Review Category: DVD/Blu Ray

Blu-ray Review: Child’s Play / Cert:15 / Director: Tom Holland / Screenplay: Don Mancini, John Lafia, Tom Holland / Starring: Catherine Hicks, Chris Sarandon, Alex Vincent, Brad Douif / Release date: Out Now

For most people Child’s Play needs no introduction. Since its release in 1988, and with the subsequent sequels the homicidal doll has garnered fans of all ages, (often notoriously when those fans are youngsters). It’s easy, however, to forget just how effective this horror film this was. Thanks to this budget priced but feature packed Blu-ray release we can fall for its charms once again. Wanna play?

Charles Lee Ray (Dourif) is a murderer pursued by detective Mike Norris (Sarandon) into a toy store where, dying, he manages somehow to have his soul transported into that of the popular ‘Good Guy’ doll, a large, red headed monstrosity that no self respecting kid would really want. Precocious Andy (Vincent) wants one, however but mother Karen Barclay (Hicks) can’t afford it. That is, until she finds a street peddler with one to sell. When Andy’s babysitter is killed and he blames the doll, Norris gets involved in the case and the death toll increases.

What is apparent from re-watching the film after so long is how much the humour in the later films has diluted the nastiness of the original doll. Chucky became a Freddy Kruger style horror icon, and while the film is not overly scary (unless you have a doll phobia), it is still very creepy and has aged rather well considering its budget and ’80s feel. The HD version on the Blu-ray is taken from the 20th anniversary edition released in the States a couple of years ago, and looks great, and the extras from that edition have made it over the pond, too. A great addition to any horror collection, and if you shop around you can pick it up for as little as £6.99.

Bonus Features: Two commentaries, the first with Alex Vincent, Catherine Hicks, and Chucky designer Kevin Yagher, the second with producer David Kirschner and writer Don Mancini. A third one has Brad Dourif in-character as Chucky but for a few selected scenes only.

Evil Comes in Small Packages is a three-part making-of that runs for 25-minutes. A follow-up focuses specifically on Chucky titled Making of a Nightmare. A Monster Convention is an interview panel shot on video (and as such not HD quality) at Monster Mania 2007. There’s also a contemporary featurette/EPK.

Trailers and a photo gallery, plus some very lame Easter eggs round up the packed disc.

Review: Attack of the Werewolves / Cert: 15 / Director: Juan Martinez Moreno / Screenplay: Juan Martinez Moreno / Starring: Gorka Otxoa, Carols Areces, Secun de la Rosa, Mabel Rivera / Release Date: October 8th

Despite its lurid English-language title, Juan Martinez Moreno’s Attack of the Werewolves is more likely to have you rolling in the aisles than shivering in fear or racing behind the sofa. Like last month’s Kill Zombie! this is agreeably cheery (or cheesy according to taste) low budget stuff which goes some way towards rehabilitating the reputation of the werewolf after the touchy-feely injustices heaped upon our favourite lycanthropes in the Twilight saga and the Teen Wolf TV series.

One hundred years ago the Spanish village of Arga found itself falling under a gypsy curse (long story, naughty graphic novel opening illustrations fill in the blanks). Aspiring writer and former resident Tomas (Otxoa) is invited back to the village by the locals and he returns to the family home to write a book. But his arrival at the village exactly one hundred years after the curse isn’t a coincidence and soon his bloodline puts him and his bumbling old school friend Calisto (Areces) in mortal danger even before the sleeping decades-old werewolf trapped underground gets loose. Blood must be spilled to free the village from the curse… and if it isn’t an even worse fate will befall the village.

Attack of the Werewolves takes a bit of time to get into gear but once it finds its feet (or should that be paws?) it rattles along with some decent knockabout humour (occasionally decidedly black), inventive use of gore and violence and – wait for it – some really quite well-realised werewolves. The creatures here aren’t, happily, mundane CGI creations; welcome back to the men in monster suits, dozens of the furry buggers leaping across the screen with balletic grace and chasing our inept heroes across darkened, misty countryside.

Attack isn’t really concerned with being frightening – despite the monsters and the murderous mayhem there are more broad laughs than hair-raising scares – but with its larger-than-life performances, decent visuals and bouncy storyline (and the inevitable obvious twist ending) it’s very much a fun little romp which will serve as ideal fodder for those who fancy a few moderate thrills and spills this Halloween season.

