Now you have a second chance with this latest wave of catalog titles from MGM now out on Blu-ray.

"As people flocked together for safety, the plague marched through their locked gates and they became death traps. When Washington fell it was over for America as we knew her. As government blew away, our great leaders ran for it, and hope was abandoned."

"One morning in 1940, the entire population of Friah, NH walked north up an unmarked trail into the wilderness. Some were later found frozen to death. Others were mysteriously slaughtered. Most, however, were never found."

It's legends like these that usually mean we're about to embark on another Blair Witch journey into the woods in search of some deep dark secret. It means it's time to brace yourself for some "found" footage. It's going to be shaky and rough and leave your eyes or head (or both) hurting by the time the experience is over. Thankfully, co-directors Jesse Holland and Andy Mitton decided that they could tell the same kind of story without taxing the endurance of disorientation of their audience, at least not in a visual sense.

Dave “The Animal” Bautista has had a fairly interesting life. Most people know him for his wrestling accolades even though his career only lasted about ten years. It is hard to believe that at one time, he was passed on by WCW and said he would never make it in the wrestling business. He would go on to be the six-time World Champion and a four-time Tag Team champion as a part of WWE. However, he departed with the company in 2010 to pursue other avenues including an acting career which made its way to my review door. Let’s explore: House of the Rising Sun.

Ray (played by Dave Bautista) takes a long drag on his cigarette. Sometimes he is not sure how his life got to be like this. He used to be a Vice cop who ended up getting jailed for being on the take. Now, trying to live a normal decent life he takes on a job as head of security for a strip joint called “House of the Rising Sun”. Unfortunately, Ray looks the other way a lot here too since this joint also runs prostitution and illegal gambling.

"What is source code?"

That's a good question. Unfortunately, there really isn't a good answer, not without spoiling some of the finer elements of this science fiction thriller from Moon director Duncan Jones. At the heart of this code you'll a bit of the familiar. From Groundhog Day to Déjà Vu you'll leave this movie with a sense that you've seen much of this before, and that's not entirely a bad thing. These elements aren't necessarily merely retread material. Let's just say they share a large amount of DNA in this film's basic source code.

"Obviously, I miscalculated a few things. Why is it that the moment your life exceeds your wildest dreams the knife appears at your back?"

You've heard the myth that we only use about 10% of our brains so often that most people actually believe it's true. It's one of those old wives' tails that has been around long enough to become an axiom. We actually do use considerably more than 10% of our brains, or should I say, most of us do. But it is true that we don't utilize anywhere near all of it. So what might happen if we could? How might that improve our lives? After spending almost a couple of hours watching Limitless, I might have to become a tad more content with whatever percentage I'm using right now. In fact, maybe it might be a good idea to lower it a little.

“Zippedy Doo-Dah. Zippedy Yay. My, oh my, I got a wonderful slave.”

I’ve never really been a big fan of director Gary Marshall’s films. I prefer his work as a producer of classic sitcoms, like The Odd Couple and Happy Days. Marshall’s most popular film, Pretty Woman, plays off the Cinderella cliché a little too much for my taste, with a man ultimately finding and saving a woman by redefining her. Three years before Pretty Woman, Marshall explored these same themes in Overboard, but instead of slick fantasy salvation at the hands of a wealthy Richard Gere, the redemption comes from a misogynistic and cruel Kurt Russell.