Author Archives: bandsaboutmovies

MILL CREEK BLU-RAY BOX SET: Bewitched The Complete Series

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Bewitched aired throughout the most tumultuous time in modern history — hyperbole, that could also be today, but true, as rehearsals for this show’s first episode were on the day Kennedy was shot and the episode “I Confess” was interuppted by Martin Luther King Jr.’s death — from September 17, 1964, to March 25, 1972. The #2 show in the country for its first season and remaining in the top ten until its fifth season, it presents a sanitized and fictional world that at the time may have seemed contrary and fake to the simmering 60s, but today feels like the balm I need and an escape.

Within the home on 1164 Morning Glory Circle, Samantha (Elizabeth Montgomery) and Darrin Stephens (Dick York, later Dick Sargent) have just had a whirlwind romance and ended up as husband and wife. At some point, she had to tell him that she was a witch, a fact that he disapproved of, and that she should be a normal housewife instead of using her powers. Yet she often must solve their problems — usually caused by her family, such as her mother Endora (Agnes Moorehead) — with a twitch of her nose.

Creator Sol Saks was inspired by I Married a Witch and Bell, Book and Candle, which luckily were owned by Columbia, the same studio that owned Screen Gems, which produced this show. You could use either of those movies as a prologue for this, which starts in media res — I like that I can use such a highbrow term to talk of sitcoms — with our loving couple already settling into the suburbs.

Author Walter Metz claims in his book Bewitched that the first episode, narrated by José Ferrer, is about “the occult destabilization of the conformist life of an upwardly mobile advertising man.” As someone who has spent most of his life in marketing, maybe I should look deeply into the TV I watched as a child. Bewitched was there all the time in my life, wallpaper that I perhaps never considered.

Head writer Danny Arnold, who led the show for its first season, considered the show about a mixed marriage. Gradually, as director and producer William Asher (also Montgomery’s husband at the time) took more control of the show, the magical elements became more prevalent. What I also find intriguing is that with the length of this show’s run, it had to deal with the deaths of its actors and York’s increasing back issues, which finally forced him to leave the show and another Dick, Dick Sargent, stepping in as Darren, a fact that we were to just accept.

That long run, the end of Montgomery and Asher’s marriage and slipping ratings led to the end of the show, despite ABC saying they would do two more seasons. Instead, Asher produced The Paul Lynde Show, using the sets and much of the supporting cast of this show. He also produced Temperatures Rising, which was the last show on his ABC contract, which ended in 1974.

Feminist Betty Friedan’s two-part essay “Television and the Feminine Mystique” for TV Guide asked why so many sitcoms presented insecure women as the heads of households. None of this has changed much, as the majority of sitcoms typically feature attractive women and funny but large husbands, a theme created by The Honeymooners, and the battles between spouses. I always think of I Dream of Jeannie, a show where a powerful magical being is subservient to, well, a jerk. At least on Bewitched, Samantha is a powerful, in-control woman with a mother who critiques the housewife paradigm.

Plus, unlike so many other couples on TV at the time, they slept in the same bed.

Bewitched‘s influence stretched beyond the movie remake. The show has had local versions in Japan, Russia, India, Argentina and the UK, while daughter Tabitha had a spin-off. There was even a Flintstones crossover episode!

Plus, WandaVision takes its central conceit — a witch hiding in the suburbs — from this show. And Dr. Bombay was on Passions!

This is the kind of show that has always been — and will always be — in our lives. Despite my dislike of Darren’s wedding vows of no magic, there’s still, well, some magic in this show. Just look at how late in its run it went on location to Salem for a multi-episode arc, something unthought of in other sitcoms.

You can watch this just for the show itself, to see the differences between the two Darrens and when Dick York had to film episodes in special chairs because of his back pain, when the show did tricks like have Montgomery (using the name Pandora Spocks) playing Samantha’s cousin Serena to do episodes without York or just imagine that the world was changing outside. Yet, magic and laughter were always there on the show, throughout the lives, divorces and deaths of its principals and supporting cast.

