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Two-time Academy Award® nominee Ethan Hawke plays Edward Dalton, a researcher in the year 2019, when an unknown plague has transformed the world’s population into vampires. As the human population nears extinction, vampires must capture and farm every remaining human, or find a blood substitute before time runs out. However, a covert group of vampires makes a remarkable discovery, one which has the power to save the human race.Stills from Daybreakers (Click for larger image)

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Even for a 12-year old, D.J. Walters has a particularly overactive imagination. He is convinced that his haggard and crabby neighbor Horace Nebbercracker, who terrorizes all the neighborhood kids, is responsible for Mrs. Nebbercracker’s mysterious disappearance. Any toy that touches Nebbercracker’s property, promptly disappears, swallowed up by the cavernous house in which Horace lives. D.J. has seen it with his own eyes! But no one believes him, not even his best friend, Chowder. What everyone does not know is D.J. is not imagining things. Everything he’s seen is absolutely true and it’s about to get much worse than anything D.J could have imagined.The spooky shadows and eerie creaking of a rickety old house are brought to life via lush CGI in Monster House. A young boy named DJ has suspicions about the house across the street and the cranky old man (voiced by Steve Buscemi, Fargo) who lives there. When the old man has a heart attack and is carried away by an ambulance, DJ thinks the danger is over. Unfortunately, as he, his friend Chowder, and a candy-selling prep-school girl named Jenny discover, the house itself has plans–plans that include eating all the kids who’ll be trick-or-treating that Halloween night. Monster House begins with some deliciously creepy scenes that will send chills down children’s spines (and may be too intense for younger viewers); animated movies rarely make such effective use of what isn’t being shown. The animation is vivid and detailed (though CGI still has a ways to go in capturing the full range of human facial expressions). But like most horror movies, the anticipation of horror is much more exciting than the horror itself; as the secrets of Monster House are revealed, the movie’s thrills unravel. The noisy explosions at the end aren’t half as much fun as the slow twitches of a few blades of grass in the movie’s elegant beginning. –Bret Fetzer

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Here is the murderously funny movie based on the world-famous Clue board game. And now, with this special DVD version, you can see all 3 surprise endings! Was it Colonel Mustard in the study with a gun? Miss Scarlet in the billiard room with the rope? Or was it Wadsworth the butler? Meet all the notorious suspects and discover all their foul play things. You’ll love their dastardly doings as the bodies and the laughs pile up before your eyes.Undoubtedly the first movie in history to have played in theaters with three different endings (depending on which theater you attended), Clue is a silly whodunit based on the familiar board game featuring Colonel Mustard, Mrs. Peacock, and all the other usual suspects. A broadly comic cast play the sundry suspects gathered in a mansion to solve a murder, knowing that one of their numbers is the culprit. Michael McKean, Eileen Brennan, and Tim Curry are the best of the bunch, and the film is as lightweight an experience as a round of the game itself. Directed by Jonathan Lynn (My Cousin Vinny). The video release contains all three endings. –Tom Keogh

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Hearst College, jewel of the Pacific. A citadel of higher education set amid rolling lawns and swaying palms. But since Hearst is in Neptune, California – and since Veronica Mars is among its incoming freshmen – you know it’s also a noir netherworld of lies, betrayal, secrets and (of course) murder. Veronica, Logan and more of your VM favorites join cool new characters for a Season 3 of seething mystery and sardonic wit. College is indeed a learning experience as Veronica aces a crim class led by a hunky prof, solves the case of on-campus rapes that began in Season Two, and gives a grad seminar in sleuthing when two faculty members take sudden, eternal early retirements. Frosh year is gonna be freaky!

