Extras:

• Audio commentary with Joe Dante, Dee Wallace Stone, Chris Stone, and Robert Picardo
  
• Dick Miller interview (3:30)
  
• "Unleashing the Beast": "A Brief History of Werewolves," "A Company of Werewolves," "How to Make a Werewolf Picture," "I Was a Latex Werewolf," and "Requiem for a Werewolf" (54:06)
  
• "Making a Monster Movie: Inside THE HOWLING" (8:02)
  
• Deleted Scenes (9:31)
  
• Outtakes (5:18)
  
• Theatrical trailers (2:16 and 1:31)
  
• Publicity photos (12 screens)
  
• Production photos (39 screens)
  
• Theatrical trailers for CARRIE, JEEPERS CREEPERS, THE FOG
  

THE HOWLING is a great film with no depth. It's all on the surface. It's a film that expands over that surface rather than deepens with scrutiny.

This is not a bad thing. THE HOWLING is a horror comedy, both a comment on and an annotation to all previous werewolf movies. As such, it doesn't need to go deep into the characters. Instead, it needs to cast its net wider to scoop up all the salient werewolf or wolfish cultural artifacts to show how embedded werewolfism is in our society. This THE HOWLING does deliriously.

In case you don't know, THE HOWLING is about a TV reporter (the then-Dee Wallace) on the hunt for a serial killer. It turns out that the killer is a werewolf, but she doesn't know that yet. After a close call with the killer, who is presumed dead, the still shaken reporter takes a respite from crime with her husband at an Esalen style psychological getaway. There, her husband becomes seduced by the werewolf lifestyle, literally and figuratively, and only the reporter's two intrepid assistants can help her get the word out.

Such a summary does little to capture the wit, the sarcasm, yet also the emotion of the whole movie. THE HOWLING is like an anthology of every werewolf movie you have ever seen, while at the same time having wholly original elements. At the same time the film drags lycanthropy into the 20th century, so to speak. Why wouldn't a werewolf be construed by the cops as a serial killer? And given advances in technology, especially under Rob Bottin's supervision, why not show the transformation as plausibly and thoroughly as possible (John Landis's AN AMERICAN WEREWOLF IN LONDON endeavored to do the same thing at the same time).

The film is also paradoxically the fruit of director Joe Dante's labors while at the same time defying the viewer's efforts to fit it into his work as a whole. In fact, I eagerly await the critical study of Dante that will make his body of work seem a coherent, consistent whole. I love his movies, but often don't know what to make of him.

The disc, the second HOWLING release from MGM comes packed with supplements and with a new 5.1 sound track. The proceedings start out with an audio commentary with Joe Dante, Dee Wallace Stone, Chris Stone, and Robert Picardo, who plays the serial killer-werewolf. It's a lively crew and most important you can tell who everyone is, and no one talks over everyone else. Because of internal evidence I get the impression that the track was recorded around 1987, but I can't find any reference to a previous laser disc. If this is a new track, the cast and director are caught in a time warp. Also on the first disc is a short interview with Dick Miller, Corman and Dante's regular cast member, and Dante's good luck charm.

The second side leads off with a huge documentary broken up into smaller pieces. Under the collective title of "Unleashing the Beast" the making of gives a good account of the film's making, the distance of time freeing up many cast members to be more forthright than usual. "Making a Monster Movie: Inside THE HOWLING," on the other hand, appears to be a TV interview with key cast and crew members. It is startling to learn that Bottin was only 21 when he worked on this film.

The disc also features a healthy compliment of deleted scenes (about nine minutes' worth) and outtakes. Though the outtakes mostly feature world famous actors saying the word "fuck," the deleted scenes both flesh out some of the plot and give a bunch of the actors, such as Slim Pickens and John Carradine, more screen time.

The rest of the second disc consists of THE HOWLING's theatrical trailers , some publicity photos, production photos, and trailers for CARRIE, JEEPERS CREEPERS, and THE FOG.

Prey Time

CLOWNHOUSE

Original Movie:

• Theatrical premiere: 1988
  
• 81 minutes
  
• R
  
• Triumph Releasing
  
• Directed by Victor Salva
  
• Credited Writer: Victor Salva
  
• Cast: Nathan Forrest Winters (Casey), Brian McHugh (Geoffrey), Sam Rockwell (Randy), Tree (Lunatic Cheezo), Bryan Weible (Lunatic Bippo), David C. Reinecker (Lunatic Dippo), Timothy Enos (Real Cheezo), Frank A. Damiani (Real Bippo), Karl-Heinz Teuber (Real Dippo), Viletta Skillman (Mother), Gloria Belsky (Fortune Teller), Victor Salva (Radio newscaster/Extra at carnival)
  
• Cinematography: Robin Mortarotti
  
• Editing: Roy Anthony Cox and Sabrina Plisco-Morris
  
• Significant music: Michael Becker and Thomas Richardson
  
• Awards: two nominations
  
• Budget: NA
  
• Stated initial box office returns: NA

Plot in one sentence: Three kids are terrorized by psychotic clowns.

Disc Stats:

Extras:

• Theatrical trailer (2:03)
  

Here's what happens in CLOWNHOUSE. In the film, a trio of boys is terrorized by three recently escaped psychotics masquerading as clowns. Like the kid in HALLOWEEN, the youngest of the three, Casey (Nathan Forrest Winters), is alerted to the existence of the Bogeyman, and has premonitions that evil clowns are going to get him. His oldest brother Randy (Sam Rockwell) is an appalling bully — Eddie Haskell to the 10th power. The middle brother is the bespectacled peacemaker Geoffrey (Brian McHugh), who worries about his youngest brother's bedwetting. After a visit to the circus, the kids return home to their briefly parentless house and soon find that they have been targeted for death by three evil clowns. In a creepy variation in HOME ALONE, they must fight off the intruders.

But here is the film, as it were, behind the film. A little kid is shown walking around in his white briefs. The lighting in these scenes seems to emphasize his privates. When the kids in the film are not being shown nearly nude, they are imperiled by older predators in bedrooms and hallways and attics. CLOWNHOUSE's real story is a tale about mean adults preying on young kids. The use of clown villains evokes dire memories of John Wayne Gacy.

