October 27, 2010 THE VILLADOM TIMES II & IV • Page 17 New releases include extended version of horror classic by Dennis Seuling With Halloween just around the corner, what better movie to revisit than arguably the most frightening picture ever made? “The Exorcist: Extended Director’s Cut” (Warner Home Video) has never been forgotten by anyone who has seen it, especially in its uncut, uninterrupted version. During its initial theatrical release in 1973, viewers were terrified and there were documented reports of people running out of the theater, others getting physically ill, and still others plagued by nightmares. Made without the razzmatazz computer-generated effects available to contemporary directors, “The Exorcist” shocked and terrified with its solid script, first-rate performances, and special effects that hold up extremely well 37 years later. “The Exorcist” was based on the best-seller by William Peter Blatty, who based his novel on an actual, documented exorcism. This two-disc set contains both the original 1973 version and the 2000 Extended Director’s Cut. In the film, young Regan (Linda Blair), in Washington, D.C. with her actress mother Chris (Ellen Burstyn) who is on location making a film, begins to exhibit strange, unexplained behavior. Her mother brings her to a parade of doctors, none of whom can offer an explanation. Desperate, Chris calls upon a priest, Father Karras (Jason Miller), to investigate. Karras, consumed with self-doubts about faith, is confronted with the evil of Regan’s possession. When Father Merrin (Max von Sydow), an older priest, is called to help, a horrifying battle for her soul begins. Bonuses include a three-part documentary on the movie’s production and enduring popularity and influence; set footage; camera and makeup tests; interviews with director William Friedkin, actress Linda Blair, and author/screenwriter William Peter Blatty; a tour of the locations where the film was shot; a featurette about the different versions of the movie; director commentary; the original ending; trailers; outtakes; and a 38-page book containing photos, cast bios, and production notes. “Elf: The Ultimate Collector’s Edition” (New Line Home Video), available as a deluxe two-disc Blu-ray release, is the 2003 holiday film that has been adapted into a Broadway musical scheduled to open later this year. Buddy (Will Ferrell) has lived with Santa Claus and his elves ever since, as an infant in an orphanage, he crawled into Santa’s bag of toys and was inadvertently taken to the North Pole. He is raised by Papa Elf (Bob Newhart), and believes he is an elf, although an unusually tall one. Informed that he is the son of Walter Hobbs (James Caan), a New York children’s book editor (his mother passed away some time ago), Buddy embarks on a quest for his human father. When, after a long but steady trek from the North Pole, he shows up at Hobbs’ place of business in full elf attire, Hobbs assumes someone has sent him a Christmas-gram. A DNA test performed by Walter’s doctor (Jon Favreau) confirms that Buddy is Walter’s son, and Walter must now decide how to deal with this new person in his life and explain him to his wife (Mary Steenburgen) and son Michael (Daniel Tay). The most frequent problem with Christmas movies is their tendency to play down to their audience, with sentiment layered on like wet cement. In “Elf,” such sentiment is held in check in favor of a witty script by David Berenbaum, a cast of first-rate supporting players, and a star turn by Ferrell that walks a fine line, ever on the edge of hitting just the wrong notes to sink the whole film. This never happens. Totally in character, he romps along, his smile and happy state of mind as sincere as his love of spaghetti with maple syrup. Blu-ray bonuses include four production featurettes, deleted and alternate scenes, audio commentaries by Ferrell and Director Jon Favreau, “Elf” karaoke, and theatri- Linda Blair stars as the possessed Regan McNeil in ‘The Exorcist.’ cal trailer. The ultimate collector’s edition is also available on DVD. “The Rocky Horror Picture Show” (20th Century-Fox Home Entertainment) broke records as the longest-running midnight audience participation movie in history. Made in 1975, the film was sneak-previewed at a midnight screening. It did so well that the studio decided to hold off on an official release for fear that reviews from mainstream critics would lead to the movie’s quick disappearance from theaters. For years, the movie played at midnight shows around the country and audiences began dressing up as their favorite characters, reciting dialogue, yelling back at the screen, dancing along with the onscreen choreography, and incorporating props. Watching at home, away from the circus atmosphere, you may wonder why the film has achieved cult status. It is a good film based on a fair stage play with average performances (Barry Bostwick, Susan Sarandon) and one tour-de-force by Tim Curry as a transvestite from Transylvania. However, it pales in comparison with a full-out audience participation showing. A spoof of classic horror ingredients -- mad doctor, monster, innocent couple, creepy house, stormy night -- “The Rocky Horror Picture Show” adds a rock score, sexual innuendo, and assorted taboos in its attempt to push the envelope of outrageousness. 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