I'll admit it: Most of the indie / foreign horror films that I see at film festivals and then recommend like crazy ... are not exactly "mainstream" titles. My apologies if you watched Inside, Teeth, or Frontier(s) with your mom -- although she'd probably like The Signal. Heck, even my preferences in studio horror fare tend to run towards the bleak, and hats off to The Mist, The Ruins and The Strangers for keeping me on my toes.

So what's my point? There's one particular indie that is absolutely NOT a gorehounds-only affair. I actually expect quite a (relatively) mainstream groundswell of support once Gregg Bishop's Dance of the Dead hits DVD -- and according to good ol' Bloody-Dee, that DVD will arrive on October 14. Yes, the movie is about a prom that's been overrun by zombies, leaving only the dateless outcasts to save the day, and sure, it's got some gore, some salty language, and some playful sexiness -- but dang if the Dance of the Dead doesn't feel like something Spielberg might have done as a newcomer. (And actually liked horror movies.) It's quick and colorful and jaunty and amusing -- and I think that's the first time I've ever used the word "jaunty" in any capacity. Anyway, toss a red circle around this title. It's not just for the horror fans. (No less than eight Cinematical staffers saw and really enjoyed it.)

And hey, get this! Lionsgate is absolutely GUSHING horror flicks on October 14! Not only the Dance will hit DVD on that date, but seven more titles as well: Brotherhood of Blood, Dark Floors, The Last House in the Woods, No Man's Land: The Rise of the Reeker (cool!), Room 205, The Substitute, and something Russian called Trackman (that looks pretty wild). Now that sounds like a Halloween party!

I've lost count of how many times these movies have been released on DVD, but (wow) I don't own any of 'em yet, so here's a perfect excuse. DVDActive has the (very thorough) information on Universal's upcoming "Legacy Series" editions of (ready?) Alfred Hitchcock's Rear Window, Vertigo, and Psycho! Each package is a two-disc affair, complete with all sorts of goodies both old and new. (Yes, I love film historian audio commentaries. Sue me.)

Street date for all three releases is October 7, and if you'd like a complete listing of what each disc offers you can click one of these: Rear Window, Vertigo, Psycho. Also from Universal Home Video on October 7 ... it isn't Hitchcock, but it sure is awesome: Orson Welles' 1958 mega-classic Touch of Evil, which is a whole lot more than one impressive tracking shot, believe me. Like the Hitch titles, Touch will come complete with all sorts of new bells and whistles. Plus all four of the DVD covers are all sorts of retro-cool. Can't wait to dig through these discs.

It seems fairly certain that Hancock will do decent business when it hits theaters this week, if only because Will Smith rarely stars in a dud these days -- especially when it's his face selling the movie before all else. Whether or not the film has staying power after opening weekend, however, remains to be seen, but Sony Pictures clearly has a lot of faith in its potential: Last week, the studio revealed its intentions of releasing the film online sometime after its theatrical run and before its DVD release, but only to users with Sony Bravia TV sets. It's a bold maneuver, one that assumes its core base of consumers actually have an interest in Hancock -- but the movie will make a profit either way, so it's a reasonable choice for this intriguing experiment.

Left in the dust by Apple's iPod, Sony continues to struggle in its search for a piece of the digital revolution. Company head Howard Stringer recently told the New York Times that the strategy for releasing Hancock "vanishes the memory of the failures of the Sony Walkman." Well, maybe. While on-demand technology has changed the way audiences consume their media, they don't like paying more money than necessary. Asking your audiences to buy a special device in order to access what, at this point, amounts to one movie -- well, that's asking a lot. But it's still a step in the right direction.

What do you think?

The UK production of The Thief of Bagdad (1940) is a bit like the US production of The Wizard of Oz from one year earlier. On the surface, it looks like a seamless blend of fantasy storytelling, special effects and stunning color, but underneath it was a patchwork collaboration of many hands, coming together in a combination of spit, duct tape and luck. These days, The Thief of Bagdad is usually catalogued alongside the movies of director Michael Powell (I Know Where I'm Going, The Red Shoes, etc.), but he was only one of three credited directors and at least two more uncredited directors. The saving grace is that The Thief of Bagdad had a driving force behind it: producer Alexander Korda. Korda was a Hungarian immigrant who, along with his brothers Zoltan and Vincent, took the British film industry by storm with his combination of business savvy and boyish glitz. No matter who filmed what footage, Korda would be the one to call final cut. And despite some sluggish spots, the result is still dazzling, enough to enchant entirely new generations of dreamy children.

