Tuesday, 27 Sept. 2005
On the Street: It's about as fun as visiting the dentist, but fortunately it only happens once every few years we're moving the site to a new server this week. In the meantime, check out the new Criterion release of The Man Who Fell to Earth, Fox's animated Robots, Paramount's catalog treat We're No Angels, Sony's Lords of Dogtown, and more. Here's this morning's notable street discs, courtesy of DVDPlanet.com and Image Entertainment:
Monday, 26 Sept. 2005
Disc of the Week: Most rock stars can count their voice or stage presence as one of their most valuable assets David Bowie's career is best captured in his eyes. Struck in a schoolyard fight as a young boy, David Robert Jones was nearly blinded. After a year of recuperation the iris of his left eye was darkened greenish-brown, while the pupil was permanently dilated; neither matched his perfectly blue right eye. Nonetheless, Bowie's eyes have always been the one immutable feature of his shape-shifting persona, featured prominently on album covers and even put to occasional thematic use (such as with his 1972 album Aladdin Sane). Perhaps then it was inevitable that David Bowie would draw the attention of Nicolas Roeg. The most avant garde director of 1970s cinema, critics have considered Roeg's films alternately confounding and groundbreaking, in part because of his disinterest in narrative conventions. But Roeg also has been attracted to performers as much as actors, making his directorial debut with Performance (1970) starring Mick Jagger. Unconcerned with genre or locale, Roeg's subsequent pictures were shot in Australia (Walkabout, 1971) and Venice (Don't Look Now, 1973). Taking up Walter Tevis's novel The Man Who Fell to Earth, Roeg's production crew arrived in the arid New Mexico desert to tell the somber story of an extraterrestrial who appears on Earth to save his dying planet. David Bowie had barely done any acting before taking the role, but Roeg wasn't alone in believing he had found the perfect alien Bowie accepted the part without even reading the script.
The Man Who Fell to Earth (1976) opens as its title suggests, with an interplanetary vehicle piercing the earth's atmosphere, a splashdown in a New Mexico lake, and one lone visitor walking up an isolated road to the nearest small town. He is Thomas Jerome Newton (Bowie), a pale, thin man with orange hair and an English accent, bearing a British passport. After putting together enough cash to travel to New York (by hocking several gold wedding bands), Newton hires industrial attorney Oliver Farnsworth (Buck Henry). The somewhat-serious Farnsworth at first finds his frail guest eccentric at best, but before long he discovers that Newton has the scientific schemas for nine basic patents, potentially worth as much as $300 million. The secretive Newton then authorizes Farnsworth as his sole representative to create World Enterprises, a global corporation with holdings in everything from camera film to auto fuel. However, Newton's central project is known only to his secluded New Mexico employees a spacecraft that can begin secretly ferrying his own people to Earth. One of these employees, Dr. Bryce (Rip Torn), can't help but be suspicious a former academic, he was drawn to World Enterprises simply because he found the company's radical innovations hard to believe. Having met Newton, he's even more convinced the man is unreal, or at least not human. And he's determined to prove it.
Novelist Walter Tevis loved gifted losers his first novel, The Hustler, was adapted for the hit 1960 film starring Paul Newman, and while his follow-up The Man Who Fell to Earth seemed light-years away from the pool halls of Tevis's youth, their thematic parallels are notable. Like 'Fast' Eddie Felson, Thomas Jerome Newton is a man who must conceal the depth of his knowledge in order to achieve his goals. Both men also find solace in drink, and they have torrid relationships with women they keep at arm's length (in this case Candy Clark as Newton's wife on Earth, Mary-Lou). An English professor, Tevis filled his novel with literary references ranging from the myth of Icarus to the Rumplestiltskin fable. Screenwriter Paul Mayersberg further infused the script with more contemporary references, including The Great Gatsby, the life of Howard Hughes, and even Pete Townshend's Tommy. Throughout, Bowie appears feasibly extraterrestrial his lank frame and androgynous features are supplemented by being "a bit out of it" (by his own admission) during the production because of his own fractured personal life (reportedly complicated by alcohol and cocaine, reflected in his songs at the time). Supporting players Henry, Torn, and Clark work well together, particularly as they age over several years into mere echoes of their former selves. If The Man Who Fell to Earth contains any flaws, there are perhaps two moments of sex and nudity that may have marked "serious" films of the New Hollywood but seem disruptive by contemporary standards, and several small mini-montages in the story that look somewhat dated and too formalistic. Nonetheless, Roeg's previous career as a cinematographer is apparent, and if his artistic conceits can be regarded as a director emphasizing image and tone over lock-step narrative progression, they are supported by beautiful shots of New Mexico's varied landscape under broad blue skies. Bowie's fans would soon become familiar with the picture, even if they had not seen it withdrawing into his own relative seclusion in Berlin after filming completed, his next two albums (Station to Station and Low) featured publicity stills from the movie on their covers.
