My review of Standard Operating Procedure on Blu-ray Disc is online at FilmFreakCentral.net

The various trailers placed in front of Quantum of Solace confirmed the status of contemporary pop cinema as, largely, a remix culture. Just as Freelance Hellraiser spun Christina Aguilera his way by laying her vocals over a backing track by The Strokes for the groundbreaking "A Stroke of Genie-us," or the now-mainstream-hot Dangermouse placed his own stamp on The Black Album by layering Jay-Z's raps, playfully, with music by The Beatles, now we're looking forward to J.J. Abrams' Star Trek (Young Emo Remix), Roland Emmerich's The End of the World (2012 Redundancy Version) and Zach Snyder's Watchmen (Shallow Beatz). Along those lines, James Bond 22 sees director Marc Forster stripping the iconic secret agent of his brassy John Barry musical arrangements and saddling him instead with something like a murky drum-and-bass track, all low-end thud and rumble, neither shaken nor stirred.

Again, this is a high-definition Blu-ray Disc. It will not play in your DVD player. It will play in your Blu-ray player, or in your PlayStation 3.

Sukiyaki Western Django, Japanese director Takashi Miike's take on the spaghetti western, owes an explicit debt to the Sergio Corbucci/Franco Nero film Django, which it references in both title and content, as well as to the history of genre crossings between Eastern and Western cinema -- the way Seven Samurai begat The Magnificent Seven, and especially the way Yojimbo begat A Fistful of Dollars and then a slew of good-natured imitations. You can trace the narrative of Sukiyaki Western Django in its basic form all the way back to Dashiell Hammet's novel Red Harvest, which is all about a Pinkerton dick from L.A. who starts investigating a murder in a small town where he ends up playing various factions against each other as a crafty third party. That story was the unofficial inspiration for Akira Kurosawa's wandering samurai film Yojimbo, as well as for Sergio Leone's unacknowledged remake, A Fistful of Dollars.

Set in a neighborhood outside Stockholm, largely in and around a nondescript apartment complex, Let the Right One In is, first, a coming-of-age tale about Oskar (Kare Hedebrant), a slight, pale boy with a shock of blond hair and good humor that belies his general beat-down wariness and barely contained anger. He's the target of menacing schoolyard bullies and, as the film begins, we see him practicing with a knife, imagining that he's jabbing it into the flesh of one of his tormenters. Oskar has a new neighbor, the similarly tiny and wary Eli (Lina Leandersson), who has moved into the flat next door with Hakan (Per Ragnar), an older man who seems to be her father. Hakan covers the windows with cardboard -- perhaps to block out the sunlight. At one point, we hear Eli snarling, "You're supposed to help me!" Horror-movie fans will no doubt suspect something sinister is going on, and they will be correct. Let the Right One In is certainly a horror movie, and it brings the pain in genre fashion. But it's also a kind of Scandinavian gothic -- a love story between 12-year-olds, one of whom has been 12 for a very long time.

A look at the shopping-mall car chase from The Blues Brothers, including some of the recent history of the Dixie Square Shopping Mall.

A look at a crucial "dream sequence" from Ingmar Bergman's Persona, drawing on ideas in the book Mindscreen by Bruce Kawin and putting it in context with the rest of the film.