The Mill Creek box set is an excellent, high-quality way to just sit back, twitch your nose and get away from it all. This 22-disc set has everything you’d want on Bewitched, including extras like Bewitched: Behind the Magic, an all-new documentary about the making of Bewitched, featuring special guest appearances by actor David Mandel (Adam Stephens), Steve Olim (who worked in the make-up department at Columbia), Bewitched historian Herbie J Pilato, film and television historian Robert S. Ray, Bewitched guest star Eric Scott (later of The Waltons) and Chris York, son of D. York (the first Darrin). There are also sixteen new episodic audio commentaries, moderated by Herbie J Pilato that include behind-the-scenes conversations with Peter Ackerman (son of Bewitched executive producer Harry Ackerman), David Mandel, Bewitched guest star Janee Michelle (from “Sisters at Heart”), Steve Olim, Robert S. Ray, former child TV actors and Bewitched guest stars Ricky Powell (The Smith Family), Eric Scott (The Waltons), and Johnny Whitaker (Family Affair and Sigmund and the Sea Monsters) and Chris York (son of D. York). There’s also an exclusive 36-page booklet featuring pieces by Bewitched historian Herbie J. Pilato, as well as an episode guide. You can order it from Deep Discount.

PARAMOUNT 4K UHD, BLU-RAY AND DIGITAL RELEASE: To Catch a Thief (1955)

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John “The Cat” Robie (Cary Grant) is a retired jewel thief who is suspected of crimes all over the French Riviera. His old gang has gone straight, and maybe he has, too. The only way to prove himself is to catch whoever is pulling off these thefts, working with insurance agent H. H. Hughson (John Williams).

His way of proving his innocence is like casing the joint, starting with Frances Stevens (Grace Kelly) and her mother Jessie (Jessie Royce Landis), who have just come into money. Whenever he’s in trouble, it seems that his old partner’s daughter, Danielle Foussard (Brigitte Auber), is there to save him. But is there just one burglar? Or several? And will Robie be able to pull off stealing Frances away from her mother?

Hitchcock’s first film in VistaVision and last with Grace Kelly, it wasn’t well-received by critics when it came out, as they expected Hitchcock’s suspense. Instead, they got an adventure movie with romance, including a gorgeous scene as Grant and Kelly watch fireworks.

Hitchcock got Grant out of retirement for this movie. With the rise of Method actors like Marlon Brando, he thought no one wanted to see him, and he was upset with how the McCarthy era had treated Charlie Chaplin. After this, he acted for more than a decade.

The Paramount Steelbox of this movie — it’s the only movie Hitchcock made for Paramount that he didn’t get the rights to — has the film on 4K UHD, Blu-ray and a digital code. Extras include commentary by Dr. Drew Casper, a Leonard Maltin feature on To Catch a Thief, featurettes on the Hitchcocks, the writing and casting of the film, censorship, the making of the film and Grant and Grace. Plus, it looks gorgeous and I’m so happy to have it on my shelf.

You can get this from Deep Discount.

Sizzlin’ Summer of Side-Splitters 2025: Blithe Spirit (1945)

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July 28 – Aug 3 Screwball Comedy: Just imagine, the Great Depression is raging and you’re getting less than a fin a week at the rubber boiling factory, but it only costs two bits to go to the movies all day, so let’s watch some quick-talking dames match wits with some dopey joes!

Based on the Noel Coward play, this movie has socialite and novelist Charles Condomine (Rex Harrison) looking for material for his next book. He decides to have Madame Arcati (Margaret Rutherford) come to his home and conduct a séance. As an unbeliever, he’s shocked when it brings the spirit of his first wife, Elvira (Kay Hammond), into his life, as she tries to ruin his marriage to Ruth (Constance Cummings), who can’t see or hear the ghostly form of his first bride.

Coward wanted this cast and screenwriter Anthony Havelock-Allen saw this as one of the reasons why this movie failed, saying “The point of the play is a middle-aged man well into his second marriage, having long ago put away the follies of his youth with his sexy first wife, and suddenly being woken up by her reappearance as a ghost. Rex Harrison was not middle-aged, and Kay Hammond, though a brilliant stage actress, didn’t photograph well and also had a very slow delivery, which was difficult in films. When we started shooting scenes with Kay and Rex, it became obvious that Constance Cummings (the second wife) looked more attractive to the average man in the street than Kay. This upset the whole play.”