The movie is, or course, written and directed by Victor Salva, and we see similar themes of youth preyed upon by adults in POWDER and JEEPERS CREEPERS. In JC, an ambiguous demon arises every 23 years to slay young men, whose body parts it appropriates for itself. The sequel, JEEPERS CREEPERS 2, is about to open (look for a Nocturnal Admissions review Friday). JEEPERS CREEPERS, it may chagrin you to know — and if you know this already it bears repeating, — was directed by a man who confessed to videotaping himself having oral sex with the then-12-year-old Nathan Winters, of Concord, California. Salva confessed to five various felony abuse counts, and was sentenced to three years in prison, of which he served 15 months. Before becoming a filmmaker, Salva had been a child-care worker in the mid-'80s, when he shared a house with one Candice Christie. These days, the 43-year-old Salva must register as a sex offender where ever he may live or work. After doing time, Salva went on to direct several films including NATURE OF THE BEAST and RITE OF PASSAGE before getting a job directing POWDER for Disney. Salva has several guardian angels, including his long time agent David Gersh, and Francis Ford Coppola, who financed CLOWNHOUSE after seeing some of his short films and helped Salva make JEEPERS CREEPERS via Coppola's famous 10 for 10 deal (10 films made for $10 million each) with UA. Coppola's son Roman served as executive producer on CLOWNHOUSE.

Nathan Winters was, in fact, the star of CLOWNHOUSE. It was during the shooting of that movie that Salva made the oral sex videos with Winters that led to Salva's arrest. Winters revealed these incidents to his mother, who reported them to the police (further details of the case have been gathered at the Andrew Vachss website). Salva, it should be added, has paid his debt to society, and has no doubt earned the right to live and work freely to the degree that any federal parolee can. However, that doesn't prevent the interested viewer from finding strange resonances between the artist and the life.

For example, it is interesting to note that Salva prefers young protagonists who are often round and soft; that he likes horror films; and that these youths are often the object of elderly hostility. One can imagine that Salva in some ways identifies with these protagonists. In POWDER, the main character is a hairless albino psychic, and child abuse specialist named Sandra Baker noted that child molesters think "they are more perceptive and beautiful than other people. They feel misunderstood," adding that Powder's being a pale, hairless, sensitive outcast fits "what pedophiles can relate to. They want their victims to be hairless usually. They don't want adult sex characteristics."

I hope I am not the only person who thinks that it's creepy that a registered sex offender makes films in which young boys are preyed upon by adults. On the other hand, I can imagine that the films are a product of a tortured mind, one that is wrestling with and alternating between attraction and self-revulsion, and therefore evokes a mood of compassion. Powder is both the idea tortured self as well as the victim of that self.

It is the director's past that raises CLOWNHOUSE above the level of what it is on the surface, an audition for a career in the movie business using the traditional means of a stylish low budget horror film. If you can put aside your personal horror, the film is a modestly efficient enterprise whose low budget gives the film an almost classical simplicity. But it is far from flawless. This is one of those movies in which the audience is invited to be well ahead of the characters in knowledge of what forces are lining up against them. Thus, it is very boring to have the characters debating what to do when it is obvious to us what they should do. If the terror of the clowns were mysterious rather than explicit, then we might be able to endure endless debates about who is going to go up into the attic and check the fuses. Unfortunately, I can think of several people who might not find themselves capable of ignoring their sense of personal horror in the face of this bid for admission into the hallowed halls of Hollywood.

Death Trips

FINAL DESTINATION 2

Original Movie:

• Theatrical premiere: 30 January, 2003
  
• 90 minutes
  
• R
  
• Directed by David Richard Ellis
  
• Credited writers: J. Mackye Gruber, Eric Bress, and Jeffrey Reddick
  
• Cast: A.J. Cook (Kimberly Corman), Ali Larter (Clear Rivers), Michael Landes (Thomas Burke), T.C. Carson (Eugene Dix)
  
• Cinematography: Gary Capo
  
• Editing: Eric A. Sears
  
• Significant music: Alison Freebairn-Smith, Shirley Walker
  
• Stunt coordinator: Freddie Hice
  
• Awards: MTV nomination for best action scene
  
• Budget: $26 million
  
• Stated initial box office returns: $46.4 million

Plot in one sentence: Eight people on a freeway narrowly escape death, but Death comes after them anyway.

Disc Stats:

Extras:

• Commentary track with director David Ellis, producer Craig Perry, and writers Eric Bress and J. Mackye Gruber
  
• "The Terror Gauge" (14:00)
  
• "Cheating Death: Beyond and Back" (18:10)
  
• "Bits and Pieces: Bringing Death to Life" (30:30)
  
• Full length fact track pop up informational subtitles
  
• Deleted and alternative scenes: "Post Accident Interview" (1:49), "Alternate Crematorium Visit" (4:03), "Isabella's Husband" (1:19), "Nora and Eugene" (:35), "Truck Chase/Eugene at Hospital" (2:08),
  
• Two theatrical trailers (2:20 and 1:30), and trailer for HIGHWAYMEN
  
• Music videos: Blank Theory, The Sounds (4:16 and 3:19)
  

FINAL DESTINATION 2 is a horror film that creeps up on you. Much better — and much funnier — than its predecessor, FD2 is that rarity, a sequel that is better than its progenitor.

In the tradition of horror sequels, it is more of the same, only much more of it. As before, a group of people who were otherwise destined for death in an horrific freeway accident elude their fate, only to find that death has a habit of not giving up. Slowly but certainly, death, which has the power to manipulate physical objects, picks off as many of the eight as it can (plus the sole survivor from the previous film) in increasingly horrific, amusing, and sometimes "accidental" ways (such as a car air bag that instead of saving a life drives a body back into the spike that is poking through the seat … ha ha ha ha ha!).

The main character this time around is Kimberly Corman (A.J. Cook), and she is such a clean-cut, attractive young American that you really worry if she is going to survive the 90 minutes — not that it would matter if she did, given what happens to her predecessor. There is also hope for a "relationship," which always ups the anxiety quotient. Will both survive? Neither? Only one? And which one? The paradox of the film is that while we are chuckling over the demise of the fatuous characters we are fretting over the fate of the good ones.

FD2 as a film is a triumph of the second unit team over the director. The New Line disc is a triumph of complex DVD extras over content. I happen to love New Line's infinifilm series, and am happy to see other studios mimic some of its features. New Line is the only company that has actually added new elements to disc information, such as the pop up footnotes, and the coding on the discs must be really complicated. Certainly the menus are complicated, and being a normally stupid consumer, it has taken me a while to navigate with ease through the discs. Normally, I would prefer to spend several hours watching the film in infinifilm format order, but time constraints compel me to skip ahead; fortunately New Line also provides a disc map or menu where most of the documentary footage is available independently of the infinifilm unveiling.