Criterion's two-disc DVD release of The Man Who Fell to Earth offers a pristine anamorphic transfer (2.35:1) from a source-print that's virtually flawless, offering a rich, colorful image. The original Dolby 2.0 Stereo soundtrack is the only audio option, which is free of defects. Among the supplements, Disc One offers commentary with director Nicolas Roeg and stars David Bowie and Buck Henry, ported from the 1992 Laserdisc release. Roeg and Bowie are reflective and amusing, while Henry (recorded separately) offers several witty anecdotes and observations. Disc Two follows on with a new interview featuring screenwriter Paul Mayersberg (26 min.), a fascinating 1984 radio interview with novelist Walter Tevis (24 min.), new interviews with co-stars Rip Torn and Candy Clark (24 min.), additional interviews with production designer Brian Eatwell (24 min.) and costume designer May Routh (19 min.), four stills galleries, and a collection of trailers and promo spots. The booklet in the dual-DVD keep-case includes an essay by Graham Fuller, while the exterior slipcase packs in both the film and Walter Tevis's complete novel perhaps the best bonus of all. The Man Who Fell to Earth: The Criterion Collection is on the street tomorrow.
Box Office: Jodie Foster returned to panic-mom mode and launched Disney/Touchstone's Flight Plan to the top of the weekend box-office chart the thriller (with Hitchcockian echoes of The Lady Vanishes) took in $24.6 million, beating out the weekend's other contender, Tim Burton's Corpse Bride. Warner's stop-motion animation release expanded from just five screens last weekend to earn $20.6 million for second place. Also new was Fox Searchlight's Roll Bounce, which had a decent break with $8 million. Critics loved Bride and were mixed on Bounce, while Flightplan earned mixed-to-negative reviews
In continuing release, DreamWorks' rom-com Just Like Heaven starring Reese Witherspoon and Mark Ruffalo slipped to third place, adding $9.8 million to a 10-day cume of nearly $30 million, while Sony's The Exorcism of Emily Rose rounds out the top five, tripling its production budget with $62.3 million after three sessions. Starting to stumble is Lions Gates' Lord of War starring Nicolas Cage and directed by Andrew Niccol, which dropped to sixth in its second frame with $4.9 million over the weekend. But still doing boffo is Universal's The 40-Year-Old Virgin, which is bearing down on triple digits after six weeks. Taking a tumble is Rogue's thriller Cry_Wolf, failing to break $8 million so far. And already announced for DVD is New Line's Wedding Crashers, which heads for the cheap theaters with more than $200 million in the bag.
Expanding into semi-limited release this Friday are David Cronenberg's A History of Violence and Roman Polanski's Oliver Twist, while arriving in wide release are Josh Whedon's Serenity, Into the Blue starring Jessica Alba and Paul Walker, The Prize Winner of Defiance, Ohio with Julianne Moore, and The Greatest Game Ever Played with Shia LaBeouf. Here's the top-grossing movies at North American theaters from last weekend:
On the Board: New reviews this week from the team include Robots, Born Into Brothels, We're No Angels, Bad Timing: The Criterion Collection, An Angel at My Table: The Criterion Collection, The Man Who Fell to Earth: The Criterion Collection, and The Ren & Stimpy Show: Season Five & Some More of Four. It's all fresh under the New Reviews menu here on the front page.
Back tomorrow with the street discs.