In his book, A Serious Business, Harrison didn’t seem to enjoy it either: “Blithe Spirit was not a play I liked, and I certainly didn’t think much of the film we made of it. David Lean directed it, but the shooting was unimaginative and flat, a filmed stage play. He didn’t direct me too well, either – he hasn’t a great sense of humour … By that time, it had been over three years since I’d done any acting. I can remember feeling a bit shaky about it, and almost, but not quite, as strange as when I’d first started, but Lean did something to me on that film which I shall never forget, and which was unforgivable in any circumstances. I was trying to make one of those difficult Noel Coward scenes work … when David said, “I don’t think that’s very funny.” And he turned round to the cameraman, Ronnie Neame, and said: “Did you think that was funny, Ronnie?” Ronnie said, “Oh, no, I didn’t think it was funny.” So what do you do next, if it isn’t funny?”

Coward hated the ending that was added, as it has Charles dying — perhaps due to his wives’ spirits — and joining them as ghosts. He claimed that it ruined the best play he ever wrote.

A classic today, it was a box office disappointment for director David Lean in 1945. It did win Tom Howard the Academy Award for Best Visual Effects.

You can watch this on Tubi.

PARAMOUNT 4K UHD + BLU-RAY+DIGITAL RELEASE: Small Soldiers (1998)

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A Joe Dante movie always has a conflict — a battle between blockbuster and personal statement, led by a filmmaker with a keen commercial instinct, yet the heart of a nonconformist. Through it all, one walks away with the feeling that while the film itself may have some rough edges, there’s a genuine love for moviemaking (heck, movies themselves) at the core. That makes perfect sense — before Dante was in the industry, he wrote opinionated mini-reviews for the Castle of Frankenstein magazine. After apprenticing as an editor for Roger Corman, he directed Piranha and The Howling, the latter a film that is a veritable love letter to the history of werewolves on film, wrapped within a postmodernist take on the subject. Again, always that juxtaposition.

Perhaps Dante’s biggest monetary — if not critical — success was 1984’s Gremlins, as is its 1990 sequel, Gremlins 2: The New Batch. The former is a cute and cuddly big-budget affair on one hand; an incredibly dark, depressing, and borderline horror film on the other. There aren’t many family-pleasing films that detail father figures dying in chimneys and left unfound for months, after all. And the latter is sequel that does everything but scream at the viewer that sequels are inferior cash grabs devoid of art while simultaneously throwing everything that Dante and a fleet of the most talented FX guys and animators can invent at the screen, including Chuck Jones coming out of retirement and an insane Hulk Hogan cameo (look, any movie where Paul Bartel asks for the Hulkster’s help dealing with unruly Gremlins in a movie theater demands numerous rewatches).

1998’s Small Soldiers is, on the surface, all about war. And again — it’s a picture at war with itself. GloboTech Industries — no relation to GloboChem, despite David Cross’s appearance in the film — has acquired the Heartland Toy Company. CEO Gil Mars (Dennis Leary) demands toys that play back, so he selects two toy lines — Irwin Wayfair’s (the aforementioned David Cross) Gorgonites and Larry Benson’s (Jay Mohr) Commando Elite — and combines them into one storyline of forces at war with one another. Thanks to a tight deadline, safety testing is ignored, and Benson uses GloboTech’s overly powerful X1000 microprocessor to integrate it into the toys, which makes them self-aware. Trivia note — the stolen password that Benson uses is Gizmo, a reference, of course, to Gremlins.

There’s another war between perception and reality. The toys cast as the bad guys, the Gorgonites, are caring individuals who want to protect the planet, while the militaristic GI Joe-esque Commandos become the heels. So what happens when they arrive at toy stores? That’s answered when Alan Abernathy (Gregory Smith, whose character is potentially named for Clayton Abernathy, GI Joe’s Duke) purchases the entire line from delivery driver Joe (Dick Miller, who appears in every one of Dante’s films). Alan discovers that the toys are living, breathing, sentient beings when Archer sneaks away in his backpack. Upon returning to his dad’s store the next day, the Commando Elite had awakened and decimated the Gorgonites and the rest of the store, leaving traditional, non-mass-produced toys a smoking wreck.

Alan attempts to warn the company of the malfunctioning Commando Elite, who do not understand they are just toys (the Gorgonites have accepted their fate and just want to go to Yosemite National Park, which they feel is their homeland), going on the attack and kidnapping Alan’s love interest, Christy. To defeat their militaristic foes, the Gorgonites must battle their very nature, embracing the violence they abhor.