What I love about infinifilm is that you can have on the audio track (this one with director David Ellis, producer Craig Perry, and writers Eric Bress and J. Mackye Gruber), the pop up footnotes (officially called the full length fact track pop up informational subtitles), and the infinifilm docs all turned on at once and immerse yourself in a film for about four hours. You emerge knowing as much, perhaps more, than you want or need to about a film.

There is also almost an hour of "making of" footage spread across three docs, "The Terror Gauge," "Cheating Death: Beyond and Back," and "Bits and Pieces: Bringing Death to Life." These are good, solid docs, like a great old issue of CINEFANTASTIQUE.

There is a small clutch of deleted and alternative scenes that expand the film by 10 minutes, but without expanding the tale appreciably.

The disc is topped off with two theatrical trailers for FD2 and trailer for the forthcoming HIGHWAYMEN, plus two music videos.

Terror Train

RAW MEAT

Original Movie:

• A.K.A.: DEATH LINETheatrical premiere: 1972
  
• 87 minutes
  
• R
  
• AIP
  
• Directed by Gary Sherman
  
• Credited Writers: Ceri Jones and Gary Sherman
  
• Cast: Donald Pleasence (Inspector Calhoun), Norman Rossington (Detective Sergeant Rogers), David Ladd (Alex Campbell), Sharon Gurney (Patricia Wilson), Hugh Armstrong (The 'Man'), June Turner (The 'Woman'), Clive Swift (Inspector Richardson), James Cossins (James Manfred, OBE)
  
• Cinematography: Alex Thomson
  
• Editing: Geoffrey Foot
  
• Significant music: Jeremy Rose
  
• Awards: none
  
• Budget: NA
  
• Stated initial box office returns: NA

Plot in one sentence: When two London college students stumble upon a corpse in the subway, the event leads to the exposure of the subterranean remnants of a tunnel disaster.

Disc Stats:

Extras:

• Theatrical trailer (2:08)
  

Something of a cult has developed around Gary Sherman's RAW MEAT, in no small part due to Robin Wood's praise of the film near the time of its release. Few critics have Wood's haughty skill at taking maudit films seriously as works of art. This may have something to do with Wood's freedom from the mainstream, middle-brow reviewer's religion of vaguely defined "quality," which has prevented them from seeing the virtues of so many low budget films, from Corman's to Hooper's. RAW MEAT, despite its fealty to the gore histrionics of modern horror films, is in fact a throwback to the sensibility of the old Universal horror films, whose sympathies more often lay with the monsters than the rabble pursuing them. But like many debut horror films, as this one was for Sherman, its cult's longevity outlives the ease of actually seeing it. So it is both salutary and convenient to have RAW MEAT on DVD, either to face for the first time the British film that sparked a minor censorship scandal or to reacquaint oneself with the hard to see work after so many years.

RAW MEAT begins with a British gentleman cruising the adult bookshops and strip clubs of London. He ends up on a subway platform at Russell Square attempting to pick up a haggard hooker. Unfortunately, he instead becomes victim to a bedraggled, bloody creature emerging from the shadows. Two debarking college students, Pat (Sharon Gurney) and her American boyfriend Alex (David Ladd), come upon the body on the stair and, unwillingly on Alex's part, fetch the police. However, when they return to the scene, the body is gone.

Through plot contrivance, the kids and now the police have the name of the person, and the vanishing corpse turns out to be an upper class figure gone missing. A police inspector (Donald Pleasence) leaps to the case and eventually uncovers the truth: that the toff was killed by the last surviving member of a cannibalistic clan of people trapped underground in a tunnel disaster since 1892. This man, dwelling in an abattoir off the beaten path, makes forays out into the tunnels and platforms to capture human beings for meat, if for no other reason to keep his dying pregnant wife alive. When that fails, he comes upon a new potential bride, Pat, alone on the station thanks to the forces of plot convenience. Alex and the inspector independently go in search of the lair in which she is trapped.

Director Gary Sherman went on to do the equally interesting DEAD AND BURIED, and has continued to stay faithful to the horror genre in other minor movies and in series television. What Wood and other fans found attractive in RAW MEAT is the jagged symmetry between the cannibals and the surface people. The man is loyal and sensitive, a tragic figure, tending to his dying mate. The college students are a superficial couple somewhat at odds with each other: she is caring, while he is an international economics student with an indifferent attitude toward the street level realities of society. Their opportunistic bookshop clerk friend notes that there might be trouble between them, and Pat tends to look at Alex with an appraising stare. These two pairs are in turn contrasted with the acerbic and hippie hating police inspector, who seems to live alone with cups of cold tea at his bedside, whose only society is his work mates, and who seems to subsume his loneliness into perseverance on dead end cases.

Another paradox of the tale is that the bowler wearing first victim is of the social class that so callously drove the tunnel workers in the first place. There is a rightness and closure to the tunnel man taking as his near last victim a representative of the ruling classes whose decision to abandon the caved in tunnel created the trapped society of cannibals. The film begins, perhaps unintentionally, with wordplay on the Americanized RAW MEAT title. As the toff wanders from one sex emporium to another the title seems to suggest that the movie is about the women conscripted into the pornography industry, rather than a horror film. The bitter and unemphasized sadness is that long ago so many people died underground while making the subway tunnels that help this underemployed modern roué enjoy the wares of sex commerce, in his carelessness spiking the tradition of familial intimacy that the man in the tunnel is desperately trying to keep alive with his final efforts.

In many ways RAW MEAT is a visually and narratively subtle critique of society despite its surface gore fest trappings. That the scenes in the cave, where the man tends to his mate amid the racks of stored human beings, are less captivating than the street level incidents is not due to a failure of sympathy but to a static quality in the presentation of the underground world. MGM's DVD release is an adequate transfer with the addition of only a very scratchy trailer.