Tuesday, 20 Sept. 2005
On the Street: The street-list is deep this week, led off by a trio of Criterion Collection titles Mike Leigh's Naked, Jean-Luc Godard's Masculin Féminin, and Jane Campion's An Angel at My Table. Paramount's remake of The Longest Yard starring Adam Sandler is sure to move some copies, although we're partial to Martin Scorsese's epic documentary No Direction Home: Bob Dylan. New from Buena Vista is the serial-killer thriller Mindhunters, the family title The Adventures of Sharkboy & Lavagirl in 3-D, and re-releases of Scary Movie 3.5 and Don't Be a Menace to South Central While Drinking Your Juice in the Hood. Up from Warner is Francis Ford Coppola's The Outsiders: The Complete Novel. And Universal is on the slate with a reissue of Kevin Smith's Mallrats and the documentary Inside Deep Throat. Not to be missed is Born Into Brothels: Calcutta's Red Light Kids from ThinkFilm. And TV spins this time around include Desperate Housewives: Season One and Battlestar Galactica: Season One. Here's this morning's notable street discs, courtesy of DVDPlanet.com and Image Entertainment:
Monday, 19 Sept. 2005
Disc of the Week: The term "rock and roll rebel" invokes perhaps a handful of names: Elvis Presley, Jerry Lee Lewis, John Lennon, Mick Jagger, Frank Zappa. But a spin through Martin Scorsese's 2005 documentary No Direction Home makes it clear that Bob Dylan deserves the title more than anyone else, and not simply because he was a figurehead of the 1960s anti-establishment counterculture. In fact, Dylan was a reluctant rebel. He preferred to remain enigmatic, but even a casual observer back then could see that the only thing that mattered to him was his music a broad and lifelong passion that eventually put him in conflict not with the forces of establishment during the turbulent sixties, but with music fans themselves. Over a few short years, Dylan built his enduring reputation with such acoustic classics as "Blowin' in the Wind" and "The Times They Are a Changin'," but almost as quickly he set aside his well-known troubadour persona, put together a backing band, plugged in a Fender Telecaster, and navigated a new aural landscape, belting out such numbers as the hard-charging "Subterranean Homesick Blues" and epic "Like a Rolling Stone." In one of the most famous and controversial incidents in modern music, Dylan debuted his new band at the 1965 Newport Folk Festival to unprecedented audience hostility the whistles, hoots, and boos would plague his live performances for the next several months in America and Europe. But Dylan did not look back. After 1966 he took an eight-year sabbatical from live performances, but the folksy troubadour was no more.
It seems that Bob Dylan forged his career not merely from literate, evocative music, but also by defying audience expectations. Such would continue long after the sixties, both with his explicitly Christian albums of the early 1980s and even later, when many critics claimed that his songwriting gifts had faltered. Nonetheless, No Direction Home astutely confines itself to Dylan's most mercurial years, from his earliest days as a solo performer to the 1966 motorcycle accident that allowed him to retreat from the light and heat of his own celebrity. Born Robert Zimmerman, Dylan grew up in Hibbing, Minn., where he wasn't much of a rebel at all, by his account in part because there wasn't an establishment to rebel against, and also because "It was too cold to be bad." Teaching himself how to play the guitar at ten years old, Dylan showed little interest in school but was fascinated by rare folk and country records, as well as the AM radio stations from New Orleans he could listen to at night. After a brief flirtation with college (he was enrolled, but never attended classes), Dylan left Minnesota, eventually arriving in New York's Greenwich Village, where he gained attention in the "basket houses," coffee shops where singers passed baskets among patrons for money. With his youth and talent, Dylan seemed assured to land a contract with a minor label, such as Folkways or Vanguard. Amazingly, Mitch Miller signed him to the powerhouse Columbia Records, where his second album, 1963's The Freewheelin' Bob Dylan, made him an international sensation. But Dylan was not content to play only folk music; he was even less interested in "topical songs" or politics. And as the 1960s counterculture swirled into a tighter vortex around civil rights, free speech, and the Vietnam War, the "spokesman of his generation" turned out to be nothing of the sort, "going electric" and more esoteric with such albums as Highway 61 Revisited and Bringing It All Back Home.
