''Curious George,'' ''Toyko Drift'' among new releases

The Virginian-Pilot

Margret and H.A. Rey would be pleasantly surprised to see how modern-day filmmakers and animators made their “Curious George” come to life, including the man in the yellow hat who takes the primate under his brightly colored sleeve.

Universal Studio’s “Curious George” (audio: ***1/2, video: ****, extras: ***) is a modern twist on a 20th century classic about a monkey who makes his way to the United States. Grab a hankie, it’s a story of bonding, friendship, understanding and unconditional love.

In this version, Will Ferrell is cast in the title role of the man in the yellow hat (Ted) — a vulnerable chap who goes to the jungle to recover a monkey idol thought to be the size of the Empire State Building. Turns out it’s the size of a finger. As he deals with that debacle, Ted must also deal with his overly curious new pet monkey, George.

Besides Ferrell, Drew Barrymore, Dick Van Dyke and Eugene Levy lend their voices to this family flick awash in primary colors.

The extras on the DVD aren’t so much about making the film, but are family friendly, including a Jack Johnson music video with or without the song’s words; drawing George; making George animated; 15 deleted scenes; and several games including a banana hunt, a hunt for George and coloring sheets. There’s also DVD-ROM feature. You also get some coupons inside including one-year subscription to Parenting magazine. (Enhanced widescreen, 2006, G)

— Toni Guagenti

The cars are the stars in Universal’s new High Definition presentation of “The Fast and the Furious,” (2001) “2 Fast 2 Furious” (2003) and “The Fast and The Furious: Tokyo Drift” (2006) (all: audio, ****, video: ****, extras: ****).

The franchise began with “The Fast and the Furious.” Vin Diesel and Paul Walker had a plot to go with the races and racy ladies. Walker stayed on for “2 Fast, 2 Furious,” joined by Tyrese and Eva Mendes. By the time we hit the third film, “Tokyo Drift,” racing has absorbed the acting, but the trendy vehicles and a unique form of street racing carry the film. Barely.

But we’re not looking for a James Cameron epic here, just fast cars and faster women. That might be the biggest objection in this latest offering, the continual slutty representation of females. Don’t lose sight that these films are fantasy, through and through.

Color and clarity are brilliant in HD, however, and that — unintentionally, perhaps — maintains the fantasy aspect on all three.

Extras give us the actors learning to race and energetic car chatter. “Tokyo Drift” also includes a clever “U Control” gimmick providing access to picture-in-picture interviews, tech specs, and a GPS tracker. It’s easier to get in than out of, but viewers will have fun with it. (All: HD wide-screen, rated PG-13 for street racing violence, language and some sensuality)

— Kay Reynolds

Universal put out Legacy versions of “Frankenstein” and “Dracula” (both, audio: ***, video: ***, extras: ***) in '04. What’s new with the 75th anniversary editions of those fright-night pillars? Not a lot.

The big news: Digital remastering has cleaned up loads of pops and scratches, but the pictures still suffer from age. (Hey, if this is as good as it gets, it’s not bad.)

Most of the extras, though, are recycled. The exceptions are the above-average documentaries “Karloff: The Gentle Monster” and “Lugosi: The Dark Prince.” In the former, historian Christopher Frayling makes a salient point: Karloff’s portrayal of The Monster as a recalcitrant child was a silent-film performance in a sound movie.

Otherwise, Universal’s grave-robbing act does Henry Frankenstein proud. (Both 1931, full-screen, unrated)

The blurb on “The Boris Karloff Collection” (audio: ***, video: ***, extras: 0) reads, “The master of horror in his most frightening roles!” That’s debatable, but the five-film set is still a cool addition.

It includes familiar titles (“Tower of London,” “The Black Castle”), Karloff’s first color film (“The Climax”) and, apparently, the idea for Harrison Ford’s recent “Firewall.”