Extras: None

Review: My Neighbour Totoro / Cert: PG / Director: Hayao Miyazaki / Screenplay: Hayao Miyazaki / Starring: Hitoshi Tagaki, Noriko Hidaka, Toshiyuki Amasaga / Release Date: November 12th

This film is something of a national treasure in Japan, and with good reason. One of the highlights of anime maestro Hayao Miyazaki’s illustrious career, it’s the simple, unassuming tale of two little girls, 9-year-old Satsuki and 4-year-old Mei, who, together with their father, move to a house in the country in order to be close to the hospital where their mother is recuperating from a long illness. To their unbridled delight, they soon discover that the countryside is a magical place.

For starters, the house is haunted by harmless sooty black blobs with blinking eyes called dust sprites (there’s a great moment where Satsuki, having just arrived, flings open the back door and does a double-take as thousands of the critters scuttle out of sight). And even better, the surrounding woods are home to various forest spirits. Mightiest of these is Totoro, who lives in a verdant dell at the foot of a massive, ancient camphor tree.

It’s surprising to note, watching the film again, just how little time Totoro spends on screen, but nonetheless he makes an unforgettable impression. A figure of unutterable strangeness such as only a child’s imagination could conjure up, he’s like a giant bowling pin with ears, claws and teeth. He sleeps a lot, but when he’s awake, he has the upright vigilance of a meerkat. The scene where Satsuki unexpectedly finds him standing next to her at the bus-stop, in the rain, and then lends him a spare umbrella (with the whole episode being watched by a toad who happens to be wandering along) is one of the most thrillingly beautiful pieces of animation ever crafted. And their subsequent encounters capture a spirit of innocent joy that’s all too rare in cinema.

But the movie isn’t without its weighty themes. There’s the constant shadow of mortality, as the girls fret about the health of their mother. The meticulously rendered 1950s setting, with its rickety cars and bikes and endless dappled glades, evokes a green, pastoral Japan in danger of being lost under the modern urban sprawl. And this story of forest spirits is also a celebration of Japan’s pantheistic Shinto religion. Next to the camphor tree is a shrine (one of many dotted about the landscape), signifying that Totoro is something much more venerable than just a jolly cartoon character.

A liltingly nostalgic score by Joe Hisaishi adds to the charm, and the animation is sharply observed, especially the spindly, tomboyish, cartwheeling Satsuki, who makes for an adorable everygirl. Miyazaki has made louder, splashier films, but in this one he distilled his art down to its very essence, and the result is an all-time feel-good classic whose appearance on Blu-ray is cause for a big, toothy Totoro-esque grin.

Extras: Complete Feature Length Storyboards, Creditless Opening Animation, Creditless Closing Animation, Original Japanese Trailer, Studio Ghibli Trailer Reel

Review: The Devil Rides Out / Cert: 15 / Director: Terence Fisher / Screenplay: Richard Matheson / Starring: Christopher Lee, Charles Gray, Nike Arrighi, Leon Greene, Patrick Mower / Release Date: October 22nd

This rather grand occult movie has long been something of a favourite among Hammer fans. Now it’s back, looking more sumptuous than ever in an extensive new restoration. The Duc de Richleau (Lee) meets up for a back-slapping reunion with his old pal Rex Van Ryn (Greene), but their young friend Simon (Mower) is nowhere to be seen. Where can he be? They track him down to his home, but Simon is unwilling to talk, as he has a number of strange guests, among them the smoothly sinister Mocata (Grey). Upstairs, they find a chicken in a basket. No, Simon isn’t opening a gastropub; he’s joined a coven and is dabbling in black magic!

The race is on to save his soul before he’s baptised in Satan, which will happen at a big gathering on the eve of May Day. I say race, but despite Richard Matheson’s terse script, everything moves at a stately place, giving Greene plenty of time to raise a quizzical eyebrow (no scene is complete without some strenuous brow twitching) and the viewer ample opportunity to take in the lavish, highly polished sets.

It’s certainly one of the loveliest looking of all Hammer films. As the plot thickens, the story moves from one splendid English country house to another, and everyone tootles around the countryside in bright, shiny classic cars (although Lee and Greene, both giant men, rather struggle to squeeze into the back of the Duc’s yellow Rolls). Adding to the class is a very nice turn from the reliable Grey as the literally mesmerizing villain.

