2nd Annual Wonder Awards Winners

Zoe Saldana is the Wonder Awards choice for Best Actress, in the Best Pic winner, AVATAR.
Zoe Saldana is the Wonder Awards choice for Best Actress, in the Best Pic winner, AVATAR.

It’s Sunday, March 7, and everyone is wondering what the winners will be. Well, wonder no more, because here are the official winners of this year’s Cinefantastique Wonder Awards. Oh sure, other people are tuning into the Oscar telecast to see whether Sandra Bullock takes home an Academy Award, but for aficionados of horror, fantasy, and science fiction cinema, the Wonders are the awards that really matter, because they offer a chance to recognize great films that are often denied Academy Award nominations because of their genre affiliation.
Of course, this year is a bit of an exception, because the Academy of Motion Picture Arts and Sciences has nominated two science fiction films for Best Picture, AVATAR and DISTRICT 9, along with one animated fantasy, UP. With several other Oscar nominations in technical categories, the genre has at least a fighting chance of winning some recognition from Academy voters.
Nevertheless, the Wonders are the true measure of achievement in the genre, voted on by experts with a life-long love of horror, fantasy, and science fiction – and more important, voted on by those imbued with that all-important Sense of Wonder.



  • James Cameron for AVATAR


  • Neil Blomkamp & Terri Tatchll for DISTRICT 9
  • Pete Docter, Bob Peterson (story by Docter, Peterson & Thomas McCarthy) for UP