Last August, Patrick Walsh made mention of the fact that A) there was to be a prequel to The Scorpion King (itself, he noted, already a prequel to a sequel to a remake), and that B) Dwayne "The Rock" Johnson would not be returning to his role as ancient warrior Mathayus.

Well, in the meantime, it seems that the filmmakers did indeed find somebody to "reflect the charisma and comedic elements of the character created by The Rock, especially in his warm, relaxed and humorous relationship with Layla, the young girl whom he has grown up with, and with whom he experiences a growing sexual tension" in former Power Ranger Michael Copon.

Nothing against Mr. Copon, but if the recently revealed cover art over at DVD Active seems to be any indication, then Universal's marketing team is (wisely) shifting their focus upon baddie Sargon, played by Ultimate Fighting Champion Randy Couture. It may be difficult to judge Couture's acting ability from his recent turn as a fight commentator in David Mamet's Redbelt, but something tells me that director Russell Mulcahy (Resident Evil: Extinction) and company were more concerned about his range of motion over emotion when it comes to swinging swords and the like.

For those precious few of you out there actually looking forward to this, The Scorpion King 2: Rise of a Warrior is scheduled to hit shelves on August 19th, mere weeks after a certain other franchise continuation conveniently hits screens.

To mark the tenth anniversary of Frank Sinatra's death on May 14, Warner Home Video has unleashed such a massive volume of Sinatra DVDs that viewers will need to break out the hernia belts. There are 22 discs in all, with 11 titles new to DVD, and five box sets. One box set, The Rat Pack Ultimate Collector's Edition comes with a special deck of "Rat Pack" cards, reproductions of lobby cards, a pressbook and on-set photos, as well John Sturges' Sergeants 3 (1962), available for the first time. The high point of these discs is the DVD debut of Vincente Minnelli's Some Came Running (1958), a devastating widescreen melodrama about an army veteran and would-be writer (Sinatra) who returns to his small town.

A goofy dame (Shirley MacLaine) has followed him home, and a boozy gambler (Dean Martin) befriends him, perhaps ruining his chances with the local schoolteacher (Martha Hyer), probably the only one who understands his literary aspirations. Some Came Running is part of the Frank Sinatra: The Golden Years box set, which also includes Otto Preminger's The Man with the Golden Arm (a public domain title here available in its official release), None But the Brave (directed by Sinatra himself), The Tender Trap and Marriage on the Rocks (co-starring daughter Nancy). Then we have The Frank Sinatra and Gene Kelly Collection, with three discs, Frank Sinatra: The Early Years with five discs, and the four-hour 1992 "Sinatra" TV mini-series. To help with the celebration, Frank's youngest daughter Tina agreed to an e-mail interview with Cinematical. (See related story.)

With five nominations, it looks like Superbad will be the star of the 2008 MTV Movie Awards, and its three jubilant male leads -- Michael Cera, Jonah Hill, and Christopher Mintz-Plasse -- deserve the kudos. But one major talent behind the whole affair has stayed relatively anonymous while these young up-and-comers bathe in the spotlight: Director Greg Mottola. The erstwhile independent filmmaker, responsible for some of the best installments of Arrested Developed and Undeclared, launched his career a solid decade before the rise of Judd Apatow with a charming little low budget comedy called The Daytrippers. Starring Stanley Tucci, Hope Davis, Liev Schreiber, Parker Posey and a host of other fantastic character actors, the film follows a wildly dysfunctional family over the course of a single day, as Davis, playing a worrisome housewife, tries to track down her unfaithful husband (Tucci).