But it must be said that there’s a certain stiffness to some of the other performances, and a general air of genteel ossification hangs over the whole exercise – it’s heritage horror, really. The film is also let down by some risible optical effects (bafflingly, given the richness of much else on screen). Many of these have been quietly tweaked on this restoration – the rather weedy bolt of lightning that used to strike Mocata’s satanic altar in the last reel now has a much more robust replacement, and the wheezy nag with bat wings that carries the Angel of Death into the Duc’s niece’s living room has been pimped out with some eerie rays of light. Even so, they still can’t help but instil a feeling of bathos.

Hammer fans take this sort of thing in their stride, though, and it all somehow remains cosily satisfying. And the restoration really is quite something, with some of the costumes and sets so vividly coloured you would think they were radioactive. Throw in some informative extras, and you have another fine entry in this ongoing series of Hammer releases.

Extras: Documentaries – ‘Making Of’, ‘Restoring The Devil Rides Out’ and ‘Dennis Wheatley at Hammer’ / World of Hammer Episode ‘Hammer’ / Gallery / Commentary featuring Christopher Lee, Sarah Lawson & Marcus Hearn

Review: The Thompsons / Cert: 18 / Director: Mitchell Altieri, Phil Flores / Screenplay: Mitchell Altieri, Cory Knauf / Starring: Mackenzie Firgens, Elizabeth Henstridge, Cory Knauf, Ryan Hartwig, Samuel Child / Release Date: October 15th

A belated sequel to The Hamiltons (2006), The Thompsons is about a dysfunctional family of vampires left to fend for themselves after the deaths of their parents. Caught doing their whole ripping-off-heads-and-guzzling-blood thing on CCTV and now wanted by the law, the gang light out for ye olde England in the hope of tracking down some distant relations. Good idea. After all, we Brits are known for being friendly and welcoming, right?

Following a lead, Francis (Knauf) drops into a picturesque pub somewhere in the Home Counties. Behind the bar are Father and Mother Stuart (O’Meara and Giles), heads of the local vampire clan, which include their two burly sons and Riley (Henstridge), their nubile daughter, who is soon offering Francis toothy smiles and a free pint. Hooray, time to summon the others so everyone can get together for a jolly old knees-up. But hang on, doesn’t this all sound a bit too good to be true?

The Thompsons aims straight for the True Blood fanbase. As in that show, there is copious bare breastage (courtesy of a Scandinavian backpacker terrorized by the Stuart boys and a naked prostitute who gets thoroughly groped before being sucked dry). Francis, with his puppy dog eyes, is very much in the soulful, sensitive vampire mould, and he sports Eric Northman’s floppy haircut. And, despite sporadic comic book gore, the storyline has a comfortingly soft centre revolving around the themes of family and togetherness.

Which is all fair enough. What lets it down, rather badly, is the English setting. The filmmakers seem to have only a hazy idea of how an English pub works (and an inflated notion of how much a publican might earn, with the Stuarts living it up in style in a stately castle). The dialogue is clunky, with more than a whiff of Dixon of Dock Green between the expletives. And the lack of any even half well-known British thesp’s gives the film a cut-price feel.

Another problem is that there’s precious little sense of a family dynamic. At the start, a number of flashy directorial flourishes are employed to big up Francis’ siblings, but after that they fade rapidly into the wallpaper, stumbling into frame every now and then to service the plot.

On the plus side, Knauf makes for a watchable lead – droopy enough to appeal to the ladies, but not so pretty than men will hate him. And the DVD boasts some generous extras, including an interview with the film’s British co-producer, who explains that the creative talent were inspired by “old English movies like An American Werewolf in London”. Oh, you mean the one directed by Sir John Landis? Great movie.

Extras: None

Review: The Mummy’s Shroud / Cert: PG / Director: John Gilling / Screenplay: John Gilling / Starring: Andre Morell, John Phillips, David Buck, Elizabeth Sellers, Maggie Kimberly, Michael Ripper, Tim Barrett, Roger Delgado / Date of release: October 22nd

Beware the beat of the cloth-wrapped feet! The third entry in Hammer’s haphazard Mummy franchise – and the last of the classic Hammers filmed at the legendary Bray studios – was written and directed by John Gilling in 1967. The year before he had been responsible for both Plague of the Zombies and The Reptile and had demonstrated a surprising flair not only in working to Hammer’s notoriously thrifty budgets but also managing to breathe new life into tired, derivative, catchpenny material. But even Gilling had his work cut out with the Mummy, a series which basically had just one story to tell – long-dead mummified corpse is resurrected and goes on a killing spree, wiping out those who have defiled its tomb. The song remains the same here but Gilling populates his screenplay with a beefy ensemble cast all earnestly acting their socks off in resolutely B-Movie material and while the film offers up nothing new it generates a decent amount of tension and there’s some unusually graphic (even for Hammer) blood and guts.

We’re in 1920s Egypt (looks like a sandpit in Dorset to us) where a bunch of archaeologists are about to uncover the long-lost tomb of boy Pharaoh Kah-to-Bey. Barking Bedouin Hasmid (Delgado) warns them of terrible reprisals but they remove the corpse of the child, his shroud and the mummified body of his manservant Prem and put them on display in a Cairo Museum. Sure enough, before long the expedition members are being picked off one by one by a shambling silent killer and it’s left to Paul Preston (Buck), son of greedy expedition financer Stanley Preston (Phillips) to uncover the truth about the supernatural stalker prowling the backstreets of Cairo.

The Mummy’s Shroud is efficient 1960s schlock, powered by probably the best Hammer performance from genre legend Michael Ripper (outstanding in a beautifully-nuanced role full of genuine pathos as Preston Snr’s underdog servant Longbarrow) and memorable for some inventive death sequences – victims are variously strangled, doused in photographic acid and set on fire, wrapped in blankets and chucked out of a window. Ultimately Gilling’s best efforts are hamstrung by the limitations of the story and the film misses the presence of Hammer stalwarts Christopher Lee and Peter Cushing (although it’s rumoured that Cushing provides the opening narration) but it’s never less than watchable and entertaining even if it’s undoubtedly second-tier Hammer horror.

Special Features: Decent ‘Making of’ featuring contributions from Hammer historians, a touching tribute to late actor David Buck from his widow, Hammer legend Madeline Smith, trailers, photo gallery.

Review: Petty Romance / Cert: 15 / Director: Kim Jeong-Hoon-Il / Screenplay: Kim Jeong-Hoon-Il / Starring: Lee Seon-gyun, Choi Kang-hee, Baek Do-bin, Choi Hee-jin / Release Date: October 8th

Here’s one for all those comic geeks and budding manga-ka out there: a rom-com set in the world of Manwah (Korean comic books). Bet you weren’t expecting that! Jung-bae (Lee Seon-gyun) is widely acknowledged to be talented artist; unfortunately, his works, heavy on philosophy but light on plot and human interest, don’t go down at all well with publishers and readers. When a competition for an adult comic is announced with a cash prize of a whopping $100,000, the earnest young artist reluctantly decides to take on a writer to spice things up.

He turns to the kooky Da-rim (Choi Kang-hee), a virgin with a vivid imagination who has just lost her job as a sex columnist. Loftily assuming that comics are for kids and that it doesn’t take much effort to dream one up, she lazes around his flat, scoffing noodles and slurping down endless cups of coffee and falling asleep. Eventually, however, the stern Jung-bae instils some kind of work ethic in her, and the two of them cobble together a racy story about a female assassin who has kinky sex with her victims.

The film follows the seesawing of their relationship, in which first she, then he, has the upper hand. Inevitably, romance blossoms, but there are obstacles to true love. Da-rim’s bitchy fashionista friend Kyung-sun (Ryu Hyung-kyung) wants Jung-bae for herself. And Jung-bae (who has a complicated backstory to do with his father, a famous artist, and a much-treasured painting of his mother) has problems letting go of his past and moving forward.

These twists and turns are piled on a bit too thick by first-time director Kim Jeong-hoon-Il, and some might gag on the movie’s sugar-coated feel. But this is still a film with a lot going for it. There’s the novelty of the setting, with its simultaneous camaraderie and backstabbing (and a horrendous awards ceremony at the end with all the positive vibes of a crematorium service). And things are livened up considerably by the use of animated cutaways, mounted in a wide variety of styles, which illustrate the characters’ inner fantasies, or snippets of the comic they’re collaborating on, or sometimes a feverish amalgam of both.

