The Mist: Two-Disc Collector’s Edition–***1/2
DVD Review

If you saw Frank Darabont’s adaptation of Stephen King’s The Mist in theaters, whether you liked it or not, you need to pick up the DVD. If you haven’t seen this horror throwback, then you’d do well to skip right to disc two of this Collector’s Edition DVD set. The film, which was a respectable genre picture in its own right, gets a whole new life in DVD’s black & white presentation of the feature film.

Darabont introduces the black & white version of The Mist as his “director’s cut”, his original vision. And what an original vision it is. The film, which was full of genuinely terrifying moments, has a spookier feel. Some scenes—the opening sequence, a tentacle monster attack, a web-filled pharmacy scene, anything that happens in the mist—were made to be shot in black & white.

You can see the inspiration of 1950s/1960s sci-fi and horror films in this version of the film, which still follows a group of residents trapped inside a grocery store as a mist full of man-eating creatures engulfs their tiny New England town. Though the film could have also used a new score to go along with this new vision, the story of a small group of sane people who must survive a growing cult mentality fueled by the town’s self-proclaimed prophet still resonates. Only this time, it’s on a different, more appropriate plain.

Many other films have had multiple versions released over time. A director’s cut here. An extended final vision there. Kudos to The Weinstein Company for releasing this The MistDVD set with both versions of the film. We may also have lackluster box office results from the original theatrical run to thank, but either way, it’s rare for a DVD to offer so much in one release.

Special Features:
Exclusive Black & White Presentation of the Film
Collectible Booklet with Written Commentary by Darabont
8 Deleted Scenes with Optional Commentary
Audio Commentary with Writer/Director Darabont
When Darkness Came: The Making Of The Mist
Taming The Beast: Shooting Scene 35
Monsters Among Us: A Look At The Creature FX
The Horror Of It All: The Visual FX Of The Mist
Drew Struzan: Appreciation Of An Artist

Darabont’s intro to the black & white version courtesy of YouTube:

The Mist, directed by Frank Darabont and starring Thomas Jane and Marcia Gay Harden, is available Tuesday, March 26 on DVD.

13 Game of Death (2006)–***
DVD Review

13: Game of Death is everything I wanted Saw to be. This psychological thriller/splatter film from Thailand is just topical enough, just perverse enough and just tense enough to make for an entertaining evening of blood, shit and satire.

The film follows Chit (Krissada Terrence), a music instrument salesman who is having the worst day of his life. He’s broke. His car has been repossessed. And to top it off, he loses his job. When Chit seems to be completely out of luck, he receives a mysterious phone call telling him he can win loads of cash. All he has to do is complete 13 tasks for an Internet game show without fail and without question. But what starts out as a simple game evolves into something more violent and disturbing than Chit could have expected.

I know I’m watching an effective movie when 30 minutes in, I’m nauseous. 13: Game of Death cultivates its sickeningly twisted tone with such nonchalance that it’s disturbing. Unlike gruesome American horror films that try, and try hard, to shock audiences, this Thai thriller hardly ever feels forced, making it much more effective.

Equally effective is the dark sense of humor that pervades the narrative. The tasks are often disgusting, but it’s hard to turn away because the are completed with an unexpected comedic flair. No, that’s no permission to cast Shia LaBeouf in the inevitable American remake, but it is a solid recommendation for anyone who prefers a little belly laughing with their blood.

13: Game of Death, starring Krissada Terrence and directed by Chukiat Sakveerakul is available on DVD today.

Justice League: The New Frontier (2008)–***1/2
DVD Review

If there is anyone out there from Warner Bros. reading this, I have a request: please, please, please release Justice League: The New Frontier in theaters. I don’t want to live in a world where an animated film the caliber of this latest DC Universe release is simply called a direct-to-video movie.

A period animated film set in what was a dead zone for superheroes during the waning days of The Golden Age, Justice League: The New Frontier takes comic book fans on a dream journey into territory even the live-action theatrical releases have rarely attempted to take us. Steeped in the tradition of other recent DC Universe animations - narratives that steer away from the solid, mainstream appeal of most superhero films - this Bruce Timm production moves at a Flash-like pace without forgetting the characters or, more importantly, its inspiration.