“Night Key” has Karloff as the inventor of a security system who is kidnapped by gangsters. Ford should be so memorable. (All fullscreen, 1937-52, unrated)

— Craig Shapiro

The Keanu Reeves/Sandra Bullock time travel romance “The Lake House” (audio: ***1/2, video: ***1/2, extras: *) is the first movie to be released on both HD formats (HD-DVD & Blu-ray) and DVD on the same day.

Based on the excellent Korean film “Il Mare,” both versions are so skillfully executed that we suspend our disbelief at the paradoxes that defy all logic. Reeves and Bullock, finally reunited years after “Speed,” play star-crossed lovers separated by two years who exchange letters via a magic mailbox located at the lake house of the title. Unfortunately, the only extras included are a handful of deleted scenes and outtakes. No additional extras on the HD versions.

Recommended for romantics. (Enhanced widescreen, 2006, PG for some language and a disturbing image)

— Josh Boone

Lots of folks tell Greg Garcia his show is funny, but when they tell him they also tune in because it makes them feel good, well, he gets that warm-all-over feeling, too.

Balancing humor and heart is a “delicate dance,” Garcia says. “My Name Is Earl: Season One” (audio: **1/2, video: ***1/2, extras: ***) is solid proof that the creator and producer of the hit NBC series is the Fred Astaire of network TV.

Late coming in? Jason Lee plays Earl J. Hickey, a scruffy, petty crook who loses a winning $100,000 lottery ticket when he’s hit by a car. He is soon made wise to the mystery of karma and sets out to undo every bad deed he ever did.

In “Making Things Right: Behind the Scenes of My Name Is Earl,” Garcia and director Marc Buckland talk about the lengths it took to get their man. Lee, probably best known for the feature film “Almost Famous,” had zero interest in TV. Garcia and Buckland persisted, and after two months he finally read the pilot script. Good thing. It’s hard to imagine anyone else in the role.

That just about everyone in the gifted cast — Lee, Ethan Suplee, Jaime Pressly, Nadine Velazquez, Eddie Steeples — and on the crew participates in the making-of feature and commentaries sprinkled throughout the two-disc set is further testament that the sense of camaraderie you get from “Earl” is genuine.

Other extras include a bonus episode and blooper reel. One note: Don’t be put off by the poor video rating. The space on the review copy is substantially compressed compared to store copies. (Enhanced wide-screen, 2005-06, unrated)

— Craig Shapiro

MGM once bragged that it had “more stars than there are in the heavens” and ruled Hollywood for nearly three decades. By the turbulent 1960s, directors had abandoned the studio’s dream factory back lot — where a movie a week had produced such classics as “The Wizard of Oz” and “Singin’ in the Rain.”

Two of those independent MGM movies from the 60s just arrived in HD-DVD with mixed results.

Director John Frankenheimer (“The Manchurian Candidate” & “Ronin”) was passionate about two things; moviemaking and motor racing. “Grand Prix: 40th Anniversary Edition” (audio: ****, video: ****, extras: ***) fulfills the director’s desire — with an extraordinary level of reality — while pushing the limits using groundbreaking cinematography.

Frankenheimer mounted the 65mm large format Cinerama cameras onto the Formula 1 cars, putting you right in the middle of the action like nothing before or since. Filmed throughout Europe, with nearly 30 top drivers — a revolutionary split screen editing process was also used and won an Oscar — to accelerate the excitement. Starring James Garner, Eva Marie Saint, Jessica Walter and Yves Montand, “Grand Prix” does fall into soap opera land, following the drivers on and off the circuit.

Warner Bros. owns the vast pre-1980 MGM library, restoring every single frame from start to finish, giving it a look as if it was filmed yesterday — especially in HD.

All of the extras (four documentaries) on the two-disc DVD are included. You’ll learn that Steve McQueen was Frankenheimer’s first choice — while the studio wanted Garner. A squabble between McQueen and Frankenheimer’s partner made the decision easy, giving the role to Garner — whose driving was so good, the director felt his leading man could’ve given up Hollywood for the track. (HD widescreen, 1966, unrated)

“The Dirty Dozen” (audio: ****, video: **1/2, extras: ****) may be the quintessential “guy flick,” with 12 Army outcasts — most on death row — given a chance to redeem themselves in a suicide mission. The action-packed story, mixed with irreverent comedy, was filmed in England. Lee Marvin (Major Reisman) is ordered to train the prisoners and then turn them loose on the Nazis just before D-Day behind enemy lines.

