Paul Van Dyk

Politics of Dancing

Ministry of Sound

*****

Paul Van Dyk is simply amazing. He is one of the greatest producer/DJs the electronic music world has ever seen. The Van Dyk sound transcends your basic four-four beats; he produces pounding basslines and gorgeous atmospherics. His productions are flawless and his mixing is fantastic. Those lucky enough to have seen him know of his powers, and those who download his live sets wish they could have been there.

Van Dyk once stated that he would never do a mix CD. His previous releases such as ""Out There & Back"" and ""Seven Ways"" have been his own work mixed together. But ""Politics of Dancing"" is his first mixed CD of other artists.

This two-disc set is not a collection of the year's greatest hits that can be found on Ministry of Sound's typical releases. ""Politics of Dancing"" is a collection of Van Dyk favorites that capture the mood of a club or a massive. This album also blurs the lines between mix CD and Van Dyk's own production -- he added his own production to many of the tracks so they would fit the context of the music surrounding it.

Disc one offers an energetic but cool groove. In the well- thought-out liner notes, Van Dyk explains that this disc is one he would play if he were opening for another DJ. He continues to state that disc two is what he would play if he were headlining. Disc two offers more intense sounds that are worthy of any party.

The socially conscious Van Dyk also explains why this album is titled ""Politics of Dancing."" He reminds everyone that the dance music culture was also a political culture, a movement that affected society as a whole and a movement he thinks has fallen by the wayside.

On ""Politics of Dancing,"" Van Dyk offers a reminder of why we support dance music and helps us focus on the importance of the politics that surround the dance music culture.

-- Joseph Lee

Hiatus Editor

Starsailor

Love is Here

Capitol

****

Starsailor follows more established British acts such as Travis, Coldplay and Radiohead in their attempt to break into the U.S. market after considerable success in the United Kingdom. Almost a year ago, they were hailed as Britain's best new band. Their amazing album, ""Love is Here,"" was released in the United States this month and it is a sign of good things to come for this band.

Guitarist and vocalist James Walsh has hints of Thom Yorke of Radiohead and Fran Healy of Travis, but that is about as far as it goes. Yorke has a strange, haunting quality to his voice and Healy's voice is great but does not show the range and strength of Walsh's. Starsailor rounds out with Barry Westhead putting down wistful melodies on the keyboards as James ""Stel"" Stelfox anchors the group on the bass guitar, while drummer Ben Byrne provides the steady beats.

Although the band members grew up on the brash sound of Oasis, they fell to the powerful emotions of Neil Young and Tim Buckley and cite them as their main influences. Songs such as ""Alcoholic"" and ""Poor Misguided Fool"" are among the standout tracks with their haunting melodies and lyrics.

Producer Steve Osbourne has produced more sonically complex groups such as New Order. Namely, their most recent release, ""Get Ready."" He has also produced for U2. But Osbourne faithfully maintains Starsailor's wish to keep the album simple with a sound that is more live than produced.

""Fever"" is an example of their raw, live sound that translates into beautiful simplicity.

""Fever"" and ""Good Souls"" launched into the U.K. Top 20 singles chart, and ""Alcoholic"" recently reached the top 10. After a successful European tour, they look to the United States.

Their somber and contemplative album, ""Love is Here,"" is the sort of album you can sit back to with a cup of tea or coffee.

-- Joseph Lee

Hiatus Editor

Judas Priest

Demolition

Atlantic

**

With the 14th album out by the once-notorious leaders of heavy metal, Judas Priest, we see yet again why bands need to eventually stop recording.

The second disc without legendary frontman and San Diego resident Rob Halford finds new recruit ""Ripper"" (ooo ... I'm scared) Owens filling out on his own a little more than on the previous album.

Most of the time, he and the rest of Priest seem to be trying to redefine their sound while still retaining an anchor to their '70s thrash sound. Familiar, but somehow off.

""Demolition"" is too much like Priest's earlier days without obtaining the magic they once had.

Long-time fans would be hard-pressed to have friends listen to this album with favor. Unless you really like power ballads by aging rock stars, their glory days are long over -- not unlike Aerosmith.

But moreover, this sound is just played out.

""Demolition"" is constantly plagued by the fact that Judas Priest seems unable to figure out how to make a transition into new musical waters. They try be what they were while still doing something new. The result is lackluster and it feels like the band has begun to reach the limits of the direction that brought it here.

