Me too and the good folks at unstage.com have compiled a list of 109 DVD covers that they call pretty (my word, not theirs). Here’s how they describe this list

We’ve assembled a great collection of DVD covers from past to current releases that break away from the sadly repetitive collages we’ve come to expect from the industry.

I only wish I’d thought of this myself! I totally agree that DVD covers can (and should) be art (artful?) but, sadly, the average DVD cover art looks something like this:

Not for one second do I (or you) believe that those heads match those bodies or that those bodies ever posed with that box (time machine) but this is what we’re being sold. Now I have been accused of buying a bottle of wine based solely on its cover (I JUDGE BOOKS BY THEIR COVER, seriously , check it out) but I’ve never bought a DVD just for the cover. Promise. Something else: doesn’t it suck that a good lookin’ cover doesn’t always make for a good poster or a good poster isn’t always a good cover? Here are a few of the covers that I liked from the unstage.com list:

What are some of your favorite DVD covers? Do you like unstage.com’s list?

(In this weekly column, I’ll take two films, one old and one new, and compare them in terms of theme and substance, hopefully in some interesting ways. I’ll be trying not to spoil too much of these films, but in order to dissect them properly I’ll have to venture into spoiler territory a little.)

(Minor Spoiler Warning for Moon and Taxi Driver follow)

Duncan Jones’ debut film Moon, released in June of this year, features despondent astronaut Sam Bell (played with precision and immense talent by the under-appreciated Sam Rockwell). After devoting the bulk of three lonesome years to a helium-harvesting operation on Earth’s moon, his sanity begins to slip — another Sam has arrived on the solitary space station “Sarang,” his intentions unknown. Is he merely a delusion, or is something more sinister standing between Sam and his return home?

Thirty-three years earlier, another fledgling director was trying to stake a foothold in the industry, and Taxi Driver started him well on his way to a career of masterpieces. The landscape that Martin Scorsese created for Robert DeNiro’s eerie and lonesome Travis Bickle was not unlike Sam Bell’s moon, in many respects, but far more familiar to the everyman. Bickle, the definitive antisocial xenophobe of cinema, was a reflection of the city that created him. Without family or friends, he turns his late-night shifts as a cab driver into an outlet for repressed violence and aggression.

It’s remarkable how both films meditate on the subject of loneliness and longing in separate ways, while each still feeling relatable — or at least understandable, in the case of Taxi Driver. Moon‘s Bell has all the elements that Bickle desires — a family to return to at the end of his lunar stint, friends (we assume), a career with security and respect. However, both characters watch and fail to grasp these things from behind a glass wall. Bell is separated from his loved ones by a span of many thousands of miles, Bickle is separated from love itself by a psyche of distrust, jealousy and anger.

The dividing line between the two characters is an end goal. Sam Bell has a family to return to, and a mystery to solve: who is this man who appears to be a mirror image of himself? This goal drives him forward through his loneliness and madness — hell, the conversations he has with himself  resemble Travis Bickle’s journal monologues in Taxi Driver; he occasionally vents his frustration on his alternate self like an athlete with a punching bag. And although he first leers at his duplicate from behind a pair of aviators, dissecting him from a distance, he later becomes a valuable asset to his mission to return home.

Bickle has no home, no end goal. His loneliness is inescapable because of a loosened grip on humanity and relationships. Unlike Bell, he has no outlet, and can spar with no one but himself. Thus, the astronaut seeks to solve his problems while the taxi driver turns to violence. One lashes out while the other seeks solace, but both suffer from an unnerving and disabling solitude.

Moon is still in theaters. It’s a beautiful independent film, with a fantastic Clint Mansell score — director Duncan Jones has a great eye for composition and an even better sense of tone. Martin Scorcese’s Taxi Driver was nominated for four Academy Awards. Its display of urban decay and post-Vietnam War-era distress has earned it a reservation in the United States National Film Registry.

With June now leaving us, this marks the midway point of the year. It also means Comic Con, District 9, the 2009 NFL Season (GO STEELERS), my birthday, and Christmas are all around the corner. It also means it’s time to take a look at as of right now are the ten best films of the year. As always, I suggest you take this as opinion only and not some form of law that these are absolutely the best films of the year so far. But really, I’m right and you’re wrong anyway so that’d be pointless.

10. STAR TREK
Star Trek may have a story that’s full of plot holes and problems, but J.J. Abrams makes the chaos work to create the film that kicked off summer. Chris Pine takes Captain Kirk and makes him his own while Karl Urban a performance DeForest Kelley would be proud of. The effects don’t disappoint and the action is pretty thrilling. It works, and it’s certainly better than Orci and Kurtzman’s other film this year. Here’s looking forward to another, better adventure with this team.
Current Grade – 7.5/10

Despite early reports that Moon director Duncan Jones would be helming the upcoming World War II submarine picture, Escape From The Deep, today it is not the case. Keeping his hand in the science fiction jar, Jones will be taking part in the low budgeted film called Mute. 

