It Might Get Loud Fascinating in fits and starts, this documentary by the maker of An Inconvenient Truth throws together a great guitarist from each of three separate generations — Led Zeppelin's Jimmy Page, U2's The Edge and the White Stripes' Jack White — to see what happens when they jam together and discuss their musical upbringings. Possibly due to nerves, the scenes with all of them together lack chemistry, but the film is well worth checking out for those biographical detours. Page's and White's stories, especially, prove fascinating and wide-ranging, whereas The Edge relies on nostalgic revisitation. Unfortunately, this DVD set offers little in the way of bonus material. (PG)
Jennifer's Body What an overlooked gem this is. It combines the witty irreverence of the original Buffy the Vampire Slayer (the film) with a genuinely touching story of two best friends torn apart by a traumatic event. When Jennifer (a pitch-perfect Megan Fox) is led to an emo band's "'89 Rapist model" van, she experiences a night of ritualistic terror and returns as a kind of oversexed succubus. But her best friend, Needy (Amanda Seyfried), calls her out as overcompensating for something truly heinous. While never getting bogged down in preachiness, there are enough levels of depth and metaphor (rape, friendship-as-love, female empowerment) to earn both applause and laughter. (R)
Moon As a helium miner granted the companionship of … himself, Sam Rockwell turns in one of the year's most uniquely layered acting efforts. It's a sometimes-simultaneous showcase of one man's many sides that surely would've collapsed into gimmickry and hysterics in anyone else's hands. Meanwhile, director Duncan Jones favors model effects over CGI, indebting himself heavily to sci-fi's heyday of ideas. There's no shortage of ideas in the extra features, either: This superb set boasts two director commentaries, two Q&A sessions with Jones, a short film and a making-of doc. (R)
United States of Tara: Season One Writer Diablo Cody (Juno, Jennifer's Body) requires the longest running start in Hollywood. In every project of hers, viewers have to forgive the first section in which Cody spews full-force her groaningly cutesy dialogue, and the same goes for this Showtime series, written by Cody and exec-produced by Steven Spielberg. The first couple of half-hour stints about a woman (the exemplary Toni Collette) who puts her family through hell as the sufferer of multiple personalities are just brutal to endure. After that, however, Cody settles down and achieves a remarkably mature portrait of dysfunction and the struggle to maintain humor and patience within chaos. (NR)
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