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Spartacus: Blood and Sand — The Complete First Season (NR)

Starz / Anchor Bay

Widely regarded as one of the greatest films ever made, 1960's Spartacus is forever immortalized in cinema history by Kirk Douglas' performance and Stanley Kubrick's epic direction. It's damn near impossible to top. But try telling that to producers Sam Raimi and Rob Tapert. The duo take everything they've learned making such mythological TV classics as Xena and Hercules, and amp it up with some insane 300-esque blood-drenched visuals and, just to make their point, enough sex to make Caligula blush. Consequently, they've created one of the most consistently enthralling shows on television. A brutally sleazy look at the famed leader of the Roman slave uprisings, season one of Spartacus goes surprisingly exploitative places that no other historical series ever would, and, even if most of it is made up, who cares? Roman excess was never so deliciously trashy and infinitely watchable. — Louis Fowler


Frozen (R)

Anchor Bay Films

If there was ever a horror movie made for Colorado, it is Frozen. The way Open Water kept swimmers out of the water, well, that's what Frozen's gonna do for ski bums. Three pals under-the-table their way onto a chairlift and are accidentally forgotten, left hanging some 50 feet in the air, as the mountain shuts down for the night. On a Sunday night ... when the mountain won't open until the following week! With no help coming, the trio are left with the worst options possible for survival as ice storms slam them, frostbite sets in, and a hungry pack of wolves converges below, hoping to make these guys their next meal. Written and directed by Adam Green (Hatchet), this is really terrifying stuff that will hit a little too close to home for many viewers. Let Frozen be a learning experience; you can't say you haven't been warned. — Louis Fowler


Bomber (NR)

Film Movement

A British family fed to the teeth with each other's failings and weaknesses departs on a road trip to Germany, their interlocking dysfunctions a tightly fitted puzzle of irritation and affection. Each character is sketched out deftly in the first five minutes: the feckless son Ross, who has clearly let down his wife in the past and pays for it in marriage-counseling sound bites; his ditzy English rose of a mother, Valerie, and his tightly wound, 83-year-old father, who has a secret regret gnawing at him. Redress of that regret is the mission Alistar (Benjamin Whitrow) undertakes. Comparisons to Little Miss Sunshine are inevitable, as plot points right down to the uncomfortable van are mirrored in Bomber, but luckily the performances here are similarly excellent. And despite the familiar formula, writer-director Paul Cotter offers no tidy endings. — Justin Strout

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