  • Saoirse Ronan in THE LOVELY BONES


  •  Robert Downey Jr in SHERLOCK HOLMES
  • Sam Rockwell in MOON


  • Vera Farmiga in ORPHAN


  • Jackie Earle Haley in WATCHMEN






  •  Henry Selick for CORALINE


  • Mauro Fiore for AVATAR


  • James Cameron, John Refoua, Stephen E. Rivki for AVATAR


  • Michael Giacchino for STAR TREK


  • MOON


My Bloody Valentine: 3D Blu-ray Review

click to purchase
click to purchase

MY BLOODY VALENTINE 3-D, surely one of this still-young century’s most unlikely projects, snuck out onto Blu-Ray a few weeks back, containing an outstanding presentation of the 2D version and a reasonably passable version of the 3D experience. The original Canuck slasher came out in 1981, only to get swallowed up in the tidal wave of maniac-with-a-knife titles that littered the cultural highway in the early ’80s. Its lasting notoriety, however, came from the infamous cuts demanded of the film by an ultra strict MPAA, leaving the ’81 MY BLOODY VALENTINE as an anemic byproduct of the horror witchhunt era.* The edits had attained a legendary stature over the years, mostly through images of the offending frames that were published in Fangoria but also because its distributing studio, Paramount, was responsible for (until very recently) keeping the similarly cut footage from their FRIDAY THE 13TH films under lock and key.
Fortunately, a sale to Lionsgate, along with a far more relaxed attitude towards onscreen violence, allowed an uncut release of the original My Bloody Valentine late in January of this year. Not surprisingly, we found that the added bits of gore didn’t really change the film in any remarkable way (it really was more a matter of principal) though the “shower head” sequence was certainly spiced up considerably. The ever-so-slightly amateurish production wins a lot of points on the plucky ‘hey gang – let’s make a movie!’ drive of the actors and director George Mihalka (that last name always reminded me of a pitched battle between nouns and consonants struggling for dominance), a handful of genuinely suspenseful scenes, and the extremely frightening visage of a homicidal coal miner coming at you in full pickaxe rage. It was a little over a year ago when word of a new version filtered down through the internet, and while there was the expected moaning about yet another remake, we felt that this was exactly the sort of film that should be remade: a far from perfect picture with a decent core idea and a few nicely iconic moments. But when we heard that the remake was going to be in Digital 3-D, thinks looked very interesting indeed.
My Bloody Valentine 3D breathlessly runs through the plot of the original film before the end of the first reel. A flurry of newspaper headlines tell us that coal miner Harry Warden was the only survivor of a cave-in believed to be the result of carelessness by the owner’s son Tom Hanniger (Jensen Ackles, currently starring in the WB’s Supernatural). While Harry is thought to be wasting away in a coma, Detective Burke (the great Tom Atkins, getting more than just a cameo for a change) discovers that the other men killed were actually murdered by Harry with a pickaxe to conserve the air. A year later, Harry wakes from his coma and slaughters dozens of people in the hospital before heading over to the now closed mine where the town’s teens have gathered for a Valentine’s Day party, including Tom’s now estranged girlfriend, Sarah (Jamie King, better and more mature than we ever seen her.) Needless to say, the party ends abruptly, with Burke shooting and seriously wounding Warden just before he kills Hanniger and runs off bleeding into the mine shaft. Cut to 10 years later, and the return of Tom Hanniger after having mysteriously left the town after the Valentine’s Day slaughter (seriously, the death toll is like 30 people) to find his former girl now married to town sheriff Axel Palmer (Kerr Smith, another TV veteran who resembles Leo DiCaprio’s evil, alternate universe twin.) Still partially blamed for the cave-in, Tom’s popularity takes a few more hits once it’s announced that he’s selling the mill and many townsfolk will shortly lose their jobs; more disturbingly, a new wave of murders has coincided with his arrival – perpetrated by a killer wearing a very familiar outfit.
We were in our prime, pre-teen movie going years when a second wave of 3D films arrived in the early ’80s, beginning with the infectious fun of Italian-produced cheapies Comin’ at Ya and the Raiders knock off Treasure of the Four Crowns, but the wave crested with the headache inducing disappointment of the Universal produced cheapie, Jaws 3D (not to forget the minor sensation caused by our local NYC channel’s showing of Creature from the Black Lagoon, glasses for which could be procured at 7-11 stores.) The process died out quickly for much the same reason that it had three decades earlier; beyond a few undeniably fun show-off moments, wearing those cheap cardboard glasses and staring at a roughly projected anaglyph image for 90min or longer left most people with the feeling similar to that of being driven around in your Aunt’s Buick while she smoked Camels in the summer heat with the windows locked in the up position – it just wasn’t worth the discomfort for most people.
Fortunately, the last few years have seen massive developments in the technology; My Bloody Valentine 3D was the first ‘R’ rated film to use the RealD process (the same that James Cameron is using for his long-awaited Avatar) which augments the stereoscopic process with a much higher frame rate, digital cameras, the revolutionary use of a single projector, and modern, polarized glasses. Much of the distortion associated with older 3D processes is now gone, and the experience is mostly pain-free for people with normal eyesight (those requiring corrective lenses, however, are sadly out of luck.) My Bloody Valentine 3D is, without a doubt, the best 3D experience that we’ve had outside of IMAX, and certainly the most fun. Director (and former editor) Patrick Lussier sets a grand tone right from the opening credits – a deceptively simple collage of newspaper headlines that is rendered hypnotic in 3D. While the film is filled with the expected shock effects – even we underestimated the number of pickaxes that leapt off the screen – My Bloody Valentine 3D has also been designed with a keen eye towards framing objects in the foreground to give the entire show a sense of total immersion – it is the first 3D film that didn’t feel like a vehicle for a cheap gimmick.
The younger cast is also much better than expected. Jamie King seems to be moving from a jokey, party-girl presence into being an actress of some depth. She has an extended scene in a deserted market where her character is menaced along with a younger girl that we know is having an affair with her husband; we don’t find out until later that she knew it as well, and damn if there isn’t a subtle glimpse of that in her performance – it’s good stuff. WB heartthrob Ackles nicely plays the “is he/isn’t he’” crazy angle nicely, and Smith proves he can be good so long as he eschews casting that plays off his appearance (he looks like DiCaprio the same way that Shark Attack 3’s John Barrowman looks like Tom Cruise.)
However, My Bloody Valentine 3D ’s aces in the mine shaft are horror vet Tom Atkins (Escape from New York is currently on in the background by pure coincidence) and character actor extraordinaire Kevin Tighe (Emergency roots go deep, but check out his work for John Sayles in Eight Men Out and City of Hope). They play a pair of town elders who share a secret that refuses to stay buried, and it’s a very pleasant surprise to see so much of the film given over to actors with the muscle to carry it.