Poe Over and Out

THE TOMB OF LIGEIA/AN EVENING WITH EDGAR ALLAN POE: MGM MIDNITE MOVIES DOUBLE FEATURE

Original Movie:

• Theatrical release: THE TOMB OF LIGEIA, 20 January, 1965; AN EVENING WITH EDGAR ALLAN POE, 1972
  
• 81/ 85 minutes
  
• NR
  
• AIP
  
• Directed by Roger Corman/Kenneth Johnson
  
• Credited writers: Robert Towne, from the Poe story/ NA
  
• Casts: Vincent Price (Verden Fell), Elizabeth Shepherd (Lady Ligeia Fell/Lady Rowena Trevanion), John Westbrook (Christopher Gough), Derek Francis (Lord Trevanion), Oliver Johnston (Kenrick)/Vincent Price
  
• Cinematography: Arthur Grant/NA
  
• Editing: Alfred Cox/NA
  
• Significant music: Kenneth V. Jones/Les Baxter
  
• Awards: none
  
• Budget: NA/NA
  
• Stated initial box office returns: NA/NA

Plots in one sentence: A woman marries a man still haunted by his dead wife./Vincent Price's one man show of Poe stories.

Disc Stats:

Extras: Side One

• Commentary track with Roger Corman
  
• Commentary track with Elizabeth Shepherd
  
• Theatrical trailer (2:32)
  

THE TOMB OF LIGEIA is one of the strangest romances ever made. For one thing, the romantic lead is way too old (and much older than the "childhood friend" he runs into). And the romantic heroine just acts goofy. Yet somehow it manages to work. The credit goes to director Roger Corman's direction, which is almost classical in its purity and economy (always a necessity with Corman). Motivation is hard to figure out in this film made from Robert Towne's script, but its mysteriousness makes it captivating and certainly unpredictable.

Verden Fell (Price) meets Lady Rowena Trevanion (the Susannah Yorkish Elizabeth Shepherd) on hunt day. She appears to be instantly smitten with this odd funeral figure who wears dark glasses. They have a brief courtship, in which he tries to strangle her, and his cat scratches her. Nevertheless, they marry and have a brief period of happiness. However, the specter of Fell's first wife, Ligeia, falls over the union, and in part Fell is possessed by the jealousy of his dead wife (like Olivier's character in REBECCA). It all culminates in a burning house.

In fact, it's that fire that I recall the most from seeing the film, which I did as part of a Corman/Poe drive-in marathon. This was the perfect opportunity to see that Corman used the same burning building footage over and over again, from USHER to LIGEIA. I grew to relish the one show of a wall of burning lumber falling toward the camera.

But also like the other Poe films, LIGEIA features a guy who stays close to his house, a hypersensitive manor lord (like Usher, Fell has hypersensitive senses, in this case to light). And as in many of the others a long gone wife still holds sway over her surviving husband. It makes a nice conclusion to Corman's series, while at the same time expanding on it, first by being shot with lots of exteriors (Corman explains elsewhere on the disc that his tact for the Poe's had been to present the stories mostly in interiors to match the tortured psychology), and shot in England, which gives the film its modicum of humor. (This is one of the films that Scorsese quotes in MEAN STREETS.)

The second side features Vincent Price in a TV production of the actor doing a one man show of Poe story interpretations, including "The Tell Tale Heart," "The Pit and the Pendulum," and "The Cask of Amontillado." Price is good in these bits, but they look like fourth generation tapes.

The supplements appear only on side one, with LIGEIA, comprising the theatrical trailer and two audio tracks, one with Corman, who is detailed and calm as usual (though I will wait for the VIDEO WATCHDOG reviewer to catch him out in factual errors). The second track, with Elizabeth Shepherd, sounds as if it were taped in a dining room as the actress and her interlocutor watched the film on a small television. What's interesting about this track, when you can hear it, is that Shepherd's interpretation of what is going on in LIGEIA makes much more sense than what the interviewer is trying to suggest, specifically among other things that Ligeia's soul has been transferred to the malevolent cat that lurks around the Fell estate.

The Inhuman Comedy

THE RAVEN/COMEDY OF TERRORS: MGM MIDNITE MOVIES DOUBLE FEATURE

Original Movie:

• Theatrical release: THE RAVEN, 1963; COMEDY OF TERRORS, 22 January, 1964
  
• 86/ 84 minutes
  
• NR
  
• AIP
  
• Directed by Roger Corman/Jacques Tourneur
  
• Credited writer: Richard Matheson
  
• Casts: Vincent Price (Dr. Erasmus Craven), Peter Lorre (Dr. Adolphus Bedlo), Boris Karloff (Dr. Scarabus), Hazel Court (Lenore Craven), Olive Sturgess (Estelle Craven), Jack Nicholson (Rexford Bedlo), Connie Wallace (Maid), William Baskin (Grimes, Craven's servant)/Vincent Price (Waldo Trumbull), Peter Lorre (Felix Gillie), Boris Karloff (Amos Hinchley), Joyce Jameson (Amaryllis Trumbull), Joe E. Brown (Cemetery Keeper), Beverly Hills (Mrs. Phipps), Basil Rathbone (John F. Black)
  
• Cinematography: Floyd Crosby
  
• Editing: Ronald Sinclair /Anthony Carras
  
• Significant music: Les Baxter
  
• Awards: none
  
• Budget: NA/NA
  
• Stated initial box office returns: NA/NA

Plots in one sentence: A sorcerer finds that his supposedly dead wife has been under the sway of a rival sorcerer./An undertaker tries to feed his own business.

Disc Stats:

Extras: Side One

• "Richard Matheson, Storyteller: COMEDY OF TERROR" (9:36)
  
• Theatrical trailer (2:34)
  

Extras: Side Two

• "Richard Matheson, Storyteller: THE RAVEN" (6:38)
  
• "Corman's Comedy of Poe (8:13)
  
• Audio excerpts from a promotional record with slide show (5:39)
  
• Theatrical trailer (2:29)
  

Closing out the Corman Poe films, this set of footnotes to the series comprises the comedy angle on horror. Corman directed THE RAVEN, turning the poem on which it is based into a comedy, while THE COMEDY OF TERRORS is an original story, directed by Jacques Tourneur, an old horror hand in his last years. Both films were written by horror maestro Richard Matheson.

THE COMEDY OF TERRORS bears some interest because it stars some of the horror greats, Price, Karloff, Lorre, and Rathbone, all in one film, and most of them have scenes together. Price is definitely the liveliest of the lot, but each holds his own. Unfortunately, the film isn't very funny, though the cast acts as if it is. Price plays a mortician who is running the firm that belongs to his wife's family. Business is slow so he accelerates clients by killing people. He also saves on coffins by dumping out the corpse as soon as the mourners leave the graveyard and using it again. Rathbone is the landlord with whom Price hopes to kill two birds with one stone. Price's wife finds herself drawn (rather improbably) to Price's assistant, played by Lorre.