It's doubtful that many people will enjoy this album -- only die-hard fans should bother giving this a listen.

-- Rinaldo Dorman

Staff Writer

Universal Studios markets ""The Fast and the Furious"" as a high-speed thriller, and indeed the DVD delivers what it promises -- along with plenty of bad acting and a wandering plot.

The film features Paul Walker as Brian Spindler, an undercover dectective exploring the world of street racing to solve a string of mysterious thefts. However, as he is pulled deeper into the street racing underworld by racer Dominic Toretto (Vin Diesel) and his alluring sister Mia (Jordana Brewster), Spindler finds it harder to keep his priorities straight. The film also stars Michelle Rodriguez as Toretto's girlfriend and features a cameo appearance by Ja Rule.

While the plot seems to get lost in the film's focus on action, the incredible cars and stunts in the film are amazing enough for the film to get away with it.

The movie does a good job of exposing the culture of illegal racing, yet does not get in-depth enough after providing a tantalizing glimpse, leaving the viewer wanting more.

Diesel gives one of the few commendable performances, while Ja Rule shows that his talent is in the musical sphere, not the dramatic one.

The bonus material on the DVD includes an amazing selection of eight different views of the final car chase scene, including several shots from inside the cars. The viewer is also taken behind the scenes and exposed to some of the tricks director Rob Cohen used for several of the stunts in the movie.

Fans can also watch the movie with Cohen's commentary, although his monotone voice and paltry attempts at humor make this feature a bit tedious.

The extra material also includes the making of the video and ""Racer X,"" the article from which the concept of the movie came.

Other than the eight camera angles of the final scene, the extras on the DVD are not particularly appealing; there are music videos from Ja Rule, Caddillac Taj and Saliva, as well as a few deleted scenes. But the stunts and high-tech cars in the movie itself are the most interesting aspects.

In the end, both car enthusiasts and action fans will be fully satisfied with the incredible customized vehicles and fabulous stunt driving, but those looking for a plot with depth had best look elsewhere. The DVD hardly contains bonus material compelling enough to win over viewers who were not satisfied with the movie in the first place.

Some movies are absolutely worth paying the outrageous price that movie tickets go for, but others, such as Jake Kasdan's new film ""Orange County,"" are better left for lazy afternoons of boredom and free cable. A fairly decent idea for a movie is ruined by a horrible script and bad direction. The film also lacks a solid performance from its lead and could not be saved by an adequate supporting cast en route to movie hell as a horrible picture.

The movie follows Shawn Brumder (Colin Hanks) on his mission to get into Stanford University. Shawn is an ex-surfer who reformed his slacker ways when he found a book in the sand written by Marcus Skinner (Kevin Kline), a professor at Stanford. The book inspired Shawn to get his act together and apply himself academically so that he could get into Stanford and work with his newfound idol. A mix-up causes Shawn to get rejected from the school, prompting a two-day quest to right the wrong and gain admittance. Helping him on his quest are his animal rights activist girlfriend Ashley (Schuyler Fisk) and his perpetually stoned brother Lance (Jack Black).

While there was absolutely no hope for this to be a good movie, the concept itself isn't bad. The writing and direction did this movie in. The script is an awful piece of garbage that plays out more like a sitcom than an actual movie. Mike White, the writer of ""Orange County,"" has also written for television's ""Freaks & Geeks,"" which would explain why the movie played out like a stretched episode of Fox's latest attempt at a comedy series. The direction was completely disappointing because Kasdan failed to utilize the surroundings to maximize his shots.

Hanks had moments during the film --though they were few and far between --when he was actually decent on screen. Most of the time he was as whiny as a 12-year-old school girl with a skinned knee. He simply was not believable, which did not bode well for him because the dialogue that he was delivering wasn't that great in the first place.

Black did all that he could with what he was given. He was absolutely hilarious at times as a walking drugstore with a collection that would make Hunter S. Thompson proud. The only knock on his role would be that it is one that he has played several times before. Black once again plays the high-octane sidekick inserted for comic relief, as he did in both ""High Fidelity"" and ""Saving Silverman."" While he does a great job in the role, the characters are all very one-dimensional and good only for comedic value.

The movie also features big-name actors and actresses in smaller parts. Catherine O'Hara and John Lithgow play Hanks' parents while Lily Tomlin, Chevy Chase, Garry Marshall, Harold Ramis and Kline all make appearances. Unfortunately, not even these veterans can save this movie.