Lionsgate’s My Bloody Valentine Blu-Ray comes equipped with separate 1080p versions of the film – flat 2D and 3D – plus a generous set of 4 glasses. Unfortunately, the technology that made the theatrical experience so special doesn’t yet translate to home video, so it’s back to the old fashioned red/blue cardboard glasses and the accompanying loss of image fidelity. With the clarity of the Blu-Ray, a dark room, and with a large enough display, there are some very effective sequences.
Oddly, the opening credits were one of the better-translating bits, but generally it’s the darker scenes that work best, as too much color makes the image distortion worse. The 2D version is a perfectly lovely HD transfer, with an excellent, detailed image that we would recommend viewing first if you haven’t yet seen the film. Keep a mental checklist of standout moments and then go back and watch a condensed 3D version.
The disc comes with the usual making-of EPK material, a selection of deleted and extended scenes (mostly the latter), an alternate ending that isn’t all that alternate, a brief gag reel, and the goofy-fun theatrical trailer. The best extra is the commentary track with Lussier and writer Todd Farmer (who can be glimpsed in the film as the trucker with a penchant for homemade sex tapes) – they strike a nice balance between the fun and informative. A second disc is included that contains a 2D digital copy of the film.

  • What must the original film’s director, George Mihalka have thought when he saw the unholy bloodbath that the remake managed to get away with?!? Not that we mind in the slightest, but there’s more gore in the first 10 minutes of My Bloody Valentine 3D than in the 10 tandem viewings of the original. This poor guy gets crucified by the MPAA for the sins of others, and now he witnesses this? Lionsgate didn’t even need to issue the remake in an “Unrated Version” because there wasn’t any more gore to put in!


Laserblast Blu-ray and DVD: My Bloody Valentine, T-2, True Blood

There seem to be an exceptionally large number of DVD releases in the genres of science fiction, fantasy, and horror this week, but that is mostly because several old discs are being reissued as part of a promotion for the upcoming theatrical release of LAND OF THE LOST. If you’re a horror fan looking for something new, your best bet is MY BLOODY VALENTINE, which arrives in four different versions: Blu-ray, 3-D DVD, 2-D DVD, and a 3-D/2-D combo DVD. We personally were not expecting much of anything from the film when it was released earlier this year, but it turned out to be better than expected; in fact, it far outclassed the year’s more high-profile slasher remake, FRIDAY THE 13TH by a wide margin. The 3-D presentation of the theatrical feature has been preserved – something previously beyond the reach of home video, at least with any satisfactory results, and we can’t wait to see how this turned out. As for bonus features, the DVDs offer audio commentary by director Patrick Lussier and writer Todd Farmer, two featurettes, deleted scenes, an alternate ending, a gag reel, a digital copy, and four pairs of 3-D glasses (only with the disc in 3-D, of course). The Blu-ray disc includes all of these plus Lionsgate Live and McLog Motion Blog.


With TERMINATOR SALVATION on the way, it was inevitable that Hollywood would reach into the vaults and come up with some new home video releases. This week, we get TERMINATOR 2 JUDGMENT DAYin three iterations: an “Extreme DVD” version, a “Skynet Edition” on Blu-ray, and a six-disc limited edition Complete Collector’s Set with Endoskull. We will be posting a review of the Blu-ray disc in the near future.
NIGHTMARE CASTLEis a black-and-white Italian horror film from the 1960s, starring Queen of Horror Barbara Steele. It is not one of Steele’s better outings, but it gives her a better chance to act, thanks to a double role that has her playing two sisters, one good and one evil (as an extra added bonus, the evil one is dead!). This is also one of her few Italian roles that has her dubbing her own voice (for only one sister, unfortunately). Steele fans will be interested, as will fans of composer Ennio Morricone, who provided the score. This new DVD promises a restored transfer from the original negative (older discs, under the title of “The Faceless Monster,” were duped from censored TV prints). There are also two bonus featurettes: one for Steele and one for director Mario Caiano.
Also making a reapparance on DVD is DEF BY TEMPTATION, an above average Troma offering that avoids the usual camp in favor of a serious approach to a tale of a demon tempting a young divinity student. The reason for this exhumation seems to be that the film features an early appearance by Samuel Jackson, whose name is now prominently displayed on the box art above the title.
There are at least eight old science fiction, fantasy, and horror titles being reissued with “Land of the Lost Movie Cash” (which allows you to purchase tickets for LAND OF THE LOST, which opens in June. If you don’t already own the LEGEND Ultimate Edition DVD, the JAWS 30th Anniversary DVD, the TREMORS Collector’s Edition DVD, the Brendan Fraser MUMMY Collectors DVD, or the director’s cut of BROTHER HOOD OF THE WOLF, now is your chance to pick them up and get a little something extra.
Other oldies making a comeback include A BUG’S LIFEon Blu-ray and a director’s cut of THE LAST HORROR FILM(reteaming MANIAC’s Joe Spinnella and Caroline Munro) on DVD – although why anyone would want such a thing is a mystery to me.