“‘Mute’ is about a woman whose disappearance causes a mystery for her partner, a mute bartender. When she disappears, he has to go up against the city’s gangsters.” Stuart Fenegan provided that quick synopsis there, re-teaming with Jones to create this film. The movie will be set in Berlin, Germany and will begin initial filming at the start of next year with a possible early 2011 release date.

Currently in select theaters nationwide you can take part in the sci-fi adventure of Duncan Jones’ Moon, starring Sam Rockwell. Go to your local theater and check out upcoming showtimes. (Thanks to Screen Daily for the information)

Moon is a thing of beauty to watch unfold. It’s a simple concept executed so brilliantly that you’d be amazed to find out its director Duncan Jones’ first feature. He’s created one of the most unique films in a good while and maybe the best science fiction film of the year. Unfortunately it’s one of those films that’s tough to discuss without revealing it’s twist. On the same token, the movie doesn’t rely on it’s twist to make or break it as it reveals it’s biggest secret fairly early and becomes a character study.

The technology in Moon isn’t flashy or chic. Instead it sticks to something George Lucas lost with his prequels and creates believable gizmos, gadgets and space stations. Where most might have made GERTY (the on board robot) a giant floating sphere with a flashing eye, Jones chooses to make it a bulky machine that runs on a track. GERTY also is equipped with an on-board camera and keyboard with post it notes stuck on his front and back. The space station itself appears as one that’s seen many years and shows subtle signs of wear and tear. The screens, keyboards and other gear inside the station aren’t tables you tap your fingers on but tactile keyboards and widescreen displays still present. Moon is set in our future yes, but it’s a future that could be very real. In any case, you have to appreciate the level of detail and thinking Jones and his crew went with the production design. Bottom line, Lunar Industries is only one or two steps away from being a very real company thanks in large part to this film crew’s attention to detail and thought.

Of course Moon wouldn’t be anything without an outstanding lead and Sam Rockwell more than answers the call. Granted this phrase gets tossed around a lot, but Rockwell deserves a nomination for Best Actor at the Oscars, more so than a certain clown-clad actor did. It’s a challenging role that demands not only the actor to be several different emotions but the film literally rests on his shoulders. Rockwell makes it seamless as if this is just another day at the office for him. Literally he is the film as he basically interacts with only television screens. Yet there’s emotion in his eyes that most actors would have fumbled if given the chance. Rockwell’s performance and Jones’ direction are accompanied by a brilliant score from Clint Mansell. Mansell engulfs you into this world with a catchy tune that will stay with you long after you’ve left the theater. The tunes hit the right beats and are never overused or overblown.

Moon is a film that you’ll need a day or two to think on after you’ve seen it which isn’t a bad thing. Upon reflecting on Jones’ piece, one should discover what a brilliant, unique, and terrific film they were treated to. The film is influenced by many a sci-fi films, even the one everyone takes from 2001: A Space Odyssey. However it is coy about it’s references and doesn’t feel like Jones just watched Kubrick’s masterpiece and said “Let’s make a movie!” Moon is a prime example of what happens when all the great elements of filmmaking stitch together a truly great picture. Moon unfortunately won’t have the wide appeal of a dumber “science fiction” film but those remotely interested should give it a chance and experience it’s greatness.

Rating: ★★★★½ 

The summer movie season isn’t traditionally the best time to talk about how small a film’s budget is. Summer science fiction is supposed to be about guys named Kirk and Spock or robots named Megatron and Devastator. So far this summer we’ve beat up on Eric Bana with the crew of the USS Enterprise and we’ve joined McG’s resistance against the machines. Flying so far under the radar that it barely registers a blip is a smaller film, with a budget of only five million dollars, which could very well be the best pure science fiction movie of the summer. Moon is directed by Duncan Jones who has made a name for himself directing television commercials as well as for being the son of famous rocker David Bowie. The film has been floating around the festival circuit and is set for limited release on June 12th.

Sam Rockwell in Moon

Moon tells the story of an astronaut, Sam Bell (Sam Rockwell), who is sent to the moon for 3 years to harvest a new energy source that is transported back to earth. Bell works for a gigantic corporation aimed at providing humanity with an unlimited supply of lunar energy, which will take the place of non-renewable fossil fuels. While on the moon, Bell is assisted by GERTY, an on-board computer/robot that makes sure Sam is taken care of and that the mining job is being done correctly and without incident. A freak accident occurs involving one of the energy harvesters and Sam Bell realizes that the corporation he is working for is cutting some pretty severe corners to save money. I don’t want to spoil the film’s big reveal so I’ll keep the specific plot points to a minimum. All I can do is encourage you to see the film.