It's a lot of noise and fustian for little comic dividends. Still, it is a well-shot film, and carefully set up. It's just sad that the viewer can't have as much fun as the cast. The disc offers an excellent transfer, with the supplement consisting of a video interview with Matheson about the genesis of the film.

In THE RAVEN, Corman and Matheson take the premise of Poe's famous poem and weave a tale of competing neighbor sorcerers out of it. The Price character mourns for the loss of his wife Lenore, little realizing that she is cohabitating with his nemesis, played by Karloff, in the next castle over. Peter Lorre plays a guy turned into the raven of the title, and Jack Nicholson is the son. The thrust of the story culminates in a duel between Karloff and Price.

Though I had seen the film before as part of a Poe marathon at a drive-in, I couldn't remember much of it, and this time around couldn't really even concentrate on it to see what I could remember. The film seems good-natured enough, and has that sort of team comedy in which the "good guys" are a bedraggled collection of oddballs. If you've got all the rest of Corman's excellent Poe series, you might as well have this one, too. Again, it's a nice transfer, with video interviews with both Corman and Matheson, and an audio presentation of a promotional record issued at the time of the movie.

One Track Mind

IRREVERSIBLE

Original Movie:

• Theatrical premiere: 22 May 2002, in France
  
• 95 minutes
  
• NR
  
• Studio Canal
  
• Directed by Gaspar Noè
  
• Credited writers: Gaspar Noè
  
• Cast: Monica Bellucci (Alex), Vincent Cassel (Marcus), Albert Dupontel (Pierre)
  
• Cinematography: Gaspar Noè and Benoit Debie
  
• Editing: Gaspar Noè
  
• Significant music: Thomas Bangalter
  
• Awards: Stockholm Film Festival best film
  
• Budget: NA
  
• Stated initial box office returns: $73 thousand in the U.S.

Plot in one sentence: A man seeks vengeance on the criminal who raped and beat his girlfriend.

Disc Stats:

Extras:

• Ad for the soundtrack (:24)
  
• "Stress" music video (4:26), shot in the rape tunnel
  
• "Outrage" music video (4:17), shot in the party scene
  
• Teasers (3:07), a selection of short one take images, including one with a hopping camera in the rape tunnel taken from the point of view of the rapist
  
• Sixteen-page Lion's Gate catalog insert
  

If you take the incidents that IRREVERSIBLE recounts backwards in 12 one-take chunks, you have a fairly simple story. A girl is in a park surrounded by children. She goes home and has sex with her rambunctious boyfriend. Afterwards, getting ready for a party, she tests herself, and finds that she is pregnant. The couple is joined by the girl's ex-boyfriend, a meek and modest intellectual. At the party, the boyfriend tries to get the ex-boyfriend to lighten up, and the girl talks to a friend who is pregnant. But the girl decides to leave early, and on her way home ventures into a tunnel, where she sees a pimp beating up his transsexual hooker. Turning his attention to the girl, the pimp rapes and beats the girl. Leaving the party later, the ex- and current boyfriend see the girl being taken away by an ambulance.

The boyfriend thirsts for revenge, and with the help of some street denizens they learn that the pimp is named Tapeworm and dwells in a gay S&M bar called The Rectum. The duo barge in and search for Tapeworm, as men are fisted and whipped all around them and bystanders masturbate. The boyfriend miscalculates, however, and the man he confronts gets the better of him, breaking the boyfriend's arm. Just as the suspect is about to anally rape the boyfriend for the amusement of the gay S&M people standing around watching, the intellectual ex-boyfriend appears with a fire extinguisher and smashes in the face of the suspect until it is a caved-in shell. Led to prison and hospital, escorted out in part by the unharmed Tapeworm (if I read the film right), the intellectual is sent to the institution where the man who "stands alone" from the director's previous film philosophizes about life with his cellmate.

One thing that director Gaspar Noè achieves by presenting his film in a form of reverse order is that it becomes more stylistically calm as it goes along. Viewing the scenes in true chronological order, the material would gain in intensity as the camera becomes more erratic and the sounds more intense and vertiginous. What the reverse order also happens to do is mask some of the film's more unsavory attitudes.

I was almost afraid to review this movie. Never have I seen clashing commentary of such intense opposition as I have with this film, which I missed in the theaters (for a representative account of the diversity of opinion on the film visit Todd Harbour's excellent chat forum Mobius Home Video Forum and do a search on the title). To parody the opinions by reduction, those who favor the film admire its uncompromising bleakness about life and fate, while those who hate it oppose its equation of homosexuality with S&M and violence and "good" with heterosexual baby-making. According to these viewers, behind his mask of modernism and aggressive visual technique, Noè appears to be an old guard bourgeoisie spouting received opinion (for an account of what Gaspar Noè thought he was doing, here is an interview with him).

To me, he is a European version of Neil LaBute. Stripped of the roving camera, Noè's film tells a story that could be situated just as well in LaBute's static world of intellectuals and users. The film posits some of the same observations as LaBute's films: women are only attracted to brutes; intellectuals tend to be weak and lose the girls they love to those very brutes; that the strong always win and that evil always triumphs, partly because the weak allow it, making them in fact much worse people than the evil. Noè throws in some meditations on "fate," thanks to the reverse chronology, but that is a topic we have also seen in films as diverse as MEMENTO and ME MYSELF I.

On the one hand, I find the film annoying and shallow; on the other, it speaks to my own prejudices about how modern bourgeois media-obsessed and celebrity-whoring society works. Though IRREVERSIBLE is in many ways appalling, it still has a certain power. But perhaps it is the false power of a simple and misleading story garbed in the robes of obfuscation.

Lion's Gate at least gives the home viewer a chance to assess the film without suffering a headache and nausea. The shaky camera movements of the film's first 20 minutes can be fast forwarded through, and the weird sex in the background can be paused. This makes for a much richer experience. The transfer looks OK to me, but I am no expert. The sound wasn't as annoying as I was told it was suppose to be, thanks to Noè's inclusion of police riot-dispersal signals. By the way, the box advertises a feature called "The making of the Special Effects," but either it is a Easter Egg, which I refuse to go looking for on principle, or it is not on the disc.

What is on the disc is an ad for the soundtrack, and two "music videos," which may in fact be deleted bits of shaky footage: "Stress," shot in the rape tunnel, and "Outrage," shot in the party scene. Thee are also a handful of teasers, one of which cruelly takes the POV of the rapist in the tunnel.