Overflowing with music, archive films, and interviews, the foremost asset of Martin Scorsese's No Direction Home is Bob Dylan himself a musical celebrity who has consistently resisted personal interpretation by others, Dylan's many low-key, self-effacing comments are invaluable, particularly when they run against the grain of conventional wisdom. An early radio interview with Studs Turkel is amusing and insightful, as Turkel offhandedly claims "A Hard Rain's Gonna Come" is about atomic rain ("No," Dylan interrupts, "it's a hard rain it's a hard rain!"), and he conveys the same aloof sincerity in his later years, denying that he took his nom de plume from Dylan Thomas, unwilling to say if the Rashomon-esque events at Newport '65 were about him or something more complex, and readily admitting his disdain for the pigeonhole of "topical" songwriting. While Part One of the 3 hour, 21 min. film concentrates primarily on the folk milieu Dylan entered in the early '60s, the more energetic Part Two focuses on both Dylan's music and his combative relationship with the media, who wrote in bullet-points and on deadline. To them, Dylan was a contemporary of Joan Baez and Pete Seeger; Dylan's own heroes included Woody Guthrie and Johnny Cash. Seemingly immune to the ravages of fame, Dylan's singular musical furrow was of his own making, unconcerned with the public's demands. And while easily annoyed by the press and public alike, he was content to remain an anti-polemicist, despite his adoption by political forces he may have sympathized with but never joined. Dylan's influence on John Lennon at the time was palpable, but their two careers would wildly diverge by the end of the decade, with Lennon and Yoko Ono becoming a sometimes-shrill publicity machine of the peace movement; around the same time, Dylan recorded the country album Nashville Skyline. In fact, his finest peer may not have been a contemporary at all, but Walt Whitman, who once said he wasn't interested in a poetry that would define national elections, but instead make them irrelevant.
Paramount's two-disc DVD release of No Direction Home: Bob Dylan offers a pristine full-frame transfer (1.33:1 OAR) with source materials of varying quality due to age, although everything comes across as very presentable. Audio also is crisp and clean with Dolby Digital 5.1 and Dolby 2.0 Surround options. Both discs include bonus chapter selection linking directly to individual song presentations, while Disc Two also features eight full-length Dylan performances, four bonus performances from other artists featured in the film, and an unused 1965 promotional spot for "Positively 4th Street." No Direction Home is on the street tomorrow.
Box Office: Supernatural titles continue to lead the post-Labor Day box-office, with DreamWorks' romantic comedy Just Like Heaven starring Reese Witherspoon and Mark Ruffalo debuting at the top with $16.5 million. The ghostly love story earned just enough to edge out last week's winner, Sony's low-budget The Exorcism of Emily Rose, which slipped to second place with $15.3 million for the frame and a profitable $52 million after ten days. Arriving in third was Lions Gate's Lord of War, directed by Andrew Niccol and starring Nicolas Cage, which took in $9.2 million, while Universal's thriller Cry_Wolf was good for $4.5 million, rounding off the top five. However, in a crowded field the new thriller Venom failed to chart. Critics were mixed on Heaven and War, while Wolf and Venom earned poor notices.
In continuing release, Steve Carrel and Universal's The 40-Year-Old Virgin held down fourth place, and it's certain to break triple-digits before it's through. Fox The Transporter 2 starring Jason Statham is the lone action title on the board, now in sixth place with $36.5 million to date. And Focus Features' The Constant Gardner with Ralph Fiennes and Rachel Weisz is skimming along in seventh, bearing down on $25 million. DreamWorks' Red Eye is a confirmed hit, well clear of $50 million. And Warner's March of the Penguins hasn't stopped yet with $70 million and change. But on its way to the cheap screens in a hurry is New Line's The Man starring Samuel L. Jackson and Eugene Levy, long gone after a $4 million debut.
New films this Friday include Flightplan starring Jodie Foster and the 1970s roller-rink saga Roll Bounce with Bow Wow. Here's the top-grossing movies at North American theaters from last weekend:
On the Board: New spins this week from the review team include The Longest Yard, To Kill a Mockingbird: Legacy Series, Mindhunters, Naked: The Criterion Collection, Mallrats: 10th Anniversary Edition, Desperate Housewives: Season One, Masculin Féminin: The Criterion Collection, Winter Solstice, Twin Sisters, No Direction Home, and Smallville: Season Four. Everything's been added to the New Reviews menu here on the front page.
We'll be back tomorrow with this week's street discs.
