1.85:1 Widescreen

“You may only see it once but that will be enough”

That was the marketing slogan for the first Friday The 13th film in 1980. Apparently they couldn’t have been more wrong, because most of us have seen the film countless times, and no, it was never enough. The franchise would thrive with over 10 sequels or affiliated films, taking us right up to the present remake/reboot of that very first outing at Camp Crystal Lake. No, my friends, once was never going to be enough.

In my life, I have been married and divorced once. Quite simply, I made my share of mistakes and in my opinion, my ex-wife made some mistakes as well. It just never worked like one thinks a marriage should work. Instead, it left me broken but more importantly it left me a lot smarter and a better person. So naturally, I felt some connection to the broken marriage plot of the movie Fireproof. However, would my experience or failure in the art of marriage provide a bias to this film? We will just have to find out.

What a great time it was to be a teen in the late 1970’s. No, I’m not referring to disco music. It was a great time to go to the movies. It was the culmination of the perfect date, and Hollywood was riding the beginning of a trend that remains alive and healthy today. I’m talking, of course, about the slasher film. You could argue that Hitchcock started the ball rolling in 1961 with Psycho, but it would be decades before that film would find its true audience and plethora of imitators. Although The Texas Chainsaw Massacre and Halloween came before Friday The 13th, can it be argued that any horror film franchise is as widely known?

Top Secret comes to DVD in a new "I Love the '80s" edition. The film continues the legacy of David and Jerry Zucker and Jim Abrahams as kings of sight gags and the ludicrously unexpected. Made in 1984, the film stars a young Val Kilmer as rocker Nick Rivers, an artist so clearly modeled after Elvis that he even sings potential lover Hillary Flammond a spoof version of "Are You Lonesome Tonight".

"When you give up your dream, you die."

Jennifer Beals and Michael Nouri star in Flashdance, a misguided, but highly entertaining piece of nostalgia from director Adrian Lyne (Fatal Attraction).

A lot has happened since its 1983 release. Still, it’s hard to imagine anyone that grew up in or around the eighties has escaped the iconic image of Beals in her cutoff gray sweatshirt, long legs bared for the world to see. Harder to imagine is people exist who could have made it their whole lives without hearing at least one song from the amazing (for the times) soundtrack.

Welcome to 1972, when the sexual revolution is simultaneously in full swing, yet also showing signs of exhaustion (all that swinging can wear a body down, don’t you know). Barbi (Anna Biller) is a model housewife who is awakening to the feeling that there is a world outside her four walls. When she and her husband have a falling out, she hooks up with her more extroverted neighbour Sheila (Bridget Brno), who is also in the midst of a marriage crisis, and the two of them seek new love by taking work at an escort agency. What follows is a picaresque series of encounters, with nary a sexploitation angle ignored.

My place of birth was in Jamaica, NY in the summer of 1975. However, my parents decided to move me around a bit and where I grew up was actually a lot more south than that. Many times in my youth I visited New York to see my grandmother and wondered (often aloud) what it would be grow up in New York rather the suburbs of a southern state. My grandparents would tell me stories, my dad would tell me stories as well as people within earshot of my curiosity. Films helped in this respect too and another fine film about that experience ended up in my hands.

Woody Allen lands a terrific cast with his latest attempt at comedy, Vicky Cristina Barcelona, but there is something very off about the way these characters are written. Annoying pretentious dialogue renders a whimsical, fairy-tale-like backdrop ineffectual, causing each moment of silence to come all too slowly.

Christopher Titus lands in stores just in time for Valentine’s Day with his most recent concert tour Love Is Evol. “Tonight could fix your relationship, or end it,” he says at the opening of the performance. “Either way, you’re welcome.”After discussing the recent developments of his life with tongue planted firmly in cheek, he backs this opening promise up with nearly an hour and a half of comedy that is equal parts storytelling, punchline, and attitude.

“Four cops down: two dead, two likely. An NYPD drug bust has gone horribly wrong.”

That’s how this gripping drama opens. Not since the likes of Al Pacino in Serpico has there been a movie anything at all like Pride And Glory. This film doesn’t pull punches, and it looks about as real as any police drama I’ve seen anywhere before. Filmed entirely on location in the seedy streets of New York City’s Washington Heights district, there is enough gritty realism to go around.