At the end of the Korean war, fighter pilot Hal Jordan (David Boreanaz), a man who never fired at an enemy, is forced to eject from his plane and kill on the ground to survive. The day haunts Jordan so much that he is rejected in every attempt to fly into space in the early days of the space race. While he tries to find his place in post-war life, the McCarthy-fueled Red Scare is turning the American government against the superheroes who protect it. Superman (Kyle MacLachlan) can’t rectify his own commitment to American ideal with his super friends’ loss of status. The Flash (Neil Patrick Harris) is forced to give up chasing jewel thieves and go into hiding. Wonder Woman (Lucy Lawless) returns to Paradise Island.

Only Batman (Jeremy Sisto), struggling with is own identity as a feared vigilante after frightening a child, remains on a case and uncovers a threat beyond anything the Earth has ever imagined. With the help of a Martian (Miguel Ferrer), who cannot get over the injustices in human society, they sniff out the source of a cult that serves “The Center.” The threat is enough to band masked crusader, human, and even Martian together, while giving Jordan the opportunity to become the superhero he always could be.

At this point, I must confess, I never read the Darwyn Cooke comic series on which Justice League: The New Frontier was based. Still, the sight of the film, its vivid animation, and well-paced narrative is enough for film fans alone to take it seriously.

While not an epic in terms of runtime, the film carries itself as if it were a David Lean superhero film. We do tend to lose some context and character because the film is only 75-minutes long, but the film’s focus on unlikely characters like Hal Jordan and The Flash is enough for us to forgive the apparent lack of Batman and Superman. They do have their own franchises and animated series, after all.

In terms of its political context, I can’t imagine a better time for Justice League: The New Frontier to have been released as a film. Hearing JFK’s acceptance speech from the 1960 Democratic Convention over the animated montages of our Justice Leaguers is inspiring enough, but in a time when we need a New Frontier president and a community of responsible citizens willing to come together for the common good, Justice League: The New Frontier proves to be as timely as it is entertaining.

DC and Warner, you may have created a monster here. It’s going to take one hell of a live-action Justice League movie to beat what was accomplished in The New Frontier. Sure, there’s room for improvement, but the boldness of Justice League: The New Frontier lies in what it can do as a film that doesn’t rely solely on the conventions of the contemporary superhero film genre.

Justice League: The New Frontier is available on DVD today. 

Day Zero (2007)–**1/2
DVD Review

Day Zero is more of a conversation starter than a watchable film. The drama, set in a near future where the draft is reinstated due to an escalated confrontation in the Middle East, languishes in the realm of politics for too long. In the early scenes, the tone is set for a cable news-level debate, without much concern for the story. Surprisingly enough, when Day Zero sheds its political skin we can dig in just enough to start caring about what the film and the characters are trying to tell us.

What does your patriotism look like when you find out you have 30 days left of civilian life before going to war? For the three friends, all draftees, the contrast is stark. George (Chris Klein) just made partner at his law firm. He opposes the war, but as his friend Dixon (Jon Bernthal) says, George has benefited from America’s freedoms. Dixon is eager to go to war, reminding the people around him about 9/11 and a fictional terror attack in Los Angeles. Then there’s Aaron (Elijah Wood), an anxious writer who is pushed close to the edge upon the receipt of draft notice.

Though all three get more or less equal screen time, it’s the character Dixon who goes through the fits and throws of the choppy production to uncover the film’s sincerity. He’s the one, early in the film, who often sounds like a talking head on the right, but has the most manifestly potent transition in the weeks before he ships off.

Dixon, you see, falls in love. He may not be the best written character of the bunch, that title will go to Aaron, who could only have looked good on paper. But Bernthal’s performance as Dixon is as rough and raw as should be expected in a film about the draft’s return.

Directly opposite Dixon is George, a wishy-washy lawyer who in the hands of Klein is as unbelievable as he is unlikeable. Klein’s performance as an urban professional who desperately wants to dodge the draft doesn’t get under our skins like Bernthal’s. He has all the makings of an effective character, yet Klein’s lack of nuance and boyish looks make it impossible for him to compete against the other characters for our attention. That includes Ginnifer Goodwin, who has a marvelous turn as George’s wife.

In spite of some mediocre acting and a troubled screenplay, the topical film still resonates on premise alone. That’s not to say the notion of a renewed draft is solely important. Instead, we are confronted with a discussion of patriotism that is worth having on a larger scale. Day Zero isn’t strong enough to get the average Joe thinking about what it means to be a patriot, but it’s certainly a starting place for anyone who manages to catch what has so far been a little seen film.

Day Zero, starring Chris Klein, Elijah Wood, Jon Bernthal and Ginnifer Goodwin, directed by Bryan Gunnar Cole, is available on DVD Tuesday, Feb. 26.

Margot at the Wedding-*1/2
DVD Review

Noah Baumbach’s characters have always been slightly maladjusted, but they never felt unreal. Margot at the Wedding changes that. In his latest film, he transplants characters from a Todd Solondz film into a movie that is too dramatic, tonally, when compared to its characters.

One of those characters is Margot (Nicole Kidman), a writer from Manhattan, who takes her son Claude (Zane Pais) to her estranged sister’s wedding. The depressed, dejected scribe hasn’t told her son that she’s trying to leave his father for a writer who lives near her sister, which is why dad didn’t come to the family event.

Margot hasn’t talked to her sister Pauline (Jennifer Jason Leigh) in years. She’s coming to the wedding more to escape her husband than to be with her sister. When Margot meets Pauline’s slacker husband Malcolm (Jack Black), Margot’s overly critical nature is directed at a perfect target.

Calling Margot unlikeable is a gross understatement. Calling her anything more than a cliché would in turn be an overstatement. While we have plenty of reasons to pity her – self-hatred, an abusive father, low self-esteem – we can’t help but exclaim, “What are you thinking?!” when she asks her son if he’s been talking about her behind her back.

Part of the problem is Kidman, who is never really in tune with just how ludicrous her character’s actions are. Kidman is too subtle and too comedically inept for the role. When she is thrown into a scene with Black, particularly the one where they are discussing jobs, the banter is an uneven back-and-fourth of pseudo-comedy from a comedian and exhaustingly tense drama from a dramatic actress.

Maybe the most upsetting part of the film is watching Claude interact with his mother while he experiences his own sexual awakening. Claude is treated as a secondary character, but his sensitivity and disturbing interaction with a unbalanced mother make his character the only one that is worth our concern.

Consider watching a dramatic version of Running with Scissors where Annette Bening’s unstable mother character is the lead and her son is supporting. That’s what it’s like watching Margot at the Wedding. It lacks honesty. It lacks humor. It lacks entertainment value and artistic integrity. It lacks most anything that should make a film worth watching. In fact, if you think your family is screwed up, you may still have a better time with them than you would have watching Margot at the Wedding.

DVD Features:
“A Conversation With Noah Baumbach and Jennifer Jason Leigh”

Margot at the Wedding, written and directed by Noah Baumbach and starring Nicole Kidman, Jack Black and Jennifer Jason Leigh, is available on DVD Tuesday, February 19, 2008.

Dedication (2007)–***
DVD Review

I’ve often described movies as bipolar, but never in such a positive manner as I would describe Dedication. Seriously unhinged and better for it, this debut film by director Justin Theroux stirs together the best parts of Woody Allen circa Annie Hall to create a modern love-story for a generation of people who are trying too hard to be jaded.

Dedication opens in an adult film theater where two children’s book authors, Rudy (Tom Wilkinson) and Henry (Billy Crudup), are searching for inspiration. It doesn’t take long for Rudy to come up with the idea of a beaver, and the long-time collaborators are off to the races. The book is a huge success - a monster hit, in fact – but that doesn’t improve Henry’s bleak outlook on life. Rudy does all that he can to encourage his young partner to enjoy living and find a girl, a nice girl.

Rudy’s earthly support comes to an end when the aging illustrator discovers that he has terminal brain cancer. With only the memory of Rudy (and a rather antagonistic one at that) to guide him, Henry is more lost than ever. His compulsive behavior gets worse. His anxiety is at an all time high. And, worse, he has another beaver book due to his publisher. The publisher hires Lucy (Mandy Moore) to work with him as his new illustrator, and she might just be the one to bring him out of his overpowering funk.

Fortunately for the audience, we benefit from Henry’s deep depression. Writer David Bromberg delivers a quotable script with devilish, wounding one-liners from the dreary protagonist. With Henry’s words coming out of Crudup’s mouth, we get a character who is more like Jack Nicholson’s Melvin in As Good As It Gets than the expected Zach Braff in Garden State.

Yet, as is expected in even the darkest romantic comedy, Henry perseveres to make a transformation when he develops feelings for Lucy. Lucy, played by Moore with a natural charm and down-to-earth attitude, isn’t necessarily compatible with Henry. She’s not even a complementary partner, but she’s the nice girl Rudy wanted Henry to be with. More for Rudy than himself, Henry woos her in his own awkward way.

“We communicate nowadays through damage,” Rudy tells Henry early on in the film. The impact of this line on Henry, though not immediately apparent, is profound. It carries the film. We don’t know much about Henry’s past other than the occasional allusion to issues with his parents. There are also some manic moments, where Henry’s negativity bursts out in a fountain of humorous inanities, but Henry’s struggle to do right by Rudy mellows the film at just the right moments. Rudy is Henry’s lithium, and we could all learn to be a little more balanced if we just listened to Rudy.

Dedication, directed by Justin Theroux, starring Billy Crudup, Mandy Moore and Tom Wilkinson, is available on DVD Tuesday, Feb. 12.

A seemingly ill-conceived festival re-branding campaign in season two of the three-season behind-the-scenes theater series Slings & Arrows uses lines from bad reviews to connect with a new audience. One such review reads “…theater has never made television looks so good.” Well, in the case of this Canadian TV import, I can honestly say television has never made theater look so good.

I first discovered Slings & Arrows during the non-stop coverage of The Sopranos finale. TV critics on NPR were debating, prematurely, whether the HBO mob saga was the best show in the history of television… ever. One critic chimed in on his love of the show Slings & Arrows, calling it the best show he had ever watched.

As a viewer who has taken in the series Slings & Arrows twice in its entirety, I’d have to say the critic wasn’t far off. The show about the fictional New Burbage Theatre Festival (based loosely on Canada’s Stratford Shakespeare Festival) is the best combination of Aaron Sorkin and Alan Ball, two people who have made what are arguably the best modern TV dramas, The West Wing and Six Feet Under, respectively.

With Slings & Arrows, we get Sorkin’s behind-the-scenes look at theatrical productions of Shakespeare’s classics featuring an idealized version of a festival’s artistic director in Geoffrey Tennant (Paul Gross). Tennant is an eccentric artist who believes in the power of the theater. He takes over for former friend/mentor/enemy Oliver Welles (Stephen Ouimette), who - and here’s where the dark comedy of one Alan Ball comes in - dies after a ham truck runs him over.

At the time of his death, Welles was, as the local theater critic puts it, going through the motions. The shows were stale, but profitable, something the bean-counting festival director Richard Smith-Jones (Mark McKinney) didn’t mind one bit. Upon Welles’s death, Smith-Jones, at the urging of an American business executive with ties to the festival’s major corporate sponsor, Holly Day (Jennifer Irwin), begins to develop major Disney World-type improvements to the festival. That is until the board appoints artiste Tennant as interim artistic director.

The Diana Christensen-esque Day competes with Tennant for the direction of the festival. Is great theater enough to fill the seats? Does the festival need to be more business-minded? That’s a major struggle in the above described first season, as well as the macro conflict of the show’s three-season run.

The more character-driven portion of the narrative follows Tennant’s attempt to work with his former lover and festival star Ellen Fanshaw (Martha Burns). Tennant once went mad in the middle of a performance of Hamlet because of Ellen’s liaison with none other than the gay Welles. Everyone questions Tennant’s sanity, but no one more than himself because he has regular conversations with Welles’s ghost.

The ghost of Welles, a witch-like but prescient old donor, a dying old actor among many other intentional idiosyncrasies ensure that each season mirrors ever so slightly the Shakespearean production that Tennant is charged with putting on. The show, however, is at its best when dealing directly with the productions, allowing some of the finest working theater actors in Canada to take on classical roles with often towering intensity. Stars well known to American audiences like Rachel McAdams and Sarah Polley give performances you hardly expect if you’ve only seen them in their commercial film work.

There are many great performances in the show, but I love one particular performance in season two. Prior to a preview for the show Macbeth, the lead Henry Breedlove (Geraint Wyn Davies), an arrogant, complacent stage legend, is fired. He and Tennant don’t see eye to eye (and Welles’s ghost is siding with Breedlove!). The show goes on with Breedlove’s unprepared understudy Jerry (Oliver Dennis) in the role of Macbeth. In this great, almost episodic program Jerry has his chance to rise up and create for a few brief moments an effective, if unusual Macbeth. It’s an exceptional moment for Jerry, a bit part if there ever was one, but it also shows that the show is so solid that it can go on slight tangents without losing sight of the bigger picture. The episode that follows is near perfection.

Much of the series is at the level of that episode that follows Jerry’s turn. It’s a show that runs hard and runs fast, but fades out quickly. It’s a sprinter of a series, with only 18 episodes in total, short of even a single season run for most broadcast television shows. The greatest delight is watching Slings & Arrows burn the candle at both ends. While it’s burning, it gives such a lovely light. I can’t imagine the show ever holding up a longer run. Slings & Arrows, after all, is a show about theater, and the playwrights and actors who created it aren’t writing a love letter. They’ve written a Dear John letter to the theater that has risen. It’s evident in the constant lampooning of the corporatization of the medium, the ludicrous marketing campaigns, and a musical takeover of the festival. In the end, Slings & Arrows could be classified as a problem teleplay, if only because for every bit of comedy the show chronicles the grand tragedies of modern theater.

Don’t miss these DVD features:

• Extended performance scenes
• Lyrics for the each season’s opening song
• A bonus disc with some very raw behind-the-scenes documentaries

Slings & Arrows: The Complete Series DVD set is available February 5, 2008.

I used to do monthly interviews with indie filmmakers. Dance Party, USA is the type of indie I would seek out — small, rough around the edges, poignant, and lacking pretense. That’s how I like my indies.

But this review isn’t going to focus on Dance Party, USA, which is part of a two-disc DVD set featuring work by director Aaron Katz. Dance Party, USA is a great indie, but the second feature in the set, Quiet City, is a great film, one that proves that truly revolutionary American movies can still be made outside the system, even outside of Sundance.

Where as Dance Party, USA is a coming-of-age tale about high schoolers who learn the difference between sex and relationships, Quiet City is the story we might hear eight years in the future when knowing what a relationship is doesn’t mean it’s easy to have a successful one. Jamie (Erin Fisher) is abandoned in New York City by the friend she was visiting. She comes from Atlanta and doesn’t know where she’s going or what she’s going to do.

But she meets Charlie (Cris Lankenau), one of the walking wounded, who is mopey and insecure after his girlfriend leaves him. With nothing better to do, Charlie acts as Jamie’s guide to the city. Jamie, in turn, acts as Charlie’s guide to reconnecting with his world.

Jamie’s ability to pull Charlie out of his funk isn’t a spectacular event. There are no grand gestures. There are no musical scores to dictate the emotions of the moment. Quiet City succeeds because it never demands to be heard, yet we want to hear it. Whether it’s listening to the leads’ awkward improvised chit-chat or watching their free-spirited play, we develop a connection with the characters, however fleeting and inconsequential it might be.

Quiet City doesn’t have much ambition to move us, maybe because of the slackerdom it represents. Unlike Dance Party, USA, which seemed to be “about something”, Quiet City is really never about anything, making it all the more pertinent.

Here’s where I drop a buzz word: mumblecore. Quiet City is part of the American independent film movement dubbed mumblecore. One of the trademarks is the minimalistic nature of the productions. Katz is a master of this with his deliberate lack of momentum and intimate, but perfectly framed hand-held shooting. He lets the audience settle into the scenes without forcing the potential romance blossoming between Charlie and Jamie high schoolers onto the viewer.

What separates Katz from some of the drearier mumblecore productions (yes, you, The Puffy Chair) is the feeling that in his saying nothing, Katz is saying everything that needs to be said. Even more so than Four Eyed Monsters, Katz’s film captures the spirit of a generation — one struggling to find its voice while surrounded by all the communication technology in the world.

Quiet City and Dance Party, USA, directed by Aaron Katz, is available on DVD now.

The Ten (2007)–***
DVD Review

So, you’re on Netflix or going to a video store, and you’re thinking, “Hey, why can’t I ever find a comedy about a woman having sex with a ventriloquist dummy?” Well, my friend, David Wain has come to your rescue. The Ten, comedy director/writer Wain’s most recent film, arrives on DVD Jan. 15, and we’re lucky enough to experience a comedy that violates most of the Old Testament sex laws, not just the Ten Commandments.

Paul Rudd is Jeff, our guide to 10 stories representing the Ten Commandments. He’s the adulterer, which is way down on the list, so it’s less important. First up, though, is the story of Stephen Montgomery (Adam Brody), who is worshiped as a false god when he plummets to the earth while skydiving embedding himself in the ground and surviving. Then there’s a librarian named Gloria (Gretchen Mol) who takes the Lord’s name in vain…while she’s having sex with him.

We encounter covetous individuals. One is about a suburban father (Liev Schreiber) seeking to compete with his neighbor in a race to purchase the most CAT Scan machines, and another is the story of a just-transferred convict (Rob Corddry) seeking to steal a prison bitch (Ken Marino) away from another prisoner. The prison bitch is in jail for killing someone.

There’s an animated story about a rhino who sells heroine, but only came to selling smack after his lying got people killed. Two brothers must deal with the issue of their parents lying to them, being black children born to a white couple. And there’s a nude musical number about remembering the Sabbath.

Winona Ryder’s story of a young woman who steals a ventriloquist dummy because she falls in love with him is the most enjoyable tenth of the film. Ryder’s not someone associated with comedy, but she delivers lines like I will SMACK you! in a way the makes my heart smile. As a dramatic actress, she knows where the line between subtle dramatic effect and overacting lies. Like a gazelle, she sprints gracefully over that line.

All of the Ten Commandment stories, including Ryder’s, are lampooning something - disaster movies, after-school specials, family sitcoms, even Y Tu Mamá También. And they do it with a raunchy goofiness I rarely appreciate. Wain puts together a string of vignettes with such skill that more pretentious works of the same style should envy it. The humor isn’t for everyone. Still, if you take a look at the first paragraph in this review and you’ve asked yourself a question like the one I mention, then The Ten is for you.

The Ten, directed by David Wain, starring Winona Ryder, Liev Schreiber, Gretchen Mol, Adam Brody, Paul Rudd and some more people is available on DVD Tuesday, Jan. 15.

Hatchet (2007)–*
DVD Review

Hatchet is a film for serious, hardcore horror fans, but a film for no one else. Released by Anchor Bay for a very limited theatrical run in September, Hatchet, I thought at the time, was a film that demanded a wide release. It got into the Tribeca Film Festival, after all. But watching the film play out, with it’s hyped-up gore and little sense of suspense, it’s easy to see just how wrong a film that claims to be Old School American Horror got it.

The film follows a group of New Orleans tourists who go on a haunted swamp tour. A urine swilling fisherman lets us know that the boat shouldn’t go into the swamp because it is closed and because of Victor Crowley (Kane Hodder). The tourists don’t hear this though, and none of them except Marybeth (Tamara Feldman) knows the truth about the swamp. Her only concern, though, is finding her brother and father, both of whom we know already know to be dead at the hands of Crowley thanks to a vicious opening sequence. When the boat hits some rocks and gets stuck in the swamp, Marybeth tells the tourists about Crowley and they all must run for their lives.

So who is Crowley? He’s certainly nothing special, except for his ability to rip a human skull apart at the jaw bone. His story is that of a terribly disfigured son, cared for by his single father in the swamp until a tragic (and ridiculous) accident involving a…ahem…hatchet. Crowley is assumed dead, but sticks around as an incarnate specter.

Yes, an incarnate specter with superhuman powers and a penchant for tearing people limb from limb, quite literally. Being someone not inclined to enjoy human carnage in my horror films, I was shocked to find the overblown slaughter scenes with outrageous gore were in fact the only parts of Hatchet worth watching.

Hatchet gets its gore right, but without context and without characters worth rooting for the film merely appears to be pandering to an audience of blood-thirsty torture porn fans. It doesn’t have a villain with much mystique like a Jason Voorhees or a Michael Myers, meaning Victor Crowley could have been banished to an anthology series like Tales from the Crypt.

Tales, however, has a slightly humorous bent to it. Hatchet couldn’t been less funny if it tried. Unfortunately, its a film that’s written like an entry on CollegeHumor.com. I’m sure there’s an audience for a frat boy-directed gore fest, but I’m hoping this film never finds it. I’d hate to know that Hatchet 2 was a legitimate possibility.

Self-fellating Featurettes:
A Twisted Tale, Anatomy Of A Kill, Guts & Gore Meeting Victor Crowley, & The Making Of Hatchet