Tuesday, 13 Sept. 2005
On the Street: After last Tuesday's massive DVD list, we're happy to come across a slower week although there's still a reason or two to air out your credit card. New from Buena Vista is this year's The Hitchhiker's Guide to the Galaxy, as well as a three-disc re-issue of Chicago. Also new from theaters is Fox's Fever Pitch starring Jimmy Fallon and Drew Barrymore. Universal has a pair of special-editions on the board with Coal Miner's Daughter and a re-issue of Brian De Palma's Carlito's Way. Not to be outdone, Warner's returned to Ben-Hur, which warrants no less than four discs. Meanwhile, arriving under the radar from Sony is the documentary Rock School. Here's this morning's notable street discs, courtesy of DVDPlanet.com and Image Entertainment:
Monday, 12 Sept. 2005
Disc of the Week: Considering how legendary the screen pairing of Paul Newman and Robert Redford is in the annals of Hollywood lore, it's interesting to note that they have only appeared in two films together. And in both instances, they weren't a duo at all, but part of a trio steered by the capable hands of director George Roy Hill. One of Hollywood's true renaissance men, Hill attended Yale and Dublin's Trinity College, where he excelled at literature and music. His studies offered a rich preparation for a life in the theater, but the outbreak of World War II sent him in an alternate direction, during which he served as a naval aviator. Starting out as an actor in the 1950s, Hill soon turned to television directing. By the mid-'60s, his feature film career was established with The World of Henry Orient (1964) starring Peter Sellers. Until his retirement in 1988 after which he returned to Yale to teach drama Hill revealed a taste for iconoclastic, literate material, including Butch Cassidy and the Sundance Kid (1969), Slaughterhouse-Five (1972), The Great Waldo Pepper (1975), and The World According to Garp (1983). Butch Cassidy remains one of his best-loved works, not only for its New Hollywood deconstruction of the western genre, but also for its marvelous, ultra-charismatic casting of Newman and Redford. Both actors would be seen together again in Hill's frame, but the three only collaborated a second time, in 1973's The Sting, which not only scooped up seven Oscars, but also reintroduced America to ragtime music and invented the "con" movie long before David Mamet or The Usual Suspects.
A tale of a tall confidence trick, The Sting begins with a quick-and-dirty one, as Depression-era Chicago grifter Johnny Hooker (Redford) and his partner Luther Coleman (Robert Earl Jones) swindle a man out of his wallet. What they don't realize is that they've suckered the bag-man for a large gambling operation owned by gangster Doyle Lonnegan (Robert Shaw), who immediately puts out a hit on the two thieves it's a mob order that Luther does not escape. Bent on revenge, Hooker seeks out the legendary confidence artist Henry Gondorff (Newman). Gondorff is game, but he's clear on one point since the swindle he has in mind will be a once-in-a-lifetime job, and Doyle Lonnegan is not a man to be crossed lightly, he'll have to be taken for all he's worth and yet never even know that he's been cleaned out, and especially by whom. The con is then put into motion, starting with a small card game on a New York-to-Chicago train and culminating in a betting parlor built specifically for the sting. But Hooker doesn't only have to worry about Lonnegan's men gunning for him there's also a corrupt bunco cop (Charles Durning) on his trail, as well as an FBI agent (Dana Elcar) who's plotting a sting of his own.
Few motion pictures outside the musical genre utilize, let alone elevate, their score as much as The Sting. The appropriation of Scott Joplin's ragtime piano created a sensation as the film swept through American theaters and dominated the Academy Awards in early 1974, but the choice was not an obvious one. Like many writers, scenarist David S. Ward wrote to background music, but his taste at the time was the blues. An accomplished pianist, George Roy Hill's decision to use ragtime instead is an arch example of style over substance, or at least historical accuracy Joplin's saloon compositions were the sound of America the turn of the century, not the Great Depression, but Hill subtly understood the contrapuntal, playful nature of the music suited the con film far more than the Delta blues of Robert Johnson and Son House. It wasn't the only daring choice Hill made Paul Newman originally turned down the role of Henry Gondorff, accurately noting that it required an actor far beyond his years. But Hill believed that the Newman-Redford dynamic, and the power of dramatic suggestion, would overcome such a minor detail. Hill's cast is bolstered by standout performers in every category, including Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. But only one could compete with Redford and Newman for the screen: Robert Shaw, whose intimidating presence belied his virtuosity in a span of ten years, he convincingly played an icy Nazi tank commander in The Battle of the Bulge, the dapper gangster Doyle Lonnegan here, and the gruff sea-dog Quint in Jaws. Shaw's legend was confirmed, as were his two co-stars. Robert Redford's career was in full ascendance by this point, and while Paul Newman would reprise his breakout role of 'Fast' Eddie Felson in The Color of Money (1986), a closer look at Martin Scorsese's film reveals he's revisiting Henry Gondorff at the same time.