Even the so-called standby physical gags that recent movies have used so often did not elicit a favorable response from the audience.

The few laughs that the movie does deliver fall miserably short of making up for the overall waste of the hour-and-a-half that the film is.

Orange County

*

Starring Colin Hanks, Schuyler Fisk and Jack Black

In theaters Jan. 11

Rated PG-13

With a quick trip north, you can find your way to the Hill Street Coffee House. Situated in the Weitzel house, built in 1888, this restored Victorian style house and garden holds a jewel of the coffee-goer's experience.

Tucked away, the Hill Street is a quiet and picturesque place to break from the day or to get it started. The manicured garden is inviting and soothing, matching the simple elegance of the interior.

In addition to being an organic restaurant, using organic produce and coffee, it is are also certifiably green: The cafe recycles all glass, plastic and paper. Also, it composts grounds and food waste and is Styrofoam-free.

Hill Street boasts a lengthy and diverse menu, so you are sure to find something to fit your tastes, no matter what you're in the mood for.

The breakfast menu offers egg dishes, burritos, frittatas, sandwiches, along with bagels and many other delights.

The rest of the menu includes more sandwiches, salads, pastas and soup. Everything is well-prepared, looking as good as it tastes.

Since this is a coffee house, its selection of drinks offers hot or blended refreshment; it has espresso and coffee concoctions to delight your classic and more modern expectations. Service is fast and friendly, and the atmosphere is casual and welcoming.

Prices are very reasonable, with few items costing more then $6, and the most expensive being a $7.95 order of Blackened Chicken Pesto. Many items have a health-conscious approach: Vegan Burrito ($5.50), Fruit Platter ($3.50), Dr. Naked (raw vegetables, $3.95). Though not everything is Granola ($3.50); you can get the Clogger (three scrambled eggs served on a croissant with either grilled ham or turkey and melted cheese, $4.75), or even a Sloppy Joe ($5.75).

Well worth the trip, the Hill Street makes for a great escape with some wonderful food and coffee. A rare example of the American coffee house that places more emphasis on quality and enjoyment rather than on marketability.

The soothing ambiance will undoubtedly entice you back again and again, and the charm and warmth will have you feeling at home in no time.

The Hill Street Coffee House

Organic restaurant and espresso bar

524 South Coast Hwy.

Oceanside, Calif.

(760) 966-0985

Visiting Copley Symphony Hall to see the San Diego Symphony probably does not sound like an activity that most college students would include as a ""must do"" on their list of New Year's resolutions. However, if the symphony's ""2001 Extravaganza"" show was any indication of the intrigue, pleasure and relaxation that the symphony can produce, then pinching pennies for a night of live music would be a worthy investment.

Conducted by the widely praised Jung-Ho Pak, ""2001 Extravaganza"" consisted of five pieces, four of which were made famous by director Stanley Kubrick's classic film ""2001: A Space Odyssey.""

The performance, true to the film's soundtrack, included a variety of genres and composers ranging from Johann Strauss, Jr.'s well-known waltz ""On the Beautiful Blue Danube"" to Gyorgy Ligeti's groundbreaking ""Atmospheres,"" which contains no traditional elements, such as harmony and rhythm.

The first piece performed, ""Fanfare from 2001"" by Alex North, was written explicitly for Kubrick's landmark movie but ironically never made it into ""A Space Odyssey;"" Kubrick felt it did not truly mesh with the film. Kubrick was right -- the piece's chiming climax was bearable, soft and almost pleasant -- and Strauss' ""On the Beautiful Blue Danube"" had already satisfied the filmwatcher's musical sweet tooth. Including another overly enchanting song such as ""Fanfare"" would have overdone the contrast that ""A Space Odyssey"" creates between disturbing visuals and pleasant soundtracks.

The closing piece, Richard Strauss' ""Also Sprach Zarathustra,"" is the source of the notorious five notes that accompany the film's opening scene, which have been included in every parody of a ""space"" film since ""A Space Odyssey."" Moviewatchers witness but a fraction of the song, however, which continues for almost 30 minutes after the five famous notes are played.

Surprisingly, the piece was actually composed as a symphonic poem that was intended to narrate the theories of German philosopher Friedrich Nietzche. Its bellowing use of trumpets sharply contrasts its quiet, long descent into silence -- a contrast intended to symbolize the triumph of man and the eventual mystery of his fate. Strauss' waltz could not have matched the movie more perfectly; its presence on the film's soundtrack pushes one to admit to Kubrick's brilliance.

Perhaps even more brilliant were the San Diego Symphony's perfectly honed rendition of this ""space"" parody classic and the decision to honor Kubrick by performing this well-chosen collection of music.

Chances are that most of the students here have not seen Sinatra perform live. Hell, some might not even know who Frank Sinatra is (I won't explain -- you can find out for yourself). But for those who know and love the beauty of Sinatra and the songs he sang, there is a cause for rejoicing as the critically acclaimed ""Our Sinatra"" act from New York comes to UCSD's Mandeville Auditorium.

The extremely talented trio of Ronny Whyte, Christopher Gines and Sara Weaver are backed by a 12-piece big band orchestra that supplies the gorgeous strings and jazz tunes that made Sinatra one of the most famous vocalists of all time.

""Our Sinatra"" is not a cheesy tribute act that capitalizes on mafia jokes and the Rat Pack. The performance is genuine and full of heart, with the full intention of paying the ultimate tribute to Sinatra by singing the songs he made classics.

In this 100-minute performance (complete with intermission), ""Our Sinatra"" will feature over 50 classic songs that were performed by the late Sinatra. You can expect to hear classics such as ""Strangers in the Night,"" ""Summer Wind,"" ""Luck, Be a Lady,"" ""The Way You Look Tonight"" and ""My Way."" There are sure to be other crowd favorites.

Whyte is not only a talented vocalist but he is recognized as an incredible jazz pianist and an inductee into the Cabaret Jazz Hall of Fame. Gines studied at the prestigious Julliard School of Music and has performed with many famous jazz orchestras at famous venues in New York. Whyte and Gines worked together to create a fitting tribue for Ol' Blue Eyes. Weaver is an accomplished vocalist who has been the lead vocalist in one of New York's most prestigious orchestras as well as lead roles in ""West Side Story"" and ""Evita.""

""Our Sinatra"" has sold out posh clubs in New York and opened to impressive reviews off-Broadway with some venues commanding at least $50 per ticket; $15 for every student isn't a bad deal to watch a new act faithfully performing the classics.

For more ticket information on ""Our Sinatra,"" look to the Hiatus Calendar on page 12.

The acts that come to UCSD to perform are usually under a lot of scrutiny. Every Triton music fan, each with his or her superior point of view, always has strong opinions about one artist or another.

One group is too old and another is too obscure. One is too pop while the other isn't pop enough. One is too rock and the other too rap. Whatever the case may be, the performers at UCSD have had to face the careful observation of the students.

But having to choke down one-hit wonders at every other festival can be pretty difficult at times.

UCSD's very own night club, Club Ritmo, on the other hand, returns this year with a great amount of potential. Whether you like him or not, DJ Skribble is a big name in the dance music world and he has been highly visible on MTV's ""Total Request Live"" with Carson Daly. In fact, Skribble seems to be MTV's resident DJ with appearances on ""The Grind,"" ""MTV's Spring Break"" and ""Sisqo's Shakedown."" He also co-hosted ""The Cindy Margolis Show.""

His mix albums are packed with almost too many hits. ""Essential Dance 2000"" features songs by Cher, Moby, Fragma and Zombie Nation. ""Essential Spring Break 2001"" features even bigger acts such as M&S presents the Girl Next Door, Spiller, Jakatta, Delerium and Darude.

But even Skribble admits that anthem-filled albums such as ""Essential Dance 2000"" were ""do-what-you-gotta-do, commercial-introduction things.""

However, Skribble's roots are in hip-hop. Long before MTV and the hit albums, he toured with hip-hop great Public Enemy and opened for Biggie Smalls and Sean ""P. Diddy"" Combs before they were famous.

It was only by the mid-1990s that DJ Skribble started listening to more house and began fusing some hip-hop with house sounds. The result is DJ Skribble's current sound of house and trance with some hip-hop thrown in the mix.

Club Ritmo has landed a big-name DJ who is still fresh enough to be remembered and carries enough popular hits to make everyone happy. Yes, DJ Skribble is ""that guy on MTV,"" but you have to admit that this is one of the strongest acts UCSD has had in a while.

So stop thinking about it so much and dance.

Please see the Hiatus Calendar for ticket information.

Ask almost any female for her opinion of her male counterparts and the words that usually come to mind include ""jerk,"" ""insensitive"" and ""asshole."" Why can't men be more like women?

In Rob Becker's comedic one-man Broadway show, ""Defending the Caveman,"" Becker discusses the relationship between men and women. He defends manhood; and suggests that the notion of men as ""assholes"" isn't necessarily true -- it's just how females perceive males.

Although nothing too deep or profound is introduced, this light-hearted, witty act aims for all those complaints about the opposite gender.

Looking back to when cavemen were hunters and cavewomen were gatherers, Becker elaborates on the differences between the sexes in an uplifting, hilarious critique that aims for the heart of anyone who has been in a relationship.

What makes ""Defending the Caveman"" insightful and funny is the straight forward parody of what it would be like if men were to act like women. Imagine a guy asking another guy if he wanted to ""spend some time at a lake together.""

Although Becker defends masculinity, he is not bashing any gender. Instead, he says that men and women have their own cultures and instead of trying to make one into the other, they should bridge their differences to make a better relationship.

""Defending the Caveman"" is a bit of everything: at times macho, but also sentimental. It celebrates masculinity, but also acknowledges there are problems in being too much of a ""stud."" But above all, it's a celebration of not only a man being a man, but also a woman being a woman.

Weezer postponed its San Diego tour date earlier this year, but the band completely mended its relationship with San Diegans last Tuesday by rocking Cox Arena with an extraordinary amount of slacker energy.

Opening with ""Island in the Sun,"" the gentle single from Weezer's most recent self-tititled album known as the green album, the band slowly built up energy with hits mostly from the previous self titled album known as the blue album- the band's debut effort, such as ""Say it Ain't So"" and the epic ""Undone (The Sweater Song)."" Favorites from their third album, including ""Photograph"" and ""Knock-Down Drag-Out"" were also performed.

Unfortunately, the band barely gave a nod to its lesser-known second album, ""Pinkerton,"" only playing the cult favorite ""Tired of Sex."" Notably missing from the concert set was ""El Scorcho,"" the only single from ""Pinkerton.""

The band, led by lead singer and guitarist Rivers Cuomo, made an obvious effort to mimic the recorded versions of its songs, rarely extending solos or changing the songs in any way. While mildly disappointing to the Weezer fan who has listened to the band's three albums countless times -- as many Weezer fans have -- being able to at least match recorded versions of songs while in concert is no small feat in today's world of pop music.

The one notable exception was the band's performance of ""Only in Dreams,"" in which the band's members, to an amazing background of flashing lights, fog and confetti, blew the audience away with a more prominent baseline and incredible drumming.

While, for most of the concert, the band performed flawlessly, the closing number, ""Buddy Holly,"" was marred by a missed first verse.

The audience was warmed up for Weezer by opening acts Jimmy Eat World and Tenacious D. While Jimmy Eat World's sound falls into the same category as Weezer's, Tenacious D proved an interesting pick for a Weezer opening band.

A result of the rock 'n' roll aspirations of comedian/actor Jack Black and friend Kyle Gass, Tenacious D offers a two-acoustic-guitar feel similar to that of the Indigo Girls, except with lyrics more vulgarly burlesque than Eminem's. While entertaining and, at many times, comically so, Tenacious D's style is a distinct departure from Weezer's post-slacker attitude.

Despite a minor flub in the climax of the concert and an odd opening band choice, last Tuesday's Weezer concert proved to be an excellent affair for Weezer freaks and causal fans alike.

If you have skied more than once, then you have probably watched a Warren Miller movie. ""Cold Fusion,"" the 52nd of the Miller ski films, attempts to bring something new to skiing but ultimately boils down to the same old stuff.

With new places and footage of world records, the ""new"" elements of this movie reinforce why these movies were great 40 years ago and why they are great now: good cinematography and great skiing.

The location footage is great. A helicopter adventure in Alaska shows beautiful scenery. The scenes in Kenya offer a taste of adventure when two female skiers hike through the jungle wondering if they will ever find snow. The footage of Iran shows world travel and skiing in cultures little known to those of us in the States.

The other highlights include a record-setting quad flip and new distances traveled by base jumpers. Watching these record- breakers fly through the air offers entertainment, but the real value still lies in the great skiing.

Wherever the skiing is, the idea is usually the same: great skiers floating down huge mountain faces of untouched powder. The images of a snow-covered slope and the opportunity to make free, virgin tracks is enough to excite any daydreaming skier. However, there are constant reminders that what the skiers get to do in this film exceed the average skier's budget and skill.

The money and technology used to make this movie allow for great helicopter scenes and travel to places that the average skier will never see. The flashing ads remind the viewer of the money it takes to go on such adventures, and that the average citizen can never afford such trips.

In other words, if you have the money to go skiing or travel to some new places this year, watch this movie to get pumped up. However, if you are an ordinary person, don't go out of your way to watch this movie. ""Cold Fusion"" does have some interesting content, but doesn't really offer anything that new or spectacular.

If you just want to watch some great skiing, watch a ski movie. If you are bored with the older ski movies, watch this one.

With the nation fighting a war in Afghanistan, the military-political thriller ""Behind Enemy Lines"" hopes to ride the patriotic fever that has swept the nation. The film actually has some relevance to today's headlines because it tries to address not only heroism but also America's military role in the world.

The film has ties to San Diego because some indoor shots were filmed aboard the U.S.S. Constellation, which is docked in San Diego. In addition, the film's world premiere was shown at the North Island Naval Air Station to a crowd of military troops.

Unfortunately, the film is more of a farce than a gripping story because attempts at a credible and intelligent plot fall faster than the Taliban front lines.

This is yet another Hollywood-driven movie that pulls at our strings but does nothing more.

The story follows pilot Chris Burnett (Owen Wilson), who is disillusioned when global politics interfere with what he knows best: flying. A fragile peace treaty in Bosnia forces Admiral Reigart (Gene Hackman) to balance flying fighter missions and ensuring peace. On a reconnaissance flight, Burnett photographs illegal ground activities and is shot down.

Reigart becomes Burnett's motivator and coach as Burnett must elude troops that are hunting him down. Complicating matters is the fact that tensions are running high among Bosnian groups, making what would be a simple search-and-rescue trip nearly impossible.

The pace of the film seems to drag on as Burnett gets out of tight situations and nothing more. The conclusion of the film is so absurd it seems like something straight out of ""Rambo III.""

This film is John Moore's directorial debut, and although some scenes are superbly edited with quick cuts, one can easily see that he is a rookie with an all-star ensemble. With talents like Wilson and Hackman, this should have been a great action film.

Wilson is never believable as a pilot; his ramblings make him seem more like a new cadet than a seasoned flyer. In addition, Wilson attempts comedy that doesn't quite fit in a military film.

""Behind Enemy Lines"" isn't a new career move for Wilson or an attempt at drama. And it's obvious because his performance doesn't have the charms of ""Shanghai Noon"" or ""Meet the Parents.""

""It was great working with Hackman,"" Wilson said. ""It was a chance to play with Hackman more than a move.""

What could have been a complex film falls quickly apart as it follows old, formulaic plots. The true heroes of today are the men and women fighting and risking their lives for their nation. This film doesn't honor them -- it makes them another Hollywood prop.

""Matrix Revisited"" is a documentary that not only covers ""The Matrix,"" but also gives a sneak preview of upcoming sequels. The documentary is almost two hours long and goes into detail about the making of the original film. From the initial idea of the ""The Matrix"" to the upcoming anime shorts, the DVD captures the creative brainstorming of the crew and cast of ""The Matrix.""

With tidbits such as Keanu Reeves acting with a spinal injury and the actors' martial-arts preparation, the disc seems more like a secondary DVD that is now included in many special two-DVD sets.

This brings up the monetary issue: If you're not into ""The Matrix"" or you're not a hard-core fan, then this DVD is not worth buying. But it does make a decent rental.

-- Charlie Tran,

Hiatus Editor

""Crazy/Beautiful""

John Stockwell's ""Crazy/ Beautiful"" brings an impressive display of features to its DVD, which is in stores now. The DVD version of the film features deleted scenes, audio commentaries, theatrical trailers and a documentary on the making of the movie.

There are five deleted scenes that are approximately a minute long each. Those who liked the film would be interested in the scenes, which can be viewed with commentary from the director. There is also audio commentary for the trailer from Stockwell and commentary throughout the film from both Kirsten Dunst and Stockwell. The documentary provides keen insight into both the thought process behind the movie and the casting.

Overall, this is an above-average DVD in terms of its features, which will keep fans of the movie occupied and satisfied for hours. Even those who weren't too thrilled with the movie can appreciate the added bonuses that the DVD brings to the table.

-- Josh Crouse,

Senior Staff Writer