Lastly, there are the performances. Lee Seon-gyun does a good job as the long-suffering and stoical Jung-bae, and the lovely Hyung-kyung Rung pouts and struts with the best of them as vicious clothes-horse Kyung-sun. But this is very much Choi Kang-hee’s movie. With rolling eyes, elastic features and any number of quirks and pratfalls, she delivers an appealingly ditzy turn very like Zooey Deschanel’s in New Girl. So if you love comics but you’re also a bit of a softy, this could be the feel-good flick for you.

Special Features: Making of, Interview of lead actor and actress, Korean Teaser Trailer, Stills Gallery

Review: My Ex / Cert: 18 / Director: Piyapan Choopetch / Screenplay: Adirek Wattaleela, Sommai Lertulan / Starring: Shahkrit Yamnarm, Wanida Termthanaporn, Navadee Mokkhavesa / Release Date: October 8th

I was dumped by a girlfriend in Starbucks once. It was a traumatic experience and really put a dampener on the coffee I had been drinking at the time. Even more horrible than that is My Ex, a Thai ghost story in which a dead girl doesn’t take at all kindly to her man’s moving on.

Ken is a hunky A-List movie star and serial philanderer. With a string of discarded relationships already behind him, Ken dumps pregnant girlfriend Meen and shacks up with actress Ploy instead. They are soon engaged, as loudly reported by the local gossip mags. But they’re not the only one’s interested in Ken’s wandering eye – and his mysterious stalker is far more intrusive than the paparazzo simply taking revealing pictures of the poor celeb couple. One by one, the people around Ken begin to suffer for his sins. Could it be an obsessed paparazzi, mad ex or something far more spooky? The recurring appearance of a pissed-off looking lady ghost would suggest the latter. My Ex is like a supernatural version of My Super Ex-Girlfriend, except it manages to be a lot less interesting than that. At least My Super Ex-Girlfriend had Uma Thurman throwing a shark at Luke Wilson. My Ex has a ghastly bath and a scary car wash. Its very best scene is one in which Ken gets punched by a tree.

A number of gory death sequences and goosebump-raising spook scenes manage to alleviate some of the dullness, but the story is never gripping nor scary enough to make it worth a recommendation. The cheap cinematography, too, is uninspired and the music intrusive. With Ken a dick and his girlfriend’s interchangeable shrews, there’s not a likeable or sympathetic character in the whole film. Its central mystery is irrelevant because there’s no reason to invest in any of them, nor care when someone is bumped off. Also, Ken’s ringtone is really annoying. It’s melodramatic and loud when a little more focus and care could probably whip the film into shape easily enough. As it is, it feels like a soap opera rather than a horror movie. Look, My Ex, it’s not you, it’s us. We prefer our horror to have a bit more horror. Still, it’s not a terribly bad film, just a slow and clichéd one instead.  There’s even one scene, towards the end, that really, genuinely sends chills down the spine. These rare moments of nasty aside (the finale is pretty good too), My Ex just rambles on too much.

Incredibly, it did spawn a sequel (My Ex 2: Haunted Lover) which goes to show that at least a couple of people must have liked this film enough for it to make a profit. There’s no accounting for taste, I guess. My Ex is boring and stupid. I do not like My Ex at all. The film, however, is merely mediocre.

Extras: None 

Review: Chernobyl Diaries / Cert: 15 / Director: Bradley Parker / Screenplay: Oren Peli, Carey Van Dyke / Starring: Jesse McCartney, Jonathan Sadowski, Olivia Dudley, Dimitri Diatchenko / Release Date: October 22nd

Over 25 years since that infamous reactor meltdown, Chernobyl remains high on most people’s lists of names to give you the willies, so you had to expect that someone would eventually use it as the starting point for a horror flick. Backpackers Chris (McCartney), his girlfriend Natalie (Dudley) and their friend Amanda (Kelley) arrive in Kiev en route to Moscow, to rendezvous with Chris’ elder brother Paul (Sadowksi). Taking a fancy to Amanda and eager to impress her, Paul (who is quickly sketched in as wild and devil-may-care) proposes a jaunt to the ghost town of Pripyat, once home to the workers of Chernobyl. Chris (sensible and whiny) objects, but the girls overrule him. Should’ve listened to Chris, girls.