We expected another fabulously restored picture from the folks at Warner, but “Dirty Dozen” needs a bath. It is a rollercoaster ride for your eyes, one moment the picture is crystal clear and the next, it’s softer than DVD.

The heightened resolution of HD only increases the contrast between great film preservation and films that never received tender loving care. “Dirty Dozen” has no scratches or blemishes, but clearly the original film negative is not complete, so Warner was left with sub par duplicates to work with. The good news it only affects 5 percent of the movie. All said and done, this is probably the best it’s going to get.

The disc features all of the extras found on the two-disc DVD, including a commentary, three documentaries and the TV sequel from 1985. (HD widescreen, 1967, unrated)

— Bill Kelley III

Over the past few years, there has been a superhero renaissance on the silver screen. X-Men, Spider-man, Batman, The Hulk, Punisher, Daredevil, Fantastic Four and the list keeps growing. Face it, the world is looking for a savior. One comic book character has received an array of lofty praise this year — from a summer blockbuster to the mysterious death of TV actor George Reeves, in “Hollywoodland.”

With all the hype, can teenager Clark Kent (Tom Welling) still shine through the competition on the new CW network? “Smallville: The Complete Fifth Season” (audio: ***, video: ***1/2, extras: **1/2) slowly bridges the gap between the Man of Steel and the small town farm boy. This six-disc collection is the best season yet, with the death of Jonathan Kent (John Schneider) and the return of evil nemesis Zod.

This DVD set includes two documentaries mostly focusing on the monumental 100th episode and features excerpts from the new documentary “Look, Up in the Sky!” from “Superman Returns” director Bryan Singer and Kevin Burns. Two commentaries are available from the screenwriters, director, and James Marsters (Prof. Fine).

The DVD box set — available for a couple of weeks — gets you up to speed with the sixth season premiere, which aired this week. (Enhanced widescreen, 2005-06, not rated)

— Chad Kelley

Look out! Here comes a Schwarzenegger smorgasbord in high definition. Arnold battles Satan in “End of Days” and takes on the evil cyborg in “Terminator 3, Rise of the Machines” (both: audio: ****, video, ****, extras: ****).

OK. We all know these are not the Governator’s best flicks, but the HD presentation and a load of extras give each presentation lots of added sparkle. The effects and action sequences look fantastic, better than anything seen on the theater screen. They also leave us hungry to see Arnold’s better films, such as “The Terminator” and “Predator,” on HD.

But we’ve got “T3” with an introduction by Arnold, three commentaries, an HBO First Look and the hilarious Sgt. Candy scene. Directed by Jonathan Mostow, who lists “Beverly Hills Bodysnatchers” among his credits, it’s hard to expect a classic. He is also attached as director to “Terminator 4,” another visit to the bad machines due in 2008.

The energy isn’t as high among the “End of Days” extras. Peter Hyams’ commentary, while informative, plays like a dirge. Spotlights on special effects from Stan Winston and his crew help make up for it. A nifty soundtrack presentation features the music of John Debney (“Sin City,” “Spy Kids,“ “Elf” and dozens more). Rock fans may enjoy videos from Rob Zombie and Everlast. Or not. (Both: HD wide-screen, R for scenes of violence, language and nudity and a strong sex scene in “End of Days.” “End of Days,” 1999; “Terminator 3, Rise of the Machines,” 2003)

— Kay Reynolds

Call this reviewer crazy, but the plot to “Bratz: Passion 4 Fashion Diamondz” (audio: ***, video: ***, extras: 0) actually had some merit.

