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A Necessary Death (NR)

MPI Home Video

Before he directed 2010's found-footage thriller The Last Exorcism, Daniel Stamm made this indie meta-creeper about student filmmaker Gilbert's attempts at a documentary about suicide actually concluding with the subject's final act. What could have easily fallen into melodrama or grotesquery becomes an elegant examination of perception, particularly the taboo associated with self-inflicted death. This is like an end-of-life primer for those too squeamish for the excellent How to Die in Oregon. Refreshingly, this even has a satisfactory ending, though filmmakers certainly tried it once the wrong way; view that in the bonus features. — Justin Strout


Louie: The Complete Second Season (NR)

20th Century Fox Home Entertainment

This overly acclaimed FX sitcom has been very hit-or-miss. Some episodes are sharp and hilarious and their truths, both comedic and life-affirming, keep me on as a viewer, while others are dark and unlikable. Here, Louis CK hits new depths of pathetic-ness, mostly revolving around his inability to have a relationship with a woman. However, there is an hour-long episode toward the end where Louie goes on a USO tour in Afghanistan, his daughter's pet duck in tow, that is quite possibly one of the finest hours of TV ever produced. It's full of heart-tugging hope and realistic fear, emotionally cathartic. It's gotten me excited for Season 3, for better or worse. — Louis Fowler


Red Scorpion (R)

Synapse Films

Jack Abramoff. The name inspires anger. He's a thief who was sent to prison for mail fraud, conspiracy and tax evasion, becoming the face of the evils of lobbying. But it's time his name became synonymous with 1989's Red Scorpion. Written and produced by Abramoff and directed by '80s action-god Joe Zito, Scorpion stars Dolph Lundgren as a Soviet killing machine who, after chilling with some African bushmen, denounces communism and wages war against the oppression of rebel forces. You'll cheer as Lundgren disposes of various baddies courtesy special-effects wiz Tom Savini, in this 106-minute, pardon-worthy work of art. — Louis Fowler

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