Double Dip Demands is a column in which I propose films that deserve a re-release on DVD/Blu-Ray with more special features, better transfers and other nerdy bits. Some of the films have no DVDs out there for Region 1 viewers, and some of them have a really crappy version that's bare bones or poorly put together. Who speaks for these films? I do.

The Film: Southland Tales (2006)

Cast & Crew: Richard Kelly (writer/director): Dwayne Johnson, Seann William Scott, Sarah Michelle Gellar, John Laroquette, Wallace Shawn, Wood Harris, Lou Pucci, Christopher Lambert, Jon Lovitz, Justin Timberlake, Mandy Moore, Cheri Oteri, Amy Poehler, Kevin Smith, Nora Dunn

Plot Synopsis (via IMDB): Southland Tales is an ensemble piece set in the futuristic landscape of Los Angeles on July 4, 2008, as it stands on the brink of social, economic and environmental disaster. Boxer Santaros is an action star who's stricken with amnesia. His life intertwines with Krysta Now, an adult film star developing her own reality television project, and Ronald Taverner, a Hermosa Beach police officer who holds the key to a vast conspiracy.

Is it Out Currently? Yes on DVD (with some extras) and Blu-Ray (with a bit more).

Why Does it Deserve Special Features? Richard Kelly's magnum opus, Southland Tales, is a complete disaster. It premiered to scathing reviews and lots of booing at Cannes. Then it trimmed down about 15 minutes, reshot a few scenes, added some dialogue and effects and was re-released on the world - to scathing reviews and lots of booing. So why does a film that Nathan Rabin labeled a "Fiasco" deserve another release? Because it's utterly unique. Southland Tales is a weird synthesis of Philip K. Dick, Douglas Copeland,Robert Altman, Raymond Chandler, Jonathan Lethem, MTV, Saturday Night Live and a slew of college freshman political science, philosophy and sociology courses - often taking the weakest aspects of each of these influences when adding it to the stew. But here's the thing: it has a lot of good stuff in that abominable amalgamation. From the (oft mentioned) Justin Timberlake lip synching scene, to the semi-clever sci-fi aspects, to a lot of the visuals and a many of the characters - Kelly created a rich world that was intriguing and, if taking piece by piece, would be ultimately rewarding. Unfortunately, each piece belongs to the work as a whole, and so a scene played for comedy runs up against deadly serious characters, and vice versa. But it covers a lot of ground - from the energy crisis, to Patriot Act, to worshipping of celebrities, the way media manipulates reality, the impotent protestations of the Left, the need for drugs and escape...each of these elements stays with the viewer for many nights afterwards. Unfortunately, it usually culminates in "If only Kelly hadn't then done..." but still - it's always more impressive to find films that stay with you and vex you than forgettable movies that are lost in a sea of apathy.

What Should Be on the Disc?

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Movies are baffling. Sometimes they are good. Sometimes they are less than good. And sometimes, in those less than good movies, lie some exquisite gems. Today's list are the 12 great - genuinely great, not in an ironic way - musical performances from some less than good movies. The rest of the movie was shite, but for these few glorious beats it was a promising world indeed.

Filled with good choreography, some catchy tunes and people very much committing to the spectacle in an otherwise unremarkable film - these performances deserve some recognition and love.

12. "Prom Tonight" from Not Another Teen Movie

Actually, this movie isn't that bad. It's not good, so it fits in with the defined parameters, but it definitely has a lot of good moments and makes some nice observations about teen movies. Although I fear it's easily lumped in with Epic Movie, Date Movie, Superhero Movie, etc. but it actually has a plot and jokes and not just an ADHD level of references strung together.

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Where's the dividing line between allowing an artist free rein to tell his story and the need for some sort of structure to organize that story?  Some people work great completely unfettered, giving form to every thought that gestates in their fevered brain.  Tarantino seems like a writer who can go off on multiple tangents, mash-up various genres and tones, and yet it all feels like a cohesive whole (Death Proof notwithstanding).  These are the iconic artists who, when left to their own devices, create works of such beautiful originality and innovation that you just want them to seclude themselves from the rest of the world and continue dreaming up more unique visions.

Then there are those that need to be pushed and restrained.  It's a hard balance to strike between stifling an artist's vision and giving him boundaries that he has to work within.  Book writers tend to be the ones with the most freedom, as it's solitary work that doesn't necessitate a lot of different components, departments or contributions.  Movies, on the other hand, tend to be the one with that most precarious of balance - as there are so many different people working on a movie, each with his own vision, with her own motivation for seeing the film succeed.  But out of these hardships can come some great stories.  Jaws would probably be terrible if the mechanical shark hadn't malfunctioned, therefore resulting in a much more menacing approach to the titular monster.  Certain restraints can force an artist to narrow her vision, or to be more clever and resourceful to work around whatever obstacles are placed in front of her.

So where does one stake the marker between limitations and censorship?  Between helpful collaboration and smothering corporate oversight?  How does one determine what would be best for his work - to listen to the voices of others or to go it alone?  How can an artist tell when to rein it in and when to push as far as you can?

I don't know the answers to these questions and, judging by Richard Kelly's oeuvre, he doesn't either.  Kelly first burst onto the scene with Donnie Darko - a great, odd little indie film seemingly tailor-made for today's brand of confused emo and goth kids who all want their own slice of weirdness pie.  Combining all manner of fringe concepts and interests wrapped up in a well-shot package delivered with quasi-intelligent - or is that just purposefully? - dialogue, Donnie Darko was a truly unique film that seemed to announce a new talent had arrived in the form of Writer/Director Kelly.

But then things got worrisome...

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