This latest release about the girlz — Cloe, Sasha, Jade and Yasmin — takes them on a cross-country trip searching for America’s next top teen fashion designer, who will win a pair of diamond-studded boots. Along the way, there’s a mysterious hitchhiker who keeps showing up, sabotage of the Bratz’s rivals and techno-pop music to boogie to.

It’s all so predictable, but some funny moments and an evil teen fashionista-wannabe makes the CGI movie glide along smoothly. A preview of the “Bratz Forever Diamondz” video game and the Bratz’s CD to the flick are billed as special features, but they’re anything but.

Sure, their heads are twice the size of their bodies, and sure some of the accents used in the film are hokey, but “Passion 4 Fashion” hits its target audience — young girlz before they hit puberty. (Fullscreen, 2006, not rated)

— Toni Guagenti

A poetic, lyrical film about a child’s innocence in 1940s-era Spain, “The Spirit of the Beehive” (audio: ***1/2, video: ***1/2, extras: **) is as enchanting as it is beautiful to behold. Ana, age 6, and her older sister Isabela, go to a showing of “Frankenstein,” a huge event in their small village. Ana is deeply affected by the portrayal of the monster, his accidental killing of a little girl, and his violent death. Isabela insists it’s all make-believe, but Ana is still at the age where she has unquestioning faith in the supernatural. Told against a backdrop of life under Franco’s fascism, the film shows how a family interacts and the inner lives of its members.

A documentary on this Criterion 2-disc set includes interviews with the director, Victor Erice, who talks about his “source image,” of the monster and the girl from James Whale’s 1931 film. The producer explains that Franco was a disaster for the Spanish film industry because of his indiscriminate censorship. An adult Ana Torrent (the little girl in the film) wistfully visits the locations of the film. The cinematographer explains his use of “honey-colored light” to bring to mind the father’s beekeeping, but also the paintings of Vermeer. Erice tells about how he filmed Ana as she watched “Frankenstein” for the first time, documentary-style. He says, “It was the best moment I ever captured on film,” and sums up the movie as showing what happens “when a child’s gaze takes in the world for the first time.”

In another feature, Erice is interviewed in 2000 and looks back at “Beehive.” He describes meeting Ana, when he asked her if she knew who Frankenstein was. She replied she did, but they “hadn’t been introduced yet.” He knew he had his actress, who, he continued, was able to memorize both her and her sister’s lines. (Enhanced wide-screen, 1973, unrated)

Horror fans will rejoice to know that “The Texas Chainsaw Massacre” (audio: **1/2; video: **1/2, extras: ***) has been restored, remastered and is out in a 2-disc “ultimate edition,” with buckets of enlightening and entertaining extras. The film itself, which was originally shot on 16mm, looks okay — it will never look great — but it remains a classic, groundbreaking, low-budget marvel, capable of scaring even the most blase of viewers.

The many features on disc 2 include two lively commentaries, one by actors and the designer, and one by director Tobe Hooper and Gunnar Hansen, who plays the chainsaw-wielding “Leatherface.” In both, the speakers tell of the grueling shoot in mid-summer Texas heat, how their low budget translated into smelly clothes (the actors weren’t allowed to wash them for fear of losing continuity), rotting meats (they couldn’t afford to replace props) and various other disgusting — and hilarious — side effects.

An excellent documentary contains interviews with just about everyone involved in the film. It is lauded as part of the “new era” of horror filmmaking and “a contemporary attack on the American dream.” The true crime story of necrophiliac serial killer Ed Gein inspired the screenplay. Hooper tells how he had to answer questions like, “How do I get a PG rating and hang a girl on a meat hook?” Answer: You don’t. Hooper composed a lot of the score, much of it sound effects from household objects. The scandal of how the actors got stiffed on their pay is interesting, involving a Mafia-connected production company that got the lion’s share of the estimated $100 million the movie made (“That was the massacre!,” cracks one of the disgruntled actors.) There are scenes from “Chainsaw 2” and a spoof called “The Texas Chainsaw Manicure.” The original has gotten some respect, however, and is part of the Museum of Modern Art’s film collection.