Small Soldiers is a strange film, a near-spiritual sequel to Gremlins, in that small terrors come to life to battle in the full-sized real world. But it’s unclear whether of its audience and what it wants to be, a fact that Dante himself admitted: “Originally I was told to make an edgy picture for teenagers, but when the sponsor tie-ins came in, the new mandate was to soften it up as a kiddie movie.” Kenner produced the tie-in action figures, albeit for a movie that criticizes the toy industry for prioritizing militaristic conflict over peaceful learning. The Burger King Kids Meals were also controversial, as the film was initially intended to receive a PG rating, rather than the PG-13 it ultimately received.

It’s also a blockbuster that, instead of being relentlessly driven to make money by playing to the lowest common denominator, delves deeply into its references to past films and themes. Additionally, the casting is based on who works best for the film, rather than who sells tickets —a trademark of Dante’s. Tommy Lee Jones may voice the leader of the Commando Elite, Chip Hazard, but Arnold Schwarzenegger was Dante’s original choice (and the rest of the team would have been filled out by the entire cast of Predator). Instead, the surviving cast members of The Dirty Dozen — George Kennedy, Clint Walker, Ernest Borgnine, and Jim Brown — were cast. Richard Jaeckel sadly passed away before filming began, and Charles Bronson refused to lend his voice to a cartoon. The Gorgonites are voiced by Frank Langella (who knows toy tie-ins well, thanks to his role as Skeletor in Masters of the Universe) and the entire Spinal Tap crew of Michael McKean, Harry Shearer and Christopher Guest. Even better, there are numerous references to past Dante works, including Robert Picardo’s character, Ralph Quist, who shares the same last name as his character in The Howling, Eddie Quist.

Small Soldiers may have NASCAR, fast food and toy tie-ins, but it feels like a deeply personal film that savors biting the hand that fed the beast that financed it. It may be many things, all at once, but above all, it does not commit the most grievous of all movie sins. It is never ever dull.

This Paramount release also has bloopers and deleted scenes. You can get it from Amazon and Diabolik DVD.

COULD THIS BE THE LAST DIA?

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Bill and I are back this Saturday 8 PM EST on the Groovy Doom Facebook and YouTube channels. Will this be the last show? If these movies don’t push our fans away, we will be back next week!

Want to know what we’ve shown before? Check out this list.

Have a request? Make it here.

Want to see one of the drink recipes from a past show? We have you covered.

Up first, Corpse Eaters, which you can watch on Tubi. You’re going to need drinks.

Corpse Drinkers

  • 2 oz. Malibu
  • 2 oz. cranberry juice
  • 1 oz. pineapple juice
  1. Fill a glass with ice.
  2. Pour in this order: Malibu, pineapple and cranberry.

The second movie? Mummy and the Curse of the Jackals. It’s on Tubi.

Yummy Mummy

  • 2 oz. Malibu
  • 1 oz. vanilla vodka
  • 1 oz. Frangelico
  • 5 oz. half and half
  1. Fill a glass with ice and half and half.
  2. Add liquor and stir while fighting a mummy.

See you for what could be the last time!

ARROW VIDEO 4K UHD RELEASE: The Texas Chainsaw Massacre: The Beginning (2006)

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A prequel to 2003’s The Texas Chainsaw Massacre, this movie reminds me that when a franchise has run out of ideas, they always go backward. Back to the well or, in this instance, back in time for a prequel.

Back in 1939, a woman gave birth in a slaughterhouse and died, at which point the manager threw her infant into a dumpster, where it was rescued by Luda Mae Hewitt, who raised the baby as her son Thomas.

Fast forward to 1969,, and Thomas works in the same slaughterhouseunderr the exact manage. When the plants are shut down by the health department, he refuses to leave. So when the manager pushes him, he gets killed by a chainsaw and his adopted brother Charlie  (R. Lee Ermey) kills the arresting officer that comes to their home — Sheriff Hoyt — and takes on his identity.

Thomas eventually becomes Leatherface — are you surprised? — but not before wiping out an entirely different set of teens years before the original movie, including Jordana Brewster from The Fast and the Furious series.

This comes from the days when Platinum Dunes were the Blumhouse of the 2000s, reinventing horror film series like The Amityville Horror, The Hitcher, Friday the 13th and A Nightmare on Elm Street to varying degrees of box office success. Director Jonathan Liebesman was also behind their reboot of Teenage Mutant Ninja Turtles.

At this point, even a fan of the character like me — I dressed as Leatherface for more Halloweens than I can count on a severed hand — checked out.

