In the 1990s, the French action films of Luc Besson (La Femme Nikita, Leon: The Professional) and Euro-centric offerings like John Frankenheimer’s Ronin provided a sleeker, more exotic alternative to the outsize, muscle-bound exploits of Stallone, Schwarzenegger and Van Damme. Besides movies with the words “Fast” or “Furious” in their title, American action flicks have mostly moved away from lo-fi, knucklehead thrills and turned to PG-13 heroes in CGI adventures. Meanwhile, European filmmakers have stayed in their stylish, car/foot-chase-loving lane. The result is entertaining yarns like The Prey/La Proie, which stands out thanks to its thuddingly simple action movie pleasures.

Sure, Franck. You can trust me.”

One of the most famous men who ever lived is responsible for over 200 movies and TV shows, yet there has never been an autobiographical film until now. He has been loved and revered for over 100 years, but much of his life is shrouded in privacy due to the constraints of the times in which he lived. The books Oliver Twist, A Tale of Two Cities, David Copperfield, Great Expectations, A Christmas Carol and others are towering achievements in English literature. We finally can now see what Charles Dickens might have really been like.

Dickens was a good-natured, goodhearted, and hardworking author who seemed to be always in motion and focused on producing and being positive. He had 10 children, and his memories of a difficult period in his youth always motivated him to be earning and never be poor. He achieved his goals but stayed on track to always try to maximize his impact and effectiveness. As a result he was like a rock star of the late 19th century in the level of his popularity.

In 1999 I remember standing in line at the Tampa Theatre waiting to see The Blair Witch Project; the line wrapped around the corner.  All of us were anxious to see this film that was cloaked in so much mystery with an internet marketing campaign that manipulated so many to believe that the film we were all about to watch was in fact all true and was all found footage being released onto the big screen.  The Blair Witch Project wasn’t just a success, it was a smash hit, and it changed the way we view cinema, where we all saw that all you needed was a camcorder and a clever hook, and any regular Joe could create a hit film.  Now the found-footage genre is in fact its own genre at this point, and many young up and coming filmmakers are plundering the genre for all it is worth.

It’s been 15 years since The Blair Witch Project was released, and keeping the genre alive, we get Black Water Vampire released onto DVD.  The film is set up nicely as an officer talks about a crime scene he is at and goes into great detail concerning the victim, found dead and naked in the snow, drained of all her blood.  She has a wound that leads the officer to believe she was bitten by some animal, but is it the cause of death?

Location, location, location! The notion that a desirable geographic spot can make a huge difference isn’t exclusive to the world of real estate. Take, for instance, Crossing Lines. At first glance, the show fits comfortably alongside any number of American police procedurals that feature curiously attractive cops and a fresh set of dead bodies each week. It’s a formula that’s worked for decades, so it’s hard to argue for a complete overhaul. The best fans can hope for are clever tweaks to help new shows stand out from the crowded cop show lineup. Crossing Lines accomplishes this by taking all the fake corpses you’ve seen on New York and L.A. streets and scattering them across Europe.

“Like all good stories, this one starts with a beautiful woman. Young, adventurous, full of life…unfortunately, this story also starts with the end of that life.”

Steven Bochco is no stranger to innovative television. Hill Street Blues is arguably the best cop show ever made. Even his failures are praised for their innovativeness and freshness. Remember Cop Rock? NYPD Blue didn’t just push the prime time envelope. It tore the envelope to pieces and blew it away with hurricane-force winds. George Carlin made a career out of his “Seven words you can’t say on television”. Along comes NYPD Blue and Carlin just might have needed a new act. Language and nudity made this the first R-rated prime-time program. The pilot arrived with a flutter of controversy. Morality groups were vocal, and sponsors were scarce. Twenty percent of ABC’s affiliates refused to show the pilot at all. When you watch these DVDs, it’s hard to understand what all the noise was about. Today this stuff is the tame and more like the norm, and once again Bochco changed TV forever.

When the fourth season of NYPD Blue arrived on DVD it was June of 2006. There had already been over a year since the previous season was released. Suddenly the releases stopped, and fans were left scratching their heads to figure out why. I would field question after question from fans asking what had happened. Answers were as scarce as the DVDs themselves. It wasn't just NYPD Blue. It appears that all of Steven Bochco's shows have been held up in home video limbo. Hill Street Blues stopped after two seasons, and LA Law never saw the light of day at all. You can likely forget about Cop Rock or Bay City Blues.

The first thing I should discuss is the title. Brutalization is not the original title of this 1973 forgotten film. The DVD cover puts it very succinctly. “From the most forgotten vaults of European exploitation rises once again this effective and very violent Dutch thriller that boasts a young Sylvia Kristel that later on achieved world fame thanks to her role in the Emmanuelle series.” The intention of the re-release is to capitalize on the late Kristel's fame. The title Brutalization is probably more marketable and to the point than the original title, Because of the Cats. The cover does make clear that she is not the star of this movie but a very young supporting player. Her part is still substantial, and she is used very effectively.

The real question for me, is this more than a simple exploitation film? The film has echoes of the Manson family and Clockwork Orange with the clear thematic ties of amoral youth causing mayhem and murder. The film is based on a series of popular detective books by Nicholas Freeling with the lead central character, hard-boiled and unconventional Inspector van der Valk. The director, Fons Rademaker, was nominated for a Best Foreign Film Oscar for his first film, Village by the River in 1958 and later won for The Assault in 1986. I mention this again to dispel the notion that this a cheap exploitation film.

Our cool friends over at Epic Pictures Group want to make sure you start your New Year off just right. They've given us three (3) copies of Vikingdom on DVD to give away to some lucky Upcomingdiscs readers. The film stars Prison Break's Dominic Purcell as Viking mythology's King Eirick. It's a search for Odin's Horn so that the god Thor can conquer the world. It arrives on DVD Jan. 21st and here's your chance to win a copy for yourself.

To win just follow these instructions.

- “We at Comedy Bang! Bang! love random humor.”

- “Next to 'offbeat,' it's my favorite.”

“You’re not just an analyst anymore. You’re operational now.”

Witness the birth of-- actually make that rebirth of --one of the most popular action heroes in literature. Tom Clancy’s Jack Ryan has been a character of many jobs and many faces over the years. Baldwin, Ford, and Affleck have all stepped into the role of the man who has been a soldier, analyst, an operative, and a president. Now Chris Pine looks to fill the shoes left behind by some of Hollywood’s heaviest hitters and try his hand at a retelling of the legendary character which also stars Kevin Costner, Keira Knightley, along with Kenneth Branagh who doubles as the film’s director. There are two clear differences between Pine’s circumstance and the others who have played Ryan: the story has been modernized to fit today’s setting, and Pine’s story is the only one not to be based off a popular Clancy novel.

“They’re gonna laugh at you. They’re all gonna laugh at you.”

The idea of remaking/reimagining/refurbishing a horror classic may have been laughable at one point, but now it’s just business as usual. Then again, I happen to think this is an especially good time to revisit 1976’s Carrie. With all the attention bullying has gotten in the media these last few years, the supernatural story of a high school outsider pushed to her violent breaking point seems particularly timely. I just wish the new movie had more going for it beyond decent timing and a pair of impressive leading ladies.