In another documentary, the cinematographer talks about his experiences. The world of the Chainsaw fans is examined, with a look at their clubs and conventions, etc. A plastic surgeon who was responsible for the makeup of the “grandpa” character tells how he transformed a 19-year-old actor into Methuselah. There’s a blooper reel, deleted scenes, and a tour of the house — now a restaurant — used in the film. Definitely something for everyone. (Enhanced widescreen, 1974, rated R for graphic violence)

“A Slight Case of Murder,” (audio: ****, video: ***, extras: 0) a 1999 TNT television movie starring William H. Macy, Felicity Huffman, Adam Arkin and James Cromwell, is based on a Donald E. Westlake murder story. It’s also a very funny dark comedy in which the protagonist, a well-known on-air film critic (Macy, who co-wrote the screenplay) accidentally kills one of his girlfriends and then tries to cover it up. His subsequent misadventures have him dealing with another girlfriend (Huffman); a nefarious, blackmailing private detective (Cromwell); a film buff/screenwriter wannabe (Arkin) and his goofy, amorous wife. Macy does his usual guilty man shtick with aplomb and offers wry asides to viewers. It’s an enjoyable bit of fluff with able performances by the leads. (Enhanced widescreen, 1999, unrated)

The “Agatha Christie Classic Mystery Collection” (audio: **1/2, video: **, extras: 0) is a set of eight discs featuring a television series that translated the great English mystery writer’s plots into American, with uneven results. It’s fun to see some big names (Bette Davis, Faye Dunaway, Olivia De Havilland, Peter Ustinov, Tony Curtis and Tony Randall), and who-were-they names like (Anthony Andrews and Deborah Raffin). The shows are extremely dated and, if only for that reason, can provide a few unintentional laughs. For those expecting a BBC-caliber visit with Miss Marple or Hercule Poirot, you’re out of luck. (Fullscreen, 1970s, unrated)

— Peggy Earle

“Down in the Valley” (audio, ***, video, ***, extras, **) is a haunting film about Harlan, a “cowboy” stuck in California’s modern-day San Fernando Valley. Harlan (Edward Norton) is a drifter who thinks he is a cowboy and falls for a young and rebellious girl, Tobe (Evan Rachel Wood). The two of them bond and through their bonding, we learn just how delusional Harlan really is.

As a matter of fact, Norton’s Harlan could be compared to Robert DeNiro’s Travis Bickle from “Taxi Driver” in that both men seemed oddly out of place, legends in their own minds.

The film also stars David Morse, Rory Culkin, Bruce Dern, Ellen Burstyn, Elizabeth Pena and Muse Watson.

Extras include an interesting and informative Q and A with writer-director David Jacobson and Norton. The two men take us through how the film was written, cast, and what went into the production. There are some deleted scenes that prove interesting, and probably could have been kept in the final cut, as the film is a bit hard to follow at times.

There also is a theatrical trailer and a trailer gallery.

“Down in the Valley,” with its hints of “Taxi Driver” is a haunting and somewhat disturbing film worth checking out, if only for Norton’s sterling performance alone. (Enhanced widescreen, 2006, rated R for language, sexual situations, drug use.)

— Cliff Redding

“The Devil and Daniel Johnston” (audio: ***, video: ****, extras: ****) sketches the life of a cult hero whose songs have been covered by Wilco, Beck and Built to Spill and followed by droves of indie music fans since his 1980s appearance on MTV. The film cuts open the mind of Johnston using audio diaries, home videos and art that self-document the singer/songwriter/artist’s creative life and open it for interpretation. What motivates Johnston? The demons that possess him? His genius? Is he a dupe to his managers and parents or completely in control of the fame he hints he sold his soul to possess?

The film answers none of these questions, and you don’t want it to as the intersection of manic-depression and art is explored painfully, humorously and beautifully by Jeff Feuerzeig, who won the 2005 Sundance Director’s Award for the movie.

When it seems you couldn’t delve deeper into Johnston’s mind, a deluge of extras further catalogue his simultaneous mental deterioration and creative growth through 12 sometimes eerie, sometimes funny audio diaries and three cinematic home movies. A commentary by the director and producer reveals the story behind the story, the proliferation of documentary photos and audio tapes literally piled in the home of Johnston’s parents, waiting to explore his life.

The DVD also includes deleted scenes; the Sundance debut of the film; a self-produced Orson Welles-esque radio show that Johnston put on from his parent’s basement; and his awkwardly poignant reunion with Laurie, the college classmate he became obsessed with and who served as tortured muse for much of his work. (Enhanced widescreen, 2005, PG-13 for thematic elements, drug content, and language including a sexual reference)

— Lori Kelley

Revenge? It’s all relative in “Dead Man’s Shoes” (audio, ***, video: ***, extras: ***). Richard returns to his hometown after a stint in the Army and, with his mentally challenged brother, Anthony, to exact revenge on local thugs.

The story is simple. Good versus evil. And with a running time of 90 minutes, the film is gritty, exciting, scary and even humorous in a darkly sinister way.

Paddy Considine plays Richard, whose psychotic proclivities and zest for revenge come apart as we watch him dive into shocking violence. Anthony is played by Toby Kebbell; the gang leader, Sonny, is Gary Stretch.

DVD extras include a deleted scene, an extended version of the first slaying in the movie. A little gruesome, but totally in line. The commentary is by director Shane Meadows, Considine and producer Mark Herbert.

There is even an alternated ending, which is interesting, especially since the one that made the final cut may leave you scratching your head.

Particularly interesting is the featurette “In Shane’s Shoes,” where Meadow’s gives some background about the story. (Enhanced widescreen, 2004, not rated. Though this film is not rated, it contains scenes of disturbing violence)

— Cliff Redding

It might not have appeared to be much of a change for Fess Parker to go from Davy Crockett to Daniel Boone, and on the extras with “Daniel Boone: Season 1” (audio: ***, video: **1/2, extras: *), Parker discusses some of the similarities and differences between the roles.

While it’s interesting to learn how he changed from acting to becoming a real estate developer and winemaker, most of the snippets of interviews are just fun. Darby Hinton (Israel) and Veronica Cartwright (Jemima) share some anecdotes about working with animals, for example.

The clips with the most depth pay tribute to working with Albert Salmi (Yadkin).

The first season on TV was aired in black and white, but the first few episodes were also taped in color and edited together for a summer movie release, a philosophy that was copied in the second season.

Other extras include a gallery photos from a 2000 cast reunion and some links to Daniel Boone Web sites.

The remastering is an adequate job and the package allows today’s children to see the clean-cut shows that were part of television’s more innocent time. (Fullscreen, 1964-65, unrated family fare)

— L.A. Luebbert

A politician and a mob boss bound by blood. That’s the premise for Showtime’s venture into a short series involving the mob.

“Brotherhood: The Complete First Season” (audio: ***1/2, video: ***, extras: *) shares some of the grittiness that made HBO’s “The Sopranos” a hit, but Showtime execs said they tried to give “Brotherhood” a sense of its own place.

The series was inspired by the real-life brotherhood of Boston’s William Bulger, the former state senator and university president, and James “Whitey” Bulger, one of the FBI’s most-wanted fugitives. But the program, originally set in Boston and called Southie, is not really biographical.

Michael Caffee (Jason Isaacs), who seeks power through the underworld, goes head to head with his brother, Tommy (Jason Clarke), a man who aspires to improve things by serving in public office.

Creator Blake Masters and producer Henry Bromell provide a commentary on the ninth episode, but it offers little of substance. Other extras include a power map, showing the main characters and how they are linked, and biographies of the main players. (Enhanced widescreen, 2006, not rated but violence and language)

— L.A. Luebbert

They say to understand someone, you have to walk a mile in their shoes. How about living in their skin — literally? That’s what FX’s “Black. White” (audio: ***1/2, video: ***1/2, extras: ****) did for five weeks with two different families, one black from Atlanta, the other white from California.