The complete first season of HBO’s popular vampire series, TRUE BLOOD arrives on DVD and Blu-ray. Other television titles this week include HEROES: SEASON 1 and 2 and BATTLESTAR GALACTICA: SEASON 2.0 AND 2.5.
A few direct-to-video titles hits shelves:

  • OUTLANDERis a science fiction tale about a futuristic soldier who lands on Earth during the time of Vikings and fire-breathing monsters. Jim Caviezel stars; HELLBOY co-stars Ron Perlman, and John Hurt reunite in supporting roles.
  • The names Isabella Rosselini and Judd Nelson are prominently displayed on the cover art for something called INFECTED, which makes you wonder what happened to their careers.
  • Daryl Hannah’s name is securely placed above the title of THE DEVIL’S GROUND, which really makes you wonder why her career did not rebound after KILL BILL.
  • BANEis a low-budget horror film from England. It earned a small distinction last year when it one the Best Horror Film Award at the Shriekfest horror film festival in Hollywood. We hope to post a review soon.


My Bloody Valentine 3-D: Q&A with Patrick Lussier & Todd Farmer

MY BLOOD VALENTINE IN 3D, the remake of the 1981 Canadian slasher film, opens in theatres nationwide today. Last night, director Paul Lussier and writer Todd Farmer attended a preview screening at the Arclight Cinemas Hollywood and answered questions about the film. (Lussier will be appearing after the 8:00pm screening of the film at the Arclight Cinemas Sherman Oaks on Saturday – click here for details.) Attendance on Thursday night was sparser than I expected, which is to say there were lots of people but it was not a sell-out, inspite of the chance to mee the director and the screenwriter in person. Nevertheless, those in attendance did enjoy the film, hooting and hollering as though they were white-water rafting (or should that be red-river rafting) on a tidal wave of blood. Afterwods, Ryan Rotten of Shock Till You Drop moderated the discussion with the two filmmakers, who offerd a handful of behind-the-scenes stories. WARNING: Spoilers!
The first topic was the reason for being interested in remaking this particular property.
TODD FARMER: The original terrified me when I was young. The thing with the drier was a tribute to it. I saw that when I was a kid, and it screwed me up so bad that I never saw the movie again until we started doing this. I subconsciously just stayed away from it. It was great to watch it again while working on this because I had forgotten how great a movie it really was. Some people have trouble with it because it is tongue in cheek, but I love it. I love the fact that horror can be SAW; horror can be BLOODY VALENTINE; it can be so many different things.
PATRICK LUSSIER: Being from Canada, this is a very big Canadian icon. It’s unabashedly Canadian. When you get a chance to revisit these characters and the situation, it’s pretty great.
What elements did Lussier and Farmer want to retain from the original, and what did they want to change?
PATRICK LUSSIER: The big thing was the miner itself. The love triangle. The murder mystery. The drier. The hanging mining clothes – which is exactly how they do that in a mine. And smashing the lights when the miner comes in at the end.
TODD FARMER: The biggest difference was that we were going to treat this a little more realistically than tongue in cheek. Hopefully, there is humor there, but it comes out of the situations more so than jokiness. As far as adapting it, it felt like there was a rich texture there. A couple people poked fun when I said we really liked the love triangle aspect of it. Why would you want to laugh at that? Anybody older than sixteen has been involved in a love triangle whether you like it or not. We liked the way that it worked. I think the biggest aspect for me was… a lot of what you see on screen is not necessarily the writers; it’s this guy [Lussier]. He’s been doing this forever, and because he comes from an editing background, he sees things that I never saw. So as far as the writing, he gets as much credit as I do.
When was the decision made to shoot in 3-D?
PATRICK LUSSIER: Mike Pasternack (of Lionsgate] wanted to remake the film. He had been involved as an executive on the original film. Then it was talked about: ‘We might want to do it in 3D.’ As we got closer and closer to getting ready to shoot it, we started doing tests in 3D. The second we did the first test and showed it to everybody, that was pretty much the clincher. We went to a stage and set up our faux mine with black clothe and ladders and had somebody walk through, you could see the potential in it.
One challenge was keeping the kills interesting, because the homicidal maniac always uses the same weapon, a pick ax.
PATRICK LUSSIER: That was something we talked about with Gary Tunniclif, our special effects makeup guy. He said, ‘You can’t just hit him with a pick ax; he’s got to do something terrible to them.” He wrote this thing called “A Document of Death,” which outlined a million ways to kill somebody with a pick ax. We would go through and apply it to certain scenes. Kevin Tighe’s death came out of the location. He originally died quickly in the script. Then when we found that house with the wooden floors, that led to the pick in the floor and the EXORCIST III homage for the killer’s entrance in that sequence. Burk’s death was always that way, although it originally happened earlier in the film. Really it’s the last death you see on camera, so it needed to be spectacular. The jaw ripped off was quite a horrible thing to do.