Enter Uri (Diatchenko), muscle-bound ex-Special Forces goon turned extreme tourism guide. Along with two other backpackers, they all head off in his rickety van and are soon idling contentedly among the ruins. But then the van won’t start, night falls and things come out of the darkness…

Much of this works very well. Uri is a convincing and sympathetic character, gruffly paternal, exploiting his country’s history for profit but also genuinely saddened by it (such a shame he makes an early exit). The sets and locations are very good, with just the right brand of monumental shabbiness: a block of flats with a huge portrait of Lenin running down one side, a futuristic underground concourse with a slimy pond and a skylight riddled with roots, and, eventually, the reactor itself, a place that causes your skin to steam. There’s some tweaking of conventions, too, with the two extra backpackers, whom you expect to become instant mutant-fodder, actually faring better than some of the more well-established characters. And, while none of the cast apart from Diatchenko exactly leaps out of you, the ensemble acting has a very believable ebb and flow.

The problem is that director Brad Parker seems uncertain when and how to tighten the screws. There are multiple sources of danger – baldy humanoid mutants lurking in the city’s underground passageways, packs of wild dogs, fish with big chompers swimming about in the river – but they’re deployed extremely sparingly. It’s as if Parker, who has a background in digital visual effects, was determined to prove he could make an effective shocker without the safety net of lots of CGI. And he half succeeds. But in the end a certain sameyness creeps into proceedings as the survivors tear down endless corridors in flight from something-or-other.

For all that, this is an intriguing effort with a touch of class. And fingers crossed they bring back Uri from the dead for a sequel – maybe him versus the fish.

Special Features: Alternate Ending, Deleted Scene, Chernobyl Conspiracy Viral Video, Uri’s Extreme Tours Infomercial

Review: The Cabin in the Woods / Cert: 15/ Director: Drew Goddard / Screenplay: Joss Whedon, Drew Goddard / Starring: Chris Hemsworth, Kristen Connelly, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, Bradley Whitford, Amy Acker / Release Date: Out Now

The acid test for The Cabin in the Woods was probably always going to be how – or even if – it stands up to repeated viewing once you’re in on the joke and the film’s surprises are out in the open. But don’t worry, we won’t be blowing the gaffe here; despite its critical reception The Cabin in the Woods wasn’t huge at the Box Office but it’s likely to be a big draw on DVD and Blu-ray this Autumn so its secret remains safe with us for now.

The Cabin in the Woods is, pure and simple, a love letter to a very familiar horror genre – the clue’s in the title. It’s not, however, poking fun at the traditions of hundreds of movies where stupid American jocks go on a weekend break to some middle-of-nowhere Hellhole where there’s no phone signal. Joss Whedon and director Drew Goddard’s clever, knowing script just recognises all those clichés – they’re fans of the genre, after all, and they’re here to celebrate it not denigrate it – and happily plays on our familiarity with all these tropes before turning the entire thing on its head. In fact we’re probably in on the game from the very beginning because it’s quite clear from right in the middle of the title sequence that we’re in for something a bit different here.

And The Cabin in the Woods doesn’t disappoint. As soon as the checklist of college types – jock, stoner, nervy bloke, coy girl, foxy chick – set off for their weekend and are warned off by a gum-chewing local we appear to be on very familiar territory indeed. Installed in their spooky holiday home the group stumble upon the diary of a previous occupant of the cabin who suffered terrible family abuse and before long they’ve inadvertently resurrected a family of zombies buried out in the woods. So far so ‘seen all this before’ but of course it’s the consequent twists and revelations that send the film off into wildly different areas in a story that attempts to offer an explanation as to exactly why kids have behaved like this in horror movies since Hollywood immemorial whilst doffing its cap towards practically every other modern horror film ever made.

And that’s as far as we go. If you’ve seen The Cabin in the Woods you’ll know the wonderfully warped change of direction the film takes and we’re happy to report that this is, as we might have suspected from an auteur like Joss Whedon, a film that keeps on giving with every viewing. Horror buffs won’t be disappointed (although some hardcore fans might not get the joke and find it too flippant), creature fans will be delighted; this is a smart, clever, often hysterically funny movie which doesn’t miss a beat and reminds us that horror doesn’t have to be horrid and that it’s good to have some fun along with your fear. Brilliant.

Extras: Sparkling Goddard/Whedon commentary, decent ‘Making Of’, Whedon set tour, Wondercon stage Q&A and more.