DVD Features:
Deleted Scenes
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Gag Reel
Other

Equal parts Buffy the Vampire Slayer and Nancy Drew, Veronica Mars is smartly written and well-acted. This third and final season of the critically acclaimed (but viewer-challenged) series ends as all good shows should–by leaving viewers wanting more and wondering how their favorite characters will fare in the future. By now, our spunky heroine Veronica (played by the effervescent Kristen Bell) is a college student working on a degree in criminology. Though blond, pretty, and uber-smart, Veronica doesn’t have an easy time fitting in to her new setting. The series focuses as much on her personal life this season as it does on the cases she is hired (and paid) to solve. Besides dealing with rapes, robbery, and other sordid crimes, Veronica has to clear her own name when she is accused of plagiarizing. She also gets involved in helping figure out who may have given a pregnant friend a pill that caused her to lose the baby. This year’s guest stars include some stunt casting with Patty Hearst, who plays a wealthy woman who disappears during an event held in her honor. Unlike the first two years where Veronica focused on solving one major crime, this season features several story arcs. Perhaps it was the producer’s way of trying to attract more viewers, but diehard fans may be turned off by the change, which provides a less cohesive storyline than in the past. All 20 episodes–which aired originally during the 2006-2007 television season–are included in this six-disc set. The collection also includes a cute gag reel and an informative bonus feature that includes insightful commentary from show creator Rob Thomas. –Jae-Ha Kim

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Hard-drinking, burnt-out ex-CIA operative John Creasy (Washington) has given up on life–until his friend Rayburn (Oscar winner Christopher Walken) gets him a job as a bodyguard to nine-year-old Pita Ramos (Dakota Fanning). Bit by bit, Creasy begins to reclaim his soul, but when Pita is kidnapped, Creasy unleashes a firestorm of apocalyptic vengeance against everyone responsible.Style trumps substance in Man on Fire, a slick, brooding reunion of Crimson Tide star Denzel Washington and director Tony Scott. The ominous, crime-ridden setting is Mexico City, where a dour, alcoholic warrior with a mysterious Black Ops past (Washington) seeks redemption as the devoted bodyguard of a lovable 9-year-old girl (the precociously gifted Dakota Fanning), then responds with predictable fury when she is kidnapped. Prolific screenwriter Brian Helgeland (Mystic River, L.A. Confidential) sets a solid emotional foundation for Washington’s tormented character, and Scott’s stylistic excess compensates for a distended plot that’s both repellently violent and viscerally absorbing. Among Scott’s more distracting techniques is the use of free-roaming, comic-bookish subtitles… even when they’re unnecessary! Adapted from a novel by A.J. Quinnell and previously filmed as a 1987 vehicle for Scott Glenn, Man on Fire is roughly on par with Scott’s similar 1990 film Revenge, efficiently satisfying Washington’s incendiary bloodlust under a heavy blanket of humid, doom-laden atmosphere. –Jeff Shannon

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Detective tracks down his daughter’s killer relentlessly.The good news is that Edge of Darkness (no relation to the fine 1943 war picture of that name) brings back Mel Gibson in front of the camera for the first time in nearly a decade. Although he’s grown creased and leathery and his thatch has thinned, the movie star who was Mad Max still has the charisma and gravitas to center a dodgy suspense tale and propel it to the finish line. Gibson plays veteran Boston police detective Tom Craven, who welcomes home daughter Emma (Bojana Novakovic) for a rare visit, then sees her shot down at his front door. Because the gunman shouted “Craven!” and because a cop makes enemies, Tom assumes Emma took a bullet meant for him, which adds considerably to his grief and pain. But as he looks into the life of a daughter he loved yet scarcely knew, he discovers she’d been preparing to turn whistleblower on her employer, a corporation doing unsavory clandestine things for the government. Craven starts having oblique chats with a philosophical Brit named Jedburgh (Ray Winstone), who keeps turning up unexpectedly–in Craven’s backyard at night, say–always giving the distinct impression that he could just as well kill a fellow instead of schmoozing. Their strange rapport, like Craven’s tendency to mutter ironical asides as if in ongoing conversation with the departed Emma, is more intriguing than the conspiracy involving corporate skullduggery and a rogue assassination bureau. The bar for that sort of thing was set in post-Watergate days by Alan J. Pakula’s The Parallax View, and we’re nowhere near its cinematic elegance or pervasive paranoia. Edge of Darkness, based on a British miniseries from 1985, was directed by Martin Campbell, who also handled the six-hour original (and more recently the successful James Bond reboot Casino Royale). Campbell does decent-enough work–the occasional bursts of “shocking action” do shock even as we know they’re coming–but rarely exceeds generic requirements. For killing comparison among contemporary suspense films, catch Roman Polanski’s The Ghost Writer, in which every frame unsettlingly conveys a world where disquiet is the natural order of things. –Richard T. Jameson

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