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Special Releases

Lookin' to Get Out/Warner
Hal Ashby's 1982 gambling comedy, directed from a script co-written by star Jon Voight, was a critical and commercial flop on its original release. Seen today, in a longer cut than was originally released, it looks better, if not quite great. Voight is a hopeless gambling addict with unflagging optimism and perpetual motion energy who sets off to Vegas with his good-hearted schlub of a best friend (Burt Young) for a "big score" to settle a gambling debt. The plot is a completely unconvincing series of coincidences, but the dynamism of the characters and their friendships is marvelous. Voight and Young are like kids when they get excited, immature but utterly devoted to each other, and Ann-Margret is touching as a woman from Voight's past whose romantic optimism is tempered by her growing realization that her old lover is completely unsuitable as a father to her daughter. Ashby's indulgence allows the film get lost in comic chases and brawls (not to mention the crazy plot involving mistaken identity and a washed-up gambler played by Bert Remsen), but he always returns to the characters, who are the real story of the film. But, oh, that '80s synthesizer score is painful.

Hal Ashby's original cut was edited down by 15 minutes under studio pressure. His original two-hour version was recently discovered in the studio archives and premiered at a Hal Ashby retrospective in 2009, and that's the cut featured on the DVD debut. The story is explained in the 16-minute retrospective featurette "Lookin' to Get Out: The Cast Looks Back," featuring new interviews with actor/co-writer/co-producer Jon Voight, co-writer Al Schwartz, and co-stars Burt Young and Ann-Margret. It's the only supplement (besides the trailer) on the disc.
©Lionsgate
Kaidan
Hideo Nakata, director of the original "Ringu" and "Dark Water," returned to Japanese cinema (after his frustrated Hollywood sojourn) with this remake of the classic ghost story. It's a gorgeous period piece, more about mood and visual eeriness than horror or startles, and Nakata turns what could be a straight revenge film into an ambiguous tale of jealousy and revenge from beyond the grave. What's missing is the sense of fate, powerful forces of poetic justice or emotional spirits behind these terrible crimes. Nakata was once a master at easing audiences into the states of helplessness and confusion suffered by his characters, but he is too removed to give us an emotional stake in this story. Japanese with English subtitles. No supplements.
©Troma
Direct Your Own Damn Movie!
Troma honcho and grunge-movie auteur Lloyd Kaufman follows up his five-disc "film school in a box" DVD "Make Your Own Damn Movie!" with this four-disc set of practical tips from working directors and producers. A two-hour documentary featuring new interviews with Eli Roth, William Lustig, Stuart Gordon, Mick Garris, Ernest Dickerson, Penelope Spheeris, Whit Stillman, Monte Hellman and Joe Dante (among many others) is the foundation of the set. The rest is filled in bonus interviews and featurettes. It's a survey in bits and pieces, but Kaufman is all about practical lessons and examples from experience in a presentation spiced up with humor. True to character, he invites his subjects to critique his films and his style, and they take the assignment seriously.
©Universal
Pufnstuf
This feature length musical spun off from Sid and Marty Krofft's bizarre, life-sized puppet TV show plays like a grade-school remake of "The Wizard of Oz" on acid. Shot on the same painted backdrops and flat sets as the series, it feels less like a movie than a continuing episode with guest stars (including "Mama" Cass Elliot singing the psychedelic interlude). Apart from the sheer weirdness of entire enterprise (just what stuff were they puffin' when they came up with this?), it's a painfully sloppy picture, but Billie Hayes almost powers it single-handedly in a cackling, kinetic performance as Witchiepoo.
©Tai Seng
Beast Stalker
Dante Lam directs this long, slow, grimly humorless Hong Kong crime drama of a hot-shot young police captain (Nicholas Tse) who drops out of the force after one of his cases ends in tragedy and then goes rogue to save the kidnapped daughter of a prosecuting attorney from a half-blind kidnapper/killer for hire (Nick Cheung). There are some effectively staged sequences, but there's nothing to distract the audience from these glaring gaps in rational thought. The characters are blank under their glib psychological profiles, and the procedural sequences drag the film down between the bursts of grim, grimy action. Includes featurettes and deleted scenes, all in Cantonese with English subtitles.

Sean Axmaker is a film critic for the Seattle Post-Intelligencer, a DVD columnist for MSN Entertainment and a contributing writer for GreenCine.com, Turner Classic Movies Online, Parallax View and Asian Cult Cinema, among other publications. Find links to all of this and more on his shamelessly self-promoting blog.

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