The six-episode series leaves you wondering how far America has come in race relations since the Civil Rights movement more than 40 years ago.

Bottom line in the six episodes, humans aren’t much different in their wants, desires and needs, but, it seems, society and pre-conceived notions always get in the way.

We follow the Sparks family from Georgia, Renee, Brian and Nick, as they use makeup to become white. They go out in the world — Brian gets a job as a bartender in a predominantly white community, Renee tries to meet and bond with other white women and Nick joins an etiquette class with upper-class white teens. The Wurgel family does the same thing, but their makeup is black. Bruno Wurgel is the most stubborn of the bunch when it comes to seeing racial discrimination, but his wife, Carmen, and step-daughter, Rose, have amazing experiences as African American women in the world. A big part of the show is the families must live together for the duration of the show. That’s when it gets interesting.

This DVD is packed with extras — each episode has a commentary with different people, including the Emmy-award-winning makeup artist Keith Vanderlaan (“The Passion of The Christ”, “White Girls”), co-executive producers and editors. Each episode features R.J. Cutler, the show’s executive producer.

Other extras include Ice Cube’s music video, “Race Card,” a provocative song written for the show (Cube is a producer); a makeup application slide show (the makeup is truly awe-inspiring); Rose’s Poetry Slam featurette; original casting videos; and study guides for teachers who want to use certain scenes to talk about race.

Want to think and challenge yourself? Watch this series. (Full-screen, 2006, not rated)

— Toni Guagenti

Back in the day — that is to say, some 10 years ago — Chris Rock’s eponymous sketch comedy/talk show was an instant smash. Where else could you see a talk show host crack wise at the expense of politicians, the clear predecessor to “The Daily Show?” Where else could you hear a joke about the Wu-Tang Clan played next to one about the Lewinsky-Clinton scandal, and then a performance by Bobby Brown, the obvious godfather of “Chappelle’s Show?”

Looking back though, “The Chris Rock Show: Seasons 1 & 2” (audio: ***, video: **, extras: *) wasn’t just (gleefully) crude in its humor but also in its approach. Many of the skits were unpolished and too long, the camera’s touch was often unloving and the show’s budget was clearly quite low. Still, the Emmy winning program, re-captured here with only some scant commentary on two episodes, was a watershed for TV. It helped evolve the TV sketch comedy series. Besides that, dude! It’s Chris Rock. His show’s jokes may have aged, but his brand of comedy remains classic. (Fullscreen, 1997-98, unrated (Language, crude humor, sexual references)

— Malcolm Venable

Stephen King has been my favorite author since childhood. I was checking out his novels at the library before I could even read them.

Because he has sold millions upon millions of books, King is a household name.But I think the average person knows King’s work more through the movie adaptations than the novels themselves. Very few films capture the magic King can create on the page. For every “Stand by Me,” “Misery,” and “The Shawshank Redemption,” there is a “Dreamcatcher,” “Children of the Corn,” and “The Running Man.” Paramount’s new box set, which includes four King films, is a mixture of both cinematic gold and cinematic garbage.

David Cronenberg is responsible for one of the finest King adaptations. “The Dead Zone: Special Collector’s Edition” (audio: ***, video: ***, extras: ***) has long been a critical favorite and Christopher Walken gives a memorable performance as John Smith, a psychic who must decide whether or not to assassinate an up-and-coming presidential candidate who will be responsible for a nuclear holocaust in the future.

Martin Sheen co-stars.This brand new special edition boasts a sparkling new transfer and a handful of featurettes. The four featurettes contain both brand new and vintage interviews with Cronenberg, actress Brooke Adams, editor Ronald Sanders, King expert Douglas E. Winter and more.

“Pet Sematary: Special Collector’s Edition” (audio: ***, video: ***, extras: ***) was directly inspired by King’s life. His daughter’s cat was killed on the highway outside of their house and a path behind their house happened to lead to a pet cemetery that had been mistakenly misspelled “sematary” by the local kids.

He buried the cat there and the story was born. King felt th