Coming up with inventive 3D kills was less a concern for screenwriter Farmer, who was focusing on other elements.
TODD FARMER: In the beginning the biggest concentration was on the story and characters. We wanted to keep the audience guessing: maybe it was Tom; maybe it was Axel. What would happen was, he [Lussier] would call up in the middle of the night and say, ‘So there’s this girl and a shovel…!” A lot of stuff came out of him just being nutty.
PATRICK LUSSIER: The kills came out of necessity, trying to exploit the 3D. You’ve got to sit there and look at it and wonder ‘What would it be?’ It’s not all coming at you. For the coming at you things, the technical term is ‘Outie.’ The shovel gag is called an ‘Innie,’ because you’re actually attached to the end of the shovel as the audience. It was just figuring out how to play with the three-dimensional space.
The original MY BLOOD VALENTINE is more famous for what was not shown. In the wake of outrage over the graphic violence in 1980’s FRIDAY THE 13TH, MY BLOODY VALENTINE was eviscerated in order to achieve an R-rating from the Motion Picture Association of America. Lussier managed to avoid problems by overshooting with the goal of being able to trim back to the cut he wanted after showing a longer version to the MPAA.
PATRICK LUSSIER: We showed them a more extreme version the first time out, in 3D. There was a sex scene that was three times as long, which we felt would be the thing they would go after, and it was. Knowing that that was something we would never unleash on an audience, we had something that we were willing to cut out. We had enhanced a few of the kills even further, so when they came back and said, ‘We hve some problems here, here, and here,’ we said, ‘Oh, let us address that.’ Very quickly we sent them back the version of the movie we had been working on and really wanted. They said, ‘Oh yeah, this is fine.’
The film acknowledges its roots in the ’80s slasher genre by casting Tom Atkins, who appeared in several John Carpenter films.
PATRICK LUSSIER: I was a huge fan of Tom Atkins. The original THE FOG was the first R-rated movie I ever saw. We were shooting in Philly and a friend of mine said, ‘Tom Atkins lives here – you’ve got to get him in your movie.” We immediately met with Tom and offered him the part and started fleshing it out even further so he had a much longer stay in the movie.
Screenwriter Todd Farmer (who also had an on screen death in JASON X, which he wrote), appears as a trucker who videotapes himself having sex with a woman in a hotel room. His attempt to get away from the woman, who demands the tape back at gunpoint, is interrupted by the killer miner. Why did Farmer take this role, which involves nudity and makeup effects?
TODD FARMER: I did audition for this one, but that’s not how it came about. He [Lussier] called and he was telling me this part was going to be cast locally, which is great – there are a lot of local actors in the Pittsburg area. The difficulty was that if we got someone who had never done it before, it could be challenging because there’s special effects, which take a lot of time. And getting naked is this whole other thing you have to deal with – there’s sex and all this other stuff. I was complaining, ‘It’s like going to Vegas – it’s a crapshoot. We don’t know what we’re going to get.’ It’s a small role but it’s a difficult role. He [Lussier] said, ‘Yeah, I know. Will you do it?’ I asked my wife. I thought she would say no. She said, ‘Rock star!’
Patrick Lussier earned his dues as an editor working for West Craven. Did he learn any lessons from the creator of A NIGHTMARE ON ELM STREET?
PATRICK LUSSIER: Absolutely. I have been very fortunate to work with Wes since 1991 with NIGHTMARE CAFÉ. Over the years I have just picked up a lot of advice. Simple things: If it’s scary, make it darker. Always have your misdirection in mind. Never sacrifice character for style. Too often, horror movies are all style and shaky cameras, and it disengages you from the experience. RED EYE from Wes is a great example of a movie that has incredible tension with close ups of two actors sitting side by side. We talked about that: ‘Are you going to do some kind of fancy camera moves through the plane?’ He said, ‘I’m not going to do anything like that because that’s not where the drama is.’ That’s not how you connect to the audience. That was a big thing to learn.
What are the plans for the DVD release?
PATRICK LUSSIER: I think they’re talking about releasing it in 3D. It may be anaglyph. They’re still trying to figure out the polarizing process for release on video. It may be a year away from that. There’s a stack of deleted and extended scenes, a couple of Easter Eggs, and a commentary with Todd and I yammering away through the whole movie like we’re in your living room. Then I think we have a few other extras.
If there is a sequel, what will it be like?
PATRICK LUSSIER: Obviously do it in 3D again. The second part would be bigger, badder, nastier and probably have more massacres!

My Bloody Valentine in 3-D: Horror Film Review

MY BLOODY VALENTEINE 3-DThis film goes a long way toward giving remakes a good name. It takes a not particularly memorable film – one of a myriad holiday horror titles to follow in the wake of John Carpenter’s HALLOWEEN (1978) – and turns it into a crowd-pleasing horror movie that is actually much better than the slasher films of the 1980s from which it borrows its template. It delivers more than enough gore to satisfy the horror hounds – all of it comin’ at ya in glorious 3-D – but it never feels sadistic or off-putting.
Equally impressive, screenwriters Todd Farmer and Zane Smith successfully manipulate the mystery and suspense elements to create an effective thriller almost from beginning to end. Their script keeps audiences guessing about the killer’s identity. Although it resorts to a cheat or two to throw you off the scent, there are clues that will alert sharp-eyed viewers to the cheats, so in a sense the film plays fair.
The 3-D photography is pristine, clear, and beautiful – not like the blurry old double-image stuff scene in the 1950s and 1980s. Director Patrick Lussier predictably uses the technique to deliver some literally eye-popping visuals – at times his work seems almost as much inspired by Lucio Fulci (ZOMBIE) as by the 1981 namesake film – but the effects are delivered with a gusto that has viewers roaring with approval rather than gagging in disgust.
Unfortunately, the film suffers from a handful of unintentionally laughable moments – or at least, if they were meant to be funny, the filmmakers did not signal their intent very well. In a few places characters do dumb things of the sort that remind you this is only a movie. In other cases, for no apparent reason they delay taking obvious action: an alarm button is pushed only after a co-worker has been murdered; a gun is fired only after the killer has impaled a victim.
Only occasionally does the film fall prey to the lame elements inherent in the slasher formula, such as the unstoppable killer who takes a licking and keeps on ticking. (And the filmmakers seem completely unconcerned about the muscle atrophy that would occur during a year-long coma, which would be more than enough to prevent the killer from going on a rampage in the hospital upon awakening.) Also, the title “My Bloody Valentine” seems a vestige of an ealier age: Valentine’s Day doesn’t figure into the murderer’s pathology in any significant way; the back story explaining the atrocities is all about a cave-in that led one miner to kill his co-workers in order to save air while waiting to be dug out.
These silly little moments demand that you go with the film and just accept it for what it is, instead of winning you over. Which is too bad: Although this is a genre effort and proud of it – clearly fashioned to please its target audience of slasher fans and gore-ounds – MY BLOODY VALENTINE IN 3-D is otherwise good enough to appeal to a wider range of scary movie enthusiasts, as long as they are not too squeamish about on-screen carnage.

I am no fan of slasher films, and I came to this with no expectations – who needs another remake? – but it won me over in spite of myself. After nearly a week of sitting through five of the After Dark Horrorfest’s “8 Films to Die For,” MY BLOODY VALENTINE reminded me that gruesome horror can indeed yield a film that is not merely disgusting but actually enjoyably frightening.
MY BLOODY VALENTINE (2009). Directed by Patrick Lussier. Screenplay by Todd Farmer and Zane Smith, basedon the 198a screenplay by John Beaird, from a story by Stephen Miller. Cast: Jensen Ackles, Jaime King, Kerr Smith, Betsy Rue, Edi Gathegi, Tom Atkins, Kevin Tighe, Megan Boone, Karen Baum, Joy de la Paz, Marc Macaulay, Todd Farmer.