Singin' in the Street

COVER GIRL

Original Movie:

• Theatrical premiere: 30 March, 1944, in England
  
• 107 minutes
  
• NR
  
• Columbia
  
• Directed by Charles Vidor
  
• Credited writers: Erwin Gelsey, Marion Parsonnet, Paul Gangelin, Virginia Van Upp John H. Kafka
  
• Cast: Rita Hayworth (Rusty Parker/Maribelle Hicks), Gene Kelly (Danny McGuire), Phil Silvers (Genius), Eve Arden (Cornelia 'Stonewall' Jackson), Otto Kruger (John Coudair
  
• Cinematography: Allen M. Davey and Rudolph Maté
  
• Editing: Viola Lawrence
  
• Significant music: Saul Chaplin, Jerome Kern, Henry E. Pether
  
• Awards: Oscar for best music and four other nominations
  
• Budget: NA
  
• Stated initial box office returns: NA

Plot in one sentence: A dancer's sudden fame as a cover girl on a bride's magazine jeopardizes her romance with her boss.

Disc Stats:

Extras:

• Trailers for BYE BYE BIRDIE, GILDA, and PAL JOEY
  

The movie is called COVER GIRL, but it is really about the leap of Gene Kelly to the heights of movie stardom.

Mounted by Columbia as a wartime Rita Hayworth vehicle, the film instead elevated Gene Kelly from a secondary song and dance man with a evanescent voice to a major force at MGM (from which he had been "loaned" to make this movie).

COVER GIRL concerns Rusty Parker (Hayworth), a dancer in a Brooklyn nightclub owned by Danny McGuire (Kelly). "Genius" (Phil Silvers) is the fifth wheel and the comic of the trio. Through plot machinations Rusty ends up seen by the editor (Otto Krueger) of a bride's magazine, and contracts Rusty to be its cover girl. The editor has an ulterior motive, in that Rusty resembles the woman he was once in love with, and indeed, turns out to be her granddaughter. Thanks to the publicity, Rusty is pursued by a Broadway producer who lures her away from the little world of Brooklyn, until she finally wakes up to what she really loves.

COVER GIRL was a rather frivolous thing to make at the height of the war effort, though frequent shots of Hayworth's legs may have reminded our boys overseas what they were fighting for. COVER GIRL makes a few gestures of fealty to the dire events in Europe, but the film was obviously conceived long before, with wartime citations hastily stitched into its resisting fabric. If these facets of the movie had been left out, we wouldn't have noticed today, but having been required by patriotism itself, they now serve as distracting digressions from the main thrust of the frivolity.

In most ways, COVER GIRL is utterly forgettable. But it is of cinematic importance because it was Kelly's portal into the level of attention and power granted Fred Astaire. The scene that "made" him is his duet with his shadow self in what is called the Alter Ego dance. Here, the torn McGuire tries to figure out what to do about Rusty by dancing with himself on the streets.

If Astaire was a man of the ballroom, Kelly was a man of the streets. It's interesting to note how many of his famous dances take place in street-life settings from COVER GIRL to ON THE TOWN, SINGIN' IN THE RAIN, and AN AMERICAN IN PARIS, though this is partly a function of changes in musicals. No polished hardwood floors and glowing chandeliers for Kelly: give him concrete and curbs and rain. If Astaire, with his Germanic name, was the aristocrat of dancers, Kelly was the prole, with his lower class ethnic name and his burly muscularity. The Alter Ego dance has all of Kelly's later street scenes, with its department store windows and lampposts and stoop staircases, all fodder for his routines, whose implicit suggestion is that everyone can do this anywhere.

Other than that, COVER GIRL is a glossy bore. But Columbia provides a beautiful full frame transfer of the film, with adequate mono sound. Extras are restricted to trailers for other Columbia films. Nevertheless, if nothing else the film offers a nice opportunity once again to see, as Krueger's acerbic assistant, Eve Arden, she who never changes and never ages.

Roman Holiday

THE LIZZIE McGUIRE MOVIE

Original Movie:

• Theatrical premiere: 29 February, 2003
  
• 93 minutes
  
• PG
  
• Walt Disney/Buena Vistas
  
• Directed by Jim Fall
  
• Credited Writers: Susan Estelle Jansen, Ed Decter, and John J. Strauss
  
• Cast: Hilary Duff (Lizzie McGuire), Adam Lamberg (Gordo), Robert Carradine (Mr. McGuire), Hallie Todd (Mrs. McGuire), Jake Thomas (Matt McGuire), Ashlie Brillault (Kate), Yani Gellman (Paolo), Alex Borstein (Miss Ungermeyer)
  
• Cinematography: Jerzy Zielinski
  
• Editing: Margie Goodspeed
  
• Significant music: Cliff Eidelman; "What Dreams Are Made Of" performed by Hilary Duff
  
• Awards: none
  
• Budget: $17 million
  
• Stated initial box office returns: $42 million

Plot in one sentence: A high school graduate spends her summer vacation with classmates in Rome, where she has adventures with a pop star.

Disc Stats:

Extras:

• "Hilary's Roman Adventure" (11:53)
  
• Music video "Why Not" (2:16)
  
• "In the Recording Studio with Hilary" (2:02)
  
• Music Video "Roamin' Volare" (2:16)
  
• Three deleted or alternate scenes (4:24) with optional director video intros
  
• DVD registration
  
• Trailers for THE LION KING SPECIAL EDITION, LIZZIE MCGUIRE TV VOLUMES, KIM POSSIBLE: THE SECRET FILES, SLEEPING BEAUTY SPECIAL EDITION, GEORGE OF THE JUNGLE 2, THAT'S SO RAVEN
  

Another tale about a girl who stumbles into fame to the threat of her love life is the Disney Channel TV character Lizzie McGuire in her graduation to the big screen in THE LIZZIE MCGUIRE MOVIE, made 60 years later. This suggests that the commercial continuity of Hollywood transcends all history, generations, and external reality. While Rita Hayworth is the glamorous woman whose labors in a Brooklyn burlesque house defy career sense, Lizzie McGuire is the put upon teenager. Both are singers, both end up on the stage, and both make manifest the true love of their lives, which was so close the whole time. Lizzie is slightly different thanks to her age, and because of a truth-telling cartoon representation of her inner thoughts. COVER GIRL had no need for such literalness, because they had faces then.