Universal's two-disc DVD release of The Sting, part of their "Legacy Series," features a solid anamorphic transfer (1.85;1) from a splendid source-print that reveals barely a hint of wear it's a substantial improvement over the non-matted, full-frame transfer found on the original DVD release, while the DTS and Dolby Digital 5.1 audio soundtracks capture every note of Marvin Hamlisch's piano wonderfully (the original monaural audio is also available on a DD 2.0 track). Disc One offers the feature film, while Disc Two includes the new documentary "The Art of The Sting" (55 min.) with comments from Newman, Redford, Brennan, Durning, Walston, Hamlisch, and more, in what ultimately amounts to a sweet tribute to George Roy Hill, who died in 2002. Also on board are production notes and a re-release trailer. The Sting: Legacy Series is on the street now.
Box Office: Late summer is a traditionally slow time at the North American box-office, but Sony's The Exorcism of Emily Rose turned in surprising figures the $20 million production, starring Tom Wilkinson, Jennifer Carpenter, and Laura Linney, took in an above-forecasted $30 million to beat the trailing five films combined and also earn the third-highest raw-dollar opening of any September title. Opening mid-list was New Line's comedy The Man starring Samuel L. Jackson and Eugene Levy, which took in a modest $4 million, falling short of expectations. Critics were mixed on Rose, while The Man was widely dismissed.
In continuing release, the weak box-office helped Universal's The 40-Year-Old Virgin starring Steve Carrel, which notched up to second place, adding $7.9 million to a solid $82.3 million after one month. Fox's The Transporter 2 with Jason Statham dropped two spots to third, where it now holds $30 million in the bag. And Focus Features' The Constant Gardner starring Ralph Fiennes is already earning Oscar whispers, taking fourth place with $19.1 million overall. New Line's blockbuster raunch-com Wedding Crashers remains one of 2005's best successes, crossing the double-century after nine weeks. And Paramount's Four Brothers with Mark Wahlberg took advantage of August doldrums to generate $68.2 million so far. But off to DVD prep are two flops Disney's animated Valiant and Sony's The Cave, both failing to break $20 million.
Five new films head for cineplexes this Friday, including John Madden's Proof starring Gwyneth Paltrow, Anthony Hopkins and Jake Gyllenhaal, Andrew Niccol's Lord of War with Nicolas Cage and Ethan Hawke, the rom-com Just Like Heaven starring Reese Witherspoon and Mark Ruffalo, and the thrillers Cry Wolf and Venom. Here's the top-grossing movies at North American theaters from last weekend:
On the Board: New reviews this week from the team include The Hitchhiker's Guide to the Galaxy, Fever Pitch, The Deer Hunter: Legacy Series, The Innocents, Career Girls, Rock School, The Chase, Satisfaction, The Sting: Legacy Series, and The Doctor and The Devils. It's all under our New Reviews menu here on the front page.
Back tomorrow with the street discs.
Wednesday, 7 Sept. 2005
On the Street: Don't worry about what the calendar says as far as DVDs go, summer is over, which means the new releases are starting to pick up. New from Universal this week is a trio of catalog re-issues, The Deer Hunter, The Sting, and To Kill a Mockingbird, all arriving in two-disc sets. Warner's pulled out the stops with their "Garbo: The Signature Collection," a 10-disc set that includes such classics as Anna Christie, Camille, and Ninotchka. Fox has opened the catalog floodgates, offering several noir and thriller titles such as Dressed to Kill, The House on 92nd Street, House on Haunted Hill, The Innocents, Mr. Hobbs Takes a Vacation, and Whirlpool, while more recent offerings include Career Girls, The Chase, and Harry and Tonto. This year's Crash is on the shelves from Lions Gate, Buena Vista's on the slate with a 10th Anniversary Toy Story and a 15th Anniversary Pretty Woman, and TV titles this time around include Millennium and Lost. Best in our book is a classic from Preston Sturges, thanks to Paramount 1944's The Miracle of Morgan's Creek. Here's this morning's notable street discs, courtesy of DVDPlanet.com and Image Entertainment: