True Blood: The Complete First Season

• Condition: New
• Format: DVD
• Box set; Color; Dolby; DVD; Widescreen; Subtitled; Closed-captioned; NTSC

There's something in this house...Something ancient and dark that remains still, hidden and silent. It can only wait, having been concealed in the shadows for years. In fact, its milieu is darkness. Only in it can it show itself and move. It even takes its name: DARKNESS. It's lived here since someone tried to call it, more than forty years ago. Because this house hides a secret, a terrible past, an inconceivably evil act. Seven children, faceless people, a circle that must be completed. And blood, lots of blood... But something went wrong. One of the children got away. The circle wasn't completed. That's why what lives here isn't finished. It's just waiting...It tries to carry out what it couldn't before, making plans in the shadows, to become complete, to be, to exist. A new ! family has just moved into the house. A small child. An unstable father capable of losing his temper at any time. A perfect target. The right place at the right time. The pieces only have to be put in place. And then wait. Maybe the family's daughter will be able to discover the truth; the dark secret of the past, the sinister conspiracy, the truth about what threatens them. Why is the father getting worse? What is her little brother afraid of? Why doesn't her mother listen to her? And why do the lights keep going out? It could be that nothing happens by chance, that everything has been worked out from the start. A devilish plan, precise and exact like a time-bomb. Her father's illness, the house, the circles, the children. Perhaps she can foresee darkness' master stroke of play and the inevitable destiny that is closing in on her family. But maybe it's too late....A couple on the verge of a nasty divorce attempt to sell their empty love nest and move on with their lives, s! eparately. After a successful open house, they are horrified t! o discov er, days later, that a potential buyer didn’t leave their home. While Alice is being held captive in the basement, the unannounced houseguest moves in upstairs. She senses her capture is being kept a rebellious secret. She knows her only way out, if she can only get out alive.

Stills from Open House (Click for larger image)
With a True Blood-like poster featuring portraits of Anna Paquin and Stephen Moyer hovering in front of a haunted house, one may mistakenly expect a vampire tale starring this popular horror-series couple. However, Open House, written and directed by Anna's brother, Andrew Paquin, is a far cry from the hit TV series. Rather, it is a slow-paced horror film in which couple Josh (Moyer) and Alice (Rachel Blanchard) try to sell their home to prepare for divorce but encounter a hazard in the form of psychotic couple David (Brian Geraghty) and Lila (Tricia Helfer), who steal the home and move right in, with deadly results. In fact, Paquin, as Alice's friend Jennie, and Moyer have mere cameos in Open Ho! use. The bulk of the plot is devoted to David's conundrum ! as Alice struggles to stay alive in the basement. While Open House is not overly gory, there are bloody moments. Overall, it is no Texas Chainsaw Massacre, meaning that the film is not about gore in itself. The film is primarily a psychological investigation of a man who is torn between torturing and killing. This narrative has created some rich horror film territory--see any of Dario Argento's films, such as Opera--but Open House mines no new approach. A couple of odd, funny moments, like when David offers Alice a sandwich while he gets out his laptop to work despite her bruised, defeated appearance, hint at the contemporary edge, an ennui, that this film tries so hard to achieve. But it is mostly a fluffy rehash of a story that horror films can only pull off if they have either style or script going for them, not to mention a captivating criminal character. Open House lacks engaging characters or original vision. For a stronger horror film along ! similar lines, check out Terribly Happy, a Danish movie with enough plot twists and curve balls that the crimes perpetrated convey not only dark humor but also a deeper social message. --Trinie DaltonDustin Hoffman presents Diane Lane (MURDER AT 1600, JACK), Liev Schreiber (SPHERE, SCREAM I&II), and Viggo Mortensen (A PERFECT MURDER, THE LORD OF THE RINGS) in a provocative and sensual story about one woman's personal sexual revolution! It's the summer of 1969 and Pearl (Lane) is spending yet another vacation with her family when she realizes that the freedom of the times is passing her by. Following a chance meeting with a sexy, free-spirited young man (Mortensen), Pearl is soon doing the unthinkable: having a daring, passionate affair! Also starring Academy Award(R)-winner Anna Paquin (Best Supporting Actress, THE PIANO, 1993; SHE'S ALL THAT) in a powerful motion picture that's been called one of the year's best -- Pearl must ultimately decide between the lov! e of her husband and children ... or the lure of her newfound ! desires! Although its tale of marital crisis unfolds a bit too cleanly, A Walk on the Moon--which was coproduced by Dustin Hoffman--offers a welcome relief from the juvenile assault of skull-throbbing blockbusters. The story is gently involving, the characters are authentic, and, best of all, Diane Lane is given a chance to show why she's one of the most genuine and underrated actresses of her generation. Here she plays Pearl Kantrowitz, a devoted housewife on a routine vacation in the Catskills with her TV repairman husband Marty (Liev Schreiber), 14-year-old daughter (Anna Paquin), and rambunctious younger son (Tovah Feldshuh).

It's the summer of 1969. Neil Armstrong has made his "one small step for man," Woodstock is about to happen nearby (leading to a barely plausible dramatic coincidence), and while her husband is away on business, Pearl is cautiously receptive to the seductions of "the blouse man" (Viggo Mortensen), a hippie salesman who offers the adventure and p! assion that Pearl sacrificed to young pregnancy and marriage. Once the stage for infidelity is set, A Walk on the Moon progresses predictably, but first-time screenwriter Pamela Gray stays true to the emotions of her characters, and actor Tony Goldwyn (making a smooth directorial debut) maintains precisely the right tone to downplay most of the movie's dramatic clichés. Add to this a sharp dynamic between Lane and Paquin, whose performances create a substantial mother-daughter relationship. Graced by stolen moments and fleeting expressions that speak volumes, this unassuming little film is eminently worthwhile. --Jeff ShannonA FAMILY OF ORPHANED GEESE WHO LOST THEIR WAY. A 14 YEAR OLD KIDWHO WILL LEAD THEM HOME. TO ACHIEVE THE INCREDIBLE, YOU HAVE TO ATTEMPT THE IMPOSSIBLE.There are some filmmaking teams that invariably bring out the best in each other, and that's definitely the case with director Carroll Ballard and cinematographer Caleb Deschanel. They pre! viously collaborated on The Black Stallion and Never! Cry Wol f, and Fly Away Home is their third family film that deserves to be called a classic. Inspired by Bill Lishman's autobiography, the movie tells the story of a 13-year-old girl (Anna Paquin) who goes to live with her estranged, eccentric father (Jeff Daniels) following the death of her mother. At first she's withdrawn and reclusive, but finds renewed happiness when she adopts an orphaned flock of baby geese and, later, teaches them to migrate using an ultralight. Sensitively directed and stunningly photographed, the movie has flying sequences that are nothing short of astonishing, and Daniels and Paquin (Oscar winner for The Piano) make a delightful father-daughter duo. (Ironically, the digital video disc is not available in widescreen format, but the image quality is brilliant.) --Jeff ShannonDustin Hoffman presents Diane Lane (MURDER AT 1600, JACK), Liev Schreiber (SPHERE, SCREAM I&II), and Viggo Mortensen (A PERFECT MURDER, THE LORD OF THE RINGS) i! n a provocative and sensual story about one woman's personal sexual revolution! It's the summer of 1969 and Pearl (Lane) is spending yet another vacation with her family when she realizes that the freedom of the times is passing her by. Following a chance meeting with a sexy, free-spirited young man (Mortensen), Pearl is soon doing the unthinkable: having a daring, passionate affair! Also starring Academy Award(R)-winner Anna Paquin (Best Supporting Actress, THE PIANO, 1993; SHE'S ALL THAT) in a powerful motion picture that's been called one of the year's best -- Pearl must ultimately decide between the love of her husband and children ... or the lure of her newfound desires!Although its tale of marital crisis unfolds a bit too cleanly, A Walk on the Moon--which was coproduced by Dustin Hoffman--offers a welcome relief from the juvenile assault of skull-throbbing blockbusters. The story is gently involving, the characters are authentic, and, best of all, Diane Lane ! is given a chance to show why she's one of the most genuine an! d underr ated actresses of her generation. Here she plays Pearl Kantrowitz, a devoted housewife on a routine vacation in the Catskills with her TV repairman husband Marty (Liev Schreiber), 14-year-old daughter (Anna Paquin), and rambunctious younger son (Tovah Feldshuh).

It's the summer of 1969. Neil Armstrong has made his "one small step for man," Woodstock is about to happen nearby (leading to a barely plausible dramatic coincidence), and while her husband is away on business, Pearl is cautiously receptive to the seductions of "the blouse man" (Viggo Mortensen), a hippie salesman who offers the adventure and passion that Pearl sacrificed to young pregnancy and marriage. Once the stage for infidelity is set, A Walk on the Moon progresses predictably, but first-time screenwriter Pamela Gray stays true to the emotions of her characters, and actor Tony Goldwyn (making a smooth directorial debut) maintains precisely the right tone to downplay most of the movie's dramatic cli! chés. Add to this a sharp dynamic between Lane and Paquin, whose performances create a substantial mother-daughter relationship. Graced by stolen moments and fleeting expressions that speak volumes, this unassuming little film is eminently worthwhile. --Jeff ShannonA couple on the verge of a nasty divorce attempt to sell their empty love nest and move on with their lives, separately. After a successful open house, they are horrified to discover, days later, that a potential buyer didn’t leave their home. While Alice is being held captive in the basement, the unannounced houseguest moves in upstairs. She senses her capture is being kept a rebellious secret. She knows her only way out, if she can only get out alive.


Stills from Open House (Click for larger image)

With a True Blood-like poster featuring portraits of Anna Paquin and Stephen Moyer hovering in front of a haunted house, one may mistakenly expect a vampire tale starring this popular horror-series couple. However, Open House, written and directed by Anna's brother, Andrew Paquin, is a far cry from the hit TV series. R! ather, it is a slow-paced horror film in which couple Josh (Moyer) and Alice (Rachel Blanchard) try to sell their home to prepare for divorce but encounter a hazard in the form of psychotic couple David (Brian Geraghty) and Lila (Tricia Helfer), who steal the home and move right in, with deadly results. In fact, Paquin, as Alice's friend Jennie, and Moyer have mere cameos in Open House. The bulk of the plot is devoted to David's conundrum as Alice struggles to stay alive in the basement. While Open House is not overly gory, there are bloody moments. Overall, it is no Texas Chainsaw Massacre, meaning that the film is not about gore in itself. The film is primarily a psychological investigation of a man who is torn between torturing and killing. This narrative has created some rich horror film territory--see any of Dario Argento's films, such as Opera--but Open House mines no new approach. A couple of odd, funny moments, like when David offe! rs Alice a sandwich while he gets out his laptop to work despi! te her b ruised, defeated appearance, hint at the contemporary edge, an ennui, that this film tries so hard to achieve. But it is mostly a fluffy rehash of a story that horror films can only pull off if they have either style or script going for them, not to mention a captivating criminal character. Open House lacks engaging characters or original vision. For a stronger horror film along similar lines, check out Terribly Happy, a Danish movie with enough plot twists and curve balls that the crimes perpetrated convey not only dark humor but also a deeper social message. --Trinie DaltonTRUE BLOOD chronicles the backwoods Louisiana town of Bon Temps... where vampires have emerged from the coffin, and no longer need humans for their fix. Sookie Stackhouse (Anna Paquin, Golden Globe(R)-winner for "True Blood", Academy Award®-winner for “The Piano”) works as a waitress at the rural bar Merlotte's. Though outwardly a typical young woman, she keeps a dangerous secre! t: she has the ability to hear the thoughts of others. Her situation is further complicated when the bar gets its first vampire patron - 173-year old Bill Compton (Steven Moyer, "Quills") - and the two outsiders are immediately drawn to each other. Delivering the best of what audiences have come to expect from Creator and Executive Producer Alan Ball (writer of Oscar®-winning Best Picture “American Beauty”, creator of the Emmy® Award-winning HBO® series “Six Feet Under”), TRUE BLOOD is a dark and sexy tale that boldly delves into the heart - and the neck - of the Deep South.

DVD Features:
Audio Commentary
Documentary
Other

Alan Ball’s True Blood series works well for television, as it has enough sensationalism to tantalize and enough story girth to make the viewer care about the characters. That one can finally invest emotion into monsters, including an undead Civil War victim, a transformer who can shapesh! ift into various animals, and a female mind reader, speaks vol! umes abo ut America’s willingness to accept fantasy. Of course, television has always produced good fantasy shows (I Dream of Jeannie), but True Blood’s Southern Goth brand of fun horror is more macabre and more perverse, not to mention gorier, than most shows of its kind to date. Adapted from Charlaine Harris’ Sookie Stackhouse novels, True Blood thrills because of its equal blend in each episode of erotica, humor, tragedy, mystery, and fantasy. 

Set in a rural, swampy Louisiana parrish, the show centers around Sookie Stackhouse (Anna Paquin) and her clan, sweet grandmother Adele (Lois Smith) and air-headed brother Jason (Ryan Kwanten). Illicit love is spawned early on, when Sookie saves vampire Bill Compton (Stephen Moyer) from having his blood stolen in the parking lot of Merlotte’s diner, owned by Sam Merlotte (Sam Trammell) who completes what will form a complex love triangle. As tensions between Sookie’s suitors loosen or tighten, many si! de plots, such as her African American best friend Tara’s (Rutina Wesley) struggle with an alcoholic, Bible-thumping mother and her brother’s dangerous crush on drug addicted hippie, Amy Burley (Lizzy Caplan), keep one wondering who will succeed in this podunk place. The main tension throughout, however, is a race war waged between vampires and humans. As murders of “fang bangers” occur (human girls who let vampires bite them) and dumb policeman Andy Bellefleur (Chris Bauer) fails to find clues, one sees the metaphorical implications of vampirism and feels deeper resonance with what can be a downright trashy show. Gossip galore, especially about what kinds of babies interbreeding will produce, is rampant. One of the funniest characters is Tara’s flamboyant cousin, Lafayette (Nelsan Ellis), who deals drugs, works as a fry cook, and services the local white politicians, while making sure he’s always up in everyone’s business.

What makes True Blood smarter than pure soap opera is the parallels it draws betwe! en its m onster mash and actual, familiar societal problems. Sookie and her friends watch the news, where Evangelicals bash vampires and prohibit mixed marriage, and everyone is addicted to V, a.k.a vampire blood, that effects like psychedelic heroin. Even its gore reflects a mix of serious and silly, as vampires explode into red, sticky goop. Though it may not be attempting to qualify for the best vampire footage ever shot, True Blood is as addictive as that substance the town’s youth obsesses over, which is a metaphor in itself. --Trinie Dalton

Stills from True Blood (Click for larger image)