The story, presumably a continuation of the show, begins with Lizzie (Hilary Duff) graduating from school and suffering a humiliation at the hands of her constantly conniving younger brother. Then she sets off for a summer in Rome with most of her school friends, including Gordo, the boy who secretly loves her, and the tall blonde mean "heather" named Kate who used to be a best friend but now reviles Lizzie, and all under the supervision of a domineering tour chaperone. While in Rome, Lizzie is befriended by an exotic looking kid who turns out to be a popular pop singer. The lad is struck by how much Lizzie resembles his singing partner who, unbeknownst to the public, has fled to an island retreat. He convinces Lizzie to bail him out of trouble by appearing at an awards show disguised as his partner, lipsynching to their hit number. The bulk of the film comprises Lizzie's efforts to sneak out of her hotel and spend time with the increasingly amorous singer. But just as Lizzie is about to go on, the real singing partner (also Hilary Duff) appears back stage, thanks to the intervention of Gordo, to reveal the real scheme that's going on (sort of a Milli Vanilli charade). This results in the two girls singing on stage to international acclaim.

THE LIZZIE McGUIRE MOVIE is, of course, manufactured for pre-adolescent consumption and will have little entertainment value for most readers of MoviePoopShoot. However, it is of some modest interest to students of Disney product in general, as it reiterates a common trope in Disney tales, twins and doubleness. From THE PARENT TRAP to the FREAKY FRIDAYs, Disney has been attracted to characters who find their unknown twins, or who flip identities with someone else in a way that reveals how similar two formerly oppositional characters are. No doubt there is a commercial reason for twin stories (two characters for the price of one actor), but as these stories are often adapted from young adult novels it's clear that there is something in these books and movies that kids respond to. Somewhere in his memoir Gore Vidal talks about his search for his "other half," as well as his childhood obsession with Mickey Rooney. Kids see kids in movies as their ideal selves and hope that that screen kid is out there in reality. I remember seeing THE PARENT TRAP and becoming obsessed for several weeks with the idea that I had a hidden twin somewhere, a person who would be me but not be me, a perfect friend and brother, yet also my self. In a way, if Disney weren't so frivolous with these subjects the little kids who watch the movies would probably be less likely to invest so much emotion in them. Instead the children have a sense of discovery about twindom, because the movies assume that it is a reality and not some oddity of a kids' movie or book writer's imagination.

BV provides a good transfer and audio account of this recent movie, and the disc is sufficient with supplements, including a "film diary" called "Hilary's Roman Adventure, " a couple of music videos, and three deleted or alternate scenes with optional director video intros. Most of the supplements are contingent on the belief that we are all very, very fascinated by Hilary Duff and worry about her career. Other than that, the disc provides good training wheels for aspiring prepubescent girl DVD fanatics.

Sword and Saucery

ADVENTURES OF ZATOICHI

Original Movie:

• Theatrical premiere: 30 December, 1964, in Japan
  
• A.K.A.: Zatoichi sekisho yaburi
  
• Daiei Studios
  
• 86 minutes
  
• NR
  
• Directed by Kimiyoshi Yasuda
  
• Credited writers: Shozaburo Asai, Kan Shimozawa
  
• Cast: Shintaro Katsu (Zatoichi), Miwa Takada, Eiko Taki, Kichijiro Ueda
  
• Cinematography: Shozo Honda
  
• Significant music: Taichiro Kosugi
  
• Awards: none
  
• Budget: NA
  
• Stated initial box office returns: NA

Plot in one sentence: Zatoichi's efforts to quietly celebrate the first light of the new year are thwarted by a corrupt community.

Disc Stats:

Extras:

• Theatrical trailer for this and the preceding and subsequent Zatoichi films
  
• Poster
  
• Four-page insert with essay by Tatsu Aoki, and chapter list
  

Home Vision Entertainment's project to release all 24 Zatoichi feature films on DVD continues apace, with this ninth film in the series, originally released in 1964, and was no less than the fourth Zatoichi film released by Toho-competitor Daiei that year. The Zatoichi films were now in color, and that put an added burden on the filmmakers, who had to embrace colors fantasizing qualities over black and white's jagged realism.

In this one, Zatoichi, who enjoys a little gambling and a bowl of saki as much as a fight with grossly uneven odds, has stopped to welcome in the new year amid the market festivities of a village. Of course, he is soon involved in several disputes between the local gang and some of their victims, and has no less than two roving samurai to contend with. Suffice it to say that the humble wandering masseuse solves everyone's problems before taking off like the Lone Ranger to find renewal in his solitude.

Besides being in color, this episode in the series is notable for inserting popular television stars of the time into the course of the tale. And as Tatsu Aoki notes in the brochure that comes with the box, they fit right in, suggesting the ultimately television like quality of the series, which comforts the viewer with its dependable repetitions while pleasing him at the same time with the modest creative variations.

The wide screen transfer (2.35:1) of this film strikes me as a little uneven, nicely colorful at times, but a little muddy in the night scenes. The sound is adequate to the film's needs.

Supplements consist solely of a four-page insert with the chapter titles, DVD credits, and the enthusiastic Tatsu Aoki essay.

For the record two more Zatoichi films are released simultaneously with this one, No. 10, ZATOICHI'S REVENGE (1965), and No. 11, ZATOICHI AND THE DOOMED MAN (also 1965), each also with a poster included, and a four-page insert with chapter titles, transfer info, and additional informative.

Gun Play

BOWLING FOR COLUMBINE

Original Movie:

• Theatrical premiere: 30 August, 2002 (Telluride)
  
• 119 minutes
  
• R
  
• MGM
  
• Directed by Michael Moore
  
• Credited Writer: Michael Moore
  
• Cast: Michael Moore, Denise Ames (Sexy Girl with Gun), Art Busch, Dick Clark, Charlton Heston, Marilyn Manson, Matt Stone
  
• Cinematography: Brian Danitz, Ed Kukla, Michael McDonough
  
• Editing: Kurt Engfehr
  
• Significant music: John Lennon ("Happiness Is A Warm Gun"), Fred Rogers ("Won't You Be My Neighbor")
  
• Awards: Academy Awards, USA Best Documentary, Features; American Cinema Editors, Eddie; Amsterdam International Documentary Film Festival Audience Award; Atlantic Film Festival, Audience Award; Bergen International Film Festival Audience Award; Broadcast Film Critics Association Awards Best Documentary; Cannes Film Festival, 55th Anniversary Prize; Chicago Film Critics Association Awards, Best Documentary; Cesar Awards, Best Foreign Film; Dallas - Forth Worth Film Critics Association Awards, Best Documentary; Florida Film Critics Circle Awards, Best Documentary; Independent Spirit Awards, Best Documentary; Kansas City Film Critics Circle Awards, Best Documentary; National Board of Review, Best Documentary; San Sebastian International Film Festival, Audience Award; Southeastern Film Critics Association Awards, Best Documentary; Sao Paulo International Film Festival Audience Award Best Documentary; Toronto Film Critics Association Awards, Best Documentary; Vancouver International Film Festival, Most Popular Film; Writers Guild of America, Best Screenplay Written Directly for the Screen
  
• Budget: $4 million
  
• Stated initial box office returns: $21.2 million

Plot in one sentence: An examination of America's attitude to guns and gun policy in the wake of the Littleton shootings.