The Arrow Video release of this film has a 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible) of both the Theatrical Version and the Uncut Version. Extras include a new audio commentary on the Uncut Version with Dread Central co-founder Steve “Uncle Creepy” Barton and co-host of The Spooky Picture Show podcast Chris MacGibbon and an audio commentary on the Uncut Version with director Jonathan Liebesman and producers Andrew Form and Brad Fuller; interviews with Lew Temple; special effects makeup artist Jake Garber and special effects makeup technician Kevin Wasner and director of photography Lukas Ettlin; a making-of doc; deleted and extended scenes with optional commentary from director Jonathan Liebesman and producers Andrew Form and Brad Fuller and a trailer, all inside a reversible sleeve featuring original and newly commissioned artwork by Aaron Lea with a double-sided foldout poster featuring original and newly commissioned artwork by Aaron Lea and an illustrated collector’s booklet featuring new writing on the film by Michael Gingold.

You can get it from MVD.

Sizzlin’ Summer of Side-Splitters 2025: Satan Met a Lady (1936)

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July 28 – Aug 3 Screwball Comedy: Just imagine, the Great Depression is raging and you’re getting less than a fin a week at the rubber boiling factory, but it only costs two bits to go to the movies all day, so let’s watch some quick-talking dames match wits with some dopey joes!

Private detective Ted Shane (Warren Williams) and his former partner Milton Ames (Porter Hall) start to work together again, which hits a bad patch when he learns that his wife Astrid (Winifred Shaw) and Ted were once an item. When Valerie Purvis (Bette Davis) hires them to find a man named Farrow, it ends with Milton and that man dead, and the police thinking Ted’s the killer.

Ted makes it back to their office, only to find his secretary, Miss Murgatroyd (Marie Wilson), locked in a closet. Anthony Travers (Arthur Treacher) is going through his office, and the henchmen of Madame Barabbas (Alison Shipworth) are coming to bring him to the crime boss. Everyone is looking for a ram’s horn filled with gems, which may or may not be real, and Ted plays everyone for fools until he gets the same treatment from Valerie, the real murderer.

Directed by William Dieterle and written by Brown Holmes, this film was made because Warner Bros. attempted to re-release The Maltese Falcon but was denied approval by the Hays Production Code censors. The 1931 one with Ricardo Cortez and Bebe Daniels. The one that we know and love wasn’t made until 1941 and skips the parts that would keep it from playing.

Bette Davis saw this movie as junk. She claimed in her book The Lonely Life. “I was so distressed by the whole tone of the script and the vapidity of my part that I marched up to Mr. Warner’s office and demanded that I be given work that was commensurate with my proven ability,” she later recalled in her autobiography. “I was promised wonderful things if only I would do this film.” She was suspended but needed to cover living expenses for her mother and medical care for her sister. That’s why she made this.

Perversions of Science E2: Anatomy Lesson (1997)

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“Anatomy Lesson” is directed by Gilbert Adler and written by Kevin Rock. Billy Rabe (Jeremy London) is the son of a small-town coroner (Jim Metzler) who keeps wanting to kill things. However, he’s stopped over and over again by The Bearded Man (Jeff Fahey). When he turns 18, Billy decides to kill that person so that he can finally be the murderer he’s dreamed of becoming. There’s also Linda (Devon Odessa), a girl who is in love with him, but he just wants to watch her die.

Want to know what happens? The Bearded Man and Billy’s mom (Joanna Gleason) are robots who keep watch over killers on Earth. They’ve already taken out Jack the Ripper and the Zodiac, so now it’s Billy’s turn.

This episode isn’t based on an E.C. Comic story. However, the story “A Lesson in Anatomy!!” was in Weird Fantasy #12. The plot is sort of close. “Chased away from his father’s lab while he dissects a body, Stevey finds a stranger in the forest. Wanting to brag, Stevey tells the man all sorts of falsehoods, which he believes; But Stevey soon learns a secret about the stranger he doesn’t expect to discover.” It was written by William Gaines and Al Feldstein and drawn by Jack Kamen.

You can download all of the episodes here or watch this episode on YouTube.

B & S About Movies podcast Episode 94: The Clones of Bruce

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This week, inspired by Severin’s Game of Clones box set, I’m getting into three Bruce Lee ripoffs: Bruce Lee: The Man, The Myth, The Dragon Lives Again and Fist of Fear, Touch of Death.