Sam Rockwell proves why he could very well be one of the most underrated actors working today. His performance in this film is one of the more memorable I’ve seen this year. Rockwell, again without giving too much away, accomplishes what is, in my opinion, one of the most difficult things that can be demanded of an actor. His performance as Sam Bell drives the entire film. His interactions with GERTY recall the best moments in 2001: A Space Odyssey. Bell’s literal disintegration, both mentally and physically, reminds us that the best sci-fi films have always turned the lens on what we tend to fear most: ourselves. GERTY is voiced perfectly by Kevin Spacey. Spacey, realizing how central the computer is to the plot, voices it with mechanical coldness mixed with small hints of emotive response. These tiny vocal inflections, mixed with a small LCD screen on the front of the computer that displays various happy faces contingent on GERTY’s mood, are what gets the audience both rooting for and being wary of, a machine.

Jones and his production team stretch their budget to create a film that is both driven by a fine performance and buoyed by solid visuals. The exterior shots of the mining facility and the lunar surface look polished and professional. The post production grading process helps achieve a slick and finished look, even when Jones is using simple techniques such as miniature models. The interiors of the station and Bell’s living space are a constructed set. The depth of the set helps counterbalance the claustrophobia that pervades the film. There are hidden floors and passageways and some rooms used for pretty unsettling purposes.

Moon announces the arrival of a new and unique talent in Duncan Jones and provides Sam Rockwell an opportunity to showcase his acting ability. Keep an ear open for Kevin Spacey’s excellent voice work and Clint Mansell’s atmospheric and appropriate score. The film, despite being a virtual one-man show, is shockingly deep. Rockwell showcases an entire emotional spectrum from elation to absolute despair. Moon provides a much more cerebral alternative to the summer popcorn movie and here’s hoping that it sees success in limited release which, in turn, could lead to a very profitable wider release.

Rating: ★★★★☆ 

Its double movie time for this week’s Under the Radar. The first of the two is the film entitled ’77, the latest title that it’s been through within the past few years (previously being known as 5-25-77 or 1977 if that rings a bell). The film itself has gone through many hardships, been in and out of production for years and still looms on with an uncertain release date for the general audience. Despite all of that, ’77 involves the heart and dedication of many years of labor and love that a fair portion of us are interested in seeing. A creation not from the minds of random nerds but a autobiographical tale from director & writer Patrick Read Johnson, read on to see what it is all about.

Pat Johnson is the only Sci-Fi movie obsessed teen filmmaker in his rural hometown of Wadsworth, Illinois (population 750). Pat’s desire is to escape “fly-over country” for Hollywood. He first must overcome his fear of leaving everything he knows and loves behind to chase this unlikely dream. The pending release of a new movie called “Star Wars” on 5-25-77 is instrumental in shaping Pat’s destiny.

’77 has no set release date, but the scoop from Starlog.Com indicates that once November rolls around for Johnson that the public will get a glimpse of an impending release date to finally look forward to in the future. Once we get that vital amount of information, us folks here at Atomic Popcorn will keep you well informed.

Next is a film that some of you will be a bit more familiar with, being hailed already from some critics as one of the year’s best. This particular piece of cinema I am talking about is Duncan Jones’ Moon. A thrilling science fiction starring Sam Rockwell, Moon is a cinematic trek into the inner realms of a person’s fantasy and reality. Nearing the end of a three-year contract with Lunar Industries, Sam Bell (Sam Rockwell) is counting the days until his return to Earth. The lone occupant of a lunar mining base, Sam monitors the tractors that harvest the moon’s surface for helium energy. Buoyed by sporadic transmissions from his wife and young daughter, he combats monotony and isolation by tending to plants, continuing his predecessor’s woodcraft project, and interacting with the station’s robotic computer, Gerty. But Sam is beginning to unravel mentally. After a hallucination causes him to crash his lunar rover, he wakes up in the sick bay and soon realizes that his life at the base is not what it seems.

Moon will be in limited release in New York and Los Angeles on June 12th.

Jones hops from the Moon into the ocean.

New to the scene, Duncan Jones is already getting quite the attention of many who have seen his upcoming sci-fi thriller entitled Moon. The story, for those of you who have no idea what I’m talking about, revolves around astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet’s power problems (taken from IMDB). Since this has been catching the eye of many people, Duncan landed himself another gig for the months to come.

Escape From The Deep will be the next cinematic trek the new-on-the-scene director will be a part of. Taking place during World War II, “Escape” tells the story of a legendary World War II U.S. navy submarine that sank after a torpedo malfunction, leaving the crew stranded on the bottom of the Pacific Ocean. Faced with drowning, nine men made it out alive after swimming the 180 feet to the surface without getting the bends (taken from THR). Although the director is currently knee deep in development of yet another science fiction film, quickly after that wraps this will be the next one to fill up his already increasingly busy schedule.