Mixing warm humanity with pitch-perfect screwball timing, Daytrippers marked the sort of debut that told you a filmmaker had a big career ahead of him. After a modest premiere at the Slamdance Film Festival, it landed at Cannes, barely got a theatrical release and promptly vanished thereafter. Mottola turned to TV work, and slipped out of the film scene for a good ten years. These days, it's no easy task to track down Daytrippers on DVD -- you can nab second-hand copies on Amazon for decent rates, but not a single retail outlet carries it. Aside from the occasionally airings on cable, the movie has vanished.

Like many passionate but busy fans of science fiction cinema, I "discovered" Dark City just a little too late -- but I've slowly become one of the flick's biggest fans. Aside from a few minor gripes (yes, the narration), I think it's an absolute masterpiece; a nifty mixture of lofty sci-fi, moody film noir, convoluted "whodunnit" and eye-popping spectacle. And I know I'm not alone in my appreciation of the Alex Proyas film.

So here's some good news for my friends: According to BD.com, Dark City co-screenwriter David S. Goyer just dropped a few juicy nuggets regarding a digital upgrade: "In addition to the special features, Goyer reveals that there's more to the re-release than just special FX upgrades. "[They re-did] the score and the cuts a little longer," he reveals, "all of the parties involved did fairly lenghtly interviews with us, they'll be incluced on there." New FX? Fresh featurettes? A possible theatrical re-release? Wowwy wow, that's awesome. But this new DVD better keep that Roger Ebert commentary track!

Check out Monika's earlier piece on the Dark City revisions right here. And I can't believe I made it all the way through this post without mentioning Jennifer Connelly...

Where exactly does Bonnie and Clyde rank in the American pantheon? It's a bona-fide classic, to be sure. It placed on the American Film Institute's Top 100 in 1998 and again in 2007. It's also on the IMDB's Top 250 list. Upon closer inspection, however, it's far more than a perfect, polished gemstone. Rather, it's a bundle of contradictions. Everyone knows that it was a groundbreaking film of its day, the first to incorporate a new kind of violence and moral complexity into the mainstream. But screenwriters Robert Benton and David Newman borrowed these elements directly from French New Wave films like Jean-Luc Godard's Breathless (1959) and Francois Truffaut's Shoot the Piano Player (1960). In fact, Truffaut was the first director approached for the project. Despite this, Bonnie and Clyde somehow transcends time. More than just a moldy relic of the 1960s, it has aged much better and is far more watchable today than, say, Easy Rider (1969) or even The Graduate (1967).

Estelle Parsons makes it abundantly clear that she's a theater person, and yet she holds a place of honor in the world of movies. Not only was she in an American classic, Arthur Penn's Bonnie and Clyde (1967), but also the only member of its cast to win an Oscar (Best Supporting Actress), even though Warren Beatty, Faye Dunaway, Gene Hackman and Michael J. Pollard also received nominations. (She was nominated again the following year for her role in Paul Newman's Rachel, Rachel.) This paradox isn't lost on Ms. Parsons, who spoke with Cinematical via phone recently, but she seems amused by it all. To her, it was fun, but it's just a footnote compared to her love of the stage. Today, at an imperturbable 80 years of age, she acts, directs plays, works often with Al Pacino and loves her long walks in the woods. Warner Home Video releases the new, remastered Bonnie and Clyde DVD on March 25.

Cinematical: Have you seen Bonnie and Clyde recently?

Estelle Parsons: Yes. Gee, I just loved it. I think I saw it on the 30th anniversary. And I saw it again now. It's just so intense. It was wonderful. It was like looking at something I wasn't in.

Cinematical: How did your role in the movie come about? Did Warren Beatty cast you?

EP: No! I was working for Arthur Penn at the Berkshire Drama Festival and I did "Skin of Our Teeth," which Penn had directed in an experimental way. It meant so much. I discovered a great gift with him, which I didn't even know I had. So I was high as a kite on all this good work I had been doing. I was so excited! I was riding high! I was learning all kinds of things about myself. I was going to join a repertory company in San Francisco, and then it fell through, and Arthur said: "You have to read this script." I thought, "This is one of those secondary roles." And I kept reading and it kept getting better and better. Plus I had worked with Gene Hackman before and loved him.