You can watch them here:

  • Bruce Lee: The Man, The Myth: TUBI
  • The Dragon Lives Again: TUBI
  • Fist of Fear, Touch of Death: TUBI

You can listen to the show on Spotify.

The show is also available on Apple Podcasts, iHeartRadio, Amazon Podcasts, Podchaser and Google Podcasts

ARROW VIDEO 4K UHD RELEASE: The Texas Chainsaw Massacre (2003)

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As much as I don’t like the Platinum Dunes era of remakes, I can admit that Marcus Nispel* is a good director and that it was cool that Tobe Hooper and Kim Henkel served as co-producers, Daniel Pearl returned to be the cinematographer and John Larroquette reprised narration duties.

A significant difference is that the original Texas Chainsaw Massacre only hints at the gore that the Sawyer family inflicts. Here. bodies are slashed in half, people live agonizing moments after being impaled on hooks, faces get torn off and even Leatherface loses an arm.

August 18, 1973. Erin (Jessica Biel), Kemper (Eric Balfour), Morgan (Jonathan Tucker), Andy (Mike Vogel) and Pepper (Erica Leerhsen) have just bought two pounds of weed in Mexico and are on their way to a Lynyrd Skynyrd concert when they make the same mistake as another set of teens by picking up a hitchhiker. However, this one is in shock and eventually pulls a gun from between her legs and blows her brains out.

That’s when this movie hit me in the face, as it slow motion had smoke coming from her mouth and pushed the camera out of the bloody hole in the back of their car. That blood, that broken glass, that death — they are no longer in our world of reality but trapped in the deepest, darkest and deadliest place in America.

Welcome to Texas.

Instead of giving us killers to identify with — or sympathize with, as other films in this series seem to do — Leatherface and the Sawyer clan are brutal and uncompromising killers who take what they want and operate with ruthless efficiency.

Meanwhile, this film looks absolutely stunning, with sweeping camera moves and what is probably the best use of the 2000s gunmetal blue color palette I’ve seen. Other movies try and fail at what this film does so well.

Plus, R. Lee Ermey seems to be having a blast here.

Here’s to growing up and giving movies a chance beyond casual dismissal.

*To the director’s credit, he was against the idea of remaking the film and said that it was blasphemy to his longtime director of photography, Daniel Pearl. Pearl, however, had shot the original movie and wanted Nispel to direct the film so that he could start and end his career with the same movie. He also realized that if he just copied the original movie shot-for-shot, there was no reason to make this movie. So, he shot it like a traditional movie, not a documentary.

How weird is it that Pearl shot Chainsaw and Lionel Richie’s “Dancing on the Ceiling” and “Butterfly” for Mariah Carey?

The Arrow Video release of The Texas Chainsaw Massacre has a 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible), along with extras such as brand new audio commentary with Dread Central co-founder Steve “Uncle Creepy” Barton and co-host of The Spooky Picture Show podcast Chris MacGibbon; archival audio commentary with director Marcus Nispel, producer Michael Bay, executive producers Brad Fuller and Andrew Form and New Line Cinema founder Robert Shaye; a third audio commentary with Marcus Nispel, director of photography Daniel Pearl, production designer Greg Blair, art director Scott Gallager, sound supervisor Trevor Jolly and composer Steve Jablonsky and a fourth with Marcus Nispel, Michael Bay, writer Scott Kosar, Brad Fuller, Andrew Form and actors Jessica Biel, Erica Leerhsen, Eric Balfour Jonathan Tucker, Mike Vogel and Andrew Bryniarski. There are also new interviews with Nispel, Pearl, Brett Wagner, makeup effects artist Scott Stoddard, and composer Steve Jablonsky; a making of doc; a feature on Ed Gein; a feature on the cut scenes as well as deleted scenes, including an alternate opening and ending; screen tests for Jessica Biel, Eric Balfour and Erica Leerhsen; a behind-the-scenes featurette; cast and crew interviews; theatrical trailers and TV commercials;  and cncept art galleries. It all comes inside a reversible sleeve featuring original and newly commissioned artwork by Aaron Lea, along with a double-sided foldout poster featuring original and newly commissioned artwork by Aaron Lea and an illustrated collector’s booklet featuring new writing on the film by Michael Gingold.

You can order it from MVD.