Of ‘Candidates’ and kings

The Manchurian Candidate

Denzel Washington, Meryl Streep

Paramount, $30

It sounded like sacrilege when it was first announced that Paramount was going to remake the 1962 tale of political intrigue that was directed with great panache by the late John Frankenheimer. Though this new version doesn’t reach the heights of the original (which was adapted from Richard Condon’s novel), it more than holds its own as a taut political thriller. Jonathan Demme directs a first-rate cast led by Denzel Washington, Meryl Streep and Liev Schreiber.

Though the digital edition isn’t a flashy affair, it is intelligent and well-produced, with a compelling behind-the-scenes documentary, interviews with the cast, a very funny outtake between Streep and Al Franken and affable commentary with Demme and screenwriter Daniel Pyne.

*

King Arthur

Clive Owen, Keira Knightley

Touchstone, $30

Even the talented cast -- Clive Owen, Keira Knightley and Ioan Gruffudd -- can’t lift this disappointing revisionist take on the King Arthur legend out of its doldrums. It’s a rare misfire from producer Jerry Bruckheimer.

If you didn’t like the film when it was in theaters, you won’t want to slog through the 14 extra minutes on this unrated director’s cut. The extra footage features more blood and guts in the battle sequences.

The digital edition includes a making-of documentary; a round-table discussion with the cast, director Antoine Fuqua and Bruckheimer; the original darker ending; a trivia viewing mode; and decent commentary from Fuqua.

*

De-Lovely

Kevin Kline, Ashley Judd

MGM, $27

Though the reviews for this biopic of Cole Porter were all over the map, “De-Lovely” picked up Golden Globe nominations for best actor (Kevin Kline) and best actress (Ashley Judd). Kline and Judd are quite good as Porter and his wife Linda, and the sets and costumes are sumptuous. Though one can quibble with who was chosen to sing such Porter standards as “You’re the Top,” “Night and Day” and “Let’s Misbehave,” it is mesmerizing to hear the composer’s wonderful and witty songs once again.

The main making-of featurette suffers from too much of the cast and crew expressing how wonderful everyone is in the movie and how glorious it was to work with them. Far more engaging are the anatomy-of-a-scene mini-documentaries on the songs “Be a Clown” and “Love for Sale.” There is also a featurette about the music, deleted scenes and straightforward commentary with director Irwin Winkler and Kline. Winkler and writer Jay Cocks also supply the secondary commentary.

*

Napoleon Dynamite

John Heder, Tina Majorino

Fox, $30

This low-budget film festival favorite -- shot in Preston, Idaho, the former home of 24-year-old director Jared Hess -- has taken in more than $40 million since its release over the summer. But the quirky, deadpan comedy about the ultimate nerd, played by John Heder, is a matter of taste.

In addition to the lanky, curly-haired title character, Hess has peppered the film with all sorts of crazies, such as Napoleon’s mild-mannered 32-year-old brother, who is glued to Internet chat sites; a sleazy, football-obsessed uncle; and a thrill-a-minute granny.

Among the extras on the digital edition are “Peluca,” Hess’ short film that was the genesis for “Napoleon”; deleted scenes; and commentary with Hess, producer and editor Jeremy Coon and Heder.

*

Shaun of the Dead

Simon Pegg, Nick Frost

Universal, $30

Simon Pegg, who co-wrote the script for this kicky horror spoof with director Edgar Wright, plays one of life’s losers. He’s a young man, in a dead-end job as an electronics salesman, who lives with his lazy childhood friend (Nick Frost) and has problems committing to his girlfriend (Kate Ashfield). To make matters worse, a virus has caused the dead to come back to life and feed on the living. Wright manages to achieve the right combination of humor and gross-out gore.

The cheekiness continues on the extras, with some amusing and naughty outtakes, auditions, Pegg’s video diary, a look at the special effects and ribald commentary between Pegg and Wright. There’s also a commentary track with the main cast -- unfortunately, they come across as bores.