Disc Stats:

Extras, Side one:

• Michael Moore's audio introduction
  
• Receptionists and interns audio commentary track
  
• Theatrical trailer (2:03)
  

Extras, Side two:

• Video interview with Moore on his Oscar acceptance speech, six weeks later (15:29)
  
• Return to Denver/Littleton, six months after the release of BOWLING (25:06)
  
• "Fight Song" Marilyn Manson music video (3:06)
  
• Festival Scrapbook: Moore at the Cannes, Toronto, and London film festivals (16:42)
  
• Teacher's guide for PC users
  
• Moore interviewed by Joe Lockhart at the U. S. Comedy Arts Festival, February 2003 (21:04)
  
• Segment from The Awful Truth II: Corporate Cops Marilyn Manson music video (7:24)
  
• CHARLIE ROSE excerpt (24:44)
  
• "Mike's Action Guide" for PC users
  
• Crew photo gallery (55 screens)
  

There seems to be two sure ways to inspire disagreement. One is to express some dissatisfaction with the film ALL THAT JAZZ. People love it (David Fincher says in a recent book about him that he saw the film over 100 times while he was a projectionist in Ashland, Oregon). The other is to reveal just the slightest bit of skepticism about Michael Moore.

I guess my skepticism comes from knowing a lot about him, thanks to many columns by Alexander Cockburn about Moore's disputes with the owners of MOTHER JONES magazine, which he edited for a while, and from being confused as to whether he is a comedian or a commentator. He actually tries to have it both ways, and though I sympathize with him politically, I often find myself wondering if what I am seeing comes from a documentarian's adherence to authenticity or a comic's anything-for-a-joke set up.

BOWLING is surely a well-constructed and clever array of facts, figures, and confrontations about America's obsession with guns. It's funny and effective when Moore challenges a retail chain to stop selling bullets. It's not so funny when Moore ambushes Charlton Heston, the elderly and obviously unhealthy poster boy for the NRA (to which Moore also belongs). At one moment in the film, Moore, on Heston's property, calls after him to show some emotion about a girl shot at school. There seem to be tears in Moore's eyes. But then you wonder just how many cameras there were on this location, as the movie cuts back and forth between a departing Heston and a Moore standing on some steps. It brings to mind a similar moment in BROADCAST NEWS.

This moment and others nag at the viewer, as do articles in the right wing press (including this one) that raise interesting issues about Moore's work. In this political climate, however, people cling to Moore, as they do Jim Hightower and Molly Ivins, as amused voices of sanity amid a headlong rush into societal destruction.

The first of the two discs leads off with Moore's audio introduction, in which basically he explains why he doesn't do an audio track for the disc. His point is well taken, but the movie in fact does have a yak track, called the "Receptionists and interns audio commentary track," in which people who work for Moore talk about the movie. This is no worse than Roger Avary having Carrot Top do the audio track for THE RULES OF ATTRACTION. The first side concludes with the theatrical trailer.

Side two begins with a video interview with Moore "somewhere in Michigan" on his Oscar acceptance speech, recorded six weeks later, and without the benefit of actual footage from the Oscar broadcast. Moore concludes this part of the disc with an addendum to his acceptance speech. The next feature, Return to Denver/Littleton, is footage of Moore's chat to a packed house in Littleton six months after the release of BOWLING.

"Festival Scrapbook is footage of Moore at the Cannes, Toronto, and London film festivals, and the most amusing part are the shots of Cannes jury head David Lynch reacting to Moore's win (they couldn't be farther apart politically). In another segment Moore is interviewed by a sympathetic Joe Lockhart at the U. S. Comedy Arts Festival, in February, 2003, and is also shown on the CHARLIE ROSE around the time the movie came out. Moore spends some time responding to the other guest that night, George Will, but we don't get to see that part of the show. Meanwhile, a TV segment from "The Awful Truth II: Corporate Cops," shows, in my view, Moore at his best and worst at the same time.

The second disc continues with a Marilyn Manson music video. There is also a teacher's guide to the movie, for PC users, followed by "Mike's Action Guide." I'd like to tell you what that is all about, but it is for PC users only. Finally, there is a gallery of crew photos (55 of them).

DVD QUOTE OF THE WEEK: Michael Moore: "Here's something that I didn't get to say, because they only give you 45 seconds before they cut you off, and that's thanks to you, out there, who have watched my films, my books, TV. All the people who have supported me over the years. I really, I can't thank you enough. Believe me, these media conglomerates would never put me up on the screen or on TV or whatever because they thought it was a good idea. They're only doing it because people like you actually rent this video or buy my book or whatever, and so it makes them money, so that's the only reason I'm let in the door. And believe me, they'd like to get me out that door as soon as possible. So I have nothing but the greatest respect and admiration and appreciation for every person out there who not only has watched my work but is out there doing their own thing, doing their own work, making their own voices heard, in whatever way that you're doing that, small ways, every day ways that don't make the newspapers or TV shows or whatever. But I know that there are millions of other people out there who, like me, believe that we can do better. And so thank you, this is yours, I share this with you. If I could pass it around so you could each have it for a month on your mantle, I'd do that. So again, thank you, and let's go on and keep doing our work. Thanks a lot." —Michael Moore giving the part of his Oscar speech he didn't have time to deliver.

NEXT TIME:THE OUTER LIMITS: SEASON TWO; NYPD BLUE: SEASON TWO; CSI: SEASON TWO, and more!

E-MAIL THE AUTHOR | ARCHIVES